Scan 467
The violin: its famous makers and their imitators, 1909
8 lines. Read by computer on 27 September 2026. Printed page 389. See the scan on archive.org.
1knowledge of the finger-board and the powers of the bow. As a harmonist he was, perhaps, more truly scientific than any other composer of his time, in the clearness, character, and precision of his Basses, which were never casual, or the effect of habit or auricular prejudice and expectation, but learned, judicious, and certain." It would be difficult to add to this judgment of the compositions of Tartini. The truth of Burney's remarks is better understood at this moment than when penned. During the space of nearly a century the sonatas of Tartini lay dormant, and only within recent years have their beauties been again recognised. Such works as Tartini's are all-important links in the chain of musical progress.
3Pietro Locatelli, a pupil of Corelli, introduced a style of playing quite in advance of his time. His compositions abound with novel combinations; double stops, harmonics, and arpeggios are displayed with wonderful results. Burney says that "Locatelli had more hand, caprice, and fancy than any Violinist of his time."
5The immediate follower of the style of Locatelli was Lolli, born 1728, who wrote pleasing airs and used novel effects, but failed to go further. It was one of his feats to play on one string—a performance very properly held in contempt in our day, having neither sense nor grace to recommend it.
7Felice Giardini was another musician of the style
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