Scan 469
The violin: its famous makers and their imitators, 1909
4 lines. Read by computer on 27 September 2026. Printed page 391. See the scan on archive.org.
1The sensation that Viotti created in Paris was great. His varied style, his rich tone and elegance in playing, were far beyond anything that the Parisian public had previously experienced. With Viotti was ushered in a new era in solo playing. His concertos exhibit the capabilities of the instrument in elegantly constructed passages, such as none but a master of the Violin could pen. He wrote upwards of twenty concertos, those in A minor, in G, in D, and in E minor being the favourites, and to this day highly esteemed by Violinists of every school. His duos and trios are pleasing and effective, and, though long since superseded by works of greater erudition, they form a landmark in the history of the progress of the instrument.
3Campagnoli, born in 1751, was a composer of rare ability. Had he written nothing but the "Studies on the Seven Positions of the Violin" he would have left enough to mark the character of his genius. Happily he has bequeathed to us many other writings. The "Fantasias and Cadences," forming a book of upwards of 100 pages, is a work full of interest to the Violinist. His modulations are singularly effective. He has also written some Studies for the Tenor, and, lastly, a "Violin School." I cannot but think that Campagnoli's educational compositions do not receive the attention which they merit, and are too often laid aside as old-fashioned. There is a certain quaintness in his writings, but this much may be said of
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