Books › The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880 › scan 266
Scan 266
The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880
8 lines. Read by computer on 29 August 2026. Printed page 248. See the scan on archive.org.
1and if they were rendered with anything approaching to exactness the progress made on the Violin must have been very rapid between the days of Lully and Lecler.
3Pierre Gaviniès claims attention both as an executant and composer. There is a freshness about his compositions which has caused many of them to be recently roused from their long sleep, and re-issued in the improved garb of a modern edition. His best known works are the 24 Studies, Concertos, and Sonatas.
5Although there were several Violinists in France of average abilities between the time of Gaviniès and that of Rode, they scarcely claim attention in this somewhat hasty sketch; and I will therefore pass to the players linked with Viotti. To commence with Rode, the pupil of Viotti. He was born at Bordeaux in 1774. Fétis remarks "from Corelli to Rode there is no hiatus in the school, for Corelli was the master of Somis, Somis of Pugnani, Pugnani of Viotti, and Viotti of Rode."
7His well-known 24 caprices, and his concertos, and airs, are much admired by all Violinists for their elegance and effectiveness. Paganini played the concertos of Rode publicly upon several occasions. Bailliot and Kreutzer were associated with Rode at the French Conservatory of Music, and likewise in the compilation of the well-known Instruction Book written expressly for the use of the pupils at the Conservatory. Bailliot was famed for his admirable bowing and refined playing. Kreutzer is, of course, better known from his 40 Studies than from anything else that he has written. His concertos partake
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