Bow & Bridge Violin and bow makers, as the old books printed them

Scan 274

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 256. See the scan on archive.org.

1passed into France with Viotti; indeed, there was even an earlier connection between Italy and France in this respect, through Lully. The Italian school was also linked with the English through Geminiani and Giardini; but of the German school it may be said that its individuality is so marked as to necessitate its being considered apart.
3That the Germans are indebted to the Italians for their early acquaintance with music is, I imagine, conceded on all sides; but it is only in the earliest stage of the art that any such indebtedness can be said to exist, as they soon struck out a course abounding in originality. The first name of any note in connection with the Violin in Germany is that of Graun, who was born in the year 1700. He became concert master to the King of Prussia, and excelled as a Violinist. His pupil, Francis Benda, next claims attention. Dr. Burney says of him: "His manner was neither that of Tartini, nor of Veracini, nor that of any other leader, it was purely his own, though founded on the several models of the greatest masters;" and Hillar tells us that "his tones were of the finest description, the clearest and most euphonious that can be imagined." These remarks point to the statement that I have made above of the early distinctive character of German Violin-playing. Benda published studies for his instrument, and also several solos and other works, all of which are admired for their good taste and cantabile style.
5About this period appeared the admirable compositions for the Violin of that great master of his art, John Sebastian Bach—works differing essentially from those of his contemporaries.
7"He was not of an age, but for all time."

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