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 278
Scan 278
The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880
10 lines. Read by computer on 29 August 2026. Printed page 260. See the scan on archive.org.
1played. Haydn used frequently to take the Tenor part in his quartetts.
3Leopold Mozart, born in 1719, the father of the illustrious musician, was a Violinist, and wrote a "Method" for his instrument. He died in 1787.
5To the great Mozart, Violinists owe much; his compositions for the instrument raised it considerably. It is unnecessary to give here a detailed list of his writings in which the Violin takes part—they are happily known to most players. Mozart played the Violin from boyhood, and was taught by his father. It is gratifying to know that nearly all the great composers played upon stringed instruments, if not with proficiency, yet enough to enable them to make pleasurable use of their acquirements. Sebastian Bach, Handel, and Mozart were Violin players; Haydn and Mendelssohn could take their Tenor part in a quartett, and lastly Beethoven used to amuse himself with the Double-Bass. Their compositions evidence a practical knowledge of stringed instruments as distinct from theory. The glorious compositions of Beethoven for the Violin need no comment here; their beauties have formed the theme of the ablest critics, and I have no desire to contribute my humble mite to their exhaustive remarks.
7With Fesca we again come among the Violinists. He was born at Magdeburg, in 1789. His quartetts are very pleasing compositions; they are chiefly solo quartetts.
9The next Violinist claiming attention is the highly gifted Louis Spohr, the greatest composer for the Violin that ever lived who combined in his own person high executive powers with a rare fecundity of classical
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