Books › The violin : some account of that leading instrument and its most eminent professors, from its earliest date to the present time : with hints to amateurs, anecdotes, etc., 1852 › scan 12
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The violin : some account of that leading instrument and its most eminent professors, from its earliest date to the present time : with hints to amateurs, anecdotes, etc., 1852
7 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1CHAPTER IV.
3THE FRENCH SCHOOL.
5Italian and French Schools compared—state of instrumental performance at the present time—style of Kreutzer, Rode, Baillot, and Lafont—the Conservatoire de Musique—its origin and effects—epigram—BALTAZARINI (M. de Beaujoyeux)—JEAN BAPTISTE DE LULLY—becomes scullion to Mdlle. de Montpensier—elevated to the rank of Court Musician—his career at Court—Louis the Fourteenth’s taste in music—the establishment of an Opera—Lulli’s Te Deum for the King’s recovery—an accident—his death—anecdote of his last score—his style—JEAN MARIE LE CLAIR (Lecler)—born at Lyons—style deviating from the Italian school—appointed Symphonist to Louis XI—assassinated in the streets of Paris—JEAN BAPTISTE SENAILLÉ—goes to Italy—returns to Paris, 1719—his pupils—JEAN PIERRE GUIGNON—his sonatas, duetts, trios, and concertos—instructs the Dauphin—dies at Versailles—GABRIEL GUILLEMAIN—loses his faculties and destroys himself—PIERRE GAVINIÈS—appointed Professor at the Conservatoire—his works—FRANÇOIS JOSEPH GOSSEC—founds the Concert of Amateurs—his symphonies—PAGIN—instructed by Tartini—jealousy of the French musicians—their revenge—PIERRE LAHOUSSAYE—plays at the Concert Spirituel when nine years old—Pagin undertakes his instruction—goes to Italy—hears Tartini at church—spends three years in London—appointed Professor of the first class at the Conservatoire—PAISIBLE—makes a progress through several parts of Europe—dies by his own hand in 1781—SIMON LEDUC—his extant compositions—anecdote of the Chevalier St. George—F. HIPPOLITE BARTHÉLÉMON—serves as a midshipman—comes to England—engaged at Vauxhall—MONDONVILLE, and others—Viotti’s influence on the French School—CASTELS DE LABARRE—premier violon at the Théâtre François—VACHER—pupil of Viotti—performs at the Vaudeville Theatre, &c.—PIERRE RODE—shipwrecked on the English coast—obliged to quit England—appointed Professor of the Violin at the Conservatoire—travels—his death from paralysis in 1830—M. Fétis on his style—RODOLPHE KREUTZER—his mode of instruction—dies at Geneva—his compositions—CHARLES PHILIPPE LAFONT—appears at Paris as a vocalist—studies under Kreutzer and Rode—his residence at St. Petersburg—his contest with Paganini—PIERRE BAILLOT—Professor at the Conservatory—his System for the violoncello—ALEXANDRE JEAN BOUCHER—his likeness to Napoleon—LIBON—first violinist to the Empress Josephine, to Marie Louise, and to Charles X— one of two readings
6Italian and French Schools compared—state of instrumental performance at the present time—style of Kreutzer, Rode, Baillot, and Lafont—the Conservatoire de Musique—its origin and effects—epigram—BALTAZARINI (M. de Beaujoyeux)—JEAN BAPTISTE DE LULLY—becomes scullion to Mdlle. de Montpensier—elevated to the rank of Court Musician—his career at Court—Louis the Fourteenth's taste in music—the establishment of an Opera—Lulli's Te Deum for the King's recovery—an accident—his death—anecdote of his last score—his style—JEAN MARIE LE CLAIR (Lecler)—born at Lyons—style deviating from the Italian school—appointed Symphonist to Louis XI—assassinated in the streets of Paris—JEAN BAPTISTE SENAILLÉ—goes to Italy—returns to Paris, 1719—his pupils—JEAN PIERRE GUIGNON—his sonatas, duetts, trios, and concertos—instructs the Dauphin—dies at Versailles—GABRIEL GUILLEMAIN—loses his faculties and destroys himself—PIERRE GAVINIÈS—appointed Professor at the Conservatoire—his works—FRANÇOIS JOSEPH GOSSEC—founds the Concert of Amateurs—his symphonies—PAGIN—instructed by Tartini—jealousy of the French musicians—their revenge—PIERRE LAHOUSSAYE—plays at the Concert Spirituel when nine years old—Pagin undertakes his instruction—goes to Italy—hears Tartini at church—spends three years in London—appointed Professor of the first class at the Conservatoire—PAISIBLE—makes a progress through several parts of Europe—dies by his own hand in 1781—SIMON LEDUC—his extant compositions—anecdote of the Chevalier St. George—F. HIPPOLITE BARTHÉLÉMON—serves as a midshipman—comes to England—engaged at Vauxhall—MONDONVILLE, and others—Viotti's influence on the French School—CASTELS DE LABARRE—premier violon at the Théâtre François—VACHER—pupil of Viotti—performs at the Vaudeville Theatre, &c.—PIERRE RODE—shipwrecked on the English coast—obliged to quit England—appointed Professor of the Violin at the Conservatoire—travels—his death from paralysis in 1830—M. Fétis on his style—RODOLPHE KREUTZER—his mode of instruction—dies at Geneva—his compositions—CHARLES PHILIPPE LAFONT—appears at Paris as a vocalist—studies under Kreutzer and Rode—his residence at St. Petersburg—his contest with Paganini—PIERRE BAILLOT—Professor at the Conservatory—his System for the violoncello—ALEXANDRE JEAN BOUCHER—his likeness to Napoleon—LIBON—first violinist to the Empress Josephine, to Marie Louise, and to Charles X— one of two readings
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