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 246
Scan 246
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
6 lines. Read by computer on 3 September 2026. Printed page 230. See the scan on archive.org.
1Of the peculiar qualities of Benda, as a violinist, Dr. Burney, in his Travels, thus speaks:—"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, in his Biography, tells us "that his tones were of the finest description, the clearest and most euphonious that can be imagined. The rapidity of his execution, and the mellow sweetness of his altissimo notes, were unequalled. With him, the violin had no difficulties. He was master of all its powers, and knew when to use them."
3John Stamitz, Concert-Master and Chamber-Musician at Mannheim, and regarded, like the preceding artist, as the founder of a distinct class of German violinists, was born in 1719, at a small town in Bohemia, where his father was a school-master. Besides the high repute he enjoyed as regards the formation of pupils, Stamitz has attained a just celebrity by his written works. These (which include a curiosity in art—a duett for one violin) consist principally of symphonies or overtures, concertos, quartetts and trios. Though exhibiting a masterly character, they convey the impression, at this period, of belonging too peculiarly to the old school, and have been considered, by some critics, to savour too much of the Church style.
5The successors of Benda and Stamitz, still adding some improvements to the precepts or the practice inculcated by those eminent directors, may be said to have created a school of their own, at the head of which we should place Leopold Mozart (author of "Der Violinschule"), Fraenzl, and Cramer, who made some approach to Tartini, his contemporary, and flourished long in England, as a concerto-performer and leader.
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