We now introduce three names who greatly elaborated the forms fixed by the Italians, Rode (1774-1830), Kreutzer (1766-1831) and Baillot (1771-1842). This almost inseparable trio are so well known to the student, that a lengthy comment would be superfluous. They were all in turn professors at the Paris Conservatoire, and the joint production of their great method for the violin, coupled with their other educational works, place them as prominent classical writers. Rode is known by his concertos, caprices and airs with variations. Kreutzer’s forty studies are a household word with the earnest student, not to mention his concertos, duets, trios and quartets; and the same may be said with regard to Baillot’s concertos, variations, and a host of other pieces.
We now pass on to consider shortly what the Germans have handed down. Like other countries, they have been largely indebted to the Italians; and, in this connection, it is curious to note that with the rise of music in Germany we find a gradual decadence of the art in Italy.
In Germany we have to look to the great composers rather than the great violinists for the most important classical works for the violin.
It is unnecessary to notice anything anterior to the time of the great J. S. Bach (1685-1750); in fact, very little took place in the nature of published works.
That Bach possessed a sound perception of the capabilities and resources of the violin is amply demonstrated in all his writings for that instrument. His acquaintance with the finger-board is only excelled by his knowledge of the keyboard. Amongst the almost innumerable works of this greatest musical classic that has ever lived, I would mention his three partitas and three sonatas for violin (without accompaniment). The Chaconne in the D minor Partita is a remarkable instance of Bach’s immense powers of perception.
The first real founder of a German school was Leopold Mozart (1719-1787), father of the great W. A. Mozart. He is not known by his instrumental compositions, but his claim to notice exists in the production of his “Method” for the violin, a work which not only survived several editions, but assumed the garb of several languages.
The next to call for notice is Joseph Haydn (1732-1809), a most prolific composer, especially for the string family. Attached to the service of Prince Esterhazy, a patron immensely rich and passionately fond of music, Haydn enjoyed a combination of circumstances all concurring to give opportunity for the display of his genius. It has been vouchsafed to few musicians to pursue their art under such favourable conditions as Haydn. He did not compose to please either publisher or the public. So long as his patron was satisfied with his productions, things went on merrily with him.