Before the coming of Spohr violin music had been illustrated by a succession of virtuosos, French and Italian, who, though melodiously charming, planned in their works and execution to exhibit the effects and graces of the players themselves instead of the instrument. Paganini carried this tendency to its most remarkable and fascinating extreme, but Spohr founded a new style of violin playing, on which the greatest modern performers who have grown up since his prime have assiduously modeled themselves. Mozart had written solid and simple concertos in which the performer was expected to embroider and finish the composer's sketch. This required genius and skill under instant command, instead of merely phenomenal execution. Again, Beethoven's concertos were so written as to make the solo player merely one of the orchestra, chaining him in bonds only to set him free to deliver the cadenza. This species of self-effacement does not consort with the purpose of solo playing, which is display, though under that display there should be power, mastery, and resource of thought, and not the trickery of the accomplished juggler. Spohr in his violin music most felicitously accomplished this, and he is simply incomparable in his compromise between what is severe and classical, and what is suave and delightful, or passionately exciting. In these works the musician finds nerve, sparkle, _elan_, and brightness combined with technical charm and richness of thought. Spohr's unconscious and spontaneous force in this direction was the direct outcome of his remarkable power as a solo player, or, more properly, gathered its life-like play and strength from the latter fact. It may be said of Spohr that, as Mozart raised opera to a higher standard, as Beethoven uplifted the ideal of the orchestra, as Clementi laid a solid foundation for piano-playing, so Spohr's creative force as a violinist and writer for the violin has established the grandest school for this instrument, to which all the foremost contemporary artists acknowledge their obligations. Dr. Spohr's style as a player, while remarkable for its display of technique and command of resource, always subordinated mere display to the purpose of the music. The Italians called him "the first singer on the violin," and his profound musical knowledge enabled him to produce effects in a perfectly legitimate manner, where other players had recourse to meretricious and dazzling exhibition of skill. His title to recollection in the history of music will not be so much that of a great general composer, but that of the greatest of composers for the violin, and the one who taught violinists that height of excellence as an excutant should go hand in hand with good taste and self-restraint, to produce its most permanent effects and exert its most vital influence. NICOLO PAGANINI.