Corelli, Vivaldi, Albinoni--Their successors, Locatelli, F. M. Veracini, and others; Tartini and his pupils; pupils of Somis: Giardini and Pugnani--French violinists and composers: Rébel, Francœur, Baptiste Anet, Senaillé and Leclair; French contemporaries of Viotti: Pagin, Lahoussaye, Gaviniès; Viotti--Violinists in Germany and Austria during the eighteenth century: Pisendel, J. G. Graun, Franz Benda; Leopold Mozart--The Mannheim school: J. Stamitz, Cannabich and others; Dittersdorf, Wranitzky and Schuppanzigh--Non-violinist composers: Handel, Bach, Haydn, Mozart--Conclusion. XIII. VIOLIN MUSIC IN THE NINETEENTH CENTURY 430 The perfection of the bow and of the classical technique--The French school: Kreutzer, Rode, and Baillot--Paganini: his predecessors, his life and fame, his playing, and his compositions--Ludwig Spohr: his style and his compositions; his pupils--Viennese violinists: Franz Clement, Mayseder, Boehm, Ernst and others--The Belgian school: De Bériot and Vieuxtemps--Other violinist composers: Wieniawski, Molique, Joachim, Sarasate, Ole Bull; music of the violinist-composers in general--Violin music of the great masters. PART V. CHAMBER MUSIC XIV. THE BEGINNINGS OF CHAMBER MUSIC 467 The term ‘chamber music’; fifteenth-century dances; lute music, early suites; vocal ‘chamber music’--Early ‘sonatas’: Gabrieli; Rossi; Marini; etc.--Vitali, Veracini, Bassani and Corelli; Corelli’s pupils; Vivaldi; Bach and Handel. XV. THE FIRST PERIOD OF THE STRING QUARTET 486 The four-part habit of writing in instrumental forms--Pioneers of the string quartet proper: Richter, Boccherini and Haydn; Haydn’s early quartets--The Viennese era of the string quartet; Haydn’s _Sonnen_ quartets; his ‘Russian’ quartets; his later quartets--W. A. Mozart; Sammartini’s influence; Mozart’s early (Italian) quartets; Viennese influences; Mozart’s Viennese quartets--His last quartets and their harmonic innovations. XVI. THE STRING QUARTET: BEETHOVEN 509 Beethoven’s approach to the string quartet; incentives; the six quartets opus 18--The Rasumowsky quartets; _opera_ 74 and 95--The great development period; the later quartets, op. 127 _et seq._: The E-flat major (op. 127)--The A minor (op. 132); the B-flat major (op. 130); the C-sharp minor (op. 131); the F major (op. 135). XVII. THE STRING ENSEMBLE SINCE BEETHOVEN 534