Georg Philipp Telemann, it is true, wrote that he followed the French model in his music; but as Wasielewski says, this applies evidently only to his vocal works and overtures, for his violin compositions are very clearly imitations of Corelli’s. All his music, and he wrote enormous quantities in various branches, is essentially commonplace. Between 1708 and 1721 Telemann occupied a position at the court of Eisenach. It was chiefly during these years that he gave himself to the violin and violin music. Afterwards he went to Hamburg and there worked until his death in 1767. Johann Georg Pisendel is a far more distinguished figure. He was born on the twenty-sixth of December, 1687, at Carlsburg in Franconia, and died in Dresden, after many years’ service there, in November, 1755. While still a boy the Marquis of Anspach attached him to his chapel, on account of his beautiful voice. In the service of the same prince at that time was Torelli, the great Italian composer for the violin; and Pisendel was his pupil for a considerable period. Later in life he was able to journey in Italy and France, and was apparently at one time a pupil of Vivaldi’s in Venice. From 1728 to the time of his death he was first violin in the royal opera house at Dresden. His playing was distinguished by care in shading, and in his conducting he was said to have laid great importance upon ‘loud and soft.’ As a composer he is without significance, though some of his works--concertos and sonatas--have been preserved. But his influence served to educate violinists in that part of Germany, so that little by little Germans came to supplant the Italians in that branch of music, and to find occupation in connection with the opera house orchestra, which had been up to that time almost entirely made up of Italians. Most conspicuous among those who were actually his pupils was Johann Gottlieb Graun, brother of the still familiar Carl Heinrich. But Graun was not content with instruction in Germany alone, and betook himself to Tartini in Padua. After his return to his native land, he eventually found his place at the court of Frederick the Great, who was still crown prince. With him at this time were Quantz, the flute player, and Franz Benda. After the accession of Frederick to the throne of Prussia, Graun was made first violin and concert master in the royal orchestra; and he held this place until his death in 1771. His compositions, like all others for the violin at this period, are hardly more than imitations of the Italian masterpieces. And like Pisendel, his importance is in the improvement of the state of instrumental music in Germany, and especially of the orchestra at Berlin.