THOMAS BALTZAR, born at Lubeck about 1630, was esteemed the finest performer on the violin of his time. He came to England in 1658, at which time the instrument had not yet been enabled to manifest its real powers among us, nor to emerge (as it shortly afterwards did) from the low estimation in which it was held. Baltzar may be considered as having helped in no small degree to prepare the way for its rescue from humility in this country. He lived, for about two years after his arrival here, in the house of Sir Anthony Cope, of Hanwell, in Oxfordshire. He is said to have first taught the English the practice of shifting (that is to say, of what is termed the _whole-shift_), and the use of the upper part of the finger-board—in like manner as Geminiani is believed to have been our first instructor in the _half-shift_.[51] It is certain that the power of execution and command of the instrument, exhibited by Baltzar, were matter of novelty among us, although we had a native performer, of no mean abilities at that period, in the person of Davis Mell, who, in delicacy of tone and manner, seems even to have exceeded the more potent and renowned German. Baltzar was of a Bacchanalian turn in his habits, and was believed to have brought his end somewhat the nearer thereby. His remains obtained the honor of a place in Westminster Abbey, in the year 1663. Dr. Burney has characterized his compositions as discovering “genius and a strong hand.” HENRY JOHN FRANCIS BIBER, vice-chapel-master to the Bishop of Salzburg, seems to have been one of the best violin-players of his time; and his _solos_, which he published in 1681 (with a bass), are stated by Dr. Burney to comprise more of fancy, as well as of difficulty, than any music of the same period. One of the pieces is written on three staves, as a score for two violins and bass, but is designed to be played (as regards the violin) in _double stops_. Others are played in different tunings of fourths and fifths, as for a treble viol. GODFREY FINGER, a Silesian, was a voluminous composer for the violin; in a style of less power than that of Baltzar, but of more polish, and approaching somewhat to the Italians, Bassani and Torelli. He was some years resident in England, having received, in 1685, the appointment of chapel-master to King James II. On returning to Germany, he became chamber-musician to the Queen of Prussia in 1702, and, in 1717, chapel-master to the Court of Gotha. JOHN GOTTLIEB GRAUN, brother of the celebrated chapel-master of that name, and born about the year 1700, was an excellent performer on the violin, and a respectable composer, of the old school. He was concert-master to the King of Prussia, and there are extant of his writings, several overtures, symphonies, concertos, a “Salve Regina,” and some masses. He transmitted, through several good pupils, the serviceable solidity of his talent.