FRANCIS BENDA, usually commemorated as the originator of a distinct style of violin-performance in Germany, was a native of Bohemia, and born in the year 1709. At the age of seven, he commenced vocal studies, and, two years afterwards, became a sopranist in the choir of St. Nicholas, at Prague. He soon afterwards went to Dresden, where he was immediately received among the _élèves_ of the _Chapelle Royale_, in which situation he continued eighteen months. About this period he began to practise the violin, and had no other resource than that of engaging himself with a company of itinerant musicians, who attended fêtes and fairs. While thus situated, he formed an acquaintance with a blind Jew, of the name of Loebel, a virtuoso of no mean order, who became his master and his model. At length, tired of this wandering life, he returned to Prague, and took lessons of Kouyezek, an excellent violinist of that town. He was now eighteen; and, eager in the pursuit of professional excellence, resolved to visit Vienna, where he soon found an opportunity of profiting by the example of the then celebrated Franciscello. After a residence of two years in that city, he went to Warsaw, where he was nominated Chapel-Master. In 1732, at the recommendation of Quantz, the Prince Royal of Prussia (afterwards Frederic II) received him into his band. Anxious for further improvement in his art, he became the pupil of Graun, for the violin; then studied harmony under his brother; and afterwards learned composition of Quantz himself. In 1732, he replaced Graun as the King’s Concert-Master, which situation he held till his death, at Potsdam, 1786. Of the peculiar qualities of Benda, as a violinist, Dr. Burney, in his Travels, thus speaks:—“His manner was neither that of Tartini, nor of Veracini, nor that of any other leader; it was purely his own, though founded on the several models of the greatest masters:”—and Hillar, in his Biography, tells us “that his tones were of the finest description, the clearest and most euphonious that can be imagined. The rapidity of his execution, and the mellow sweetness of his altissimo notes, were unequalled. With him, the violin had no difficulties. He was master of all its powers, and knew when to use them.” JOHN STAMITZ, Concert-Master and Chamber-Musician at Mannheim, and regarded, like the preceding artist, as the founder of a distinct class of German violinists, was born in 1719, at a small town in Bohemia, where his father was a school-master. Besides the high repute he enjoyed as regards the formation of pupils, Stamitz has attained a just celebrity by his written works. These (which include a curiosity in art—a _duett_ for _one violin_) consist principally of symphonies or overtures, concertos, quartetts and trios. Though exhibiting a masterly character, they convey the impression, at this period, of belonging too peculiarly to the old school, and have been considered, by some critics, to savour too much of the Church style.