The Violin: Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.Dubourg, George
History
The Violin: Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.
Dubourg, George
Violin; Violinists -- Biography
“About this time it was that Dr. John Wilkins, warden of Wadham, the
greatest _curioso_ of his time, invited him (Baltzar) and some of the
musitians to his lodgings in that Coll. purposely to have a consort, and
to see and heare him play. The instruments and books were carried
thither, but none could be persuaded there to play against him in
consort on the violin. At length the company perceiving A. W. standing
behind in a corner neare the dore, they haled him in among them, and
play, forsooth, he must against him. Whereupon he, being not able to
avoid it, took up a violin, as poor Troylus did against Achilles[13]. He
abashed at it, yet honour he got by playing with and against such a
grand master as Baltzar was.”
The restoration of monarchy and episcopacy in England (observes Dr.
Burney) seems to have been not only favorable to sacred music, but to
secular; for it may be ascribed to the particular pleasure which Charles
II received from the gay and sprightly sound of the violin, that this
instrument was introduced at Court, and the houses of the nobility and
gentry, for any other purpose than country-dances, and festive mirth.
Hitherto there seem to have been no public concerts; and, in the music
of the chamber, in the performance of _Fancies_ on instruments, which
had taken place of vocal madrigals and motets, the violin had no
admission, the whole business having been done by _viols_. Charles II,
who, during the usurpation, had spent a considerable time on the
continent, where he heard nothing but French music—upon his return to
England, in imitation of Louis XIV, established a band of violins,
tenors and bases, instead of the viols, lutes and cornets, of which the
Court Band used to consist. Soon after the establishment of this band,
Matthew Lock held the appointment of master to it; and the same title
was conferred, about 1673, on Cambert, a French musician, who had
preceded Lulli in composing for, and superintending, the Opera at Paris,
and who came over to England after Lulli had obtained the transfer of
his patent.
Public-domain text, read in full here on John Shaqi.
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