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Apparently very little was done previous to the nineteenth century in the way of quartet concerts, but Baillot founded a series of quartet concerts in Paris, which were highly spoken of, and about the same time Schuppanzigh, an excellent violinist and teacher in Vienna, established a quartet which became famous. In this quartet Mayseder played, in his younger days, second violin.
There is Pascal, mastering at the age of twelve years the greater part of Plane Geometry without any instruction, and not a figment of Calculus, drawing on the floor of his chamber all the figures in the first book of Euclid, estimating accurately the mathematical relations of them all that is, reconstructing for himself a part of descriptive Geometry; the herdsman Mangia Melo, manipulating figures, when five years old, as rapidly as a calculating machine; Mozart, executing a sonata on the pianoforte with four-years-old fingers, and composing an opera at the age of eight; Theresa Milanollo, playing the violin at four years, with such eminent skill that Baillot said she must have played it before she was born; Rembrandt, drawing with masterly power before he could read."
The loosening of this connection was probably brought about by the departure of Hiller in 1836 and the quarrel with Liszt some time after, which broke two links between the sensitive Pole and the fiery Frenchman. The ageing Baillot and Cherubini died in 1842.
M. Lais, first singer to his Majesty, M. Kreutzer, and M. Baillot, first violinists of the same rank, had gathered the finest talent which the imperial chapel, the opera, and the grand lyric theaters possessed, either as instrumental players or male and female singers.
Arriving at Paris, and believing probably that the classical style of Robrechts, from whom he had had instruction in Brussels, did not lead him swiftly forward enough in the path he would travel, he sought Viotti, as we have related above, and by his advice entered himself in the violin class of the Conservatoire, which was directed by Baillot, an eminent player of the Viotti school, though never a direct pupil of the latter master.
M. Lais, first singer to his Majesty, M. Kreutzer, and M. Baillot, first violinists of the same rank, had gathered the finest talent which the imperial chapel, the opera, and the grand lyric theaters possessed, either as instrumental players or male and female singers.
M. Lais, first singer to his Majesty, M. Kreutzer, and M. Baillot, first violinists of the same rank, had gathered the finest talent which the imperial chapel, the opera, and the grand lyric theaters possessed, either as instrumental players or male and female singers.
The quality of tone which he produced was clear and pure, but not excessively full, and, according to Fétis, he was a master of technique and phrasing rather than a pathetic player, there was no tenderness in his accents. It is said that Baillot used to hide his face when Paganini played a pizzicato with the left hand, harmonics, or a passage in staccato.
After the time of Baillot and his contemporaries the style of Paganini became predominant in Paris, but the influence of the Paris school extended to Germany, where Spohr must be considered the direct descendant artistically of Viotti and Rode.
He retained in his style of playing and composing the dignified simplicity and noble pathos of the great masters of the Italian school, treating his instrument above all as a singing voice, and keeping strictly within its natural resources. According to Baillot, one of his most distinguished pupils, his style was "perfection," a word which covers a host of virtues.
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