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Left an orphan at the age of nine years, without inheritance except that of a high spirit and family pride, he would have fared badly in these early years, had it not been for the kindness of M. Tiby, a professor of music, who perceived the child's latent talent, and he acquired skill in playing so rapidly that he was able to play one of Viotti's concertos at the age of nine.

Viotti had just begun a concerto of his own composition, when the arrogant Comte d'Artois made a great bustle in the room, and interrupted the music by his loud whispers and utter indifference to the comfort of any one but himself. Viotti's dark eyes flashed fire as he stared sternly at this rude scion of the blood royal.

Is made Director of the Paris Grand Opéra. Letter from Rossini. Viotti's Account of the "Ranz des Vaches." Anecdotes of the Great Violinist. Dies in London in 1824. Viotti's Place as a Violinist, and Style of Playing. The Tourté Bow first invented during his Time. An Indispensable Factor in Great Playing on the Violin. Viotti's Pupils, and his Influence on the Musical Art.

At the time that Viotti's star shot into such splendor in the musical horizon, there were not a few clever violinists, and only a genius of the finest type could have attained and perpetuated such a regal sway among his contemporaries.

Viotti, the Connecting Link between the Early and Modern Violin Schools. His Immense Superiority over his Contemporaries and Predecessors. Other Violinists of his Time, Giornowick and Boccherini. Viotti's Early Years His Arrival in Paris, and the Sensation he made His Reception by the Court. Viotti's Personal Pride and Dignity. His Rebuke to Princely Impertinence. The Musical Circles of Paris.

His parents were of noble extraction, but at their death he was left entirely without fortune, and was taken in charge by M. Tiby, a professor of music, who had noticed the little boy's love of the musical art, and had already taught him to such good purpose that he was able even at that time to play one of Viotti's concertos in public so skilfully that he received the hearty applause of the audience.

He also took lessons of Roberrechts, one of Viotti's most noted pupils. De Bériot was a youth of contemplative mind and of high moral character. He formed the acquaintance of the scholar and philosopher Jacotot, who imbued him with principles of self-reliance, and exerted an influence over him which lasted throughout his life.

Spohr was most graciously received by the duke, who was satisfied with the proofs of industry and ambition shown by his protege. The celebrated Rode, Viotti's most brilliant pupil, was at that time in Brunswick, and Spohr, who conceived the most enthusiastic admiration of his style, set himself assiduously to the study and imitation of the effects peculiar to Rode.

This scene is an exact parallel of one which occurred at the house of Cardinal Ottoboni, when Corelli resented in similar fashion the impertinence of some of his auditors. Everywhere in artistic and aristocratic circles at the French capital Viotti's presence was eagerly sought.

In reply to some questions anent his own study years, he said: "Strange to say, my father was my very first teacher it is not often the case. I studied with him until I went to the Liège Conservatory in 1867, where I won a second prize, sharing it with Ovide Musin, for playing Viotti's 22d Concerto. Then I had lessons from Wieniawski in Brussels and studied two years with Vieuxtemps in Paris.