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Updated: June 20, 2025
One great difficulty is that as a rule the teacher cannot induce pupils to practice these 'mute' exercises, in spite of their unquestionable value. All the great masters of the violin have used them. Viotti thought so highly of them that he taught them only to his favorite pupils. And even to-day some distinguished violinists play dumb exercises before stepping on the recital stage.
Good blood and breeding displayed themselves in every movement, and ardent hope shone in his face. He resided for several months in Brussels, which was afterward to be his home, and associated with the scenes of his greatest usefulness, and then pursued his eager way to Paris with a letter of introduction to Viotti, then director of music at the Grand Opéra.
His compositions for the violin are classics, and Spohr was wont to say that there could be no better test of a fine player than his execution of one of the Viotti sonatas or concertos. Spohr regretted deeply that he could not finish his violin training under this great master, and was wont to speak of him in terms of the greatest admiration.
Viotti is playing, for it interrupts him in the execution of his fine performance. "Gluck composed his Armida in compliment to the personal charms of Marie Antoinette. I never saw Her Majesty more interested about anything than she was for its success. She became a perfect slave to it.
Viotti had but few pupils, but among them were a number of highly gifted artists. Rode, Robrechts, Cartier, Mdlle. Gerbini, Alday, La-barre, Pixis, Mari, Mme. Paravicini, and Vacher are well-known names to all those interested in the literature of the violin.
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.
Should they not be so, you will have the kindness to suggest any others better adapted to the purpose." Viotti, though in many respects proud, resolute, and haughty in temperament, was simple-hearted and enthusiastic, and a passionate lover of nature.
The next virtuosa was a Frenchwoman, Louise Gautherot, who was born about 1760, and who played in London and made a great impression about 1780 to 1790, and about the same time Signora Vittoria dall' Occa played at the theatre in Milan. Signora Paravicini, born about 1769, and Luigia Gerbini, about 1770, were pupils of Viotti, and earned fame.
Viotti was born in 1753 at Fontanetto, a village in Piedmont. His first musical instruction was received from his father, who is severally mentioned as a blacksmith and as a horn player. His musical talent being early noticeable, he was sent to Turin and placed by Prince Pozzo de la Cisterna under the tutelage of Pugnani, and was soon received into the royal band.
An adagio he can't play, and his sole quality is that for which ignoramuses, without sense or understanding, admire him with their stupid mouths agape. I say it again: with Narbini and me will die the true art of the violinist. Young Viotti is a fine fellow, full of promise. He is indebted to me for what he knows, for he was a most industrious pupil of mine. But what does it all amount to?
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