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Updated: June 20, 2025
Every one was delighted with the originality and power of his playing, and the exquisite taste that modified the robustness and passion which entered into the substance of his musical conceptions. Viotti was one of the artistic celebrities of London for several years, but his eccentric and resolute nature did not fail to involve him in several difficulties with powerful personages.
So it may be said that Pugnani united in himself the schools of Corelli and Tartini, and was thus admirably fitted to be the instructor of that grand player, who was the first in date of the violin virtuosos of modern times, Viotti. Both as composer and performer, Pugnani was held in great esteem throughout Europe. His first meeting with Tartini was an incident of considerable interest.
"I perceive," continued Viotti, "that you share the error which so many indulge in. Commercial enterprise is generally considered a most prosaic undertaking, but it has, nevertheless, its seductions, its prestige, its poetical side. I assure you no musician, no poet, ever had an existence more full of interesting and exciting incidents than those which cause the heart of the merchant to throb.
"Her Majesty was the great patroness of the celebrated Viotti, who was also attached to her private musical parties. Before Viotti began to perform his concertos, Her Majesty, with the most amiable condescension, would go round the music saloon, and say, 'Ladies and gentlemen, I request you will be silent, and very attentive, and not enter into conversation, while Mr.
He never parted with that instrument; and, when the effects of Viotti were sold in London after his death, though the tin fiddle only brought a few shillings, an amateur of curiosities sought out the purchaser, and offered him a large sum if he could explain how the strange instrument came into the possession of the great violinist.
Improvements in the bow, often called the tongue of the violin, are due to the house of Tourte, in Paris, in the eighteenth century, lightness, elasticity and spring coming to it from Francis Tourte, Jr. Three eminent virtuosi, Corelli, Tartini and Viotti, whose united careers spanned a period of 150 years, prepared the way for modern methods of violin-playing.
Marie Antoinette, who was an ardent lover and most judicious patron of music, sent him her commands to play at Versailles. The haughty artistic pride of Viotti was signally displayed at one of these concerts before royalty. A large number of eminent musicians had been engaged for the occasion, and the audience was a most brilliant one.
Viotti took the instrument and played upon it, producing some most remarkable effects. The performance drew a small crowd, and Langlé, with true instinct, took the old man's hat and, passing it round, collected a respectable sum, which was handed to the aged beggar.
"Art will lose nothing," rejoined Viotti, "and you will find that I can conciliate two things without interfering with either, though you doubtless consider them irreconcilable. We will continue this subject another time; at present I must leave you; I have some pressing business to transact this afternoon. But come and dine with me at six o'clock, and be sure you do not disappoint me."
He then entered himself at the Conservatoire of Paris in 1814, where he received some private lessons from Baillot, while the institution itself was closed during the occupation by the allied armies. Viotti, hearing the young Robrechts play, was so struck with his magnificent tone and broad style that he undertook to give him finishing lessons, with the approbation of Baillot.
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