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Updated: May 2, 2025
About the middle of March, the Emperor passed several days at Rambouillet; there were held some exciting hunts, in one of which his Majesty himself brought to bay and killed a stag near the pool of Saint-Hubert. There was also a ball and concert, in which appeared Crescentini, Mesdames Grassini, Barelli, and several celebrated virtuosos, and lastly Talma recited.
It is interesting to observe how several very different types of individuals may succeed in winning public favor as virtuosos. Indeed, except for the long-haired caricature which the public accepts as the conventional virtuoso there is no "virtuoso type."
Many of the virtuosos had been like De Meyer so extravagant in their action, and so evidently what we now call "sensational," that there was great curiosity to see the master whose name had been familiar since 1830, and famous since 1835, when he first played in Paris.
Before the coming of Spohr violin music had been illustrated by a succession of virtuosos, French and Italian, who, though melodiously charming, planned in their works and execution to exhibit the effects and graces of the players themselves instead of the instrument.
He used freely every imaginable movement of the bow, and developed the movement of the wrist to that high perfection which enabled him to practice all kinds of bowing with celerity. Without the Tourté bow, Paganini and the modern school of virtuosos, which has followed so splendidly from his example, would have been impossible.
Many of the virtuosos find travel in America so distasteful that notwithstanding the huge golden bait, the managers have the greatest difficulty in inducing the pianists to come back. Indeed, there are many artists of great renown whom the managers would be glad to coax to our country but who have withheld tempting offers for years.
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.
The virtuosos of personality, the strange Rococo original types, were the forbears of the literary Storm and Stress writers, the artistic reformers, the big and little demagogues. The pedants of the Pigtail, on the other hand, were the prophets of the pipe-clay, the bureaucracy, the rationalistic mechanical training of young and old in church and school.
"And with whom, in the devil's name, should I sing or draw?" "In the first place there are the Demoiselles Denis." "Oh, yes, they sing beautifully and draw well, do they not?" "Mon Dieu! I do not propose them to you as virtuosos and artists; they have not the talents of your neighbor. But, by-the-by, there is your neighbor." "Well, my neighbor?"
He returned the call, and in the course of two hours he was surrounded, contrary to his own will, by a veritable swarm of composers, directors, virtuosos, and musical critics. Some had heard of him; to them he appeared to be a remarkable man. They threw out their nets to catch him, but he slipped through the meshes.
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