IV.—GERMANY.
Let us now direct our spirit of inquiry into Germany, that land of music and musicians. This country, notwithstanding its present musical position appears to have been somewhat behind the times in regard to the production of any early violin performers of note, and affords the names of fewer musicians than almost any other country during the sixteenth century, if we except Spain. An explanation of this seems to be afforded by the fact of the wars, which devastated Germany during the latter part of the sixteenth and beginning of the seventeenth centuries, and particularly the terrible Thirty Years’ war, during which five great armies overran that unhappy country, carrying desolation and havoc in every part of it. These wars destroyed the arts, which can only flourish in the bosom of peace and happiness. It is certain that at this period the school of Germany was greatly inferior to that of Italy; it even appears that the French school began before the German to emerge from obscurity. Reason is wanting to account for the German lack of early performers, but we feel constrained to borrow the following words from Dubourg. He says: “We may observe, that, although derived originally, like all others, from that of Italy, and contracting no inconsiderable obligations to it in its progress, it has been, on the whole, much less indebted to the Italians for resources and support, than the school either of France or England.”
Although the early German performers were inferior as soloists to those of Italy or France, they were certainly able to hold their own as orchestral players. Be this as it may, they have certainly, in modern times, produced some of the finest violinists the world has seen; the music too, has long since supplanted that of Italy.
Thomas Baltzar, born at Lubec about 1630, was esteemed the finest violin performer of his time; but he came to England as we have seen in 1658, and helped to rescue the violin from the low estimation in which it was then held, an honour, however, he only lived five years to enjoy.
It was not until the early part of the eighteenth century that any attempts were made to establish a German violin school. Amongst the first to diffuse any artistic influence may be mentioned Francis Benda, 1709-86, and John Stamitz, 1719-61, but the honour of founding a distinct school must be awarded to Leopold Mozart (father of the great W. A. Mozart) and after him came William Cramer, who ultimately came to England; these were followed by J. Salomon and Kiesewetter.
Louis Spohr, born 1784, may rightly be termed the founder of the modern German school, he was both a performer and composer of the highest order. The names of Guhr, Mayseder and Molique are also well known as performers of great merit.
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Violin making in Germany commenced with the name of Jacobus Stainer, born at Hall, near Absam, in the Tyrol, 1621, died 1683. It has been said, though without authority, that he was an apprentice of Nicholas Amati, a statement which would gain little credence on comparing the instruments of each of these makers.
The next makers in succession are the Klotz family (six in number), 1670-1741. Other makers will be found in the biographical section.