A suavity and elegance, especially in cantabile movements—a tasteful selection of ornament—and an exemplary purity of tone—have been remarked as denoting this artist. The scene in his career which exhibits him in an indiscreet rivalry with Paganini, will be found under the memoir given of that extraordinary person.
Pierre Baillot, of high name in the French School, which he was partly enabled to acquire through Italian instruction, was born about the year 1770, near Paris, to which city the curious in coincidences will be delighted to find that they can trace the local origin of so many of those eminent violinists who have made it, also, the scene of their brilliant exertions. Baillot repaired early to Rome, where he remained some years under the tuition of Polani, an excellent Professor of the school of Tartini. His own feeling and intellect appear to have done more for his advancement, however, than the lessons of preceptors. An artist of a very high order, well versed in the mechanical resources of his instrument, he was also thoroughly embued with musical sentiment, and was a discriminating judge in matters of composition.
After his return from Italy, the sound and excellent qualifications he evinced were the cause of his succeeding Rode, about the year 1795, as Professor of the violin at the Paris Conservatory. He was the editor, and (with Rode and Kreutzer) a joint compiler, of the noted System of Instruction which has contributed so important an aid towards the successful formation of, perhaps, all the living French violinists. The System for the Violoncello, in use at the same institution, was likewise produced under his editorship.
Fine taste, variety of manner, admirable bowing, and forcible tone, marked the performance of Baillot. In playing solos, to accompany the dancers at the Opera, Baillot was, consciously, out of his element; but at the annual quartett-meetings, where the business was that of giving manifestation to the genius of Boccherini, Haydn, Mozart, and Beethoven, his soul was kindled, and his powers came forth.—His pupils have been many—including Habeneck and Mazas.
Alexandre Jean Boucher, born, “comme tant d’autres” of his class, in fiddler-fostering Paris, came into the world in 1770, and arrived at early excellence on “the leading instrument.” When seventeen years old, he went to Spain, where he was appointed Violinist of the Chamber and Chapel of Charles IV. During the time that monarch resided in France, Boucher was also in his suite. His mode of obtaining introduction to the “Majesty of Spain” was as remote from all the prescriptions of courtly etiquette as can well be imagined. It forms the subject of a good anecdote, thus translated from the “Souvenirs” of Blangini, the well-known musical composer:—
“Boucher, when a very young man, at Madrid, was without friends, nor had anything to depend on, save his bow and his strings. He knew that the King of Spain was passionately fond of music, and he was anxious that his Majesty should hear him play; but, having no friend who could help him to obtain an introduction at Court, he fell upon the following scheme for the attainment of his object. One day, he stationed himself in the doorway of the palace gate-keeper’s lodge. The man at first scrupled to allow him to remain there; but he at length consented, and Boucher began to play in his most exquisite style. After a little time, the rolling of the King’s carriage was heard at a distance; his Majesty was going out to take a drive, and, as he approached, Boucher played with increased energy and delicacy. The King, surprised at what he heard, stopped and enquired who was playing. On being informed, he ordered that Boucher should be presented to him. He directed him to go to the palace on the following day. Boucher of course obeyed the mandate. The King was enchanted with his talent, and, shortly after, he was appointed first violin of his Majesty’s Chamber Band.”
Shortly after the second restoration of the Bourbons to the throne of France, Boucher proceeded to St. Petersburgh, where he was engaged to give some concerts. Here again we derive from Signor Blangini an anecdote, which he states himself to have received from an individual of undoubted veracity, who had it from the violinist himself.
“Every one who has seen Boucher, must have been struck by his singular resemblance to the Emperor Napoleon: this resemblance was remarkable, not only in his countenance, but in his figure. During his stay at St. Petersburgh, he was one evening engaged to perform at a concert given by the Grand Chamberlain, Prince Narishkin. The Emperor Alexander was present, and in the course of the evening his Majesty stepped up to Boucher, and said, with the affability for which he was distinguished,
“Monsieur Boucher, I have a favour to ask of you.”
Boucher bowed.