John Stamitz, Concert-Master and Chamber-Musician at Mannheim, and regarded, like the preceding artist, as the founder of a distinct class of German violinists, was born in 1719, at a small town in Bohemia, where his father was a school-master. Besides the high repute he enjoyed as regards the formation of pupils, Stamitz has attained a just celebrity by his written works. These (which include a curiosity in art—a duett for one violin) consist principally of symphonies or overtures, concertos, quartetts and trios. Though exhibiting a masterly character, they convey the impression, at this period, of belonging too peculiarly to the old school, and have been considered, by some critics, to savour too much of the Church style.
The successors of Benda and Stamitz, still adding some improvements to the precepts or the practice inculcated by those eminent directors, may be said to have created a school of their own, at the head of which we should place Leopold Mozart (author of “Der Violinschule”), Fraenzl, and Cramer, who made some approach to Tartini, his contemporary, and flourished long in England, as a concerto-performer and leader. Of the first and the last of these three professors, some account shall here be subjoined.
Leopold Mozart, father of him who, in the fullest sense permitted to sublunary credit, may be called, “The Undying One,” was born at Augsburg in 1719. After having completed his studies, and particularly a course of jurisprudence, at Salzburg, young Leopold entered the family of the Count of Thurn, in the somewhat odd quality of Valet-de-Chambre Musicien. The situation of a violinist having become vacant in the chapel of the Prince Bishop of Salzburg, he obtained it in 1743. His compositions made him favourably known in Germany but his reputation was extended principally by the Method for the Violin, which he published in 1756, and which, for half a century, was considered as the best work of the kind.
In 1762, Leopold Mozart obtained the post of Second Chapel-Master at the Court of Salzburg. Of seven children whom he had by his marriage, there remained to him only the son, afterwards so famous, and a daughter, whose success in childhood promised a talent which was never realized. The musical education of the children occupied all the time which his duties and his works left to the father. A little while after his nomination as Second Chapel-master, he commenced long tours with his son and daughter, visiting the principal courts of Germany, Holland, England and France, and passed many years in Italy. Returning to Salzburg, rich in the hopes that centered on his son,—but with an exchequer nearly exhausted by the charges attendant on so much itinerancy—he did not again quit the residence of his Prince till 1775. Anxiously careful about ameliorating the condition of his family, he failed to secure that object, and became more and more impoverished. The forms and practices of a scrupulous devotion furnished him, however, with some consolation in his griefs, and alleviated his sense of suffering from the gout. He died at Salzburg, in 1787.
Of the Symphonies composed by Leopold Mozart, it suffices for their commendation to say, that some of them have been attributed to his son. His Method for the violin is entitled “Versuch einer Gründlichen Violinschule,” Augsburg, 1756, 4to., with a portrait of the author, and four plates representing the different positions for holding the bow and the violin. This work, composed according to the doctrine of Tartini, contains (says M. Fétis) some excellent things, and will always be read with profit by such violinists as are disposed to reflection on the subject of their art. The second edition, completed, appeared, under the title “Gründliche Violinschule,” in 1770. A third edition was published in 1785. It has since been frequently reprinted, and translated into several languages.
William Cramer was a native of Mannheim, and born in the year 1730. Influenced by an early passion for music, and aided by the bounty of Prince Maximilian, he soon acquired excellence on his favourite instrument, and, at the age of twenty, obtained a situation in the chapel of the Elector Palatine. Not, however, receiving on the Continent encouragement commensurate with his continual and rapid improvement, he, in 1770, came to England, where he soon obtained the situations of Leader of the Opera-House band, and of the King’s Concerts. In 1787, under John Bates, the Conductor, he led the performances given at Westminster Abbey in commemoration of Handel, and led them in a style that proved his thorough comprehension of the music of that great master. Though Cramer failed to obtain in Germany sufficient patronage to induce his remaining in that country, his claims were admitted there by all real judges of executive talent; and in England he was esteemed the first violinist of his time. It used to be asserted of him that he joined the emphatical expression of Benda with the brilliancy of Lolli. The decision and spirit which characterized his playing, gave him great advantage as a leader.—The latter days of Cramer were somewhat clouded. The emoluments arising to him from the Opera House, and from his employment as a private teacher of the violin, had been considerable during many years; but talent is too frequently a bad economist, and his was one of the cases in which it proved so. The embarrassment he sustained in his affairs, and the transfer of the post of leader of the Opera-band to the greater Viotti, combined to exercise an injurious effect on his health and spirits. His death occurred in October 1799. Cramer was twice married, and had two sons by his first wife—John-Baptist the great Pianiste, and François, of whom presently.[52]
John Peter Salomon was born at Bonn, in 1745. Director, purveyor, composer and performer, he was one of those whom the musical historian must delight to honour. He was educated for the law; but the voice of music was too powerful within him to be restrained. While very young, he became a performer in the Electoral Chapel at Bonn. In 1781 he went to Paris, with a result of more fame than profit. His enterprising spirit, regulated by discretion, found a happier field in London, where his cheerful disposition, polished manners, good sense, and general attainments, soon obtained for him the friendship of all who at first patronized him for his professional talents. His concerts in 1791 form an epoch in musical history—for, to them we are indebted for the production of Haydn’s twelve Grand Symphonies, known everywhere as “composed for Salomon’s Concerts.” Salomon had formed his project, and digested its details, in the previous year. In order to give every possible effect, as well as éclat, to his concerts, he determined to engage that “par nobile,” Haydn and Mozart, not only to write exclusively for them, but to conduct their compositions in person. For this purpose he went to Vienna, where, after several interviews with both these great musicians, it was mutually agreed that Haydn should go to London the first season, and Mozart the next. They all dined together on the day fixed for the departure of the two travellers. Mozart attended them to the door of their carriage, wishing them every success, and repeating, as they drove off, his promise to complete his part of the agreement the following year. This, however, was an abortive hope. L’homme propose, Dieu dispose:—Mozart, who had filled a short life with durable deeds, was carried, within that stipulated interval, to the grave!—The terms on which Haydn undertook so long a journey and so responsible a duty, were, £300 for composing six grand Symphonies, £200 for the copyright of them, and a benefit, the profits guaranteed at £200. Salomon re-engaged Haydn for the season 1792, on the same terms, except that, for the copyright of the last six Symphonies, the increased sum of £300 was paid. In the first concert of this year, Yaniewicz played a Violin Concerto. At the first of the series in 1793, Viotti made his début in London, in his favourite Violin Concerto. In 1794 and 95, Haydn, having visited London a second time, was again at the same post of pianoforte president. In 1796, Salomon’s discriminating judgment brought out of obscurity, and placed in their proper sphere, the extraordinary vocal powers of Braham. Of Salomon’s subsequent subscription concerts, engagements at private music parties, attendances at the Prince of Wales’s Carlton-House Concerts, compositions of canzonets, songs, glees, &c. it is not requisite here to treat. His public career extended to the period of the formation of the Philharmonic Society, in 1813, of which he was one of the original and most zealous promoters and assistants. He died Nov. 28th, 1815. His remains, followed to the grave by a long train of professional and other friends, were interred in the great Cloister of Westminster Abbey.
Salomon was one of the few whose right to contend for the honour of being considered the greatest performer in Europe on the violin, was manifest. His taste, refinement, and enthusiasm, as Dr Burney has observed, were universally admitted. His profound knowledge of the musical art served to add solidity to his fame. His judgment and vigour, as a leader, are traditionally well known. Among his pupils, Pinto proved the extent of his master’s skill, and his ability in communicating it. Unfortunately, this extraordinary young man, whose musical progress reflected so much honour on his teacher, possessed qualities that are but too frequently the regretted concomitants of genius, and he perished just as he was ripening into finished excellence. Salomon, besides other works, published two Violin Concertos, arranged for the pianoforte, with full accompaniments; and six Solos for the violin, printed first in Paris, afterwards in London. Among his unpublished compositions, are some Violin Quartetts, Trios, and Concertos.
Charles Stamitz, eldest son of Stamitz the famous, was born at Mannheim, in 1746. He was made a violinist by his father, and his father’s pupil, Cannabich; and was afterwards engaged in the chapel of a German Prince, till the year 1770, when he went to Paris, and made a durable impression there, both as a concerto-player on the violoncello and tenor, and as an instrumental composer. His writings had all the fire and spirit of those of his father, as well as an admixture of later improvements, without servility of imitation, as relating to any style. Many of them were published at Paris, Berlin, and Amsterdam. This artist died at Jena, on his journey to Russia, in 1801.
John Frederick Eck, born at Mannheim, in 1766, became Concert Director to the Court of Munich. Noted as an artist in his day, he is further noted as having assisted to develop the great faculty of Louis Spohr.