in recent years have their beauties been again recognised. Such
works as Tartini's are all-important links in the chain of musical
progress.

Pietro Locatelli, a pupil of Corelli, introduced a style of playing
quite in advance of his time. His compositions abound with novel
combinations; double stops, harmonics, and arpeggios are displayed
with wonderful results. Burney says that "Locatelli had more hand,
caprice, and fancy than any Violinist of his time."

The immediate follower of the style of Locatelli was Lolli, born 1728,
who wrote pleasing airs and used novel effects, but failed to go
further. It was one of his feats to play on one string--a performance
very properly held in contempt in our day, having neither sense nor
grace to recommend it.

Felice Giardini was another musician of the style of Locatelli.[5] He
was born at Turin, in the year 1716. His performance at Naples and
Berlin excited considerable notice. In 1742 he visited England, and
created some sensation, his style being new to the British public.

[Footnote 5: In "Les Maitres Classiques," edited by M. Alard, and the
"Hohe Schule," edited by Ferdinand David, will be found some of the
best examples of this composer, as well as of many others noticed
here.]

Boccherini probably did more towards furthering the cultivation of
stringed instrument music than any composer of his day, with the
exception of Haydn. There are in his compositions movements of varied
styles, well written for their respective instruments. His quintettes
are among his chief productions, and their elegance and brilliancy are
remarkable. The part allotted to his own instrument, the Violoncello,
often bristles with difficulties, and hence it is that these
compositions are so seldom heard. Boccherini was the first composer
who wrote quintettes with two Violoncello parts.

We now reach a stage in the history of the progress of the Violin the
importance of which cannot be over-estimated; I refer to the influence
which the compositions of Giovanni Battista Viotti exerted upon the
cultivation of our instrument. With the famous Viotti sprang up a
school of Violin-playing as marked in style as that introduced by
Corelli. Viotti was a pupil of Pugnani, and owed his success to the
rare teaching of that master. The sensation that Viotti created in
Paris was great. His varied style, his rich tone and elegance in
playing, were far beyond anything that the Parisian public had
previously exp