ilities that he composed and dedicated to them three Duets for two
Violins.

The first name of any note in connection with the Violin in Germany is
that of Graun, who was born in the year 1700. He became concertmaster
to the King of Prussia, and excelled as a Violinist. His pupil,
Francis Benda, next claims attention. Dr. Burney says of him: "His
manner was neither that of Tartini nor of Veracini, nor that of any
other leader; it was purely his own, though founded on the several
models of the greatest masters;" and Hillar tells us that "his tones
were of the finest description, the clearest and most euphonious that
can be imagined." Benda published studies for his instrument, and also
several solos and other works, all of which are admired for their good
and _cantabile_ style.

About this period appeared the admirable compositions for the Violin
of that great master of his art, John Sebastian Bach--works differing
essentially from those of his contemporaries.

"He was not of an age, but for all time."

To describe the character and beauties of Bach's Violin writings is
within neither my province nor capacity. As an amateur Violinist and
an observer of all that relates to the Violin, I may refer, however,
to the vast amount of good which the compositions of Bach have
exercised upon the cultivation of Violin-playing, and the marvellous
development that they have received at the hands of many of our
leading Violinists. For this happy state of things we are largely
indebted to Herr Joachim; but for him these treasures might have
remained hidden behind a cloud of _airs varies_, fantasias, and what
not, for many a year to come. Herr Joachim has made the Sonatas of
Bach familiar to thousands who a few years since scarcely knew of
their existence. The difficulties which abound in these solid writings
could only have been written by a master perfectly acquainted with the
capabilities of the instrument. Many a tyro who plunges into the
stream of Bach's crotchets and quavers soon finds himself encompassed
by a whirlpool of seeming impossibilities, and is frequently heard to
exclaim that the passages are impracticable. Vain delusion! Bach was
himself a Violinist, and never penned a passage the rendering of which
is impossible. The ease and grace with which a Joachim makes every
note heard and felt, induces many a one to wrestle with Bach, the more
so when it is found that the great author has confined himself to the
lower p