Space fails to present the cumulative evidence for these statements. But a few selected masters of stringed instruments require special mention. Of the violinists already in full career when the period opens the chief was certainly Spohr (d. 1859), since 1822 fruitfully at work at Cassel (see sec. 181, where others are also named).
Ferdinand David (d. 1873) is a typical example of the best class. Born at Hamburg in 1810 and hence the close contemporary of Mendelssohn and Schumann, after study with Spohr and Hauptmann, and a brief experience in a theatre-orchestra in Berlin, from 1829 he led the private quartet of a Russian noble at Dorpat (whose daughter he married), and played often in Russian cities. From 1836 he was concertmaster of the Gewandhaus orchestra as reorganized by Mendelssohn. Here he exercised phenomenal influence as trainer, interpreter, teacher and composer. He was Mendelssohn's devoted coadjutor, and naturally entered the new conservatory as one of its ablest professors, attracting strong pupils from all quarters. His compositions included 2 symphonies, 5 concertos, much chamber music, etc., and he edited violin classics and a famous method.
Delphin Alard (d. 1888), though younger, came into view about the same time. Trained by Habeneck at Paris, he at once found place at the Opéra and later in the court-orchestra, of which he became concertmaster. From 1843 he was professor at the Conservatoire. His style combined the brilliance of Paganini with the breadth of the best German masters. He prepared a fine method, good editions of violin music and many original works.
Famous examples of touring players were the superficial, but clever Ole Bull (d. 1880), the Norwegian player who began his career in 1832, often visiting America and doing much for the cause of music in his native land; Camillo Sivori (d. 1894), a Genoese in the Paganini line who began his travels as a boy about 1827; and Heinrich Wilhelm Ernst (d. 1865), a Moravian, trained by De Bériot and on tour extensively from 1834, after 1850 living in London.
Henri Vieuxtemps (d. 1881), born in Belgium in 1820, was developed by De Bériot, Sechter and Reicha into broad musicianship, appearing in concert about 1830. From 1837 he was known in several countries as both player and composer, becoming court-musician and conservatory professor at St. Petersburg in 1846-52, and in 1871-3 at the Brussels conservatory, ceasing work because of paralysis. His numerous works included 6 concertos, many fantasias, some studies, a suite, etc., which are standard favorites.
Other representatives of the French school were Prosper Sainton (d. 1890), who, after experience at Paris and Toulouse, with some tours, from 1845 lived in London as a leading teacher and concertmaster, with 2 concertos and some other works; Charles Dancla, professor at the Conservatoire since 1857, a noted ensemble player, and a prolific composer of elaborate concert and pedagogic works; and Hubert Léonard (d. 1890), from 1852 De Bériot's successor at the Brussels conservatory, with 5 concertos, many teaching-pieces, etc. Contemporary with these was Antonio Bazzini (d. 1897), brought up at Brescia, but broadened by tours in Germany, who from 1873 was at the Milan conservatory, from 1882 its director, with a variety of works, vocal and instrumental, in which he united Italian and German styles.
