This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1911 edition. Excerpt: ...to his son that Raaff was the person of all others in Mannheim whom he might completely trust. Raaff was an honest, God-fearing man, who liked Germans, so Leopold said, and his description of the veteran artist--at that time he was sixty-three--was an accurate one. Besides the singers already mentioned, there were in the chapel of the Elector a number of meritorious artists, foremost amongst whom stood Christian Cannabich, capellmeister since 1775. He was an able violinist, and almost without exception the younger members of the orchestra had been his pupils. Moreover, he possessed remarkable individuality of character, which, together with his blameless life, had the best possible influence upon his pupils, by whom he was held in great esteem. Under his guidance the orchestra of Mannheim distinguished itself, its execution especially being noted for delicacy of light and shade, so that it was held to be the first in Europe. It was here that Mozart for the first time heard clarinets in the orchestra. "Ah, if we only had clarinets!" he sighed, thinking of Salzburg. The praises bestowed by contemporaries upon the orchestra of Mannheim culminate in Schubart's words: "No orchestra in the world has ever excelled that of Mannheim in execution. Its forte is thunder, its crescendo a cataract, its diminuendo like the far-off rippling of a crystal stream, its piano the breath of spring." Although such a description may appear somewhat exaggerated, yet an association of artists as distinguished as those who worked together at Mannheim enables us to draw our own conclusions as to the excellence of their performance in a body, more particularly as Stamitz, the predecessor in office of Cannabich, had established the discipline of the orchestra in a most...
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