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part of Italy and serving as an important link between Italian and French players (sonatas, 1722-34).

Jean Marie Leclair (d. 1764, murdered) was originally a dancer at Rouen and then at Turin, where he became a pupil of Somis. From 1729 he was in the Opéra orchestra at Paris and from 1731 in the royal orchestra, but soon turned to composition and teaching. He was influenced by Locatelli, but had marked gifts of grace and invention of his own. His works (from 1723) included fine sonatas, concertos, trios, an opera (1747) and a ballet.

Johann Gottlieb Graun (d. 1771), the elder brother of K. H. Graun, studied with Pisendel at Dresden and with Tartini at Padua. After short terms at Merseburg and Arolsen, he became in 1732 leader for the Crown Prince Frederick at Rheinsberg, following him at his accession in 1740 to Berlin, remaining in his employ over 40 years. By his own playing, his training of the conspicuous royal orchestra and his many works (from about 1725) he contributed much to the sound establishment of German violin music. He also wrote cantatas and a Passion (MS.).

Franz Benda (d. 1786), the eldest of a talented family, was a choirboy at Prague and Dresden, and early became one of the finest virtuosi in Germany, excelling not only in dexterity, but in profound expression. He entered Frederick's orchestra in 1733, soon after Graun, and in 1771 succeeded the latter as leader. His beautiful and affecting style, somewhat akin to Tartini's, became a model to many successors. His works (from about 1733) included sonatas, trios, concertos, études, etc. (many in MS.).

Felice de' Giardini (d. 1796), a pupil of Palladini at Milan and of Somis at Turin, early developed virtuosity, appearing at Rome and Naples before 1730. In 1748 he went to Germany and from 1750 had immense success in London, where at intervals during the next 40 years he conducted the opera and various choral festivals, besides teaching singing. He died (80 years old) while managing an operatic troupe in Russia. He was a skillful player, somewhat given to display in his early days, and an industrious composer in a good style (from about 1750). He also wrote several operas (1756-64), but had more success with the oratorio Ruth (1763-8). His significance lay in his stimulus to English players.

Johann Stamitz (d. 1757), a self-taught player, appeared at Frankfort in 1742 and from 1743 was leader of the Mannheim orchestra, which under his direction became famous for its unanimity, shading and verve. He wrote much both for violin alone and for orchestra (see sec. 147).

Less notable names are Pietro Castrucci (d. 1769), one of Corelli's pupils, who came to London in 1715 and later was Handel's first violin (till 1737), and who invented the 'violetta marina' (a form of viola d'amore for which Handel wrote obbligati); and Carlo Tessarini (d. after 1762), from 1729 a player at St. Mark's in Venice and from 1741 at Urbino, whose extensive works, including concerti grossi, are in the Corelli style, besides a method (1741).

Giovanni Pietro Guignon (d. 1774), a player in the royal band at Paris from 1733, secured the revival for himself in 1741 of the grotesque mediæval office of 'Roi des violons,' with monopoly-rights in the whole practice of music as a profession. In 1750, in view of the general censure of this act, the office was