"Concerts Spirituels."

II.

Fetis tells us that the arrival of Viotti in Paris produced a sensation
difficult to describe. No performer had yet been heard who had attained
so high a degree of perfection, no artist had possessed so fine a tone,
such sustained elegance, such fire, and so varied a style. The fancy
which was developed in his concertos increased the delight he produced
in the minds of his auditory. His compositions for the violin were
as superior to those which had previously been heard as his execution
surpassed that of all his predecessors and contemporaries. Giornowick's
style was full of grace and suave elegance; Viotti was characterized
by a remarkable beauty, breadth, and dignity. Lavish attentions were
bestowed on him from the court circle. Marie Antoinette, who was an
ardent lover and most judicious patron of music, sent him her commands
to play at Versailles. The haughty artistic pride of Viotti was signally
displayed at one of these concerts before royalty. A large number of
eminent musicians had been engaged for the occasion, and the audience
was a most brilliant one. Viotti had just begun a concerto of his own
composition, when the arrogant Comte d'Artois made a great bustle in
the room, and interrupted the music by his loud whispers and utter
indifference to the comfort of any one but himself. Viotti's dark eyes
flashed fire as he stared sternly at this rude scion of the blood royal.
At last, unable to restrain his indignation, he deliberately placed his
violin in the case, gathered up his music from the stand, and withdrew
from the concert-room without ceremony, leaving the concert, her
Majesty, and his Royal Highness to the reproaches of the audience.
This scene is an exact parallel of one which occurred at the house
of Cardinal Ottoboni, when Corelli resented in similar fashion the
impertinence of some of his auditors.

Everywhere in artistic and aristocratic circles at the French capital
Viotti's presence was eagerly sought. Private concerts were so much the
vogue in Paris that musicians of high rank found more profit in these
than in such as were given to the miscellaneous public. A delightful
artistic rendezvous was the hotel of the Comte de Balck, an enthusiastic
patron and friend of musicians. Here Viotti's friend, Garat, whose voice
had so great a range as to cover both the tenor and barytone registers,
was wont to sing; and here young Orfila, the brilliant chemist,
displayed his