Giovanni Battista, a great violinist, a charming composer, and the founder of the best modern violin school, was born at Fontanetto in the district of Crescentino, Piedmont, on the 23rd May 1753. His father, a farrier, played on the horn, and taught his son the first elements of music. The boy when only eight years old, took great pleasure on playing on a small violin that had been bought for him. When Viotti was about eleven years old, a good musician happening to visit Fontanetto, remained there for a year, and during that time gave instructions in music to the young violinist. In 1766 an event occurred which was of the highest importance to the future career of Viotti. It so happened that the boy was taken, with other musicians, to perform a symphony at the house of Francis Rora, bishop of the small town of Strombino, and afterwards archbishop of Turin. The bishop, who was a judge of art, was so delighted with the musical talent and the animated and expressive countenance of young Viotti, that he offered to send him to Turin in order to study the violin there. This offer being accepted, the bishop wrote to the Marchesa of Voghera, who wanted a companion for her son in his studies. Her son, the Prince of Cisterna, was then eighteen years of age, and the marchesa seeing but a child in Viotti, was about to send him home with a present, when Colognetti, an eminent musician of the royal chapel, happened to come into the room. He desired to hear Viotti play, and put before him difficult music which the boy executed at sight so as to astonish and delight Colognetti, who insisted that he should not be sent away. The Prince of Cisterna himself writes regarding that period: "Charmed with a genius so natural, I determined to do all that was requisite in order that such fine abilities might bear fruit. I assigned to him apartments in my palace, and gave him for a master the celebrated Pugnani. Viotti's education cost me more than 20,000 francs, but Heaven forbid that I should regret my money! The existence of such an artist cannot be too highly paid for." Under Pugnani, Viotti acquired the breadth and grandeur which characterized the style of that famous violinist; adding to these qualities his own native ones of brilliancy, elegance, and inspiration. Viotti thus became the most complete violinist that had till then been heard. Appointed violinist to the royal chapel at Turin, he quitted that post in April 1780 to travel with Pugnani in Germany, Poland, and Russia. Everywhere he was received with enthusiasm. The Empress Catherine made him magnificent presents, and wished, but in vain, to retain him in her service. He and Pugnani then visited London, where Viotti's performances made a deep impression on the public. In 1782 Viotti performed at the Concert Spirituel in Paris, delighting the Parisians by the perfection of his playing, and the novelty and beauty of his concertos. The Queen of France had a just appreciation of Viotti's genius, and obtained for him a royal pension of 6000 francs. In the summer of 1783 he visited his birthplace Fontanetto, and purchased a property in the neighbourhood, in which he installed his father, who died in the year following. Returning to Paris in 1784, Viotti resumed his professional occupations, and became director of the Italian Opera, and afterwards joined M. Feydeau in the erection of the Théâtre Feydeau, which last failed in the first troubles of the Revolution in 1792, and absorbed all Viotti's savings. Thus ruined, Viotti went to London, where he was engaged at Salomon's Hanover Square Concerts, and produced a great sensation by his solo and concerto playing. He formed friendships with several families of consideration in London; among these the Chinnerys and Chaplin Hankey, to whom he dedicated some of his best duets. But now his tranquillity was disturbed by an utterly false accusation of being a revolutionary agent, and he was ordered to quit England. He took refuge in a country house near Hamburg, living there till July 1795, and composing some of his finest violin duets. Returning to London freed from all imputation, he entered into a wine-trade partnership which failed, and he thus became ruined a second time by speculation. He revisited Paris in 1802, and played at the Conservatoire, his concertos marked by the letters A, B, C, &c. He went back to London, and made a short visit to Paris in 1814, and a longer one in 1818. In 1819 he was appointed director of the Opera at Paris, but could not retard the decay of that theatre. In 1822 he was deprived of his post as director, but received a pension of 6000 francs. His health now became impaired by age and vexation. He tried to amuse himself by travelling, but it was too late. He died at London on 24th March 1824, aged seventy-one. Viotti was a man of great amiability of temper and disposition, and gained numerous sincere friends. There are several portraits of Viotti. The best likeness is that painted at London by Tossarelli, and engraved by Meyer. His pupils were Cartier, Alday, Labarre, Vacher, Pixis, Libon, Mori, Rode, Robberechts; the latter having communicated to De Beriot the last traditions of Viotti's style of playing. His compositions consist of 29 violin concertos; 2 concertantes for two violins; 21 quartets for violins, alto, and violoncello; 18 trios for two violins and violoncello; 45 duets for two violins, and 6 serenades for do.; 18 solos for violin and bass; 3 notturni for piano and viola; 1 sonata for pianoforte alone, composed for Mad. Montgeroult.

(V.F.G.)