“When [Franz] Benda plays an Adagio, one has the impression that eternal wisdom is speaking down to us from heaven.” Thus the description, written in 1798, by violinist Johann Peter Salomon – a pupil of Benda’s and good friend of both Joseph Haydn and Beethoven – of the playing of the 'magician', the 'great genius'. His interpretation was in a singing, unpretentious, and obviously very touching style, whereby, in accordance with the custom of the time, he always richly ornamented the violin part.
Franz Benda was employed at the court of King Frederick the Great of Prussia, and his exceptionally expressive violin playing led Charles Burney to describe him as ‘a truly great genius’. Benda’s cantabile composing style allowed space for elaborate ornamentation during performance which was the height of fashion in this period.
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