Such a gifted musician as Corelli was not likely to quit this life without leaving the impress of his artistic feelings upon those who sought his instruction, and we have ample proof of the great influence he exerted in the names of G. B. Somis (1676-1763) F. Geminiani (1680-1762), and Locatelli (1693-1764). Somis was a close follower of his master, and it is quite easy to believe this on a comparison of their respective sonatas. Geminiani asserted more of his individuality, and this, coupled with the fact of his having received theoretical instruction from Alessandro Scarlatti, one of the most learned musicians of the day, no doubt contributed to his making a decided advance on the violin music of the time. Notwithstanding his increased knowledge as a theorist, and his greater ability as an executant, Geminiani laboured long to bring into prominence and popularity the artistic conceptions of his renowned violin master. His first effort in this direction was made in 1726 (Geminiani being then in London), when he formed Corelli’s first six solos into concertos, a style of composition then recently called into existence, shortly afterwards treating another six in a similar manner. Others underwent the same process, but to these were added additional parts. Geminiani was one of the first in the field of musical expression, even sacrificing strict time to obtain it.
Locatelli furnishes us with another example, not only of the advance of technique, but of the progress of musical culture. His works called “The Labyrinth,” “The New Art of Modulation” and “Harmonic Contrasts” are alone sufficient to establish him as a great reformer in the musical world of his time. As we have elsewhere observed, Torelli is credited with having fixed the form of the concerto, and a few lesser lights, such as the two Veracinis and Alberti, live to this day by their works. The next master whose influence marked another step in the development of classical music for the violin was Guiseppe Tartini (1692-1770). Here we have a man destined for all time to stand out as one of the most indefatigable pioneers of the violin. In his quadruple capacity as a performer, composer, theorist and teacher, his influence was far-reaching, and, what is more, it has been transmitted down to the present time. As a composer, his style of modulation was a new thing, and his performance came as a revelation to those who heard him for the first time. His “Devil’s Sonata” is well-known to all violinists.