Violin talks

Everyone this source names

This document prints 6 names. A name found this way is the weakest thing this site records: the book names the person, and nothing more is said. It is not a line in a record — the lines that actually rest on this source are listed above, each with its own confidence. 0 of the names below reach a record on this site; lines from this source have been written for 0. The rest are names and nothing else — which is an honest description of the evidence, and an invitation: if you know one of these makers, we want to hear from you.

1. Muscles scan page 39, line 3 mention only — no record here yet

   Muscles and body, as well as mind, train but slowly, and the pupil who goes into things too rashly pays for it in a frail body, by-and-by. I don't know why it is, but violinists are very often quite sensitively organized and delicate. One or two hours of daily practice is the most the beginner should undertake. I regret a year of hard work at six hours a day of practice. I paid for it by a nervous collapse. — trade term as printed: "violinists" (near match, edit distance 3) — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

2. Guisseppe, Tartini scan page 102, line 3 mention only — no record here yet

   Tartini was the first great violinist after Corelli. He was born near Padua, in Italy, in 1692. His parents were of noble birth, and this, perhaps, had something to do with his great versatility, refinement of conception, and soundness of scientific investigations. He was a thorough aristocrat; having had the advantage of a University education before he adopted music as a profession, he naturally became one of the most profound and learned musicians of his day. There are crises, even in the lives of ordinary men, which cause them to turn to music as a solace. Perhaps it was Tartini's plebeian marriage which, because his family disowned him, brought out his deeper qualities as well as his strong taste for music. He longed to isolate himself, and he did so, at the same time giving many months to violin study just when such study was of inestimable benefit to him. His friend Veracini, then one of the most renowned violinists of his time, undoubtedly stirred him to his very highest work. No succeeding violinist has ever altered the fundamental principles of bowing introduced by Tartini. He was essentially an investigator. He loved mathematics and the sciences, and could have attained great fame in either had he chosen. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 1: "GUISSEPPE TARTINI." — from OCR (read_as: ocr)

3. Corelli scan page 97, line 9 mention only — no record here yet

   Corelli and Boccherini were the first to write for the violin in combination with other instruments. When one considers that Corelli was one of several distinguished virtuosi who lived contemporaneously with the greatest violin-makers that the world has ever known, one may almost believe in the greatness of a great age. — trade term as printed: "violin-makers" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

4. Paganini scan page 49, line 11 mention only — no record here yet

   Paganini had one great motive, the presentation of technical difficulties which, before his time, had been seemingly insurmountable. At present violinists, pianists and vocalists are placing novelties on their programs. One should not neglect the classics. — trade term as printed: "violinists" (near match, edit distance 3) — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

5. Beethoven scan page 54, line 11 mention only — no record here yet

   Beethoven was able to enrich the solo part so that the listener almost forgot that he was hearing a theme which the orchestra had played before in a simpler manner. He also introduced toward the end a kind of free fantasia called a cadenza. Many great violinists delight in playing these cadenzas, which offer a fine opportunity for the artist to display his best points. The cadenza of the last movement is usually shorter than that of the first movement. The beauty of the Beethoven concerto is in the weaving of the orchestral part into the solo part—a sort of dialogue also common to Mendelssohn and others. — trade term as printed: "violinists" (near match, edit distance 3) — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

6. Speaking scan page 42, line 15 mention only — no record here yet

   Speaking of fingers, many violinists have most unfortunate fingers. I am one; my fourth finger does not reach to the last joint of my third finger, and in the higher positions, my thumb sometimes clings to the — trade term as printed: "violinists" (near match, edit distance 3) — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)