Books › A Practical Guide to Violin-Playing, 1913 › scan 20
Scan 20
A Practical Guide to Violin-Playing, 1913
14 lines. Read by computer on 3 September 2026. Printed page 2. See the scan on archive.org.
1In these days of research and educational progress it is not surprising that those who have given the matter thought have been able to lay down principles for the guidance of the student upon far more scientific lines than obtained even half a century ago. At that time and long before, violin playing was destined only for a small number of musically gifted men, who, as a rule, showed decided qualification for the instrument of their choice. With the greater demand for solo violinists, teachers and orchestral players, an ever increasing number of devotees select the musical profession as a means of livelihood, dreaming at first, during their student period, of a rosy future. Even if disappointment does not await them, these aspirants to fame must be prepared to wait patiently, often for a many a long year, for the reward of their labours.
3R. Strinisacki, the first famous lady violinist.
5Regina Strinisacki (born 1764, near Mantua, died 1839 in Dresden) was the first lady violinist to acquire a great name, and it was for her that W. A. Mozart composed the B flat Sonata for piano and violin.
7Like her, the sisters Teresa and Maria Milanollo (born 1827 and 1832) showed the musical world that the violin loses none of its charms in ladies' hands, another striking example of which fact was the noble playing of Madame Neruda (Lady Hallé) who was born 1839 in Brünn, Moravia, and died 1911 in Berlin. She was an artist of the first rank both as a Soloist and Chamber-music interpreter, and her continued artistic triumphs both in England and abroad probably set the fashion for ladies to take up the violin in greater numbers — with what notable success we now-a-days know so well!
9As a rule lady violinists are very thorough and are as easily instructed as men, for they seem to fall in with the methods of their teachers in a very marked manner.
11If the violin is to retain its favoured position, it is obvious that both the young "professional" or the person learning for "pleasure" must have the very best education possible. The author particularly advocates that the amateur element should become a larger and stronger one, for from it must come that support which is necessary for the life of artistic undertakings and for the spread of good music.
13We now come to the important question as to the age at which the study of the violin should begin. Without doubt it must be at an early age; according to physique, between seven and ten years old, certainly not later than fourteen, should the child intend eventually to enter the profession.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.