Books › Modern violin culture in America, 1916 › scan 18
Scan 18
Modern violin culture in America, 1916
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1TEACHERS AND SOLOISTS—Continued.
3solos, Country Dance (Op. 16) Angelus (Op. 17) Promenade Grotesque (Op. 18) and a Serenade and Witches Dance (the latter for Violin without accompaniment) which will add considerably to his reputation and increase our modern concert repertoire with four genuinely charming compositions. They form a creditable addition to his last year's successful solo Le Talisman (Op. 15).
5Another highly gifted writer for the violin is Christiaan Kriens, a resident New York teacher and soloist. Both in schooling, temperament and natural inclinations, Mr. Kriens is a modern artist, who aims at the very highest ideals, and invariably infuses his works, whether large or small, with a considerable amount of unmistakable individuality. Mr. Kriens' most ambitious printed violin solo works include a very difficult Romance, a Mazurka Hollandaise, a Souvenir de San Sebastian, a l'espagnole, a Reverie dans Les Montagnes (Op. 77) and such thoroughly delightful solos as the Serenade Basque, La Mouche (The Fly), a Melody in olden style entitled Chanson Marie Antoinette, a Second Mazurka de Concert, a fine Paraphrase on Annie Laurie, a captivating Shepherd Song entitled Vilanelle and a brilliant, yet wholly dignified and suitable Cadenza to the first movement of Beethoven's Violin Concerto.
7In addition, his very characteristic Suite En Holland (In Holland) in four parts deserves particular mention, the third part Sons du Soir (Evening Sounds) having achieved considerable success.
9Fritz Stahlberg, assistant conductor of the New York Philharmonic Society and himself an accomplished violinist, has recently issued three original compositions, a Bagatelle, a Canzone and a Petite Gavotte, which may justly be classed among the very best shorter compositions written within recollec-
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