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Scan 21
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.
1MASTER PIANISTS AND COMPOSERS—Cont’d.
3As may be imagined the numbers are possible only for advanced players. Godowsky’s intricate polyphonic style of writing, his astonishing and prolific use of every harmonic and enharmonic device known to modern musical art and his brilliant inventive faculties have all been employed with bewildering freedom, yet with such certainty of design and effect as to produce a set of pieces, which is absolutely new and entirely original and which in point of daring and astonishing bravura has probably never before been equalled. These pieces will mark a very noticeable advance in the history of modern violin music.
5Another important contributor to modern violin literature has been Max Vogrich, whose recent unexpected death, robbed the musical world of a creative musician of highest rank. Max Vogrich was internationally famous as a composer, editor, and arranger and had gained a world-wide reputation as a piano virtuoso through repeated concert-tours alone and in connection with August Wilhelmj. He was particularly expert in writing and arranging for the violin and some of his most inspired works were written for that instrument. Among these may be mentioned his so-called Ballade de Villon (ou sont les Neiges d’Anton?) and Three Morceaux Caracteristiques d’Après Paganini in which he has left us three concert arrangements of Paganini Caprices which only a master of his ability could have conceived and produced. These three Caprices have been issued under titles of (1) Dans Les Bois (Voice of the Woods), (2) Danse des Ombres (Dance of Shadows) and (3) Chevalier Mousquetaire, and form a valuable addition to this class of violin solo music. The
7Caprices in this version, with all the brilliancy, technical feats and scintillating character of the originals retained, have had their effectiveness considerably increased through the ingenious harmonic setting provided by Max Vogrich; and thanks to his masterly skill, they have been transformed into modern concert solos, fit for the repertoires of the most advanced disciples of the art of violin playing.
9Quite recently, W. H. Rothwell, well-known as a conductor and writer of international reputation has composed a violin solo, Viennese Greeting (Wiener Gruss) which must not be overlooked in this list of modern violin publications. The solo is so charming in its melodic make-up, so modern in its harmonic setting, and so capably written for the solo instrument, that it must be considered as one of the most important short solo numbers contributed within recent years. It rivals much which Kreisler has produced in Viennese fashion, and has been played repeatedly by Albert Spalding with
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