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Scan 283
The story of the violin, 1904
6 lines. Read by computer on 3 September 2026. Printed page 231. See the scan on archive.org.
1Violin Art in Germany
3in spite of the fact that Dittersdorf, Haydn, and Mozart gave to instrumental music at the Austrian capital such a wonderful impetus. Or was it because of this fact, this popularity, as it drew the interest away from a specific cultivation of the violin as a solo instrument into the broader bed of concerted music? At all events, although Karl Dittersdorf (1739-99) and Anton Wranitzky (1760-1808) are commonly named as the early founders of the Vienna School of violin-playing, it became important only at the beginning of the nineteenth century with two men, eminent in their line, Joseph Mayseder (1789-1863) and Joseph Böhm (1795-1876). The former, a pupil of Ignaz Schuppanzigh (of Beethoven fame), gave us among others Miska Hauser (1822-87). Böhm, a Hungarian and presumably a pupil of Rode, became the master of a whole galaxy of violinists known to fame, viz.:—Georg Hellmesberger (1800-73), Jacob Dont (1815-88), Edmund Singer (born 1831), Eduard Reményi (1860-98), Eduard Rappoldi (1839-1903), Jacob Grün (born 1837), Heinrich Wilhelm Ernst (1814-65), and Joseph Joachim (born 1835 at Kitsin). The last two, both Hungarians, are the jewels in Böhm's crown.
5Wilhelm Ernst was one of the first who kindled his flame at the fire of Paganini. As a youth of fourteen he was studying with Böhm in Vienna when that conjurer from Genoa appeared and drew him into his magic circle. Next, young Ernst followed like a shadow the great magician on his tours and learned some tricks
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