Books › The violin and its music, 1885 › scan 340
Scan 340
The violin and its music, 1885
8 lines. Read by computer on 3 September 2026. Printed page 322. See the scan on archive.org.
1on Rhythm in its application to the styles of the great masters. M. Meerts has clearly made the student aware of the important fact that no little study is needed to properly interpret a composer's crescendo, and diminuendo, his fortés and pianos; in short, that light and shade, to be successfully accomplished, is a work of the utmost delicacy, and impossible without sound judgment and exceptional executive skill.
3Nicholas Lambert Wéry, born in 1781, was another famous Belgian professor, and, like Meerts, held the post of Violin-master at the Brussels Conservatoire. He has published much Violin music, among which are Three Concertos, Fifty Variations on the Scales, and Violin Studies. M. Singelée, the well-known and prolific composer of Fantasias, was a pupil of M. Wéry.
5It is now necessary to refer to representative Belgian Violinists whose style seems to have had its origin in the teaching of François Snel. We have mention of a famous pupil of that master in Théodore Hauman, born in 1808. He was highly thought of in Paris as a soloist, and is represented in the well-known lithograph published there many years since of leading Violinists, in company with Habeneck, Baillot, and others. Hauman, however, scarcely merited this distinction as a Violinist. His compositions consist of Fantasias, and Airs with Variations.
7In Snel's pupil, Artot, we have mention of a Violinist of the highest order as a soloist. I do not
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