Books › The violin and its music, 1885 › scan 461
Scan 461
The violin and its music, 1885
4 lines. Read by computer on 3 September 2026. Printed page 436. See the scan on archive.org.
1Ernst covers a wide space periodically, but if we compare the six Solos with the Concerto in F sharp minor, Op. 23, we shall readily discover a wider one musically. Were we to follow the mode Hummel had of defining the executive character of his music, we should name Finger's Solos simplicity itself, and the Concerto of Ernst, difficulty unsurpassed. Leaving these extremities, and turning to the subject of our notice, it may be truly said Ernst possessed the quality of sentiment in relation to Violin-playing to a higher degree than any of Germany's long line of Violinists. Nay, more, he possessed it, artistically considered, beyond all the Violinists of modern times in all countries. When we add to this that his executive skill was altogether exceptional, and that he was not less distinguished as a composer for his instrument, the extent of his powers may be imagined. As a man he was most amiable and kind-hearted, beloved alike by his friends and brother artists.
3Ferdinand Hiller relates that the winter of 1839 at Leipsic "was remarkable for the appearance of some of the most brilliant players. First of all Ernst, then at the summit of his talent, and enchanting the whole world. Mendelssohn was very fond of him. Ernst told me one day, almost with emotion, how, at the time of his concerts in the Königstädtter Theatre at Berlin, he was very much pressed one morning in Mendelssohn's presence to put down his "Elégie" in the programme again,
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