Books › The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880 › scan 268
Scan 268
The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880
12 lines. Read by computer on 29 August 2026. Printed page 250. See the scan on archive.org.
1In Henri Vieuxtemps we have a thorough master of his art. His Concertos are compositions worthy of the title they bear; they do not consist of a number of difficulties strung together without meaning, but are properly constructed works. He has written many Fantasias, all of which are the delight of good Violinists. His compositions being most difficult to render, they are chiefly known among artists, but in these days of rapid development in Violin playing among amateurs, a new and wide field will certainly be opened for them ere long.
3From Belgium to Poland may appear a wide step in my discourse, but it is not so. Although the Polish Violinists retain a certain amount of originality in style of playing and in their compositions, it is to the French school they belong. Lipinski, Wieniawski, Lotto, were all educated in the Paris school.
5Lipinski has written a good deal for his instrument, and instructed many well-known players.
7Wieniawski and Lotto have both gained high positions among the soloists of our time.
9Adolphe Pollitzer settled in London many years since, and occupies a leading position among our resident Violinists.
11Having lightly touched upon the various heads of the French school, I must again take up the thread of the English history of the instrument from about 1750, at which period we may trace a growing admiration for Violin playing, notwithstanding the disparagement which this accomplishment received from different notabilities. Foremost among the revilers stands Lord Chesterfield, who considered playing upon any musical instrument to be illiberal
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