Books › The violin : some account of that leading instrument and its most eminent professors, from its earliest date to the present time : with hints to amateurs, anecdotes, etc., 1852 › scan 234
Scan 234
The violin : some account of that leading instrument and its most eminent professors, from its earliest date to the present time : with hints to amateurs, anecdotes, etc., 1852
2 lines. Read by computer on 3 September 2026. Printed page 218. See the scan on archive.org.
1destined soon to become one of the most distinguished artists of his day. So rapid was his progress, that he was enabled, at the age of eight years, to undertake, with his master, a tour for the purpose of giving concerts in the principal towns of Belgium. While at Brussels, he met with De Beriot, who, struck with his precocious skill, gratuitously gave him lessons for several months. In the spring of 1830, he went with his new master to Paris, and performed at a concert given in the Salle of the Rue de Cléry. The future eminence of the artist-child was then confidently predicted. Returning to Verviers, a short time after, Vieuxtemps resumed his studies. In 1833, he engaged with his father in a tour through Germany, during which he acquired, by the custom of playing in public, the assurance necessary to the unembarrassed display of talent. It was at Vienna that he obtained his first really important success. While there, he took some lessons of Simon Sechter, Organist to the Court, and then returned to Brussels, where he only stayed a few months. At the end of 1834, he went to Paris, and, finding no opportunity of exhibiting his talents in that city, he proceeded to London, where, however, his reception fell somewhat short of his expectations. Returning to Paris in the summer of 1835, he resolved to perfect his knowledge of music, and entered on a course of studies in composition, under Reicha. The superficial but rapid method of this professor was exactly that which best suited an instrumentalist, little anxious to acquire a profound knowledge of the forms of counterpoint, for which he considered he had no use. After this, he began writing his first compositions, and played them in the course of a tour in Holland, which he made in 1836;—he then went again to Vienna, and published his first works.
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