The violinist

Everyone this source names

This document prints 53 names. A name found this way is the weakest thing this site records: the book names the person, and nothing more is said. It is not a line in a record — the lines that actually rest on this source are listed above, each with its own confidence. 8 of the names below reach a record on this site; lines from this source have been written for 0. The rest are names and nothing else — which is an honest description of the evidence, and an invitation: if you know one of these makers, we want to hear from you.

1. Francis scan page 108, line 2 mention only — no record here yet

   and other famous violinists are playing — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 1: "Francis Macmillen, Efram Zimbalist, Leon Sametini, Nicoline Zedeler, Albin Steindel" — from OCR (read_as: ocr)

2. Kubelik scan page 16, line 3 mention only — no record here yet

   Kubelik, although many think he lacks soul, is probably, of the violinists now living, the best known to the general public. His career has been like a fairy story. The son of a poor gardener, educated by rich and charitable people who recognized his genius, he sprang into immediate and immense fame when he began to appear before the public. His supreme art conquered the heart of a Hungarian countess who laid aside thoughts of noble birth, and became the wife of the poor gardener's son. He now has the world of violin playing at his feet. His last American tour brought him a large fortune and added fame. At one concert at the New York Hippodrome the house was sold out, hundreds of chairs were placed on the stage for late comers and the receipts of the concert were $8,000. The tour even extended to the Canadian Northwest, where crowded houses were the rule at places like Calgary and Saskatoon, where it is cold enough to freeze the chin-rest off a fiddle. It is said that the profits of the tour were more than $100,000. — trade term as printed: "violinists" (near match, edit distance 3) — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

3. Baillot scan page 168, line 3 mention only — no record here yet

   Baillot (1771-1842), Lafont (1781-1839) and Boucher (1778-1861) may conclude the list of French violinists and composers of renown. — trade term as printed: "violinists" (near match, edit distance 3) — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

4. Corelli scan page 191, line 3 mention only — no record here yet

   Corelli, 1653-1713, was the greatest violinist of his time and the first who treated his instrument systematically. In his compositions we notice an unusual amount of skipping over the strings and it would appear that the violinists of those days were highly accomplished in that kind of playing. In other respects we find the art of violin playing in a modest condition. The musical productions of the beginning of the seventeenth century amounted to about the same thing as church-hymn playing does today; however, it was not long before the possibilities of the violin were recognized. Monteverde a violinist himself and a composer of great ability, took the lead here. For the first time he made it necessary to go in the 5th position: something unheard of until then. He also used some broken chords and a few other rudimentary figures. Little as this seems to us, it furnished enough material to keep the violinists busy for the next sixty years. — trade term as printed: "violinists" (near match, edit distance 3) — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

5. John, By scan page 217, line 3 mention only — no record here yet

   By having one of these catalogues one can select a desirable instrument by number. There are also instrument cases, music satchels and rolls as well as music stands. The catalogue states that "In selecting this catalogue we have brought to our assistance our years of experience as practical violin and bow makers and repairers. We have carefully canvassed the entire field, and selected the one article of each grade that appealed to us as the best value for the money." — trade term as printed: "bow makers" — surname inherited from the headword at line 1: "John Markert & Company, 33 West 8th street, New York, have just issued their wholesale catalogue. The firm is well known as dealers and makers of violins, and the catalogue contains the wholesale prices of John Markert, Master violins, violas, 'cellos and double basses; in fact, everything pertaining to violins, such as strings, bridges, tail-pieces, pegs and mutes, is catalogued. The catalogue contains forty-eight pages with illustrations of the various necessities of this business." — from OCR (read_as: ocr)

6. Chicago, A scan page 58, line 5 mention only — no record here yet

   A banquet will be tendered to Eugene Ysaye, the Bohemian violinist, during his presence in Chicago by the Chicago chapter of the American Guild of Violinists. The banquet will be held in the Florentine room of the Congress hotel, on the evening of January 26, and it is expected to be a notable event in many ways. — trade term as printed: "Violinists" (near match, edit distance 3) — surname inherited from the headword at line 3: "CHICAGO VIOLINIST TO ENTERTAIN YSAYE" — from OCR (read_as: ocr)

7. Mr, Franz scan page 65, line 5 mention only — no record here yet

   Mr. Franz Wagner is so well known to the world of violinists as a teacher and soloist of the cello, that he needs no introduction. — trade term as printed: "violinists" (near match, edit distance 3) — from OCR (read_as: ocr)

8. Mr, Boothe scan page 217, line 5 mention only — no record here yet

   Mr. Boothe of the Boothe Knoslip Violin Pad has received some very flattering letters from violinists and dealers in violin accessories regarding the success of his ingenious device. According to Mr. Boothe that prejudice with which some artists are inclined to view any attachment to their instrument, is rapidly giving way in the face of the wonderful freedom given to the left hand by its use. The Boothe pad is a form of support that while it does away with the ordinary chin rest, enables the performer to hold his instrument in perfect position without the aid of his left hand. The device is so ingeniously constructed that it weighs but two ounces and is less exposed to view than the ordinary chin rest when the violin is correctly held. Mr. Boothe is making an unusual offer of ten days free trial to all members of the profession. His address is Suite 504, 203 South Dearborn St., Chicago. — trade term as printed: "violinists" (near match, edit distance 3) — from OCR (read_as: ocr)

9. Robert, Braine scan page 56, line 7 mention only — no record here yet

   Robert Braine, head of the violin department of the Etude, in the September issue is determined to uphold old violins as the only violins worth noticing, but his attempts to prove that the several trials of old and new violins within the last few years in Paris, and the one held last June in Chicago, have no value in determining the relative worth of old and new, lacks logic from every point. He says, it is well known among professional violinists that to get the best tone from a violin the player must use it continually for quite a while in order to get the best results; but, at these several trials, the players had to play new and old without any previous preparation, so that one violin stood really just the same advantage as the other, and a new violin gained the highest number of votes for excellence of tone at each trial. Now, according to Mr. Braine, the old violins being better in tone—more responsive than the new, should have shown it at these trials, as long as the players did not know whether they were playing a new or old one, and the audience did not know except to listen and judge of the tone alone. Other tests of the same kind are being arranged for the future, and Mr. Braine will find they will all result in the same way—in favor of the new violin. Then Mr. Braine says another proof that old violins are better than new ones is the fact that all the great violin soloists use old instruments. I have lived in the musical world long enough to know that with few exceptions—one of these exceptions is Arthur Hartmann—the solo players will not touch a new violin; they shun them as they would a rattle snake. Another reason the great players use the old violin, is, they find it pays as an advertisement; the continual harping away about this Strad, or that Guarnarius, is swallowed by the greater part of the public just the same as years ago they believed in P. T. Barnum's "Wooley Horse," "Mermaid," etc. Perhaps after a few more violin trials, the public will begin to know more about violins. — trade term as printed: "violinists" (near match, edit distance 3) — from OCR (read_as: ocr)

10. Chicago, Not scan page 58, line 7 mention only — no record here yet

    Not only will there be a large representation of leading Chicago violinists to do honor to this famous artist, but a number of eastern friends is expected to be on hand to add lustre to the gathering. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 3: "CHICAGO VIOLINIST TO ENTERTAIN YSAYE" — from OCR (read_as: ocr)

11. Take, L P scan page 92, line 7 draft record
12. Take, Copies scan page 92, line 8 mention only — no record here yet

    Copies made of any and all famous models. Several copies of Strad, Guarnerius, Guadaquini, Maggini and other models on hand. Violin wood of the best—all varieties, for sale to violin makers. For circulars and further particulars, address — trade term as printed: "violin makers" — surname inherited from the headword at line 5: "Take Sevcik as the modern example of a violin teacher. He formerly taught at Prague in Bohemia. He is now at the head of the Meisterschaft School in Vienna. He has only one eye, as he sustained the loss of his other eye by the snapping of a wire E string with which he was experimenting; but I might add in parenthesis that he can see more with that eye than most violin teachers could with twenty. He became" — from OCR (read_as: ocr)

13. Edward, KINNEY scan page 93, line 8 draft record
14. Modern, Nowadays scan page 90, line 9 mention only — no record here yet

    Nowadays there is a tendency towards good music in the choice of violin compositions for the public, as opposed to shallow compositions composed principally for technical display. Many good things have been resurrected from the earlier days of violin playing by such violinists as Kreisler, Burmester, Elman, Ysaye and others. Kreisler frequently plays the 22d Concerto by Viotti in public, and the last named violinists are often heard in pieces by Tartini, Veracini, Nardini, and many other early writes for the violin. Will Burmester, the famous German violinist, has edited and adapted a great many of these earlier works for modern requirements. At frequent intervals the critics make the discovery that the concertos of Paganini, his Witches Dance, Carneval of Venise, God Save the Queen variations, etc., and all pieces of similar type, are musical rubbish and are to be abandoned by the best violinists. The prediction has not come true and does not seem in any danger of coming true. As long as such pieces as these create a furore with the public they will be played, since, — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 1: "MODERN TENDENCIES IN VIOLIN PLAYING" — from OCR (read_as: ocr)

15. Jacques, Our scan page 189, line 9 mention only — no record here yet

    Our eye is now directed to the Cremonese School. We find here a family, the Amati's, which holds our attention for almost one hundred and fifty years. Beginning a little later than the Brescian School, the art progresses through the different members of the family to the point where the greatest violin maker, Antonio Stradivari, appeared. — trade term as printed: "violin maker" — surname inherited from the headword at line 3: "JACQUES THIBAUD" — from OCR (read_as: ocr)

16. Editor, I scan page 55, line 10 mention only — no record here yet

    I am a violinist and recently a copy of The Violinist came into my hands. It was the April number, 1911. On page 39 I find a challenge to violinists and have taken it up. I am sending you my answer. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 9: "Editor The Violinist:" — from OCR (read_as: ocr)

17. Bryant's, Correspondence scan page 89, line 10 mention only — no record here yet

    Bryant's Correspondence Course for Teachers and Violinists brings to YOUR home the latest and most approved method of the world's greatest Violin Teachers. It is so simply and clearly written that a child can understand; eliminates all unnecessary work and furnishes all material for teacher and pupil. — trade term as printed: "Violinists" (near match, edit distance 3) — from OCR (read_as: ocr)

18. Harvard, A scan page 47, line 11 mention only — no record here yet

    A French collector is the owner of one of the most curious violins known. It formerly belonged to Paganini and at first sight merely presents the appearance of a misshapen wooden shoe. Its history is curious. During the winter of 1838 Paganini was living in the maison de santé called "Les Néothermes," at 48, Rue de la Victoire, Paris. One day a large box was brought there by the Normandy diligence, on opening which was found enclosed two inner boxes, and, wrapped carefully in several folds of tissue paper, a wooden shoe; also a letter stating that the writer, having heard much of the wonderful genius of the violinist, begged as a proof of his devotion to music that he would kindly play in public on the oddly constructed instrument enclosed. At first Paganini felt this to be an impertinent satire and mentioned the facts (with some show of temper) to his friend the Chevalier de Baride. The latter took the shoe to a violin maker, who converted it into a remarkably sweet toned instrument. Paganini was pressed to try the shoe violin in public. He not only did so, but performed upon it some of his most difficult fantasias, which facts (in the handwriting of the great violinist) are now inscribed on the violin. — trade term as printed: "violin maker" — surname inherited from the headword at line 7: "HARVARD." — from OCR (read_as: ocr)

19. Walkden, A scan page 207, line 11 mention only — no record here yet

    A DELUGE OF VIOLINISTS — trade term as printed: "VIOLINISTS" (near match, edit distance 3) — surname inherited from the headword at line 7: "WALKDEN A PUPIL OF BRODSKY" — from OCR (read_as: ocr)

20. Walkden, Announcements scan page 207, line 13 mention only — no record here yet

    Announcements are made that all the violinists who visited us last season will repeat their concerts this year, and so we will have the pleasure of listening again to Kreisler, Ysaye and the others. Last season Ysaye was handicapped by the poor accompaniment of the Boston Opera House Orchestra, and I doubt very much whether he will risk it again this season. It seems to me that the majority of people prefer hearing a violinist with piano accompaniment. It gives the instrument a better chance and its tonal qualities can be better judged than when accompanied by an orchestra which often overpowers the violin. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 7: "WALKDEN A PUPIL OF BRODSKY" — from OCR (read_as: ocr)

21. Dec, One scan page 70, line 14 mention only — no record here yet

    Dec. 7.—One of the most widely known violin manufacturers in the world, Robert Beyer, has just declared his insolvency. He was supposed to be a millionaire. Unfortunate speculations in American copper stock are blamed for his losses. — trade term as printed: "violin manufacturers" — from OCR (read_as: ocr)

22. Work, A scan page 47, line 15 mention only — no record here yet

    A MESSAGE TO VIOLINISTS, BY N. E. BAKER — trade term as printed: "VIOLINISTS" (near match, edit distance 3) — surname inherited from the headword at line 13: "WORK IT OFF" — from OCR (read_as: ocr)

23. Editor, Reading scan page 66, line 15 mention only — no record here yet

    Reading the very interesting article on "The Modern Violin," by T. H. Mann in the November number of THE VIOLINIST, reminded me that I had not expressed my appreciation to the American Guild of Violinists, who by their votes (in Contest of Old and New Violins, held at their National Convention in Chicago, June 13-15, 1912,) awarded the first honors to a violin of my make, in competition with so many splendid specimens of ancient and modern art. — trade term as printed: "Violinists" (near match, edit distance 3) — surname inherited from the headword at line 13: "Editor THE VIOLINIST:" — from OCR (read_as: ocr)

24. St, LOUIS CHAPTER scan page 59, line 18 mention only — no record here yet

    ST. LOUIS CHAPTER OF AMERICAN GUILD OF VIOLINISTS ENTERTAIN FRITZ KREISLER — trade term as printed: "VIOLINISTS" (near match, edit distance 3) — from OCR (read_as: ocr)

25. Minneapolis, Friday scan page 80, line 18 mention only — no record here yet

    Friday evening, November 22, marked the third symphony concert of the Minneapolis Orchestra this season. The evening was one of great inspiration and enjoyment. Efrem Zimbalist, that prince of violinists, presented the Glazounow Concerto for violin and orchestra. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 17: "MINNEAPOLIS" — from OCR (read_as: ocr)

26. Ulbrich, Tatter scan page 109, line 20 draft record
27. Joseph, Mr scan page 82, line 21 mention only — no record here yet

    Mr. and Mrs. Adolph Hahn, violinists, will give the second of the series of five musicales to be given by Mrs. H. E. Talbott. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 19: "Joseph Cortez, a Chicago violinist, with the assistance of other artists, gave a recital at the home of Mrs. John R. Mann in honor of Angelo Cortez, a young harpist, who appeared as soloist with the Cincinnati Symphony Orchestra last month." — from OCR (read_as: ocr)

28. Mr, Carl scan page 207, line 21 mention only — no record here yet

    Mr. Carl Barleben, late first violin of the Symphony Orchestra, will travel next season with the Evaline Scotney Concert Company. Mr. Barleben is well known as one of our best violinists and bears a reputation in Europe as a virtuoso of the first rank. — trade term as printed: "violinists" (near match, edit distance 3) — from OCR (read_as: ocr)

29. Francis scan page 213, line 23 mention only — no record here yet

    and other famous violinists are playing — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 22: "Francis Macmillen, Efram Zimbalist, Leon Sametini, Nicoline Zedeler, Albin Steindel" — from OCR (read_as: ocr)

30. Henrietta, Lichtenstein scan page 59, line 24 mention only — no record here yet

    Henrietta Lichtenstein, who served at the reception, afterwards presented Kreisler with a rose, saying, "The American Guild of Violinists present this rose to you as a token of their great admiration." Kreisler then said, "Did you make up that little speech yourself, little girl?" Henrietta was wise enough not to say anything! Kreisler in his talk with us, deprecated the fact that so much stress is being laid on mechanical dexterity, deploring the practice of repeating a passage over and over a hundred times. — trade term as printed: "Violinists" (near match, edit distance 3) — from OCR (read_as: ocr)

31. Efrem, Pupils scan page 120, line 25 mention only — no record here yet

    Pupils of the same master—Leopold Auer of the St. Petersburg Conservatory—these violinists have acquired their skill in much the same method, even though one is essentially emotional while the other's tendency is toward classicalism. Already possessed of a fortune running into five figures, Elman is heading steadily toward much greater riches and he is saving a fair share of his earnings, which approximate $60,000 annually. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 23: "Efrem Zimbalist and Mischa Elman were both born in Russia, where they knew comparative poverty prior to the time their instrumental proficiency gained financial ease of mind and physical comforts." — from OCR (read_as: ocr)

32. Ulbrich, Tatter scan page 93, line 27 draft record
33. Interesting, Copies scan page 107, line 27 mention only — no record here yet

    Copies made of any and all famous models. Several copies of Strad, Guarnerius, Guadaquini, Maggini and other models on hand. Violin wood of the best—all varieties, for sale to violin makers. For circulars and further particulars, address — trade term as printed: "violin makers" — surname inherited from the headword at line 24: "Interesting Catalogue Sent Free." — from OCR (read_as: ocr)

34. Editor, Am scan page 54, line 33 mention only — no record here yet

    Am playing with 20-30 violinists in a string band here at the University and I have promised to loan the "Analysis and Interpretation of Violin Compositions" to them—will also hand them some copies of THE VIOLINIST. I think some months ago I sent you a list of violinists here that ought to take THE VIOLINIST magazine. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 28: "Editor THE VIOLINIST:" — from OCR (read_as: ocr)

35. Mr, Oettinger scan page 54, line 39 mention only — no record here yet

    Mr. Oettinger, of Boston, wrote me about a new instrument that is being made there, called the "Choralcello," and of the tests that had been made of woods for sound purposes. He said acousticians and violin makers were greatly surprised at the results. — trade term as printed: "violin makers" — from OCR (read_as: ocr)

36. National, Association scan page 55, line 44 mention only — no record here yet

    National Association of Amateurs, National Federation of Artists, Academy of Violinists. — trade term as printed: "Violinists" (near match, edit distance 3) — from OCR (read_as: ocr)

37. Geo, Recently scan page 54, line 46 draft record
38. Sizing, If scan page 81, line 47 mention only — no record here yet

    If you are a Violin maker do not fail to send for book — trade term as printed: "Violin maker" — surname inherited from the headword at line 44: "Sizing: Amber Yellow" — from OCR (read_as: ocr)

39. Studio scan page 160, line 77 mention only — no record here yet

    vention of the American Guild of Violinists—Catalogue and descriptive literature— — trade term as printed: "Violinists" (near match, edit distance 3) — surname inherited from the headword at line 74: "507 Studio Bldg. KANSAS CITY, MO." — from OCR (read_as: ocr)

40. Edward, KINNEY scan page 93, line 8 draft record
41. Oswald A. Schilbach scan page 95, line 2 mention only — no record here yet

    Violin Maker — trade term as printed: "Violin Maker" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

42. WALTER SOLON GOSS scan page 92, line 25 draft record
43. SCHMIDT BROS. CO. scan page 160, line 26 draft record
44. Hans Tietgen scan page 107, line 31 mention only — no record here yet

    VIOLIN MAKER — trade term as printed: "VIOLIN MAKER" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

45. CHARLES B. STEVENS scan page 107, line 54 mention only — no record here yet

    VIOLIN MAKER, DEALER AND REPAIRER — trade term as printed: "VIOLIN MAKER" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

46. CHARLES B. STEVENS scan page 160, line 62 mention only — no record here yet

    VIOLIN MAKER, DEALER AND REPAIRER — trade term as printed: "VIOLIN MAKER" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

47. Wildman, L. P. scan page 92, line 7 mention only — no record here yet

    L. P. WILDMAN Artist Violin Maker and Dealer—Established 1870 — trade term as printed: "Violin Maker" — name as printed read by a reviewer from the page: "Wildman, L. P." — the machine read this line as "L. P. WILDMAN" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

48. Knopf, H. R. scan page 93, line 18 mention only — no record here yet

    H. R. KNOPF ARTISTIC VIOLIN AND BOW MAKER — trade term as printed: "BOW MAKER" — name as printed read by a reviewer from the page: "Knopf, H. R." — the machine read this line as "H. R. KNOPF" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

49. Knopf, H. R. scan page 109, line 1 mention only — no record here yet

    H. R. KNOPF ARTISTIC VIOLIN AND BOW MAKER — trade term as printed: "BOW MAKER" — name as printed read by a reviewer from the page: "Knopf, H. R." — the machine read this line as "H. R. KNOPF" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

50. Terrell, W. H. scan page 108, line 19 mention only — no record here yet

    VIOLIN MAKER — trade term as printed: "VIOLIN MAKER" — name as printed read by a reviewer from the page: "Terrell, W. H." — the machine read this line as "W. H. TERRELL" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

51. Kretzschmar, H. A. scan page 107, line 49 mention only — no record here yet

    H. A. KRETZSCHMAR Violin Maker and Importer — trade term as printed: "Violin Maker" — name as printed read by a reviewer from the page: "Kretzschmar, H. A." — the machine read this line as "H. A. KRETSCHMAR" — surname not established — the line carries a trade term but no surname resolves to it — two OCR passes disagreed here; the reading above is the one the reviewer chose from the readings recorded with the candidate — from OCR (read_as: ocr)

52. L. P. WILDMAN scan page 107, line 26 mention only — no record here yet

    L. P. WILDMAN Artist Violin Maker and Dealer—Established 1870 — trade term as printed: "Violin Maker" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

53. L. P. WILDMAN scan page 160, line 49 mention only — no record here yet

    L. P. WILDMAN Artist Violin Maker and — trade term as printed: "Violin Maker" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)