Violinist Research Papers - Academia.edu (original) (raw)

The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute was the superiority of one of the performers in terms of interpretation and mastery of playing a given instrument, were increasingly growing in importance. The eighteenth century, in which public concert life flourished and demand for virtuoso instrumentalists consequently grew, brought a genuine boom in musical duels. During that era, musical duels were not only confrontations between individual musicians or their patrons, but also important contributions to the exchange of experiences between artists,

- by Ewa Chamczyk
- •
- Italian Music, Violinist, Pietro Antonio Locatelli, Violin Music

Kaprysy Niccolò Paganiniego – jedne z najbardziej wymagających w literaturze wiolinistycznej utworów – wciąż stanowią wyzwanie dla wielu współczesnych skrzypków. Nie inaczej było w 1820 roku, gdy zostały opublikowane. Dwadzieścia cztery popisowe miniatury niewiele bowiem miały wspólnego z ćwiczebnym charakterem, leżącym u podstaw tego gatunku. Przeciwnie, stanowiły wirtuozowski popis ich twórcy, który miał pozostać niedościgniony.
Kaprysy Paganiniego nie zajmowały ważnego miejsca w repertuarze koncertowym Henryka Wieniawskiego. Były mu jednak dobrze znane. Niezwykle cenne źródło informacji w tym zakresie stanowi egzemplarz Kaprysów przechowywany w bibliotece Conservatoire de Musique w Brukseli, w którym ślad pozostawił po sobie polski skrzypek. Wydanie to stało się przyczynkiem do podjęcia refleksji na temat źródeł młodzieńczej fascynacji Wieniawskiego stylem gry Niccolò Paganiniego – omówiono pokrótce edukację polskiego skrzypka w klasie Josepha Lamberta Massarta w Konserwatorium Paryskim, jego zainteresowanie grą Apolinarego Kątskiego oraz pobyt u Karola Lipińskiego w Dreźnie. Podjęto także wątek kaprysów Paganiniego w pracy pedagogicznej Wieniawskiego w konserwatoriach w Petersburgu i Brukseli. Punkt zasadniczy artykułu stanowi omówienie egzemplarza Kaprysów z Brukseli, zarówno pod względem historii źródła, jak i zakresu ingerencji Wieniawskiego w pierwotną materię wydania. Analiza ta dostarcza nam niezwykle cennej wiedzy na rzadko podejmowany w literaturze przedmiotu temat stylu wykonawczego Henryka Wieniawskiego.

- by Ewa Chamczyk
- •
- Violinist, 19th Century Music, Nicolo Paganini, Violin Music
- by Franjo Ksaver Kuhač
- •
- Violinist, Virtuoso, Croatian Music, Music Romanticism

La storia del violino realizzato nel 1728 da Antonio Stradivari e dai figli Francesco ed Omobono, in uso a Giovanni Battista Viotti e poi ceduto nel 1794 a Domenico Dragonetti (che lo lascia in prestito anche a Niccolò Paganini) e da quest'ultimo legato alla sua morte, avvenuta nel 1846, alla violinista diciannovenne Teresa Milanollo. Il violino porta il nome di «Dragonetti-Milanollo» dai suoli due principali proprietari.

- by Luigi Botta
- •
- Music, Music History, Violin, Violinist

Giuseppe Tartini fu un valente musicista della Padova del '700, tuttavia semi-sconosciuto alla massa. Anche la letteratura ha, non di rado, restituito di lui un'immagine densa di scorrettezze. Cerchiamo allora di risalire tra le pieghe della sua affascinante storia, che si snoda attraverso le righe di questo articolo, con i suoi lati oscuri e geniali. Dalla burrascosa vita privata alla scoperta del "terzo tono" musicale, dal "Codice segreto" che egli solo pareva capire alla ricognizione della sua tomba, che ha rivelato incredibili sorprese. Un mistero che solo le indagini scientifiche degli ultimi decenni hanno svelato.

- by Marisa Uberti
- •
- Violinist, Tartini, Giuseppe Tartini, Mistery

This study aims to analyze and catalog all the violin works of Samuel Coleridge-Taylor, a composer from the late 1800s who was prominent during his time, but has been scarcely remembered. This catalog provides important information about his works for the violin, and attempts to increase the dissemination of Coleridge-Taylor's music and allow it to be increasingly performed, as violinists incorporate his pieces into their repertoire. An overview of Coleridge-Taylor's historical importance, including discussions about the African influences in his compositions as well as his contributions to Pan- Africanism, is provided in Chapter II. The American virtuoso violinist Maud Powell is also discussed in Chapter III, given her significant impact on the composer’s career.
Previous research indicates that Coleridge-Taylor's primary instrument was the violin and that he wrote a considerable amount of pieces for the instrument. The most complete catalog of Coleridge-Taylor's works up to this point was written by Dr. Dominique-René de Lerma, described in Chapter IV; however, not all of his violin works are present. The methodology for the groundwork of this study, which reviews and updates the Lerma's catalog, is given in Chapter V. The Thematic Catalog of Violin Works is presented in Chapter VI, with important information to help violinists incorporate these pieces into their repertoire, followed by the complete list of violin works by difficulty level, in Chapter VII. More pertinent materials are given in the four Appendices, such as relevant correspondences and compositions' prefaces.
The findings of this study show that while the majority of Coleridge- Taylor's works for the violin are at an intermediate level, a small number are for beginners, and some are truly difficult level masterpieces. As shown in the Conclusion, after careful analysis, it can be inferred that Coleridge-Taylor’s violin works deserve to be known, incorporated into the repertoire of modern violinists, and performed more frequently.

- by Leonardo Rosario
- •
- Music, Music History, Pan Africanism, Violin

Abbiamo visitato la Musikhochschule di Mannheim, un'istituzione di media grandezza che attrae studenti da varie parti del mondo, in cui la qualità dell'insegnamento si accompagna ad una presenza musicale sul territorio. Interviste al dipartimento di composizione, ai docenti Sidney Corbett (composizione) e Marco Rizzi (violino), ad un gruppo di studenti.

- by Carla Di Lena
- •
- Composition Studies, Musical Composition, Composition (Music), Music Composition

Violinista di straordinarie doti tecniche e musicali, Giuseppina Procida De Rogatis fu tra le principali protagoniste della vita musicale napoletana e italiana tra le due guerre. Primo violino del 'Quartetto Napoletano', primo violino dell'orchestra del Teatro San Carlo, prima insegnante di 'Quartetto' presso il Conservatorio San Pietro a Majella, fu dedicataria di numerose composizioni di autori italiani e stranieri. parte della sua biblioteca musicale è conservata presso la biblioteca del Conservatorio di musica di Avellino

- by Tiziana Grande
- •
- Violinist

Sofia Gubaidulina’s Dancer on a Tightrope (Der Seiltänzer, 1993) for violin and piano is an excellent example of the sonic capabilities of both instruments. To convey the balance and uncertainty of a circus act, Gubaidulina makes ample use of rhythmic variation, flexible melodic gestures, compound meters, dissonance, and indeterminacy in notation of musical time. Due to the intricate nature of both parts, this can be a difficult work to perform accurately. This paper is an accompanying document to the score to explain notations, suggest performance techniques for both instruments, and provide a thorough analysis of the complete work. Students of Gubaidulina’s music can find numerous studies detailing her biography as a Soviet and post-Soviet composer. There are many dissertations on her string works, including the string quartets and string trio. However, there is no performer’s guide or existing study that would provide insight to Dancer. Most of the existing literature on Gubaidulina is not based on sketches but relies on analysis of published sources. In researching this document, I drew upon the manuscript collection for Dancer on a Tightrope housed at the Paul Sacher archives in Basel, Switzerland. I compare sketches with the published score and analyze the work’s structure, melodic aspects,
harmony, timbre, and practical applications of the extended notation. I will also compare Dancer on a Tightrope to Gubaidulina’s works from the same period, violin writing, and other chamber music. Many of the rhythmic and pitch ambiguities in the published score will be clarified by a sketch study of the piece. For assistance with piano notation and performance, I suggest techniques for the most careful way to play inside the instrument to avoid damage. I contextualize Gubaidulina within a Soviet and international context. It is essential to view her work within a broader twentieth-century framework, her life as a composer in the USSR, and in light of broader socio-political trends. Gubaidulina is one of the foremost Soviet composers who has earned international recognition. This performer’s guide will advance and encourage performances of Dancer on a Tightrope and help disseminate knowledge about this work.

- by Alexandra Birch
- •
- Musicology, Russian & Soviet Art, Violin, Culture in the Soviet Union

En el presente artículo se aporta nueva información sobre el violinista catalán Andrés Fortuny Fábregas (Sant Martí de Provençals, 1835 - Barcelona, 1884). Este destacado y poco conocido intérprete constituye, por una parte, un ejemplo del perfil de algunos músicos de la segunda mitad del siglo xix, versátiles instrumentistas, en ocasiones docentes, también arreglistas y compositores que, marcados por la necesidad, se dedicaron a actuar en los espacios de ocio con demanda de música incorporados a la nueva realidad urbana. Entre ellos, y además de los teatros, deben reseñarse los salones de sociedades de recreo y, sobre todo, los florecientes cafés convertidos en espacios para la programación cultural y artística. Por otra parte, hallamos en Andreu Fortuny ciertas peculiaridades que le confirieron una personalidad propia como violinista, tales como la de vivir de forma itinerante y bohemia, o su peculiar estilo interpretativo, que lo convirtieron en un original instrumentista. Las numerosas referencias hemerográficas sobre su actividad artística muestran, además de lo señalado, la considerable popularidad y reconocimiento obtenidos gracias a sus conciertos, en teatros, también en el ámbito cortesano, así como en otros espacios de ocio de carácter popular frecuentados tanto por el público en general como por el especializado.

- by Jorge Ramón Salinas
- •
- Musicology, Violinist, Historia de la Música en España, Siglo XIX
- by Marie Cornaz
- •
- Musicology, Violinist, 19th Century Music

Komunikat stanowi prezentację najnowszych wyników badań nad życiem Apolinarego Kątskiego. Dotyczy daty urodzenia skrzypka, która dotychczas nie została w sposób jednoznaczny określona. Już za życia Kątskiego, zarówno w prasie, jak i literaturze przedmiotu funkcjonowało kilka dat i miejsc, w których wirtuoz mógł przyjść na świat. Autorka wskazuje wszelkie znane terminy, kreśląc tym samym obszar poszukiwań metryki chrztu świętego Kątskiego. Ponadto omawia proces dotarcia do nieznanych dotąd dokumentów – metryk Apolinarego i Władysława Kątskiego, którego nazwisko nie pojawiało się w badaniach nad losami muzycznej rodziny Kątskich.

- by Ewa Chamczyk
- •
- Violinist, 19th Century Music, Birth Certificates, Apolinary Kątski
- by Franjo Ksaver Kuhač
- •
- Violinist, Virtuoso, Croatian Music, Music Romanticism
- by Elsa Martinelli
- •
- Violinist, Legendary violinists

The Florentine musician Giuseppe Maria Tanfani has so far remained obscure to scholars for a trivial oversight in the catalog of the Biblioteca Nazionale of Florence, which transformed his surname into 'Fanfani': looking for the wrong name, it was impossible to identify even his dates of birth and death. The correction of the spelling error now allows finally to trace a good amount of information in archive documents, letters and newspaper articles of the time, useful for composing a multi-faceted portrait. It turns out that Giuseppe Maria Tanfani lived in Florence from 1689 to 1771, where he was «aiutante di camera» of Gian Gastone de' Medici and «musicien de la chambre» under the Lorraine. A violinist appreciated at home and abroad, he was active in the major Florentine ecclesiastical and theatrical institutions (he is remembered as the orchestra's first violin who gave the première of «Ginevra principessa di Scozia» by Antonio Vivaldi at the Teatro della Pergola), and enjoyed the esteem from Quantz, Pisendel and other travellers who could hear him in Florence. He composed a small group of pleasing sonatas for violin and bass, and was also a luthier with an innovator and experimenter spirit. With his «violin tetrarmonico», of which we have a detailed description published after his death, he wanted to perfect the violin, endowing it with a fifth grave string, with resonant strings that corresponded to the whole chromatic range, and especially a mechanism that allowed the player to command with the chin - therefore without ceasing to play - a mute which gave the violin four different sonorities. Certainly his curious invention remained unapplied, but nevertheless Tanfani can be seen as an emblematic representative of the renewed experimentalism with which the musicians of the eighteenth century expressed their full confidence in a magnificent future of their art.

- by Bettina Hoffmann
- •
- History of Florence, Baroque Music, Violin, Violinist

Preface to PABLO DE SARASATE: Spanish Dances for Violin and Piano. Peter Jost (Editor), Ingolf Turban (Fingering and bowing for Violin)
Urtext Edition, paperbound with marked and unmarked string part.
G. Henle Verlag, 2017
HN 1370 · ISMN 979-0-2018-1370-7
Just like many other violin virtuosos of the 19th century, Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folk music traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness, and are undoubtedly among his most successful compositions. In masterly fashion, Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time.

- by María Nagore-Ferrer
- •
- Spanish Music, Violin, Violinist, Violin Performance

Estudio de la actividad de los violoinistas Andrés Gaos y América Montenegro en Montevideo entre 1896y 1899 y sus relaciones con el Teatro Solis y con el Conservatorio La Lyra. Incluye información sobre la empresa musical Canuto Berea y... more

- by Xoan M Carreira
- •
- Violinist, Belle Epoque, José Gaos, Música uruguaya

Since the creation of the Conservatoire in Paris, in the academic framework, the most important masters of every interpretative school have selected their students' repertoire based on two criteria: they either used pieces they knew and had analysed, or looked for available material which would be useful to complete their teaching. The personality of these first violin masters, added to the force of habit, has resulted in the systematic use of a fairly standardised corpus of musical works, which might not meet current needs in violin teaching, since during the 20 th century, both collections of studies and violin methods were still being composed. After considering the current acts on syllabus design for musical teaching, regarding the teaching of instruments I will put forward the hypothesis that on the one hand, studies for solo violin composed in the 20 th century are not being used systematically, because they do not deal with working on different styles. On the other hand, there are studies composed in the 20 th century in which we can find the techniques explained in these documents. Therefore, this thesis proposes a revision of this material, as well as a detailed examination of all the parameters that can be observed on a score, based on analysis of a selection of studies for solo violin published in the 20 th century. Parallel to this, its aim is to make the highest number of studies widely known, through a database which enables searches by country, date, author, technical principle and level of difficulty. Moreover, the musicological work carried out in this thesis offers a novel classification, which responds to the constituent elements of music according to La Rue (2007), which refer to sound, harmony, melody and rhythm. The classification is also ordered by level of difficulty. This innovative model could be used by other violinists as reference. Thus, I intend to systematise said publications, promulgate their use and offer a detailed thorough analysis of the basis of violin technique, contributing to the expansion of violin repertoire based on criteria like analysis, study and comparison.

- by Ana Gutiérrez Martín
- •
- Musicology, Violin Pedagogy, Violinist

Estudio de la actividad del violinista Andrés Gaos en Cuba y México entre 1893 y 1895

- by Xoan M Carreira
- •
- Galician Studies, Violinist, Belle Epoque, Circo Teatro

This paper examines the phenomenon of the “Jewish violin” through the life and career of Michael Joshua Banner (1868-1941), a Sacramento- born violin prodigy. Introduced to the instrument by his immigrant father, Banner rose to early prominence on the world stage. Although his promising career was ultimately hampered by unspecified health issues and early retirements, he nevertheless deserves more than the minimal attention given to him. Beginning with an examination of late nineteenth- and early
twentieth-century Jewish musical activities, continuing with an overview of esteemed Jewish violinists of Northern California, and culminating with a professional biography pieced together from newspapers and archival material, this paper aims to elucidate both why Banner’s name is nearly forgotten and how he was emblematic of Jewish violinists of his generation.

- by Jonathan L Friedmann
- •
- Jewish Music, Violinist, Jewish Cultural Studies, Jewish American History
- by Jadran Jeić
- •
- Music History, Croatian History, Violinist, Vienna

The tradition of musical duels harkens back to the days of the ancient
Greece. One of the earliest examples of a musical rivalry is the myth of
Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the
battles of the ancients served as an inspiration for the next generations of
musicians. In each era, they took a different form, tailored to the prevailing
norms and customs. In the 16th century the singing competitions of
the Meistersingers became extremely popular, and along with the development of instrumental music in 17th century, duels, in which the main subject-matter of the dispute was the superiority of one of the performers
in terms of interpretation and fluidity in playing a given instrument, gained
increased importance.
A real boom of musical duels did not came along until 18th century, in
which public concerts bloomed and along with it, the demand for virtuoso
instrumentalists increased. During that era, musical duels were not only confrontations between specific musicians or their patrons, but also
contributed to the exchange of experiences between the artists and the
spread of musical news and the works themselves. Additionally, the battles
symbolised a confrontation of musical styles, in particular the Italian
and French styles.
Jean-Marie Leclair, known as the French Corelli, is considered by many researches as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli is justifiably considered the Paganini of the 18th century. Their music has shared roots in the tradition
of the Italian violin school, yet it differs both in terms of its formality
as well as expressiveness. At first glance the French music of J.M. Leclair
bears the imprint of standards of the violin concerts of Antonio Vivaldi,
whereas the typically Italian works of P.A. Locatelli significantly transcend
the norms accepted at that time in terms of requirements imposed on
violinists. We know that the first confrontation of the violinists took place
on 22 December 1728 at the manor in Kassel. However, some speculate that
it was not the only meeting of the musicians. The preserved information
suggest that both of them stirred strong emotions among the audiences
with their playing.
The profiles of the aforementioned composers, despite their immense
importance on the development of violin music, still remain underrated.
This article outlines the short story of musical duels and sheds light on
violin concerts in the first half of the 18th century. Additionally, the author
made an attempt of a comparative analysis of selected violin concerts,
i.e. Locatelli’s Violin Concerto in G major, Op. 3, No. 9 and Violin Concerto in
A minor Op. 7, No. 5 by Jean-Marie Leclair’s from a similar artistic period of
both composers and close in terms of the time of their creation to their
famous duel.

- by Ewa Chamczyk
- •
- Italian Music, Violinist, Italian Baroque Music, Pietro Antonio Locatelli

Recensión del libro "Andrés Gaos" de Rosa María Fernández García, Santiago de Compostela: Xunta de Galicia, 2005

Notoriously reticent about his early years, violinist Jascha Heifetz famously reduced the story of his childhood to "Born in Russia. First lessons at 3. Debut in Russia at 7. Debut in Carnegie Hall at 17. That's all there is to say." Tracing his little-known upbringing, Jascha Heifetz: Early Years in Russia uncovers the events and experiences that shaped one of the modern era's most unique talents and enigmatic personalities. Using previously unstudied archival materials and interviews with family and friends, this biography explores Heifetz's meteoric rise in the Russian music world—from his first violin lessons with his father, to his studies at the St. Petersburg Conservatory with the well-known pedagogue Leopold Auer, to his tours throughout Russia and Europe. Spotlighting Auer’s close-knit circle of musicians, Galina Kopytova underscores the lives of artists in Russia’s "Silver Age"—an explosion of artistic activity amid the rapid social and political changes of the early 20th century.

- by Dario Sarlo
- •
- Music, Music History, Soviet History, Russian Music

Нассіб аспірант Національного педагогічного університету імені М.П. Драгоманова м. Київ, Україна Анотація На підставі компетентнісного та особистісноорієнтованого наукових підходів, а також і педагогічних принципів у статті визначені та теоретично обґрунтовані педагогічні умови формування виконавських умінь майбутніх педагогів-скрипалів. Ключові слова: педагогічні умови, педагог-скрипаль, виконавські уміння скрипаля.

- by naseeb radwan
- •
- Performing Arts, Violin Pedagogy, Violin, Violinist

Apolinary Kątski (1826-1879) to postać nietuzinkowa i budząca spore kontrowersje. Na kartach historii zapisał się jako wybitny skrzypek-wirtuoz, niezwykle dbający o własną promocję, a także jako założyciel i wieloletni dyrektor Instytutu Muzycznego. Piastował on również posadę Skrzypka Solisty Jego Imperatorskiej Mości w Petersburgu oraz odnosił sukcesy artystyczne podczas wielokrotnych podróży, m.in. po Rosji, departamentach Francji, prowincji Królestwa Polskiego i Wielkopolsce, a także podczas koncertów w takich miastach jak Warszawa, Londyn, Paryż, Bruksela czy Wilno. Pomimo to, jego działalność w charakterze wirtuoza i kompozytora dzisiaj wydaje się być zapomniana. Obecny stan badań pozwala jednak na coraz pełniejsze odtworzenie biogramu artysty.Apolinary Kątski - jedno z pięciorga cudownych dzieci Grzegorza Kątskiego i Anny z Różyckich, podbijający muzyczne sceny Europy, przybył do Paryża w 1836 roku, mając zaledwie 10 lat. Ten okres działalności artystycznej skrzypka wymagał dotychczas największego wyjaśnienia. Znane były zaledwie graniczne daty jego pobytu we Francji (1836-1848), termin pierwszej publicznej prezentacji w Paryżu 1 lutego 1837 roku, a także szczegóły wizyty w Londynie w 1838 roku oraz lista potencjalnych miast francuskich, w których mógł on koncertować. Najwięcej niewiadomych pozostawiał jednak czas po powrocie Kątskiego z Anglii w 1838 roku, w niewielki tylko sposób udokumentowany na łamach prasy francuskiej. Badania nielicznie zachowanej korespondencji wirtuoza, a także kwerenda prasy zagranicznej pozwoliły odtworzyć nieznane losy Apolinarego Kątskiego w latach 1838-1848 oraz umożliwiły uzupełnienie listy jego dotychczas znanych kompozycji.Niniejszy artykuł stanowi prezentację wyników moich badań dotyczących życia i twórczości Apolinarego Kątskiego oraz próbę umiejscowienia jego osoby w panoramie muzycznej Francji XIX stulecia.

- by Ewa Chamczyk
- •
- Violin, Violinist, Virtuoso, 19th Century Music
- by Guido Olivieri
- •
- Baroque Music, Violinist, Reign of Naples History

"Les archives du droit des pauvres - taxe sur les événements artistiques publics instaurés sous la Révolution - permettent aujourd'hui de mieux connaître la vie musicale parisienne de la première partie du XIXe siècle. À partir des registres tenus par l'administration chargée de percevoir ce droit, nous connaissons par exemple, pour les concerts publics organisés à Paris entre 1822 et 1848, la date des événements, le lieu où ils se sont tenus, le nom de l'organisateur du concert et des détails relatifs à leur recette. Ces informations ont été regroupées dans un répertoire de plus de 3000 entrées - en cours de parutions (dans le cadre de l'ouvrage Archives du concert) - dont l'exploitation peut nous renseigner sur certaines catégories de musiciens, notamment les violonistes qui représentent 13% des musiciens identifiés dans le répertoire (93 sur 687), ce qui situe ce groupe en troisième position d'un palmarès établi selon l'instrument joué (derrière les chanteurs - 29% - et les pianistes - 24%). Cet article s'intéresse à trois aspects : l'évolution générale du concert à Paris du milieu de la Restauration à la fin de la monarchie de Juillet ; la place des violonistes dans cette évolution ; le parcours des violonistes à Paris.
_________
Scruting of the extant documents issuing from the administration of the “Droit des pauvres” (taxation of public artistic events introduced during the French Revolution) allows us to learn more about Parisian musical life in the first part of the 19th century. From the registers kept by this administration, we know for example, the dates, venues, organizer's name and receipts details for public concerts in Paris between 1822 and 1848. This information has been arranged into a directory of more than 3000 entries that can inform us on certain categories of musicians, including the violinists who represent 13% of musicians identified in the index (93 on 687). This group is positioned third position in a list arranged according to the instrument played:in first place are the singers – 29% – in second place, pianists – 24%). This article focuses on three points: the evolution of the concert in Paris from the middle of the Restauration to the end of the monarchie de Juillet; the place of the violinists in this development; the composition of the group formed by the violinists and concert organisers. Particular importance is attached to places frequented by musicians; the frequency of concerts; the commercial success of the performances; and to the various subsets that can be observed among Parisian violinists, namely Conservatoire students, representatives of 'Belgian school', German musicians, Italian musicians, and so forth."

- by Etienne Jardin
- •
- Music History, 19th century France, 19th Century (History), Violin