Baker C Treatise

THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
THE INFLUENCE OF VIOLIN SCHOOLS ON PROMINENT

VIOLINISTS/TEACHERS IN THE UNITED STATES
By
Christian M. Baker
A treatise submitted to the

College of Music
In partial fulfillment of the
requirements for the degree of
Doctor of Music
Degree Awarded:
Fall Semester, 2005
The members of the Committee approve the treatise of Christian M. Baker

defended on October 11, 2005.
__________________________________
Eliot Chapo
Professor Directing Treatise
__________________________________
Carolyn Bridger
Outside Committee Member
__________________________________
Beth Newdome
Committee Member
__________________________________
Melanie Punter
Committee Member
The Office of Graduate Studies has verified and approved the above named
committee members.
ii
Music resembles poetry; in each

Are nameless graces, which no methods teach,
And which a master hand alone may reach.
Alexander Pope
iii
ACKNOWLEDGEMENTS
I would like to express appreciation to the violin teachers who were so kind to
respond to my questions via written questionnaire and telephone interview. Their
responses are the most essential component of this treatise. I would also like to thank my
committee members for their time and attention to this project, including Lubomir
Georgiev, who passed away before its completion, but who first recommended the topic
to me. I am particularly indebted to my wife, Michelle, and to Dr. Carolyn Bridger, for
their extensive help with the revisions.
I express appreciation to my parents, Gary and Cathy Baker, who have made
tremendous sacrifices to ensure that their children have the opportunity to study great
music. I thank my wifes parents, Jim and Nancy Bailey, who continually support and
encourage. Finally, a special word of appreciation to my wife and our three little boys
Clyn, Russell, and Hyrumfor all their love and patience during this lengthy test of our
endurance.
iv
TABLE OF CONTENTS
List of Respondents.............................................................................................................. vi
List of Tables ...................................................................................................................... vii
Abstract ...............................................................................................................................viii
INTRODUCTION ................................................................................................................1
1. THE INFLUENCE OF VIOLIN SCHOOLS: INDIVIDUAL RESPONSES ..................4
2. GENERAL RESPONSES AND CONCLUSIONS .........................................................45
3. A REPORT OF THE LITERATURE ADDRESSING VIOLIN SCHOOLS AND
PROMINENT INFLUENCES ON VIOLIN PEDAGOGY ................................................50
4. TABLES ..........................................................................................................................56
APPENDIX: Human Subjects Research Approval Letter ...................................................92
Informed Consent Form.................................................................................93
BIBLIOGRAPHY................................................................................................................94
BIOGRAPHICAL SKETCH ...............................................................................................98
LIST OF RESPONDENTS
1. Andres Cardenes ...............................................................................................................4

2. Charles Castleman ...........................................................................................................10
3. Glenn Dicterow................................................................................................................14
4. Bayla Keyes .....................................................................................................................16
5. Mikhail Kopelman ...........................................................................................................23
6. Oleh Krysa .......................................................................................................................26
7. Violaine Melancon...........................................................................................................29
8. William Preucil ................................................................................................................32
9. David Updegraff ..............................................................................................................34
10. Zvi Zeitlin ......................................................................................................................37
vi
LIST OF TABLES
1. Abbreviations and Designations in the Tables.................................................................56

2. Life Spans of Selected Violinists.....................................................................................57
3. Selected Pupil-to-Teacher Relationships .........................................................................61
4. Selected Teacher-to-Pupil Relationships .........................................................................70
5. Selected Prominent Violinists/Teachers at Music Schools, Conservatories
and Other Locations (Alphabetical by School)................................................................75
6. Selected Prominent Violinists/Teachers at Music Schools, Conservatories
and Other Locations (Alphabetical by Violinist/Teacher).............................................. 78
7. Significant Treatises on Violin Playing (Chronological by Publication Date)................86
8. Significant Treatises on Violin Playing (Alphabetical by Author)..................................88
9. Primary Sources Consulted for the Tables.......................................................................90
vii
ABSTRACT
This treatise was written in an effort to increase awareness among violinists of the
role and importance of violin schools in present-day performance and pedagogy. Over
time, the meaning and relevance of the term school (as it applies to violin playing and
teaching) has become increasingly ambiguous and debatable. The purpose of this study is
two-fold: 1) to determine the extent to which schools continue to affect prominent violin
teachers/performers in the United States today, and 2) to give an account of available
literature addressing the various schools of violin playing.
In order to enhance understanding of the current role that the various schools
assume in violin pedagogy, opinions from current and highly respected
teachers/performers were gathered in the form of telephone interviews and written
responses. Their individual responses comprise Chapter One. Chapter Two summarizes
their responses in more general terms. A report of relevant literature (Chapter Three)
includes information which will allow readers to educate themselves about the different
violin schools and prominent influences on violin pedagogy. A series of tables (Chapter
Four) provides a useful reference to many of the more prominent teacher-student
relationships, the relationships of those teachers to the schools where they were active,
and some of the most significant treatises on violin playing.
It is apparent from the interviews that current perspectives and opinions pertaining
to the influence of schools vary quite widely, even among renowned artists and teachers.
However, one may develop a discriminating sense of the importance of various schools in
the history of violin playing and teaching by studying the interviews and the sources
relevant to this topic.
viii
INTRODUCTION
Even while adherents to various schools teach their own versions of the correct
approach to violin playing, each must consider how it is that conflicting schools are able
to achieve equally impressive results, despite perceived faults inherent in other methods.
The phenomenon is not new, as superb artists have emerged from many different schools
(and from outside the schools) in the course of the past three centuries.
Before the twentieth century, schools were traditionally affiliated with the
location of influential teachers: for example, Giovanni Battista Viotti is recognized for
his teaching in Paris and Joseph Bhm for his work in Vienna. But even as early as the
seventeenth and eighteenth centuries, prominent violinists often traveled extensively and
taught in various locations. For instance, although Francesco Geminiani purportedly
belongs to the Roman School, he taught for many years in Dublin and London. Antonio
Lolli spent a significant amount of time in Germany, France, England, Scandinavia and
Russia, not to mention his native Italy. Other international travelers of influence from this
era include Gaetano Pugnani, Giovanni Battista Somis, Bartholomeo Campagnoli, LouisGabriel Guillemain, Giuseppi Tartini, Giuseppe Torelli and Pietro Locatelli, to name only
a few. As violin playing continued to expand and become increasingly cosmopolitan,
using location as a means of identifying a school steadily grew more problematic.
Frederick Neumann commented on the situation:
[A] comparison of the principles of . . . national schools . . . proved impossible . . .
because these national schools resist clear definition. What, for example should be
called the German School? The method of Spohr? Or Joachim? Or Flesch? . . .
The only thing they have in common is mutual disagreement. As a method the
Russian school is a myth. . .1
Professor D.C. Dounis had this to say:
1
Frederick Neumann, Violin Left Hand Technique (Urbana, IL: American String Teachers
Association, 1969), 8-9.
I would like to explode the myth about the existence of different schools of
bowing. There are no schools of bowing, such as French, Belgian, FrancoBelgian, German, Russian, etc. Bowing serves only in realizing and expressing
the musical thought, and the mechanics through which that thought is projected is
not a matter of nationality.2
Great pedagogues have always been held in high esteem, but perhaps the importance and
influence of the national schools that they allegedly established has declined over time.
In the twentieth century, distinguished performers and teachers were inclined to
disassociate themselves from schools of the past, possibly because these traditional
approaches were increasingly viewed as dogmatic. Consider the following statement by
Leopold Auer: I have no methodunless the pursuance of natural lines of development,
based on natural principles, be called a method.3 Jascha Heifetz said:
I believe people are a little over-zealous in observing certain rulesone position
according to a certain method, a different position according to another. People
ask me what method and style I use in bowing. I really havent any idea! I really
never have been able to find out what the so-called Auer method is, even though
I studied with him.4
When asked his opinion, Nathan Milstein replied:
To be frank with you, I doubt their importance. I have talked with other players
on the subject, and I feel it is nonsense to make a philosophy of the various styles.
We have a few great Belgian violinists, a number of Russian, French, etc., but to
my mind it has just happened so. Nothing else.5
When asked whether his method was essentially Russian or French, Ivan Galamian
answered, Partly Russian, partly French, and a good deal of my own.6 This
disassociation from schools of the past conceivably led Carl Flesch to begin his Art of
Violin-Playing with these words: The present work is not meant to be a School of
Violin-Playing in the current meaning of the term.7
Samuel and Sada Applebaum, With the Artists (New York: John Markert & Co., 1955), 273.
As quoted in Neumann, Violin Left Hand Technique, 8.
4
Applebaum, With the Artists, 43.
5
Ibid., 79.
6
Ivan Galamian, Principles of Violin Playing & Teaching, 2nd ed. (Englewood Cliffs, NJ:
Prentice-Hall, Inc., 1985), 123.
7
Carl Flesch, The Art of Violin Playing, trans. Frederick H. Martens, vol. 1 (New York: Carl
Fischer, 1924-1930), 3.
3
In general, teachers today do not make a point to familiarize their students with
different schools, past or present. One could reason that such should be the case, given
that great talents continue to emerge regardless of the school to which each mightor
might notadhere. But this situation has generated a degree of uncertainty as to the role
and importance of schools in present-day violin pedagogy. Over time, the meaning and
relevance of the term school has become ever more ambiguous and debatable. A
familiarity with acclaimed treatises on violin playing, other relevant literature,
relationships between prominent violinists/teachers, locations where these artists were
active, and the opinions of current, highly respected violin teachers on this issue will help
readers better understand the influence that schools now have on violin playing and
teaching.
CHAPTER ONE
THE INFLUENCE OF VIOLIN SCHOOLS: INDIVIDUAL RESPONSES
ANDRES CARDENES
Carnegie Mellon University (Pittsburgh, PA)
Telephone Interview
January 8, 2005
Chris Baker: Who has most influenced your own violin playing and teaching? You may
mention more than one person, if you wish.
Andres Cardenes: Theres no question it was my teacher and mentor, Josef Gingold.
CB: To what extent do you view Gingolds influence as being associated with any
particular school or schools of violin playing?
AC: Well, theres no question hes a proponent and exponent of the Franco-Belgian
School, which dates back to the era of Baillot and Vieuxtemps. [Vieuxtemps was] more
or less his grandfather of music. Mr. Gingold studied with Ysae, who studied with
Vieuxtemps, who studied with de Briot. And so that school was an offshoot of the
French and actually Italian School, because Viotti was the one who basically had an
influence over establishing almost all the schools, with the exception of the Italian
School. He was nevertheless an heir of the Italian school, having studied with Pugnani.
Viotti was the one who had the most influence over almost every other school in the
entire world.
CB: To what extent do you view your own playing and teaching as being associated with
any particular school of violin playing?
AC: Definitely the Franco-Belgian School. I think my expertise is in that area, and the
tradition that I play in is in that area, and the things I teach my students and feel very
strongly about are in that area. I still teach in the same methods, in the same style, more
or less in the same concept of that particular school, of course with some modification
[because] of various other influences and, of course, my own experienceso I would say
70% of it is still very much mired in the Franco-Belgian School.
CB: In your experience with other professional violinists, do you generally perceive
violin playing and teaching today as being associated with violin schools?
AC: Its a little bit of a hard question because I think that in a global environment that
were now living in, I think theres less territory in a certain way. I think that its harder
to discern specific schools or specific styles. I would say generally that theres still a
pretty strong Galamian School because they were baby boomers and theyre still around,
still playing quite a bit. Theres a weaker (I think) Belgian School; there are fewer
proponents of that school, and theres a few Russian School and Soviet School people
still around, but I think the French School, and the Czech School, and the German School
have all kind of started to lose their identities because of the globalization. Im seeing
now that theres more and more general violin playingmore to each persons
individual tastes instead of falling under a specific tradition.
CB: Do you recall specific technical advice which Mr. Gingold regularly emphasized to
many of his students? Please cite any examples you would like, especially if you feel they
are hallmarks of the Franco-Belgian School.
AC: Well, lets put it this way: I think that the emphasis in the Franco-Belgian School
was not on the technique so much. It was actually more on the style, and I would say
there was significant bow technique, not so much left hand, but significant bow
technique. And that bow technique was the usage of the bow in such a way that the bow
was extremely expressive, and the bow would be used in a manner to create more color,
more palettes, moreI guess I would also say more variety in color and sound and
texture, and that the vibrato would kind of help that along. We didnt spend an awful lot
of time on the left hand except in the vibrato area, and in using extremely expressive
fingerings, but not so much in the area of technical expertise, accuracy and perfection.
That certainly was not the Franco-Belgian Schools emphasis; that was more the Soviet
School and some of the schools that were offshoots of the Soviet Schoolthe Czech
School, the Polish School. They were more interested in accuracy and dexterity than they
were in expressivity.
CB: Do you recall specific exercises and/or repertoire which Mr. Gingold regularly
assigned to his students?
AC: Well, I dont know if I could say regularly because Mr. Gingold was a master of
identifying peoples talents, and identifying their weaknesses and their strengths, and so
he assigned repertoire or technical studies according to each individual. I couldnt say
there was a blanket repertoire that he gave everybody, but he did often give the
Chausson Poeme, the Spohr Concerto No. 8, the Ysae Sonatasthese were very much a
big part of his teaching. And then surrounding that were many of the pieces that were
associated somewhat on the fringes of the Belgian School: the Debussy Sonata, the Faur
Sonata, the Ravel Tzigane, Impressionists, the Romantic French, and then of course it
started to branch out farther. Mr. Gingold was an expert in all the technical studies,
particularly involving the bow, which was also more or less an expert area of the French
School with Lucien Capet. Capet, of course, was kind of the signature of the bow
before him was Tartinibut Lucien Capet wrote volumes of books on bow technique,
very much implemented in Galamians teaching of bow distribution.
CB: Do you think that Mr. Gingold implemented those same ideas?
AC: I think he implemented a lot of those same ideas. So thats why I say it was a little
bit on the fringe of what he taught. But the core repertoire was all stuff that was either
dedicated to Ysae or from the Franco-Belgian School, or repertoire that was conducive
to the style in which the Franco-Belgian School was designed.
CB: Do you perceive significant differences between Mr. Gingolds approach and your
own approach to violin playing and teaching?
AC: Well, I think that would be a normal thing to say; yes, of course, there are some very
significant differences. We are significantly different people with different temperaments
and different backgrounds, different religious backgrounds and birth places: He was born
in what is now Poland, and I was born in Cuba. Its pretty hard to be too much of a
clone. I would say only that there are a lot of similarities in my approach and in my
thinkingand I wouldnt [even] say similarities there are a lot of things that I
strongly, strongly believe in that he taught me, that I continue to expound upon, and I
continue to try to inspire my students to follow those parameters. On the other hand, its a
more contemporary world, and the facts are different than they were fifty years ago or a
hundred years ago, and so the repertoire I select now has a lot to do with the kids trying
to get a job, or the kids trying to play specific concert recitals for requirements or
competitions. In the old days you didnt think about that; usually you took an audition,
you played a concerto and you got in based on thatfifty years ago. Now you have to
play a lot of excerpts, and so theres a lot of history and a lot of analysis of symphonic
repertoire thats included in my teaching. Mr. Gingold basically did do some of that, but
he did it mainly with concertmaster solos. So, I would say, in essence I very much
believe in the style and in the gravity and the seriousness of the Franco-Belgian School,
but I have expanded it and modified it for the current time, and Ive added some of my
own ideas. I think Mr. Gingold also was a unique humanitarian, unique personality, a
man who had the gift of teaching in such [a way] that nobody else Ive ever known has
had it. I dont have that same kind of personable approach that he does. Im more strict
and Im more to the point, and Im much less patient than he was. He just had all the gifts
of teaching, and so its hard to compare. But I would say that of course, regardless of
comparison, the influence and the mentoring that took place are absolutelyits 90% of
who I am.
CB: I watched a video of Mr. Gingolds teaching once (it was years ago), and Ive never
forgotten the rapport that he had about him in his teaching. He really seems to have been
an incredible man.
AC: We adored him.
CB: Are there any additional aspects of any violin school which influence your own
playing and teaching?
AC: Well, lets say this: Any person who considers himself an artist would not
rationalize and say, Well, Im a product of this. I feel like Im a product of many,
many different influences, of many different schools, of many different teachers, and of
many different instrumentalists. I also think of people like Janos Starker, Menahem
Pressler, Gyorgy Sebok, and Nathan Milstein with whom I studied for two summers, and
so I had a pretty good dose of the Russian Schoolthe Old Russian, not the Soviet, but
the Russian School. All these others gave me tidbits of information, musical information,
musical knowledge about specific works or techniques on their instruments, which was
extremely valuable. But I also learned from a few of the ones that I disliked: I also
learned from many of those people just exactly how not to be, and exactly how not to
teach, how not to play, how not to approach things, how not to treat people, and I think
that those schools alsothose proponents of those schools as wellshowed (in my
opinion) some serious deficiencies. The Soviet School, for instance, is a perfect example.
Its a school of tremendous, tremendous accuracy and high-powered violin playing, but
its also a school of tremendous dependency: dependency on your teacher, dependency
on the system, dependency on huge amounts of dedicated hours of practice. Once that
starts to waver, or you grow up, or your teacher dies, you find many of these players
really not able to continue very well, because theyre too mired in one specific way of
doing things, and that has hurt them in the long run. I cant generalize, of course, but I do
know of a few that have done that, and some of them also dont grow as musicians
because they havent been exposed to enough other things.
CB: Do you believe in the current existence of national schools, such as the German,
Franco-Belgian, Russian, or even American?
AC: Id say that they exist to a certain degree, but theyre watered down. And like Ive
said, the boundaries are starting to disintegrate because of globalization and the fact that
you can travel anywhere. Teachers travel all over the world now to give classes, and
musicians travel abroad very often now to take lessons, and as long as that happensmy
class, for instance: Out of my ten students, eight of them are foreigners. They come from
Rumania and Bulgaria and from England, from Poland, Mexico, Chile; they come from
all over the world. And so as a result of that its very difficult to say that those schools all
now exist with their real specific focus because once you inject one Bulgarian with the
Franco-Belgian virus that I teach, then he takes it back to Bulgaria, and he starts to tell
other people how I did it, and of course that starts to disturb the gene pool of violin
playing. And it has to; it has to disturb the gene pool because when the countries, areas,
or territories were much more isolated, with very little influence from other places
(particularly Eastern Europe), of course theyd been playing a certain way for many
years, and now its not that way. They can get a video, they can get on the internet, they
can watch something on television easily, so all of those influences have to change how
you perceive yourself and how you perceive the world. And so eventually I think were
going to get to a point where there wont necessarily be violin schools, but rather violin
styles, where people will have more options to try different ways of playing based on
what they feel is best for them, and possibly use various different influences from
different teachers, through different methods, be it master classes, or private lessons, or
video, or video-conferencing (which is what Pinchas Zukerman is doing), and, of course,
going to concerts. With all those influences, one can start making their own identity
rather than an identity thats related or connected somehow to a specific school.
CB: In your opinion, how important is it that violinists familiarize themselves with
different schools of violin playing?
AC: Well, I must say, if I have a complaint in the violin world today, its the tremendous
amount of ignorance andI cant put it any other waythe incredible amount of
ignorance there is about violin playing. Violin playingsomehow due to Suzuki, and due
to just vast amounts of violinists and vast amounts of so-called professionals and so-
called teachers, and people who want to study and become professionalsthis is one
profession where you can be called a professional if you made $15 over the weekend in a
church. And so, because theres no way to screen or to maintain certain levels of
professionalism like a bar exam, or to get your PhD you must pass written and oral
examinations. In violin playing its so totally nebulous, all over the world, that anybody
can be a professional, and because of that, I think, the fact is that weve lost touch with
the tradition of playing violinthe discipline of playing violinwhich goes back five
hundred years. And now the gene pool (as I like to say metaphorically) is just
extremely mutated because people are just playing. They think its just like buying a
used car: I think Ill be a violinist. And really, thats not the way violin playing ought
to be. Violin playing should be a combination of being gifted and talented: having the gift
of playing, and then the second thing is the discipline of playingto apply a discipline
and a very well-schooled knowledge to your violin playing. And if you do that, and then
you follow or you connect with a specific teacher, a specific school or a specific concept,
then you can really start to be a violinist and musician, and have a career that I think is
creditable. But weve really watered it down tremendously now, where, for instance, at
one well-known school youve got 250 violin players studying violin. Im sure theyre all
very good, but Im sure if you asked all of them to name five important violinists from a
hundred years ago they probably couldnt do itor what countries theyre associated
with, or Why was this piece written? For whom? And why? and they have no
connection to that. They just play, and they play the notes, and, it would be the same
thing if you read a book and you didnt have any cognizance of words. If you didnt
know what any of the words meant, but you could still read it because you could
phonetically say the wordsI think thats whats happening in violin playing. Everybody
is speaking musically phonetically, but do they have a knowledge? Do they really
know what theyre playing? Do they have a connection to it? Do they understand the
discipline, and do they understand the commitment? Do they understand the traditions
and the responsibilities of being a violinist? I think that has changed dramatically for the
worse.
CB: Would you think that it would be more important for violinists to familiarize
themselves with maybe a single school of violin playing, rather than getting familiar with
different schools?
AC: I think the minute you limit yourself in any way in music, and when it comes to
knowledge, the minute you put a certain cap, I think thats already deadly. Im very
familiar with virtually every school of violin playing that has ever existed in 500 years,
starting with the monks in churches in the middle of nowhere in Italy. Those monks were
the ones who taught Corelli. And so if you think about how totally isolated they were at
that time, what an incredible invention it was, those instruments at that time back in the
fourteenth centurythe twelfth century even, with violins that were not really violins, of
coursebut how it evolved out of that, and how it grew and how it expanded into Europe
and how it expanded all over the world after that. This is not Silicon Valley; its not like
you just go out and buy computer chips. It takes time, and you really should familiarize
yourselves with everything you can. As an example, I had a student who came in a couple
years ago, a wonderful student of mine, very talented girl. She came in playing Tartinis
Devils Trill, and she didnt know what to do with it, and she was doing the Kreisler
arrangement of it. I just told her very simply, Look, it cant be half this, half that; or
it cant be one-third this, one-third that and one-third the other thing. I said, You
have to make a commitment. Are you going to play it like Kreisler did? Play it like
Kreisler, and just dont fool around with the senza vibrato things and the funky bowings.
Just play it the way he wants you to play itin the Kreisler style. But if not, then go
study something about Italian ornamentation, and come back and play it like they would
have played it in the baroque time. And so she did; she did that. She came back, and
then I said, Okay, now we have a concept. Now lets advance it.And so she started to
modify the way she held the bow; she modified her fingerings, she modified her sound a
little bit, she even wound up changing her strings for this piece. And then I thought
well, you see, if you didnt know that there was an Italian School, if you didnt know
there was an Austrian School, if you didnt know how the arrangements worked and what
the differences in the tonality were, and if you didnt know the differences in the bow
strokes and the bow holds, and the manner in which to phrase, and the ornamentation, if
you dont know all of that, you cant get a convincing performance. You cant have a
committed performance of that, and thats why its important to know as much as you can
possibly know, if you want to be an artist. If you want to be a violin player, thats
another story, but if you want to be an artist, this is what it really requires.
CB: Would you like to recommend any sources which would be helpful in becoming
better acquainted with yourself or with Mr. Gingold, for example, written interviews
which may be difficult for others to find?
AC: Well, there is a wonderful interview thats published by David Blum, and the name
of the book is called Quintet. Its a series of five very in-depth, beautiful interviews that
he did with five important musicians, and one of them was Mr. Gingold. The article with
Mr. Gingold is called The Gold Coin, and its really a very beautiful article. Its a short
biography of hima synopsis of his life. Its really wonderful. Of course, you have those
videos of Mr. Gingold. I have quite a number of recordings, and soon Ill have a website.
You could find out a lot about me from Carnegie Mellon University or Pittsburgh
Symphony or from my management, which is American International Artists. And lets
see, my conducting, my viola playingI mean, its all out there somewhere. I have two
trios that I play in: You might know about the Diaz Trio, and I also play in the Carnegie
Mellon Trio.
CHARLES CASTLEMAN
Eastman School of Music (Rochester, NY)
Telephone Interview
January 8, 2005
Charles Castleman: My first teacher was Emmanuel Ondricek, whose left hand is a
Sevcik productactually, both hands. He was really a Sevcik product, although he also
studied with Ysae. And I studied with Ivan Galamian, who was mainly influenced by
Capet, although possibly also somewhat by Mostras. I had a few lessons with David
Oistrakh that had an enormous impact on my bow arm, and I had several lessons with
Henryk Szeryng, who had a great deal of impact on my choice of fingerings and choice
of bowings in performance.
CB: So all of those great teachers, you would say, have had the most influence, all
together?
CC: Yes, I would. Yes.
CB: You wouldnt favor one or two above the others?
CC: No, because each one did something so different.
CB: To what extent do you view your mentors influences as being associated with any
CC: Both Galamian and Oistrakh would be regarded as being from the Franco-Belgian
School (bowing), and they were my bowing influences. I think that OndricekI think
wed call it a Sevcik School of left-hand, particularly left-hand, but also right hand. Ive
run into other Sevcik students who had the same right hand I did. Theres Michael
Frischenschlager, who was the chair at Vienna Hochschule, who also was a Sevcik
student, and I had a conversation with him, and he learned the same bow arm that I
learned from Ondricek.
CB: Was Ondricek also a student of Sevcik, as well as his assistant?
CC: Yes, he was. He was also the brother of Franz Ondricek, one of the famous
violinists.
CB: But Franz didnt study with Ysae?
CC: No, but I think Franz studied with Sevcik also. Jan Kubelik (a famous Sevcik
student) and Emmanuel Ondricek worked very close together very frequently as
examples of Sevciks playing and teaching.
any particular school or schools of violin playing?
CC: The Franco-Belgian bow grip is the grip that I teach.
CB: Franco-Belgian in the sense of how Flesch presents it in his Art of Violin Playing?
10
CC: Yes, I would think so; sure. And my left hand definitely is highly influenced by
Sevciks concepts, although the fact that Im a performer has changed things. Like
everyone else, Ive adapted it so that by now its almost not quite recognizable as part of
[the Sevcik approach]. I think mostly by now its diverged, except for the Franco-Belgian
bow grip and a particular conformation of the left hand in upper positions that I learned
from Sevcik.
CB: So, would you say that you view your playing and teaching as being associated with
a particular school, or not necessarily?
CC: Not necessarily, except for what I just mentioned. I think that every student presents
such individual problems. I mentioned Henryk Szeryng; he was an enormous influence
on me in everything he ever taught me, and all the various lessons were things that would
be associated with no school whatsoever, but were things he had learned from years of
experience performinga good fingering or a good bowing in a particular situation
which clearly was not part of his training. He had simply learned it himself, and had
passed it on to me. And the main thing that Oistrakh gave to me had to do with the right
wrist, because I had three teachers with very different points of view: the Sevcik point of
view with the right wrist is that it should be stationary and basically immobile; Galamian
(I would say unfortunately) doesnt seem to say anything about the right wrist, so he
didnt do anything about what was going on, and Oistrakh made it loose because he was
very much [inclined to] flexibility in the right wrist. So Im not sure, I guess that would
be associated with the schools involved, but I dont know. Considering that Galamian and
Oistrakh presented it so differently, and they both had the same school, Im not sure.
CC: Right hand, yes; left hand, no. What the Franco-Belgian School presents is a bow
grip and an approach that is intermediate between what you might call a German or
French version, and a Russian version; and as such, it is advantageous for the maximum
number of people as a starting point, and it is a very good teaching vehicle because
youre giving them kind of the averagethe place to start. But I think teachers and
students eventually develop their own version of it. I think its a good starting point even
though Im not sure that all the people who would say they have Franco-Belgian bow
arms look very similar.
CB: Do you recall specific technical advice which your mentors regularly emphasized to
many of their students? Please cite any examples you would like, especially if you feel
they are hallmarks of a particular school.
CC: I learned my left hand from Ondricek, who died when I was 13 or 14 years old, and
because I was a prodigy I was kind of built by then already. My later teachers didnt
say anything about the left hand; they just left it alone, so I cant say much about the left
hand because I dont even remember how I was taught. A lot of the current violin
teachers studied with Galamian or Delay (Delay being the same school), and theres a lot
of the grip, the bow changethe use of a lot of finger articulations are all with the
Franco-Belgian School as practiced by Galamian and by Delay, and I think a lot of
teachers are using that as a model.
11
CB: Do you recall specific exercises and/or repertoire which your mentors regularly
assigned to their students?
CC: I would think the basis for Galamians bow technique was coll.8 That was the basic
tool. Coll was the way that you developed the strength and flexibility in your fingers to
be able to manipulate the bow the way they wanted.
CB: Do you perceive significant differences between your mentors approaches and your
own approach to violin playing and teaching? I know youve mentioned already that you
consider yourself to be a combination of different styles, but if theres anything else you
would like to mention along those lines
CC: Not so much in technical terms. In terms of my own teaching, I think Im much
more concerned with specific physical strengths, weaknesses, attributes, flexibility, etc.,
of my individual students, and adapting my teaching to thatfiguring out ways to loosen
them up, figuring out ways to make them hold the bow perhaps in a way different from
how someone else would with different characteristicsthis more so than Galamian did.
I think he had a system, and although his system was the basis for my bow arm, I think
(given all of that), I think that I dont hold to a system anywhere near as much as he did.
CB: So he was more uniform in his approach, maybe, than you are?
CC: Yes.
playing and teaching which we havent talked about?
CC: Well, there might be an interesting story with that. The so-called Heifetz bow arm
(that was called the Russian bow arm) is one with a very pronated right hand, which
gives one a lot of strength and not much flexibility, and for many years, that was the bow
arm that was being taught because everybody admired Heifetz so much, [but it was
taught] without a whole lot of success because it had so little flexibility. But if one looked
at Heifetzs physique and the way he worked, clearly he was someone with extraordinary
flexibility and not necessarily strong. He was kind ofa little frail, in a way, and so he
had come up with this particular bow grip that gave him maximum strength, and with his
phenomenal flexibility it worked just fine, but with someone with lesser flexibility it
didnt work so well at all. I had a student several years ago who had studied with several
teachers, very fine teachers. She was very small, not a very strong girl but very flexible,
and she had studied with people from all the schools that youve ever heard of, and none
of it really helped her. She was having a lot of trouble with tendonitis and things of that
nature, and I decided to teach her the Heifetz bow armwhich of course Ive never
played from, but [from] my understanding of itand it had wonderful results, because in
fact it had exactly the effect that I had hoped. In other words [it] gave her the strength
that she needed in her own, wonderful flexibility. So I found that this clearly is not a bow
grip I would teach generally, but I found it really valuable in this one case.
See Galamian, Principles, 73-74.
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CB: Thats interesting. Knowing how to adapt to the students is not always easy, so its
great to have a sense for that. Would you say that the Heifetz bow arm is maybe
synonymous with the Russian School?
CC: Well, thats what they call the Russian School, but Ive avoided that because the
Russians like Oistrakh and Kogan had Franco-Belgian bow arms, not like Heifetzs at all,
and Milsteins is not Heifetzs either; you know, Elmans wasnt Heifetzs, so thats what
they call the Russian bow arm, but I think it was just Heifetzs.
CC: Only in terms of the bow grip; I mean you cant see someone play or hear someone
play and know where they came from at this point. Outside of bow grips, Im not so sure
that necessarily holds. Joseph Silverstein, another excellent teacher, still teaches the Old
French School, which is [in contrast to] Heifetzs index finger, which (as I mentioned)
contacts the bow very high up on the index finger, and the Franco-Belgian, which
contacts the index finger mid-finger. Silversteins (what I would call French School)
contacts it very near the first joint, not the second joint, creating enormous flexibility, not
as much strength, but in a different way.
CB: Ive never heard that somebody nowadays is teaching thatwell, Ive heard it called
the German grip, what you called the Old French. Maybe its the same thing.
CC: He teaches it with enormous success. He very frequently used to come and give
master classes at my summer program; and what I found was [even] with his very
different bow arm, we were looking for exactly the same result. I think what you have
more than anything else is this: A teacher has a concept of the ideal product that comes
from his students in terms of the sound that comes out, in terms of the flexibility, in terms
of the strength, and we found that even though our bow arms are entirely different, the
concept was so much the same that it worked very well to have students go back and
forth.
CC: I think its important to know that there isnt a right way of playing. I think if you
dont realize that there are several schools of violin playing youll think that what your
teacher taught you perhaps is right, and anything that you hear about [other approaches]
is wrong, because your teacher is unlikely to be showing you schools that arent his own
(Im an exception). And if you know that there are these different schools, and they have
different advantagesfor example, that there was a bow arm that isnt right for you,
which contributed to Heifetz being the great artist that he wasyou then understand
enough and you know enough that youre willing to adapt to what you are taught [in
order] to help yourself more, and to help your students more. But I think as an exercise of
just simply knowing what they wereknowing whats different among them is
importantIm not sure you have to be able to understand all of them as they function.
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GLENN DICTEROW
Juilliard; Manhattan School of Music
Telephone Interview
January 8, 2005
Glenn Dicterow: Certainly my father was one of the biggest influences; he was a great
musician. He was principal second of the Los Angeles Philharmonic (Harold was his
name), and he began teaching both my brother and myself. Soon after, I began studying
with other people, including Manuel Compinsky, Naoum Blinder, Erno Neufeld; then, of
course were the performers that I studied with, Heifetz and Henryk Szeryng; and then
Galamian at Juilliard.
CB: To what extent do you view your mentors influences as being associated with any
GD: I think all of them are associated with different types of schools, but mostly I
believe its thenot the Sovietbut the pre-Soviet Russian School that influenced me
mostly (the one that went back before Oistrakh): Leopold Auer, Milstein, Heifetz. The
most special influence musically would be Fritz Kreisler.
CB: So do you view your own playing and teaching as being associated with the Auer
School, combined with Kreislers musicality?
GD: Yes.
GD: Well, I dont know what school you would call that, because a lot of people are
influenced obviously by the Galamian/Delay connection; many of them are soloists out
there. Then you have Vengerovs School which isI dont remember the name of his
teacher, I think its Bron.
CB: Yes, Bron.
GD: But Im not sure, mostly I would say today, most of them have come from the
Galamian/Delay School. I suppose you could call that Franco-Belgian.
CB: Yes, Galamian is sort of his own school, in a sense, maybe a combination of the
Belgian and the Russian.
GD: Yes, I would say so.
CB: And his ownmostly his own, probably. Do you recall specific technical advice
which your mentors regularly emphasized to many of his students? Please cite any
examples you would like, especially if you feel they are hallmarks of a particular school.
GD: I would say the right arm of the Auer School. Theres a lot more color involved
rather than, say, in the Galamian School. That [Galamian] to me was just, you know, big
14
sound production: a lot of weight with not a lot of color, though Ill have to say the older
school [Auer] would be more mental, as far as the bow arm is concerned.
CB: You studied with Heifetz (who was the Auer School), and Blinder who was a second
generation Auer student, and then Galamian. But Heifetz was more of an influence as far
as the bow arm was concerned?
GD: Heifetz, Milstein, Kreisler were much more of an influence as far as the color that
they were able to produce, and their sound.
GD: Galamian certainly assigned to his students the tudes of Gavinis and Dont, and
scales, of course. Heifetz was a fanatic of scales, Paganini caprices.
CB: Oh, and the Paganini caprices also?
GD: Oh yeah. Not that he performed too many of them, but
CB: But he would assign them a lot?
GD: Yes, he would.
CB: Do you perceive significant differences between your mentors approach and your
GD: Well, I have many mentors, so yes, I would say theres an approach, definitely, that,
all mixed together, comes out perhaps as a makeup of all of them.
CB: And so youve combined the different things that youve learned from all of them?
GD: Yes. Mainly the bow arm is the key to individuality and color.
GD: I think theyre getting more and more co-mingled. I believe that there is definitely a
difference in the German style and the American style, I would say, but I think in
America you have quite a mix because you have so many nationalities. I think that the
American influence is very strong, certainly in the Asian culture. Musically speaking,
they tend to gravitate toward the American School.
CB: American School meaning the Galamian?
GD: Mainly, I would say, but we also have the other teachers that certainly were
important, [for instance, at] CurtisZimbalist in the olden days, a slightly different
approach: more musically inclined, at least virtuosically. Thats why I say its very
continental, very international.
GD: Very important.
15
BAYLA KEYES
Boston University
Telephone Interview
April 14, 2004
Bayla Keyes: There are several big influences. Ill start with Paul Kling, who was my
teacher at the University of Louisville, Kentucky. He was concertmaster of the Louisville
Orchestra at the time, then he moved to Canada and he taught in Victoria, Canada. As a
young boy, he was a prisoner at Teresenstadt [concentration camp near Prague], so he
was exposed to some of the greatest musical influences in Europe, many of whom were
killed in that camp, but he survived. He was and is an incredible musician, a wonderful
violinist, and it was just amazing luck to have him as a teacher. He basically kicked me
out of the University of Louisville and made me go audition for Ivan Galamian.
I got into Mr. Galamians studio at Curtis, and he was an amazing technician
really taught me about how to play the violin, although he didnt combine it with the kind
of musical information that Paul Kling had given me.
I think the biggest musical influence on me during my time at Curtis was Felix
Galimir. He really became a mentor to me.
There was a woman at Curtis named Karen Tuttle who was an amazing influence.
She has a whole physical system of teaching; she calls it coordination. That was a
fantastic piece of luck for me to be able to study with her, sort of on the side, but I also
studied with her a great deal in the year immediately after my graduation from Curtis.
Karen Tuttle is basically the goddess of the viola world. She taught most of the major
violists in this country, including Jeffery Irvine, Dean Hansel, Kim Kashkashian, Sally
Clark, Michelle LaCourse, Karen Richards, Karen Dreyfus,just on and on.
CB: Did you actually study violin with her?
BK: Yes. She taught this coordination system which was basically a method of hooking
the bow to the breathing, and so you learned a way to breathe so that you were constantly
relaxing as you breathed out. It was a marvelous system for releasing tension. She
worked in a large way with the body, so it almost didnt matter what instrument she was
teaching. She was basically teaching the relationship of the body to the music and the
body to the instrument, so that you would be comfortable. This was a very different thing
than what I had learned from the other teachers, who were concentrating either totally on
the music or totally on the violin itself, like Mr. Galamian. Karen Tuttle ended up
teaching at Curtis, Juilliard, Aspenshes just been the big name. It was fun to be the
token violinist [laughs].
Long after I had been out of school, I developed some tendonitis in my hands. I
wasnt living in Boston yet; I was in the Muir quartet but we were living in Connecticut
and we were on the road touring about 250 days a year, playing something like 120
concerts a yearvery rigorous. I developed tendonitis carrying the luggage and
everything like that, and I heard about this wonderful teacher in Boston named George
Neikrug. I took about a dozen lessons with him, and that really changed my life because
he had studied with D.C. Dounis. George Neikrug is actually a cellist, but (like Karen
16
Tuttle) he teaches all instruments. He kind of specializes in tendonitis and knows all these
little ways to show how to do things; he just opened my eyes.
I feel like Ive had these great influences in my life, and I feel extremely blessed. I
cant say that Im just one persons student. I feel like I got such important things from all
these people Ive mentioned.
CB: Did you also study with Shumsky?
BK: I did. I studied with Shumsky for two years at Yale. Well, he was phenomenal, but I
think his technique was so different from what I had learned from Mr. Kling and Mr.
Galamian that itit kind of confused me. It wasnt congruent with everything else that I
had learned. For example, Galamian teaches to be slightly pronated on the bow, and Mr.
Shumsky was teaching me to be very square on the bow.
CB: Meaning, with a flatter wrist?
BK: Right, exactly. I didnt understand enough to integrate it with what I already knew,
and I think that was part of why I hurt myself, because I was not good at integrating
different systems.
CB: So by the time you studied with Shumsky, your technique was probably pretty much
established anyway, as far as what you had learned from Galamian and these others?
BK: Certainly the Galamian stuff, but then later on when I hurt myself and I learned the
Dounis stuff, that was a huge help.
CB: That was after Shumsky though, right?
BK: Yes, and I would say that I went through interesting stages because after I studied
with George Neikrug (which was in my early 30s; I had this series of lessons with him), I
spent the next ten years or so integrating the Dounis concepts into what I was already
doing with the Galamian training. Theyre very different, so it took me quite a while to
sort that out in my own playing. Then when I left the Muir Quartet in 1995 and began
teaching full time at Boston University, playing with my piano trio (Triple Helix) and
playing a few concertos around town, I found I had to go back and draw on the Galamian
training that I had before, because although the Dounis stuff works better in the string
quartet, the Galamian stuff works better for the concertos (which he taught fabulously; he
specialized in the concertos). Interestingly enough, it also works better for the piano trio
because with the Galamian concept of sound theres a lot more brilliance and clarity. Are
you familiar with all the coll and martel stuff?
CB: Yes, which he points out in his Principles of Violin Playing and Teaching.
BK: Yes, and that makes a very articulate playing with a lot of consonants, and basically
a large, ringing sound with a free use of bow. It works really well in a concert hall, but
since theres articulation it also works well next to a piano because the piano has an
attack, whereas the Dounis stuffwell, I tell my kids that the Dounis stuff is the pushpull, which means that your hand responds to the bow (kind of a melting response
which makes a really different sound). With the Galamian you do an active finger motion
at the start of a stroke, and of course I use them both; it depends on what you want in any
given situation.
17
CB: So you find the Dounis to be more helpful particularly in quartets?

BK: Yes. Any time you want more of a blendy sound, or a more covered sound.
Galamian said three things to me all the time: closer to the bridge, more bow, and
make every note beautiful. With the Dounis, you are working with releases. The Karen
Tuttle stuff that I learned is quite congruent with the Dounis, because Karen Tuttle works
with the releases in the large muscle groups, and the Dounis stuff that George Neikrug
showed me works with the releases in the small muscle groups of the knuckles, the
fingers, the wrist (in both hands actually), so I began to understand these principles of
release, and what I call softness or melting. Galamian is more strength-based, so
you have a lot of power and a lot of muscle. Sometimes thats exactly what you want, but
sometimes you want relaxing, and a sound which reflects a suppleness in the muscles. Its
hard for me to explain without showing you.
CB: On a scale from 1 to 5, to what extent do you view your mentors influences as
being associated with a particular school or schools of violin playing: 1 being closely
associated, 3 being somewhat associated, and 5, not associated?
BK: 3, somewhat associated. Paul Kling certainly came from the European line which
was influenced by Carl Flesch and Sevcikthat whole stream. But Galamian was a
student of Capet, so theres that whole stream. Karen Tuttle studied with Dounis, but she
was also William Primroses assistant as a student at Curtis, and she came up with her
method while observing William Primrose. She went to all of his lessons and watched
him play, and she came up with these physical principles. She really founded her own
school.
CB: Many people refer to the Galamian School now, toohe being also his own
school.
BK: I think thats right, and its not exactly Russian, but its certainly closely related to
Russian, in my opinion.
CB: More so than Franco-Belgian?
BK: Yesoh, yes.
CB: Do you believe Galamian meant to establish his own school?
BK: He took a lot of Capets ideas and he went further with them. He had very original
ideas for developing technique and very good methods for achieving results with a large
number of students. I think thats why he had such great success as a teacher-trainer in
this country. Thats what all great teachers do: They take what theyre given and then
they go further and do something original with them. You can always trace your heritage,
but I meanits got to be just like composers, right? You know, Bartk studied the
music of Mozart and Haydn and Beethoven and Brahms, but his music doesnt sound like
them. Paul Kling had the Franco-Belgian influence in Teresenstadt, but he was also a
huge fan of David Oistrakh and followed him all over the place, so he was heavily
influenced by the Russian School as well. So, there again, the greatness of his teaching
came from his taking concepts from both schools. I also felt that way about Galamian and
about Karen Tuttle, too, so I think all these teachers, while coming somewhat out of a
tradition, went on to be very much not just a parrot of a tradition.
18
CB: Again using the 1 to 5 scale, to what extent do you view your own playing and
teaching as being associated with a particular school or schools of violin playing: 1
being closely associated, 3 being somewhat associated, and 5, not associated?
BK: Well, I guess Id have to put myself at about a 3 because I definitely take material
from all of them. I definitely quote them and use it, but Im definitely teaching in a way
that none of them taught because Im using materials from other schools. Im not a
single-school person; Im a combo.
CB: Again choosing from 1 to 5, in your experience with other professional violinists, to
what extent do you generally perceive violin playing and teaching today as being
associated with violin schools?
BK: Between 1 and 2. I see people teaching in a verykind of pigeon-holed way.
I certainly see, even on the college level, that the teachers send students to other teachers
from the same school. So, in a certain way its disadvantageous to the kids because
theyll go straight through and have only [for instance] Galamian-trained teachers. Even
the same can be said for the Karen Tuttle School because she has so many students all
over the country in string quartets and at colleges teaching and in all the orchestras. You
cant go anywhere withoutI mean, its just hugeher influence. And all of them
network and send each other their students, so its pretty hard to be a violist in this
country and not come into that school, because there are so many of them. My complaint
is that these teachers dont explore enough in other traditions. If the teacher just takes
what theyve been taught, and they dont go further, sometimes the teaching can get very
sterile.
many of their students? Please cite any examples you would like, especially if they are
hallmarks of a particular school. You have mentioned a lot already; anything else?
BK: There is a great difference from teacher to teacher in how much the musical
principles are taught, and thats another thing that has me greatly concerned. I think there
has been a tendency to divorce the violin teaching from the music itself and leave the
musical part of the instruction to the chamber music teachers or something like that,
which I think does a vast disservice to the concerto and solo repertoire. I think its one of
the reasons why its so hard to tell the soloists apart. In Arnold Steinhardts book
Indivisible by Four, he mentions how in the old days when he was growing up, none of
the big famous soloists sounded like each other. Heifetz was completelyyou know, you
could distinguish his sound, vibrato; Elman was his own; Kreisler was his own. They
didnt sound like each other. And Arnold made the complaint, with which I somewhat
agree, which is that you turn on the radio [today] and you hear these soloists and they all
sound wonderful and have incredibly high virtuosic style, but theres a kind of
sameness of standards. And this is not just in the violin world, this is going on
throughout music. Eric Rusk, a fantastic horn player, says that theres a kind of
internationalization of standards in horn playing. There used to be different schools of
horn playing, different sounds in different parts of the world, and now you cant tell
where a horn player was trained because theyre all sounding the same. In one way it
means that theres a much higher technical standard all over the world, but in another
way, it takes out the different flavors. It makes kind of a uniformity, which is somewhat
19
distressing. I think that the kids are encouraged to come up to this very high technical
level without being given the tools for finding out how to play the music in a way that
makes what they have to say very special and very individual and unique, and frankly,
its much easier to teach the technique than it is to teach the stuff that Im talking about.
But the teachers that I mentioned to youPaul Kling and Felix Galimir, and to some
extent Karen Tuttlewere constantly teaching about the musical principles, and for me,
thats the reason to be in music: to make whats in the music come alive. All this
technical stuff, as fascinating and wonderful as it is, and as helpful as it is, its just a
means to an end, and a lot of times you can get the end by emphasizing the musical
principles. A lot of the teaching that I received was kind of teaching from a viewpoint.
Karen Tuttle did teach musical principles, but most of what she gave me was the physical
coordination. Likewise, George Neikrug gave me tremendous technical and physical
help. We didnt talk a whole lot about the musical things that were going on because he
was basically fixing my tendonitis problem. Galamian, likewiseonce I asked him about
a musical phrasing and he said, I am a doctor of the violin. If you have a problem, I fix
it. The musical stuff is up to you. He just came right out and said that. So, if you had the
musical talent and the curiosity, then you could take what he gave you and apply it to the
music, but he was not interested in that. I cant teach that way. I have to teach the way
Paul Kling taught me, which was always from the standpoint of what youre trying to
do what youre trying to express in the music. You start with the score; start with the
musical idea because you cant even begin to make your technical decisions unless you
know what it is youre going for. What character do you want? That determines the sound
that you want; that determines the bow hold youre going to use, and the amount of bow
that you will use. It all springs from the musical impulse.
CB: Thats in contrast to the way most of your teachers taught, except for Paul Kling?
BK: I would not say most of my teachers, but certainly Galamian, and a lot of the violin
teaching that I am seeing, based on the people who come and audition for Tanglewood
and for Boston University, where you get this wonderful cleanliness and you get this
strong sound with a steady bow speed right next to the bridge, and you dont get colors
and musical ideas. See, Galamian had this belief that you teach the technique when
theyre young and then later on, much later on, after theyve learned all the concertos and
everything and theyre all completely fabulous violinists, then you teach them musical
stuff; then they can easily develop that. I think that if you start out teaching them the
technique, very often something that needs to be encouraged and nurtured at an early age
just will not really develop fully.
When youre trying to teach all these different things, its very difficult to get all
of these concepts. Thats one of the reasons I give [students] a lesson a week, and
undergraduates also get an extra lesson a week with my assistants. Then, they all come to
studio class for an hour and a half each week, and I give them handouts: I have to give
them a lot of information so that they can get the whole system. My kids are kind of
snowed under withI mean if I could, Id like to do the Russian thing, where they just
come to lessons the whole day. Yuri Mazurkevich told me that when David Oistrakh was
not touring, when he was teaching, all the students went to all the lessons. It was an
immersion into the system. Theres a lot to be said for that kind of thing, rather than just
one hour a week. I cant teach them what they need to know in one hour a week.
20
[With students] I tend to use tudes that I enjoyed playing and listening to.
Theyre just some of the Dont and Kreutzer tudes that I enjoy the sound of, so its
something fun to practice. You can give pleasure to yourself while youre working on a
specific problem. The advantage with the tudes is that there are usually far fewer
problems than you might have in even a first movement of a concerto, where you have
many different problems in a row. With an tude, you can basically concentrate on one or
two aspects and fix those things inside of the tude. And I must say that I use scales much
more than I used to. I use scales, arpeggios, and double stops because the problems that
show up in the pieces always show up in the scales as well. When you have them in the
scales, you can fix them without the additional complications of the musical ideas, and
then when you go back into the pieces, your technical foundation is good. So I teach far
more technique than, for example, Paul Kling taught me.
CB: Generally more than your other teachers, would you say?
BK: Well, Galamian was a total scale fanatic, so I dont believe I do as much as he did,
but none of my teachers taught scales and technique the way that I do except for
Galamian. Generally speaking, scales and this kind of technical work is uniform with the
bigger teachersyou know, like the Vamoss and David Cerone and the Juilliard Prep
School.
BK: Yes, I guess so, mainly because of the fact that Im trying to do all of the things
[laughs], which is why Im at a university instead of a conservatory, I suppose. Certainly
I start from the musical characters, which is not like Galamian. But I do incorporate a
great deal of the technical, specific things which I think can really enhanceI remember
I was playing the Chaconne for Felix Galimir (I studied with him after I got out of Curtis
and moved to New York City) and I was playing one of the arpeggiated sections. The
notes in the middle of the chord were not speaking, so I asked him what to do, and he had
no idea. He didnt know, and he simply said, I dont know; youll just have to figure that
out yourself. And, you know, if youre very talented, and just naturally physically gifted,
you can figure these things out yourself, but if you happen to have a teacher who knows
exactly what to tell you, it saves you hours! And so I do a certain amount of that kind of
technical teaching. I show them a specific muscle group associated with a specific
technical task, like string crossings or shifting. I try to get them to understand the way the
muscle groups work in the most natural way possible. This also goes along with Karen
Tuttles teaching because I try to make them very aware of what their bodies are doing,
so that they wont tense up inappropriately. Basically, I tell them that their bodies have to
be free to vibrate so that the music can go through them, so that they can feel the musical
impulses through their bodies and then coming out through the violin. So I get sort of
mystical by that point.
I feel like I will do whatever it takes to get somebody to sound good, and if what
works is for me to tell them to think about their fantasies, thats what Ill ask them to do.
If what works is for me to tell them to move their thumb on the bow and hold it in a
different way, thats what Ill tell them to do. If what I have to do is scare them to death
so theyll practice, then thats what Ill do. Actually, Galamian said a wonderful thing in
21
one of his books: he said that the teachers job is to study the student and figure out the
key to the student. I do take that advice to heart, and I dont just mean technically. What
youre trying to do is bring the best out of the student, and there are so many ways into
someones heart, just like there are so many ways into the music.
BK: Of all of those, I think the one that really has an identity still is the Russian. The
others, I would say, have become extremely blended, and I think the American School is
de facto a blend. It would be pretty hard to say distinguishing hallmarks of an American
School in my mind, but the Russian is very clear.
CB: In your mind, Galamian follows the Russian very closely, at least as far as the bow
arm is concerned?
BK: Its not identical, but I think its pretty close. Its certainly far closer to Russian than
it is to Franco-Belgian. I associate Galamian with the Russian bow hold because he
basically married it to the Franco-Belgian hold.
CB: Back to the 1 to 5 scale; in your opinion, how important is it that violinists
familiarize themselves with different schools of violin playing?
BK: 1, very important, which goes back to the conversation earlier about how people
unfortunately tend to be taught one method all the way through and they dont get
exposed to others. Well, it can take a long time, and you have to get around, so I dont
think you can expect a 20-year-old to be able to do this.
better acquainted with yourself or with your mentors, for example written interviews
which may be difficult for others to find?
BK: Michelle LaCourse is a viola professor at Boston University who has written articles
about Karen Tuttle. She was also a former student of hers, and was her assistant for many
years at Peabody.
CB: Im aware of Dounis The Daily Dozen and The Absolute Independence of the
Fingers; are there other publications by Dounis that you would recommend?
BK: Actually, The Artists Technique of Violin Playing, Op. 12, is the one I use the most;
its published. Id also recommend a small yellow booklet that talks about useful
principles and has musical examples: New Aids to the Technical Development of the
Violinist, Op. 27. I should also mention Simon Fischer's Basics, which has great
information about both Dounis and Galamian, also Dorothy Delay. It has lots of good
pictures. Theres also the recent Eric Rosenbluth edition of Carl Fleschs Art of Violin
Playing.
22
MIKHAIL KOPELMAN
Telephone Interview
March 31, 2004
Chris Baker: Who has most influenced your violin playing and teaching? You may
Mikhail Kopelman: Maybe Ill talk first about my influences, not as a teacher, but as a
performer. When I was a student at Moscow Conservatory there were many great
musicians. If talking about violinists, of course Oistrakh was, lets say, the god. But I
would say that I listened to all the recordings of, like, Heifetz, Elman, Kogan, and I was
influenced by these people too. So I was influenced by the old generation of great
violinists. I was fortunate to listen live to Oistrakh for many, many years, and Kogan.
Talking about teachingwell, its hard to say because I didnt learn, really, how to teach
violinI just learned during my many years of study at Moscow Conservatory and
before Moscow Conservatory. Then mainly I learned a lot when I started to play in string
quartets. Of course, my teachersMaya Glezarova and Yuri Yankelevichthey taught
me, so I learned a lot from them, and then I learned a lot from different musicians, just
[by] myself.
CB: Would you say there were one or two people who had the most influence on you, or
would you say it was really a combination of all these artists that you were hearing, rather
than just your teachers?
MK: Mainly its a combination of the artists I was hearing. Also I learned a lot when I
joined the Borodin quartetfrom the old members of the Borodin quartet. But its not
violin playingits mainly making music, you know.
CB: So would you say there are probably no one or two people who have influenced you
the most?
MK: Thats right.
CB: On a scale from 1 to 5, to what extent do you view Glezarovas and Yankelevichs
influences as being associated with a particular school or schools of violin playing: 1
being closely associated, 3 being somewhat associated, and 5, not associated?
MK: I think without doubt its associated with the Russian School for sure, number 1,
because Yankelevich, he was reallyit was real Russian School. His teacher was
Nalbandyan, who was a pupil of Auer. I think he was an assistant of Auer, many years
ago.
CB: Again using the 1 to 5 scale, to what extent do you view your own playing and
teaching as being associated with a particular school or schools of violin playing?
MK: Lets say 2, because I was also influenced in my early years before Moscow
Conservatory, when I studied in Uzhgorod (the small city where I was born), and the
teacher with whom I was studying was Efim Flomen, a pupil of Enesco. He had studied
at Bucharest Conservatory. But mostly I was influenced by Yankelevichby Russian
Schoolbecause I studied there since I was thirteen years old.
23
CB: Again using the 1 to 5 scale, in your experience with other professional violinists, to
what extent do you generally perceive violin playing and teaching today as being
associated with violin schools: 1 being closely associated, 5, not associated?
MK: Well, we can put 2, maybe.
MK: Every day I was playing scales, arpeggios, double stops, and every day I played
some Bach. It was really a very important thing to do. So I spent at least one hour every
day to practice scales and different kinds of exercises. It was like, you know, its like a
prayer. Still Im doing this until now. I try, if I have a little time, I always play a little
Bach or exercises, which is very important, I think.
many of their students? Please cite any examples you would like, especially if they are
hallmarks of a particular school.
MK: I remember nothing specific because, wellspecific it was in some points when,
for example, I came to Moscow they started to change some things like my vibrato, so I
spent much time to learn how to vibrate, but it was just a short period, so I couldnt call
thisyou knowit was not regular. Nothing special, I think.
CB: Im sure it depended on the individual students, too.
MK: Thats true.
CB: But nothing sticks out in your mind as being something routinely emphasized?
MK: No.
MK: I think there are some differences, yes, because when I started, my teacher always
gave advice for all students to use, lets say, the same fingerings, bowings, you know.
Everybody played so it was, lets say, just one specific edition.
CB: Are you talking specifically about Yankelevichs students?
MK: Yes.
CB: So he would prescribe specific fingerings and bowings.
MK: Yes, which is a normal thing, but it was very difficult to change anything if you had
some of your own ideas, because it waswell, it was a sort of system. I am more
flexible, I would say, with my students. I think that many things depend on physiology.
Everybody has a different physiology, so some fingerings for some people are just not
good. But I believe that fingering is alsowhen we put fingerings and bowingsits also
not only [affecting the] technical aspect, but the musical aspect too, for sure. So, its quite
a complex thing. And also, I think what I really learned during my many years playing
24
with string quartetsits a more detailed approach, lets say, for colors; so I know how to
use different kinds of colors because I learned a lot playing string quartets.
CB: Would you say that this was something you werent really taught, but that you sort
of acquired yourself? Is this a difference in your approach to violin playing?
MK: Yes, its just a more musical approach now. Ive learned a lot of great music since I
was studying as a student, so I think my musical approach now is completely different.
My understanding of the music, and understanding of the sound production and quality,
and different styles, you knowits different. So with my own experience, I can maybe
teach my students technically how to make different colors.
CB: Using technique to teach those different colors?
MK: Yes.
CB: Do you find that to be a difference between your own approach and Yankelevichs
approach, for instance?
MK: I believesomething is different, yes. What I got from Yankelevichit was a
basis. The school which I got, its like a basic thing. Then youlets say, you build the
house.
CB: So the details you acquired more on your own, maybe?
MK: Yes, and you learn all your life.
playing and teachinganything that we havent talked about that you would want to
mention?
MK: As I mentioned, I listened to all the recordings like Kreisler, Elman, Zimbalist,
Heifetz, and wellthese people: Kreisler was a different school, and, lets say, Thibaud
(French School) or Grumiaux (Belgian School). So I learned a lot from these great
musicians, just listening to how they playyou can learn a lot if you listen. So I would
say I was influenced by the old masters, too, just through the recordings. And also in the
Russian School I was always told about making a great soundbeautiful sound like a
voice; and I was listening to the old Italian singers, which I think also helped a lot to
understand the nature of the sound.
MK: Yes, I believe they still exist, but these days I think its not so pure like it was
before, not so clean. Its a different world now. Everything is mixed. Many
nationalities live in different countries, so I would say that it is sort of a mixture now.
CB: Back to the 1 to 5 scale. In your opinion, how important is it that violinists
familiarize themselves with different schools of violin playing: 1 being very important,
and 5, not important?
MK: Well, I would say that its important, I think. Its very important, so I would say
1.
25
OLEH KRYSA
Telephone Interview
March 24, 2004
Oleh Krysa: Of course my great teacher David Oistrakhbut of course I was absorbing
different ideas from different players...Jascha Heifetz, Kreisler, Nathan Milstein, many
Russian playersbut I think maybe because my nature is closer to the nature of David
Oistrakh, I think the most valuable time for me was with him. Of course, great pianists
and great singers as well, and cellists. One time I was very involved in opera. I liked
opera, you know. I was sitting at many, many show[s] of opera because my first teacher
was concertmaster in the opera theater, so I was very interested. But later on I switched to
symphony music, solo music for violin, and chamber music.
CB: Was [Konstantin] Mikhailov your teacher who played in the opera?
OK: Mikhailov, yes. He was a student of Korguyeff, and Korguyeff was [an] assistant to
Auer, so I had a very good teacher from when I was six.
CB: You started with him when you were six years old?
OK: Yes.
CB: Would you say that Oistrakh was your greatest influence?
OK: Of course, because I am always saying that he was not only a teacher of violin, he
was our godfather. He taught us how to live, how to manage, how to not only be a good
violinist, but also a good man and good colleague; and he was incredible.
CB: To what extent do you view Oistrakhs influence as being associated with a
OK: Of course, hes very Russian School. He presents a very, very valuableexample of
Russian School: that singing technique, perfection, excellent style, etc. So I think he
belongs to Russian School, of course.
CB: Most people associate Auer with the Russian School too, because of his work in St.
Petersburg. Oistrakh was somewhere else [Moscow]. Do you maybe consider there to be
two different Russian Schoolsone with the Oistrakh School, one with the Auer School?
OK: Well, yes, of course, theyre a little bit different. But it was very personal, his
teaching and suggestions, but still very Russian School.
a particular school of violin playing?
OK: Well, you know, its an endless process because we are trying to get perfection and
beauty, and I think Oistrakh got it. His art I am always comparing to the art of Mozart or
Raphael in painting: beauty and perfection. My goal also is to keep these traditions and
26
somehow transfer them to my students. I am trying to do [this]sometimes successfully,

sometimes notbut [laughs] its a life.
CB: Obviously you do it very successfully, or I wouldnt be interviewing you [we laugh].
But as far as your goal, would it be to pass on that same School?
OK: Yes. Of course, I am not Oistrakh. I am Krysa, so I cannot do the same thing, but
still, traditionsyes.
CB: So, as far as the extent that you view your own playing and teaching as being
associated with the Russian School, would you say closely associated?
OK: Yes.
CB: Do you recall specific technical advice which Oistrakh regularly emphasized to
many of his students?
OK: Yesmostly the beauty of the sound, mostly without pressure. Just bow speed and
a lot of air in sound and in the bow. There are very different approaches sometimes from
other schools and from other teachers, but I am always following that advice.
CB: Do you recall specific exercises and/or repertoire which Oistrakh regularly assigned
to his students?
OK: Well, he was trying to balance, of course, regarding to every person, which is very
different. But of course very standard classical repertoire with adjustments to different
personalities, and balance of modern, romantic, and classical music. Modern music was
always part of my repertoire because he always said, Here, we are living in twentieth
centuryyou have to know that music and perform that.
CB: Any other exercises or repertoireif you noticed that there were certain things that
he always used with every one of his students, or was it pretty individual?
OK: Its very individual. Every student has different repertoire in different order. I
started, for example, from Goldmark Concerto, and I switched to Mozart, and I go to
Bach, and Wieniawski, and Szymanowskiwhatever.
CB: Do you perceive significant differences between Oistrakhs approach and your own
approach to violin playing and teaching?
OK: Probably not. Of course, sometimes there are slight differences, but I think I am
very strongly following Oistrakh.
playing and teaching that we havent talked about yet?
OK: Well, as I said, I was trying to absorb different approaches from French School,
from American School, from different countries, so Im trying to mix. But still, I think I
am a very strong representative of Russian School. Mostly I taught in Moscow, so I had
many great colleagues in Moscow Conservatory and Kiev Conservatory. But also I am
learning a lot from my colleagues here in United States: for example from my colleague,
Professor Zvi Zeitlin, who is, you know, a living legend; from my friend Charles
Castleman, who I know very well for a long time; Mr. Kopelman, who is the first
27
violinist in the Borodin Quartet and Tokyo Quartethes a great chamber music
playerso I am always trying to get as much as I can from them. So, I can say that, of
course, I have an influence from my colleagues. But again, I am mixing. I think its very
important to keep your individuality very strong.
CB: In your experience with your colleagues and other professional violinists, to what
extent do you generally perceive violin playing and teaching today as being associated
with violin schools of the past? Do you think closely associated, or somewhat
associated?
OK: Closely associated.
OK: Yes, but its not that separate like it used to bebecause of communications and
travelersso its much wider and deeper.
OK: Very important.
better acquainted with yourself?
OK: Other sources about myself?
CB: Yes.
OK: Well, you know the [Applebaum] series The Way They Play? Its volume 14, so
you can read something there.
28
VIOLAINE MELANCON
Peabody Institute of Johns Hopkins University (Baltimore, MD)
Written Response
Postmarked April 12, 2004
TREATISE QUESTIONNAIRE
*If you would like additional writing space, please use the back side or a separate sheet.
The purpose of the questionnaire is to determine the extent to which schools of violin
playing continue to affect prominent violin teachers/performers in the U.S. today.
[V. Melancons answers are typed in bold]
1) Who has most influenced your own violin playing and teaching? You may mention
more than one person if you wish, and answer the following for each.
Claude Letourneau and Isadore Tinkleman
2) To what extent do you view your mentors influence as being associated with a
1
closely associated
3
somewhat associated
5
not associated
If applicable, which school(s)?

Letourneau: Galamian & French
Tinkleman: studied with Bronstein but was himself largely self-created in his
approach.
3) To what extent do you view your own playing and teaching as being associated with a
1
closely associated
3
somewhat associated
5
not associated

Galamians legacy (I also studied with him) in terms of organizing the bow
arm, detailing strokes, efficiency of fingerings. Both my mentors had a way of
integrating musical intent and technical means that went beyond any school, and
that pushed me to constantly [be] inventing new technical approaches, to truly
be imaginative. I also play professionally in a trio with cellist Natasha Brofsky,
who studied with William Pleeth, and this is constantly influencing my concepts
of sound and inflection.
I like the fact that my Galamian training was modulated by a healthy dose
of European influences: Letourneaus French background (he also studied with
29
Jean Fournier, brother of cellist Pierre Fournier), and my own association with
Arthur Grumiaux.
4) In your experience with other professional violinists, to what extent do you generally
perceive violin playing and teaching today as being associated with violin schools?
1
closely associated
3
somewhat associated
5
not associated
5) Do you recall specific technical advice which your mentor(s) regularly emphasized to
many of his or her students? Please cite any examples you would like, especially if
-Using contact point as color
-Healthy set-up: straight bow, relaxed set-up, using the least amount of physical
energy for the maximum intensity
-Articulation
6) Do you recall specific exercises and/or repertoire which your mentor(s) regularly
assigned to his or her students?
Lots of tudes
Solo Bach
Mozart Concerti
Scales & bow strokes (arpeggios, double-stops, the works!)
7) Do you perceive significant differences between your mentors approach and your
own approach to violin playing and teaching? If so, please explain:
I like to think of my own evolution as an extension, continuation of my roots,
but always adding details to the mix from my searching, listening, observing
others.
I enjoy very much drawing parallels between violin technique and other
instruments: cello, piano, voice especially, and learn specific skills from them.
8) If there are additional aspects of any violin school which influence your own playing
and teaching, please explain:
I think one should be curious and constantly experiment with new sound
approaches, new ways to move. Listening and watching film clips of old masters
is very important. Players were much more distinct and individual 80 years ago.
It can give one the courage to step outside the box and truly experiment to
broaden ones palette. Making music is about making sound in time and the
more ways to do it, the more varied the colors and possibilities.
30
9) Do you believe in the current existence of national schools, such as the German,
Yes
No
Unsure
Feel free to explain, if you wish:

I think this is less and less true. The world has shrunken, everyone hears
everyone and travels. But there are still differences.
10) In your opinion, how important is it that violinists familiarize themselves with
1
very important
3
somewhat important
5
not important
You may comment further, if you wish:

It is a question of being literate in your own field and informing your own
choices and evolution.
11) Optional: Could you recommend any sources which would be helpful in becoming
better acquainted with yourself or with your mentor(s), for example written
interviews which may be difficult for others to find?
31
WILLIAM PREUCIL
Cleveland Institute of Music; University of Maryland
Written Response
Postmarked December 15, 2003
TREATISE QUESTIONNAIRE
*If you would like additional writing space, please use the back side or a separate sheet.
The purpose of the questionnaire is to determine the extent to which schools of violin
playing continue to affect prominent violin teachers/performers in the U.S. today.
[W. Preucils answers are typed in bold]
1) Who has most influenced your own violin playing and teaching? You may mention
more than one person if you wish, and answer the following for each.
Josef Gingold
2) To what extent do you view your mentors influence as being associated with a
1
closely associated
3
somewhat associated
5
not associated

Gingold
3) To what extent do you view your own playing and teaching as being associated with a
1
closely associated
3
somewhat associated
5
not associated

Gingold
4) In your experience with other professional violinists, to what extent do you generally
perceive violin playing and teaching today as being associated with violin schools?
1
closely associated
3
somewhat associated
32
5
not associated
5) Do you recall specific technical advice which your mentor(s) regularly emphasized to
many of his or her students? Please cite any examples you would like, especially if
Beauty of tone
6) Do you recall specific exercises and/or repertoire which your mentor(s) regularly
assigned to his or her students?
7) Do you perceive significant differences between your mentors approach and your
own approach to violin playing and teaching? If so, please explain:
No
8) If there are additional aspects of any violin school which influence your own playing
and teaching, please explain:
9) Do you believe in the current existence of national schools, such as the German,
No
Yes
Unsure
Feel free to explain, if you wish:
10) In your opinion, how important is it that violinists familiarize themselves with
1
very important
3
somewhat important
5
not important
You may comment further, if you wish:
11) Optional: Could you recommend any sources which would be helpful in becoming
better acquainted with yourself or with your mentor(s), for example written
interviews which may be difficult for others to find?
33
DAVID UPDEGRAFF
Cleveland Institute of Music
Telephone Interview
January 10, 2005
David Updegraff: I would say two people: Paul Makanowitzky, who was perhaps the
first prodigy of Galamian. Makanowitzky studied with him in Paris. I studied with
Makanowitzky at Michigan, where I was his assistant. And the other would be Paul
Kling, who I studied with in my undergraduate degree.
CB: To what extent do you view your mentors influences (both Paul Kling and
Makanowitzky) as being associated with any particular school or schools of violin
playing?
DU: Basically I would say that Im by far the most influenced by Makanowitzkys
mentoring, as I did become his assistant, and because the Galamian School is such a well
thought-out and systematic way of training violinists. Makanowitzky was very much a
bow-arm person, and he fashioned bow arms for strength, flexibility and depth.
Naturally his bow arm was based on what he learned from Galamian, as I assume was the
rest of his technique. Makanowitzky was a student of Galamian, so that would obviously
be the direct link. I feel like my relationship to Kling was more of a musical one.
any particular school or schools of violin playing?
DU: Well, it would be the same: Galamian School. Obviously playing is a different thing.
Theres the physical side of playing (which would be reflective of the Galamian-style
training I had) and then theres the interpretive side of playing, which is something quite
different. My teaching is very Galamian oriented. I teach many of his fingerings and
bowings. They tend to make the student learn to do many things they wouldnt otherwise
choose to do.
DU: To a certain degree, yes. I think theres a large body of Galamian teachers out
there (many are students of the teachers that were Galamians assistants), but now you
have quite a few Russian teachers that have come to this country. Its not quite
as dominated by the Galamian school as it was in the 1960s or 1970s.
many of their students? Please cite any examples you would like, especially if you feel
DU: With Makanowitzky, it would have been sound production, projection, strength,
depth and richness of sound.
CB: Do you think this was something carried over from Galamian, to him, to you?
34
DU: Well, to a degree I think it came about as a result of some comments that Galamian
made to Makanowitzky. As I remember at one point, Makanowitzky was telling me that
he had played a concert, and Galamian had come back stage afterward to share
his reactions to the concert. As Russians tend to do (according to Makanowitzky), they
make their largest points by understatement, and on his way out Mr. Galamian said to
Makanowitzky, Oh Paul, by the way, maybe youre sounding just a bit thin.
Makanowitzky said then for the next five years all he did was pump up his sound. So,
I know that really affected him for the rest of his life. I think also judging international
competitions affected him because the players with big sounds in competitions tend to
have more impactthe ones that really have a big sound. I think that Makanowitzky was
always looking for students to be able to compete in those arenas, and that was what he
was hoping I would do...until the need to support my family became a priority.
DU: Well, sure. In terms of tudes it would almost always be Kreutzer, Rode, Dont (the
hard Dont), Gavinis, then Paganini, of course. ConcertosI mean I could give you a
whole list of concertos in an approximate order, but I dont know if thats what youre
looking for.
CB: But the standard concertos, would you say?
DU: Oh yes, though one that the Galamian School does that a lot of them do not is
Conus. I actually dont teach it that much, but it is still taught quite a bit, and I suspect
thats because Galamian played the premiere of it. But, I think the Galamian School
probably teaches more Vieuxtemps than some schools.
CB: The fourth and fifth concertos, particularly?
DU: Exactly. Other than that, I would say its probably pretty much standard repertoire:
Mozart G, D and A Major, Bruch G Minor, Lalo Symphonie Espagnole, Barber, SaintSans B Minor, Wieniawski D Minor (then Vieuxtemps No. 4 and No. 5), Mendelssohn,
Dvorak, Prokofiev D Major and G Minor, Glazunov, Tchaikovsky, Sibelius, Paganini
No. 1, Wieniawski F-sharp Minor, Beethoven, Brahms, Stravinsky, Berg, Bartk No. 2,
Walton, Elgar, Shostakovich No. 1, and other twentieth-century repertoire. In the old
days, not so many people played Ysae; these days its rare that I dont have students
playing at least three different Ysaes at the same time. Certainly Ive taught all six, and
in a year have had students play all six, so thats become more the norm. Of course these
days the standard repertoire has really grown enormously. Think of all the concerti
written in the 1930s and since: a large and important number of works.
DU: I guess the biggest difference is that Makanowitzky was an extremely strong and
somewhat tough character, so many people felt intimidated by him. I personally try to
take the opposite approach, and have the students feel as comfortable as they possibly can
in a lesson. I think that puts them in a position of being able to learn as much as possible.
35
CB: Are there any additional aspects of any violin schools which influence your own
playing and teaching that we havent talked about, that youd like to address?
DU: Not really, other than were all the sum of the recordings we listened to growing up,
and our heroes, right?
CB: Thats a good point. You learn a lot from just listening to recordings and going to
concerts.
DU: As a student, especially in the undergraduate degree, I think I mostly measured
myself against professionals rather than against fellow students, and it was the most
helpful to me.
Franco-Belgian, Russian, or even American School?
DU: Im really not totally sure. I would guess that its so inter-mixed that its probably a
little hard to tell. If you think of Galamian representing the Franco-Belgian School, then I
would say thats still very much a big influence. Many of the top teachers in the United
States were taught in this method.
CB: Do you consider the Galamian approach to be a Franco-Belgian approach, or maybe
one interpretation of the Franco-Belgian School?
DU: Probably one interpretationIm not quite sure that everyone thinks the same when
they talk about the Franco-Belgian School. I know what it means in the way of a bow
hold and that sort of thing. Obviously Galamian was very much influenced by Capet, and
so I think he got a lot of influence there, so I would say that would be the one school that
is still fairly well-defined. I would say perhaps the Russian School is still defined to a
certain degree, and there again, it depends on what Russian School means to different
people. For instance, I know my friend Victor Danchenko of Peabody and Curtis studied
with Oistrakh, and then taught at Meadowmount for years. Meadowmount was, of course,
Galamians creation, and his camp for so many yearsso you know there is a certain
amount of crossover thats going on.
DU: I think if they can take things from each school that will make them more rounded
violinists, then its really important. I know the Russians spend a lot of time on fouroctave scales and arpeggios, and certainly my teacher did. In any case, I think that would
be one of the things in that school that many people would benefit from. I think whatever
helpful things people can take from whatever school is going to make them more
complete players.
36
ZVI ZEITLIN
Telephone Interview
May 3, 2004
Zvi Zeitlin: I think I was influenced by just about every great violinist Ive heard, but my
very first teacher, her name was Elisheva Velicovski (Elisheva is Hebrew for Elizabeth).
She was a pupil of Adolph Busch. She was from Germany, but she was in Israel very
early, from the late 1920s or early 1930s (before Hitlers time), and thats when I studied
with her. I had a great deal of influence from her as far as thewell, the German school
of how to be a musician. Later on, I had to study with others in order to work on polished
technique and all of that. Already at the age of eight, I learned from her (that is, in
retrospect; I didnt even realize it at the time) to study music directly from scores, like a
sonata of Mozart directly from the piano part, instead of that which over ninety percent of
students everywhere do today: they study [only] the violin part, which I equate to their
face as studying a play by only reading their own part.
Then I studied with a woman by the name of Miriam Carmi, who was a pupil of
Flesch. At the age of eleven, I came to New York, and my teacher there was a very great
artist, Sascha Jacobsen (he came from Finland, so its a Scandinavian ending). He was a
pupil of Franz Kneisel, who was the great violin teacher in America. He [Kneisel]
produced more violinists, I think, than any other teacher at that time. His students also
include Joseph Fuchs, Jacques Gordon, and many others who eventually became leaders.
Sascha Jacobsen was the leader of the Musical Arts Quartet in New York, which was the
successor of the Kneisel Quartet, and they were very active in New York when I studied
with Jacobsen from 1934 to 1939, age twelve to seventeen. I graduated from Juilliard the
same year I graduated from high school.
The two violinists at the time who had the greatest influence on me as performers
were Fritz Kreisler and Heifetz. Around the same time, but from a different standpoint,
Bronislaw Huberman exercised a great deal of influence on me, but I did not appreciate it
until much later because his style was not popular in the United States. But he was one of
the greatest artists of his time, and as you know, he is the founder of the Israel
Philharmonic. He was a great star in Europe, and when Hitler started to kick out Jewish
musicians from German orchestras, and eventually from Austrian orchestras purely
because they were Jewish, Huberman (who, as I said, was a superstar in Europe), thought
of forming an orchestra of displaced musicianssome of whom, needless to say, were
the very best performers in Europe, and leaders of great orchestras like the Berlin and
Vienna Philharmonicsto form the Palestine Orchestra which is now known as the Israel
Philharmonic, launched by Toscanini in 1936. Huberman and Kreisler were opposites,
but they had some of the greatest influences on me: Kreisler for elegance and projection
of every single note straight to your heart, Huberman for keeping you on the edge of your
seat in building a structure of a great work like the Brahms or Beethoven Concerti or
some of the great sonatas. You know, he kept you on your seat because it was very
suspenseful to hear him play, although it wasnt always pretty, or as polished as what
we expect today from violinists who very rarely (if ever) have anything of the kind of
37
spirit and meaning that men like both Huberman and Kreisler had in their playing.
Another man on that level was Joseph Szigeti. But, both Szigeti and Huberman were very
uneven in their performances, and so my teacher (Jacobsen) didnt like either of them
because they sometimes could play quite badly. Eventually he changed his mind, though,
because he listened to recordings and all of that, you know. But those were the people
who had the greatest influence on my ideals as a performer.
Eventually, Pablo Casals had a great influence on me. As a matter of fact, Pablo
Casals and Sascha Jacobsen were two of the greatest influences as teachers; Casals
wasnt exactly a teacher but he certainly was a mentor for me, in understanding the (now
almost extinct) art of knowing how to really play rubato in romantic musicactually all
music, because there is no such a thing as absolutely straight values. Everything, to be
expressive, is to some extent rubato, including Mozart and Bach, of course.
CB: Yes, even though many teachers say, You need to practice with the metronome.
ZZ: Yes, its okay to practice with the metronome, but eventually you have to discard the
metronome. Practice with the metronome in order to gain discipline, because a lot of
students, in my experiencethey dont realize when they rush or when they slow down.
Its because they study the music directly with the instrument in hand, which I find very
often a mistake, because before you have mastered the notes, you begin to study the
actual music, usually just the violin part, and that very often has an almost indelible effect
on your whole conception of the piece, which is very, very flawed. I tell my students:
Learn to study a piece like a conductor. At first it comes to them like a wide-eyed
surprise. Violinists do not have vertical hearing. Even when they play a Bach fugue, all
they hear is the top voice. You can hear it the way they sound the bass, which is often
inaudible. Okay, so these were my influences which shaped meslowly, I would sayto
what I became, both as an international concert performer and eventually as a teacher in a
major school. I say, listen to the bass. Know the bass that the piano plays, the harmonies
when you play a Beethoven Sonata. Otherwise you dont really know the piece because
you dont know what is expressive and what is passing.
CB: Do you say that generally for all music, or more specifically for
ZZ: I say that generally for all music.
CB: Not just for Bach or Beethoven?
ZZ: Of course in degrees, naturally. But if they do an Ysae Sonata I certainly say the
same thing. And I certainly say the same thing if they are advanced enough to do the solo
Bartk Sonata or any of his violin and piano sonatas, or the Concerto, naturally. Most of
the liberties that people seem to take with a piece of music are hinted at by the composer,
and vice versa. The Violin Concerto of Beethoven: you look at the score and you see
very, very clearly where he wants absolutely strict tempo and where suddenly you have a
little leeway. You know, the orchestra stops and you dont have to be absolutely
metronomic. But, changing tempo is one thing, and changing pulse is another because
pulse is changing your own blood as it flows; it is not metronomic. If you look at the
score of the Beethoven Concerto where the violin plays the melody, theres no rhythm in
the accompaniment at all. Its an absolutely clear clue on the part of Beethoven that you
are freer here than you were when the composer wrote[sings rhythm], where you
38
have to keep time. And the rest is up to youwhich is why, no matter how much
discipline I exact from my students, none of them play like the other. They all play
differently, even if they use the same fingerings and bowings, because its another person
playing. One of the things I have to caution students who have ambitions, often spoiled or
poisoned by vicarious ambitions of parents and teachers and sometimes other people who
seem to have a vested interest in the future of the talented person: not to worry, because
students can often be destructive to each other. You know, friends who (for some
protection) would say, Yeah, but you dont play interestingly, at which point the boy or
girl gets very worried and says, Well, Ive got to be interesting. And then comes
sometimes the confusion between personality and mannerism. I say, personality is
you, stripped of any mannerism. Manner is an external thing, which has nothing to do
with your personality; its a cover-up, so forget it. A lot of people have what seems like a
mannerism, but it is an indelible part of their own personality, or it has developed that
way.
CB: Did you also study with Persinger and Galamian?
ZZ: Oh yes. I studied one year with Persinger, because when I returned to the United
States after World War II to do graduate work at Juilliard, I asked my former teacher who
to study with, and he couldnt give me a direct answer, but there was Persinger, there was
Hans Letz (who used to play in the old Kneisel Quartet), there was Eduard Dethier (a
French teacher), Galamian was there (I did not know Galamian). Persinger was a
wonderful musician, but he used to sit at the piano and accompany (very, very well, too,
you know), but as far as details are concerned, Persinger was particularly successful with
very young, genius-level talents like Menuhin, Ricci. There was an Italian girlGuila
Bustabo (her problem was that she continued to perform under the Nazis in Germany and
Italy, and so she kind of lost her chances for an extended career elsewhere after the war.)
But he [Persinger] didnt bother to discuss details much, you know. I would play and he
would say, Well, a lot of it sounds absolutely first-rate, and I was not happy with that
because I wanted to know why something didnt sound first-rate. So at the end of the year
I went to Galamian, and I was with him for three years. He was much more analytical;
less of a musician than Persinger was, but a wonderful human being and a very devoted
and attentive teacher from the standpoint of violin playingthe French School, or
Franco-Belgian School. I adopted some of the principles of his, but then I amalgamated
them into my own, so Galamian had definitely a very strong influence on my approach to
violin playing and making things sound, especially attention to bow distribution, bow
division and bow changes. Except that I try to be more sensitive to bow changes not
affecting the line, because sometimes a composer would write a long slur mark over a
number of notes, and it makes things a little too tight if you want to be orthodox about it,
so you have to change bows. But if you change bows, you make an accent with the bow
change, and thats one of the things I work with my students to try to smooth out. This is
very much part of the Franco-Belgian approach, the Franco-Belgian School, which I
think is the most prevalent school today. Most people hold the bow the same way today,
but 60-80 years ago there were different holds. There was the German School of Joachim,
which is today pretty much discarded, and the old Auer SchoolAuer was a pupil of
Joachim, and he started out with the old German bow hold, but he was also very
39
influenced by Wieniawski, who preceded him as the Royal Solo Violinist in St.
Petersburg.
CB: Thats right, he and Vieuxtemps both.
ZZ: Vieuxtemps before him, yes. Vieuxtemps was there for seven years and Wieniawski
was there for twelve years. It was a tremendous Franco-Belgian influence on the Russian
School, and German and Italian, of course. But I happen to have been privileged to be
friends with Heifetz, who held the bow differently from most of the later violinists;
Mischa Elman did more or less the same. I think Milstein was closer to the second joint
behind the stick of the violin, giving one extra joint to manipulate when moving the hand
of the bow, and more finger control, which I think is the most prevalent way today. Ive
been all over the world, including Germany and some of the Slavic countries. Most
people hold the bow more or less the same way today.
CB: Which you consider to be more of the Franco-Belgian School?
ZZ: Yes. I think that is basically the accepted norm. This is the most flexible way of
holding the bow. I believe the upper arm, except when you play staccato, should
always be limp, very relaxed, and learn how to make it relax in a split second. This is the
problem of most violinists: tension from the shoulder down to the elbow.
CB: Even when playing softly, would you say?
ZZ: Especially when playing softly. Starting a pianissimo at the frog, you know, I have
had no problem of tremor either in myself (although Ive had damage in my arms) or my
students. If you know how to balance your bow, you can start with perfect control at the
frog. You learn how to hold the bow, not too tightly. The tightness of the grip increases
as you approach the tip of the bow, and decreases as you do an up-bow and approach the
frog. When changing bows from up-bow to down-bow, a lot of people do not appreciate
the significance of the French terms for up and down bow: tirer and pousser. Tirer
means pull and pousser means push. And if you understand the meaning of pull and
push, you know what to do when you finish an up-bow and start a down-bow: you have
to finish the push position and start a down-bow position, which means you do not pull
with the index finger; you pull with the lower fingers, like pulling a rope. So anybody
who keeps the pinky straight at the frog does not understand that hes not pulling on a
down-bow, and that can create tension in the upper arm as well, which can be easily
corrected if one begins to treat the upper arm like a gill, or like an outer lung, breathing in
and out. Whenever you have a sixteenth-note rest, or even a thirty-second, drop the arm
to a limp position, but dont force it to your side. Just drop it naturally, which means that
its the hand that creates the art of bowing, just as it is the hand that creates the art of
drawing or painting, or for that matter, surgery, or any kind of delicate work with the
hand.
I think we have made some changes since Galamian, simply because of
changes in musical style. For example, he used to teach certain Bach movements in
martel, and I do not believe that Bach needs a martel stroke. Martel stroke is a typical
early nineteenth-century stroke that was, if not invented, then at least developed by the
great French violinists starting with Viotti, who came to France from Italy. But the
French violinists like Rode and Kreutzer and Baillotyou know, martel, more force at
40
the tip for an even sound. But an even sound was something that was unknown in the
days of Mozart and even Beethoven. Beethoven was very interested in the French School,
but the Italians, who are the great early masters of violin playing, they believed in
fluctuation of sound and nuances within a bow stroke, instead of a siren-like evenness in
the sound. I believe great teachers insist on evenness merely to know how to control it. If
you want a very long note, you have to know how to make it even; but once you know
how to make it even, you learn how to color the sound while you are doing it. I dont
know that this is easily understood unless you are a practicing concert violinist. There is
no such thing as an absolutely even sound. Like a singer, it all comes with the air and
with the phrase, but a steady, even sound from frog to point did not exist until the FrancoBelgian School started to teach it, and that has often been abused by people who are not
sensitive musicians. I use the word sustain, but I dont mean sustain like a siren.
Everything has to fluctuate according to style, naturally, which is why I believe one
should study what the musicologists teach you in Baroque, but then draw your own
conclusions because the musicologists have no idea how people played 150-200 years
ago. And besides, even today with CDs, no two noteworthy artists play alike. So you can
imagine before there were recordings, they not only didnt play alike, but played
completely different from each other; or when they did, they certainly did not imitate. I
learned from my teacher a certain feeling, so that when I heard a great performance,
something told me, Well, Im going to do it a little differently when Im able to play the
piece. Jacobsen told me that he had the same reaction when he listened to great artists
play a piece: Ill do it differently.
CB: To what extent do you view your mentors influences as being associated with a
ZZ: I know who each of them studied with, and there are combinations. My teacher
Sascha Jacobsen, he was born in Finland, but in his childhood he grew up for a number of
years in St. Petersburg, and so he spoke Russian, and then he was educated in America
with Kneisel. Kneisel was a Viennese violinist, Roumanian actually, but he was of the
Viennese School; his teacher was [Jakob] Grn, a well-known Viennese violinist. But I
know that my teacher [Jacobsen] was very, very influenced by Ysae. Ysae was a pupil
both of Vieuxtemps and Wieniawski. But both Jacobsen and Galamian spoke Russian.
Galamian was Armenian, from Uzbekistan, and he studied with [Konstantin] Mostras
(who was a well-known violin teacher) and with Hrimaly (he has a famous book of
scales; contemporary with Sevcikthey were both Czechs). Hrimaly taught in Moscow.
In Moscow the Czechs had more influence than the Russians and Poles in St. Petersburg.
Ferdinand Laub, a very great violinistless known for some reason because he didnt
write as much as Wieniawski did, but he was apparently no less a virtuosohe was the
great influence in Moscow, whereas Wieniawski was the great influence in St.
Petersburg. But both of them produced outstanding violinists from both conservatories,
because both conservatories were run by brothers Rubinstein: Anton Rubinstein founded
the conservatory in St. Petersburg, his brother Nickolai founded the conservatory in
Moscow.
During the Soviet years of separation, there was a certain change in Soviet
teaching, especially musically, because they had lost some of the great western traditions
for a while. But in 1955, when Oistrakh, Gilels, and Rostropovich started to play in the
41
west, they all took a great deal of interest in the great artists of the preceding generations
during the Iron Curtain era, like Kreisler, Huberman, and the German violinists like
Adolph Busch and Szigeti (Hungarian), and Casals of course, the cellist, and they all
were very, very much influenced. Within a year or two, I heard a great difference in the
playing of Oistrakh, Gilels, and Rostropovich, and Im sure that they would have
admitted it themselves. There came this wonderful combination of the precision and
exactness that the Soviet School had, plus the musical, stylistic approach of the great
western artists. And today its a mish-mash, this whole thing; its up to the young player
to learn to be discriminating. One of my tasks as a teacher is to make them aware of these
differences primarily by learning to study a score instead of being a priori influenced by
somebodys performance of the piece. I know that even well-known teachers encourage
their students to listen to recordings, but listening to a recording before you even know
the music of the piece can have indelible effects on your understanding of the piece,
because you understand it having heard it from somebody. All of us are somewhat
influenced that way. But when we learn to read a score accurately, then we often revise
our early influences to try and understand differently; then we see what builds itself
inside us as far as a convincing interpretation of a work. I have a motto: Technique is
conception, because studying technique without conceptionsomebody would play a
scale for me, dry and inexpressive, and I would say, Could you name one piece in the
whole literature where you would play a scale like that? No. Well then why do you
play the scale like that? What good is it? A lot of music is made up of scales: Mozart,
BachI mean, the G minor Adagio of Bach starts with a scale, the Beethoven Concerto
starts with arpeggios and scales, and how do you play it? So, play the scale as if
Beethoven wrote an accompaniment to it, even very slowly. Then you are ready to play
Beethoven; otherwise, when you play Beethoven it sounds like scales.
ZZ: I wouldnt go out of my way to start to learn different schools. You study the music;
you have an idea what it should sound like and then you work at it. There is no such a
thing anymore as different schools. Theyre all in the past. There is no such a thing
anymore as the German School and the French School and the Russian School
because theyve all been amalgamated by media, by interchange. You hear the difference
in personality, you hear an approachsure, I can tell a French violinist, but he also is
influenced by the other schools.
CB: One of my questions is actually whether you believe in the current existence of
national schools, and you would answer no, from what youre saying?
ZZ: No, actually I wouldnt say no. I mean, certainly somebody whos lived all his life
in the Czech Republic has the Czech School in his background. But whether the Czech
School today is the same as it was before it was influenced by other schoolswhich
there is no such a time. For example, great violinists like Ernst, his teacher Bhm, and
Ferdinand Laub, are representatives of the Old Czech School; Czechoslovakia was part of
the Austrian empire, so there was always a cross-influence. The school, or the approach
to music, comes from the kind of music [the teacher] heard as a child, you know, Slavic
melodies or Slavic folk music, or German folk music. The way they are sung, it affects
42
ones approach to playing. So, I do not deny the existence of national schools, but I deny
the isolation of a national school today. It doesnt exist anymore, the isolated national
school; I wouldnt recommend anybody to go to an isolated national school, as
represented by a teacher who doesnt know anything except what his particular provincial
teacher taught him. I think it boils down to that. One has to expand and understand
differently the personality of the performer. I heard equally convincing performances,
lets say, of the G Minor Prokofiev Concerto from Heifetz and from Francescatti, and
they couldnt be more different than they are. You listen to them and you try to analyze
what the difference is, but you find out eventually the difference is between two distinct
human personalities who interpret the music differently, which boils down to Technique
is conception. I hear these notes longer than you; you hear them shorter than I. More
clipped, or faster, or slower, or you know. Thats what it is, and the rest falls into the
realm of good taste. Good taste also differs in various civilizations. The French, for
example, consider it good taste to be noisy at the table during dinner, you know, beat the
table with the knives and forks. The English dont consider that the best of manners.
CB: From what you said before, you dont feel that its particularly important that
violinists familiarize themselves with different schools of violin playing?
ZZ: I think the most important for violinists is to familiarize themselves with the music,
and with the style of the music. If they know the style of the music, then with a good
teacher theyll know how to perform the various bow strokes and vibrato, you know.
Vibrato for me is an enhancement of the expressivity of the bow. When vibrato is an
isolated thing, to me it is a misconception. When people say, Im working on the
vibrato, they dont realize to what extent the bow has a role in vibrato. When you listen
to the great vibratos of people like Kreisler, youre not aware of the vibrato, youre aware
of the sound. Youre a little more aware of it sometimes in Heifetz, especially as he got a
little older, or Elman. But again, youre aware of the sound; youre not aware of the
actual vibrato. If youre aware of the vibrato its a flaw, like with a 60-year-old soprano.
But there should never be a tone without any vibrato at all, unless its a special effect. In
fast passages, I tell my students: use a finger-drop vibrato, like you drop a ball. You drop
a ball and it reverberates; it bounces. If you place it, like your old grandmother used to
place a hot cup of tea on the table, you dont get any expressivity from the finger, not in
moving passages.
CB: Do you perceive significant differences between your mentors approaches and your
ZZ: I have my own approach that has developed over the years, but I sometimes feel that
my reaction to a persons playing, usually from a musical standpoint, is very influenced
by the way my teacher reacted when I played that same piecelets say, with personal
differences, naturallybut thats all, not as far as approach is concerned. I think I have
a different approach to every student.
CB: Do you view your own playing and teaching as being associated with a particular
school or schools of violin playing?
ZZ: Not any more. Certain bow holds and certain bow techniques I would ascribe to the
Franco-Belgian School. Thats about it. Left hand, yes: I believe that the wrist should go
43
forward, closer to the neck, and not hollowed backwards, not leading a downward
passage with the wrist, especially when you come back down from the higher positions
back to the third and first positions. The wrist should be relaxed forward, and be done so
consciously, often enough to make sure that it doesnt get rigid.
CB: Do you consider that to be brought to your attention by the Franco-Belgian School,
this forward wrist?
ZZ: I wouldnt be surprised if it also existed in the Russian School. But of course the
Russian School is also an amalgam because Rode visited Russia for lengthy periods in
the eighteenth century, so he must have had an influence already. Its all a matter of
cross-influences. I personally do not ascribe anything purely to a school. School is a
question of styleif Szigeti is a representative of the Hungarian School of violin playing,
his teacher was Hubay, and Hubay and Ysae were the two favorite pupils of
Vieuxtemps, and they couldnt be more different from each other. It branches in different
directions from the same source. All of us may date back as part of the tree to Viotti, in
one way or the other.
44
CHAPTER TWO
GENERAL RESPONSES AND CONCLUSIONS
The fundamental purpose of the questionnaire was to determine the extent to

which schools continue to affect prominent teachers/performers today. Three of the ten
respondents stated explicitly that they felt their own playing and teaching is closely
associated with one or more schools or influences. Three others indicated that, although
they ascribe some of their bow technique to either the Franco-Belgian or the Galamian
School, much of their own playing and teaching is not associated with any particular
school. All ten respondents felt that they had been influenced at least to some degree by
one or more schools, and most of them felt they had been influenced by more than one.
However, eight of the ten indicated that although they believe in the current existence of
national schools to a degree, the boundaries have disintegrated and the schools have
become co-mingled, due to increased globalization, ease of communication and travel. As
for the remaining two respondents, Castleman did not mention this point explicitly, but
did say he believed in the current existence of national schools only in terms of the bow
grip. Preucils brief, written response only indicated than that he does believe in the
current existence of national schools. No one stated decisively that he or she does not
believe in the current existence of national schools.
With reference to cross-influences between schools, it is evident from researching
printed sources which address teacher/pupil relationships and locations of violinists and
teachers in earlier centuries (see p. 90) that there has been significant cross-influence
between schoolsnot just in the past century or so, but for hundreds of years. Zeitlin
emphasized this point in his interview as well. It is clear, nonetheless, that these crossinfluences have increased dramatically during the past century, proportionate with
unprecedented technological advances in both communication and travel.
45
Five respondents replied that they felt their mentors had been influenced by more
than one school of violin playing. The other five felt that their mentors were primarily
influenced by only one school. Of those, two considered themselves representatives of
the Russian School, two considered Gingold their primary influence, and one considered
Galamian (through Makanowitzky) his primary influence. Two respondents mentioned
that one of their most influential mentors (they both mentioned more than one) essentially
represented no particular school: Castleman mentioned Szeryng; Melancon mentioned
Tinkleman. Although there was a wide range of opinions from some respondents as to
whether Galamian and Oistrakh are most affiliated with the Franco-Belgian, Russian, or a
combination of schools, it appears that Galamian is generally considered at least
somewhat associated with the Franco-Belgian School, and Oistrakh with the Russian
School. However, some consider Galamian more affiliated with the Russian School, and
still others consider Oistrakh more affiliated with the Franco-Belgian School.
The interviewees were often hesitant to assign numeric or strictly yes/no answers
to some of the questions asked from the written questionnaire. It was therefore
determined in the process of interviewing that the most valuable information was to be
gathered simply by allowing them to respond to the questions as they chose, and to press
for a more specific answer only if the conversation could be comfortably turned in that
direction. In this way, more personal, sincere, and complete responses were gathered,
though the information at times is difficult to quantify. Only one respondent stated that he
generally perceives violin playing and teaching today as being closely associated with
violin schools. Four others generally perceive violin playing and teaching today as
between somewhat associated and closely associated. The remaining five consider violin
playing and teaching today to be either somewhat associated or slightly less; none
perceived it as unassociated.
When asked how important it is that violinists familiarize themselves with
different schools of violin playing, seven responded that this was very important. Some
reasons they gave for their responses are worth reiterating: Melancon responded, It is a
question of being literate in your own field and informing your own choices and
evolution. Keyes replied, My complaint is that [some] teachers dont explore enough in
other traditions. If the teacher just takes what theyve been taught, and they dont go
46
further, sometimes the teaching can get very sterile. Although the other three teachers
did not respond with a direct answer to this question, they certainly shared some
thoughtful insight. Cardenes mentioned the need for historical knowledge and
understanding traditions, styles, and that violin playing should require disciplinea
well-schooled knowledge. Castleman stressed the importance of recognizing that there
isnt a right way of playing. Different schools have different advantages. Knowing
whats different among the schools is important, [but] Im not sure you have to be able to
understand all of them as they function. Zeitlin replied, I wouldnt go out of my way to
start to learn different schools. Most important is for violinists to familiarize
themselves with the music, and with the style of the musicthen with a good teacher
theyll know how to perform the various bow strokes and vibrato, [etc.] An observation
by Albert Spalding comes to mind: Much of what we have learned from tradition is not
good. However, we must study with respect the principles which have been derived from
the cherished performances of the past. But discard them when their usefulness is over.
Tradition, in the study of a composition, is like the barnacles on a ship. Style, though, is
everything.9
When asked who most influenced their own violin playing and teaching, the most
frequent responses were: Heifetz, Galamian, Oistrakh, Kreisler, Gingold, Szeryng, and
Milstein. Four respondents mentioned Heifetz as a significant influence, although only
one of these had actually studied with him. Three mentioned Kreisler, though none had
studied with him. Three cited Galamian directly (an additional two named mentors who
were students of Galamian). Three mentioned Oistrakh, two of whom had actually
studied with him. Gingold, Szeryng, and Milstein were each mentioned by two
respondents. Five of the ten respondents cited artists with whom they had not actually
studied; five named artists who were not violinists, but were cellists, pianists, or singers.
Three mentioned both: artists with whom they had not actually studied, as well as artists
who were not violinists. This observation demonstrates that many current, highly
respected violin teachers regard musicians other than violinists, and also musicians with
whom they have not studied, among their most prominent influences.
Samuel and Sada Applebaum, With the Artists (New York: John Markert & Co., 1955), 99.
47
When respondents were asked whether they could recall specific technical advice
which their mentors regularly emphasized to many students, the most common responses
were 1) beauty of tone, including richness and depth of sound (five responses from
different teachers), and 2) using strength and power to achieve a big sound projection
(four responses from different teachers). Although the respondents who mentioned the
first point represent collectively a variety of influences, all four who mentioned the
second point were citing Galamians teaching. Other points that were mentioned by two
respondents (different respondents for different points) include flexibility in the bow,
articulation/clarity, the use of coll as a tool for developing bow technique (both
respondents again citing Galamian), an emphasis on style, musicality, variety, imitating
an excellent singing voice, and focus on color. When asked whether they recall specific
exercises and/or repertoire which their mentors regularly assigned to their students, the
individual responses were quite varied, but a few common responses included the use of
scales, arpeggios, double stops, various tudes, and Bach.
When asked whether they perceive significant differences between their mentors
approaches and their own approach to violin playing and teaching, the responses again
were varied, though a few of the respondents mentioned the following: they adapt their
teaching to individual students and do not adhere to a system to the extent that their
mentors had done; they combine a variety of influences, amalgamating them into their
own; they have adjusted to new and current challenges, including a growing standard
repertoire, more stringent audition requirements, and changes in musical style.
It is apparent from the interviews that current perspectives and opinions
pertaining to the influence of schools vary quite widely, even among noted and highly
respected artists and teachers. Furthermore, it is impossible to quantify the influence of
any given school, in part due to so much cross-influence, so many varied responses and
generally a wide range of opinions. However, one may identify many significant
influences by researching specific teacher/pupil relationships, locations where prominent
artists and teachers were active (and by relating this knowledge to other influential
teachers in other places at a given time), cultivating an awareness of the treatises which
have most influenced violin playing and teaching, and researching other relevant
literatureespecially interviews with distinguished artists. Using these means, one may
48
develop a more discriminating sense of the importance of various schools in the history
of violin playing and teaching.
Every great violinist embodies in his playing the influence of his predecessors;
this shared inheritance, added to and subtly transformed by his own unique stamp,
becomes in turn a legacy to future generations.10 Many of the respondents emphasized
that they use their earlier influences as a point of departure, and then continue to refine
their approach. For instance, Keyes compared great instrumentalists and teachers to the
great composers: Bartk studied the music of Mozart and Haydn and Beethoven and
Brahms, but his music doesnt sound like them. Melancon shared similar insight: I like
to think of my own evolution as an extension, continuation of my roots, but always
adding details to the mix from my searching, listening, observing others. Kopelman
equated the school which one inherits to a basisa basic thing. Thenyou build the
houseand you learn all your life.
10
Ruggiero Ricci in his forward to Margaret Campbell, The Great Violinists (Garden City, NY:
Doubleday & Company, Inc., 1981), v.
49
CHAPTER THREE
A REPORT OF THE LITERATURE ADDRESSING VIOLIN SCHOOLS AND
PROMINENT INFLUENCES ON VIOLIN PEDAGOGY
Treatises
Treatises on violin playing represent the largest body of literature pertaining to

this topic. Because so many of these have been written in the course of the past few
centuries, the principal objective here is to make reference to sources which address
many of them, thus giving readers the opportunity to research those which they find most
valuable.
One source is found in a German article by Marianne Kroemer: Die Violinschule
in Geschichte und Gegenwart (c1975). She provides commentary on dozens of major
treatises, dividing her article into four distinct time periods: 1) precursors of the violin
schools, 2) learning materials intended for the amateurs self-instruction, from the middle
of the 17th to the middle of the 18th century, 3) materials suitable for the development of
the professional musician, from the middle of the 18th to the end of the 19th century, and
4) violin schools, which distinguish themselves through various ways with the problems
of beginning studies, and that leave further (higher) studies, with little exception, to the
tudes which have become popular, from the end of the 19th century until 1975.11
Throughout her article, Kroemer's focus is primarily on the treatises, and not on the
development of the various schools.
Kroemer includes eight publications in her treatment of the first period, two of
these exclusively written for stringed instruments; she includes eleven publications in her
treatment of the second period. The most noteworthy treatises are found in her handling
11
Marianne Kroemer, "Die Violinschule in Geschichte und Gegenwart." Violinspiel und

Violinmusik in Geschichte und Gegenwart (Vienna: Universal Ed.; Symposium, Graz, c1975), 235.
Translation by the author, in consultation with Christina Guenther.
50
of the third period, as the focus of the treatises at that time generally shifted from the
amateur player to the professional. Here she provides information on seventeen
publications. In her treatment of the fourth period, Kroemer discusses twenty-one
publications.
Dr. Robin Kay Deverich maintains an internet website entitled How Did They
Learn? An Overview of Violin Pedagogy with an Emphasis on Amateur Violinists (see
www.violinonline.com/violin_pedagogy.htm). This site includes an index containing
twenty-seven links, one link routed to a Selected Chronological List of Traditional
Violin Instructional Material. Deverich explains that although her website generally
focuses on the teaching of amateurs (in the best sense of that term), this particular link
provides a list of traditional instruction material. The list is remarkable, and includes
most of the major treatises listed by Kroemer, though Deverich does not provide
commentary on the individual treatises as does Kroemer. In addition to the treatises,
Deverich incorporates into her list volumes of tudes, caprices and other instructional
material, such as those by Sevcik, Schradiek, Fiorillo, Rode, Dont, Gavinis, Mazas (but
curiously not Kreutzer), Wieniawski, Dounis, Suzuki, Paul Rolland, and Kato Havas. The
other links in Deverichs index are also of interest, among them: Music Treatises for
Amateurs, Early Violin Pedagogical Material, and Conservatory Class Instrumental
Instruction. She also includes a handful of musical examples, including MIDI sound
files.
Alexandra M. Eddy wrote an article for the journal American Music (Summer
1990) entitled American Violin-Method Books and European Teachers, Geminiani to
Spohr. This article focuses on authoritative works written by European pedagogues
which, according to her research, most influenced violin playing in America during the
eighteenth and nineteenth centuries. She cites treatises by Geminiani, Campagnoli,
Mazas, Spohr, the Mthode by Rode, Baillot and Kreutzer, and English methods popular
during the eighteenth century. She describes in some detail how American violin method
books borrowed ideas from each of these sources. She also includes an appendix which
lists American violin method books published between 1769 and 1905.
Another resource is inconspicuously tucked away in Frederick Neumann's book
Violin Left Hand Technique, in which the selected bibliography at the end of the volume
51
includes most of the major treatises and methods on violin playing since Michel
Correttes Lcole dOrphe (1738), up to the date of the book's publication in 1969.
Neumann devotes a couple pages of praise to Principles of Violin Playing and Teaching
(1962) by Ivan Galamian, with whom he had co-authored the volume Contemporary
Violin Technique in 1966.
A similar resource is found in An Encyclopedia of the Violin by Alberto
Bachmann (former violin pupil of Eugene Ysae). Chapter 25 of this Encyclopedia,
entitled A List of Music for the Violin, includes a section devoted to Violin Methods,
in which Bachmann lists many of the treatises, eminent and obscure. He also includes a
Biographical Dictionary of Violinists in Chapter 22 which is quite thorough but
outdated, since the original printing was in 1925.
The dissertations by Tad Lauer (Categories of National Violin Schools, Indiana
University, 1997) and Andrea Tersigni (The American School of Violin PlayingA
Reality, University of Washington, 1996) include references to many of the major
treatises and methods. One may achieve a more discriminating sense of their current
significance by comparing these dissertations and their bibliographies to the sources
previously mentioned.
Of historical value is the book by David D. Boyden, The History of Violin Playing
from its Origins to 1761. Although he devotes only a fraction of the text to the treatises,
Boyden includes some thoughtful discussion about the earliest ones, up to and including
LAbb le Fils Principes du violon (1761). Also of historical interest is Chapter 28 of
Baillots Lart du violon (1834; edited and translated into English by Louise Goldberg,
1991). This chapter, a Catalogue of the Composers Whose Compositions are Used in the
Violin Classes at the Conservatoire National in Paris, lists not only compositions, but
various mthodes which were used at that time by the Conservatory.
Sources Directly Addressing Schools of Violin Playing
Another essential body of literature consists of sources which directly address the
different schools of violin playing. Though they contain some discrepancies, the most
52
recent and thorough of these sources are Great Masters of the Violin by Boris Schwarz
(1983) and The Great Violinists by Margaret Campbell (1981). Both books endeavor to
place the violinists into historical perspective by classifying them into their respective
schools. This categorization is especially obvious throughout Schwarzs book. Campbell
includes a one-page chart at the beginning of her book: Teacher-pupil relationships from
Corelli to the present day. Unfortunately, it is fraught with inconsistencies and
omissions, and though intending to provide an overview of teacher-pupil relationships, it
either spreads misconceptions or (if studied carefully) raises many more questions than it
answers. Although any attempt to show these relationships is prone to inaccuracies (in
part because even the most reliable sources contain discrepancies), it is hoped that the
tables in the following chapter will provide a more complete representation both of the
more prominent teacher-student relationships and also the relationships of those teachers
to the schools where they were active. Campbells chart has the advantage of showing the
relationships in pedigree form, but she does not account for one fundamental problem:
each name must have its own pedigree going backward in time in order not to be
misread. For this reason, the tables in Chapter Two include not only selected teacher-topupil relationships, but pupil-to-teacher relationships as well.
Similar to the books by Schwarz and Campbell, but more concise (at the expense
of detail) are two sources: Methodik des Violinspiels und Violinunterrichts by Joseph
Bloch (1903), and the first half of the dissertation by Andrea Tersigni, The American
School of Violin PlayingA Reality. The first section of Blochs book recounts some of
the major exponents of national schools in the most straightforward fashion, each artist
conveniently classified into his respective school. The book is of particular interest for
readers who would like to compare current views on the great violinists of the nineteenth
century to a perspective expressed soon after the close of that century, albeit from only
Blochs point of view. The obvious drawbackthe book includes only artists up to the
twentieth century. The remainder of Blochs book addresses his own theories about violin
teaching and technique. The first half of Tersignis dissertation reviews the history of
national schools: Italian, French, German and Viennese, then Russian. The synopses are
insightful, even if her ensuing argument for an American School is unconvincing.
53
David Boydens book (mentioned above in reference to the treatises) traces the
early development of the violin, the bow, and violin technique. Separate nationalities
(Italian, French, German, English and Other) are addressed, but only until 1761
before Viottiand hence prior to any perceptible establishment of national schools
beyond the Italian.
In his dissertation Categories of National Violin Schools (Indiana University,
1997), Tad Lauer assumes the reader is already familiar with the national schools and
their major exponents. He argues that the classical category theory (a term he borrows
from George Lakoff's Women, Fire and Dangerous Things)12 has been used throughout
history to define schools of violin playing, but claims it is insufficient because of
changing criteria. He proposes an alternative model called prototype theory, which is
based upon experimental data derived from studies byLakoff and others in the natural
sciences13 to more flexibly and accurately discuss national schools of violin playing.
Lauer primarily concerns himself with taxonomy as it pertains to the schools, though he
does include a generous amount of noteworthy historical commentary as well.
Sources Featuring Individual Artists
Sources which feature individual artists without necessarily attempting to

categorize them by school represent another pertinent body of literature. The Way They
Play by Samuel and Sada Applebaum (thirteen volumes, 1972-84) includes interviews
with celebrated performers and teachers. Viewpoints on violin technique and occasional
deliberations about the relevance of traditions and of schools in violin playing are among
the many invaluable discussions. The first volume is essentially a subsequent edition of
the Applebaums earlier book, With the Artists (1955). Frederick H. Martens String
Mastery (1923) is a comparable work. In spite of its age, the insights shared by the great
artists of that era are certainly well worth studying. Great Violinists in Performance
(1987) and Violin Virtuosos from Paganini to the 21st Century (1997) by Henry Roth
12
13
Tad Lauer, "Categories of National Violin Schools" (DM diss., Indiana University, 1997), 5-6.
Ibid., 11.
54
contain critical evaluations of performers, as well as ample biographical information. In a

classic but less scholarly reading, Carl Flesch recorded his encounters with musicians
while living and traveling in various countries during his lifetime, and he includes his
assessments of them in his Memoirs, encompassing the years 1873-1944. Scores of
biographies, books, and articles have been devoted to individual artists, but for practical
reasons these obviously cannot be addressed here.
There are a few internet sites which provide information about individual artists:
http://www.users.globalnet.co.uk/~leonid/violinist_composers.htm includes short
biographies of many well-known violinists, though some of the entries are incomplete at
the time of this printing. A similar site is
http://www.theviolinsite.com/violinists/index.html. Even though it only contains
biographies of twentieth-century violinists,
http://www.thirteen.org/publicarts/violin/index3.html is superior to the two mentioned
above. Another site, http://www.angelfire.com/music5/violinistspage/B.html, provides an
alphabetical listing of violinists websites, so it is useful in finding other sites devoted to
some individual artists. Because anyone is free to add to this list (including him/herself),
many obscure names find their way to the list while some of the more prominent
violinists remain unlisted. The site map offers leads to some useful websites which
address violin pedagogy.
55
CHAPTER FOUR
TABLES
Table 1: Abbreviations and Designations in the Tables

acd.
asst.
c
MGG
n.d.
NGD
( )
(?)
according to
assistant
circa [about]
Musik in Geschichte und Gegenwart
no date
New Grove Dictionary of Music and Musicians
denotes significant influence without an official teacher/pupil relationship
denotes uncertainty
Questions may arise as to why some information is not found in the tables. Most
living artists are not included because of the sheer volume of them, and also because it is
a much simpler matter to investigate a living violinists immediate influences than it is to
trace that genealogy of influences through the generations back to Corelli. Where
possible, these more distant influences may be explored using the tables. In other
instances, information is not found in the tables because that information is lacking in the
sources. For example, many of the dates are incomplete or missing in the Selected
Prominent Violinists/Teachers at Music Schools, Conservatories and Other Locations
because this information is unavailable from the sources. Thus, the tables also provide a
quick way to determine which factual information is not available from the sources.
56
Table 2: Life Spans of Selected Violinists

Dupont, Guillaume-Pierre: 1718-77
Eck
(1) Friedrich Johann E.: 1767-?1838
[brother of (2)]
(2) Franz E.: 1774-1804 or 1809
Elman, Mischa: 1891-1967
Enesco, Georges: 1881-1955
Ernst, Heinrich Wilhelm: 1815-65
Facco, Giacomo: 1676-1753
Farina, Carlo: c1604-39
Ferrari, Domenico: 1722-80
Fiorillo, Frederigo: 1755-1823
Flesch, Carl: 1873-1944
Francescatti, Zino: 1902-91
Fried, Miriam: b.1946
Friedman, Erick: 1939-2004
Fuchs, Joseph: 1900-97
Galamian, Ivan: 1903-81
Galimir, Felix: 1910-99
Gavinis, Pierre: 1728-1800
Geminiani, Francesco: 1687-1762
Gilels, Elizabeta: b.1919
Gimpel, Bronislav: 1911-79
Gingold, Josef: 1909-95
Giornovichi, Giovanni Mane: 1747-1804
Gitlis, Ivry: b.1922
Goldberg, Szymon: 1909-93
Goldstein, Boris: 1922-1987
Gordon, Jacques: 1899-1948
Grappelli, Stphane: 1908-97
Graun, Johann Gottlieb: 1702(03?)-71
Gregorowicz, Karol: 1867-1921
Grn, Jakob: 1837-1916
Grumiaux, Arthur: 1921-86
Guignon, Jean Pierre: 1702-74
Guillemain, Louis-Gabriel: 1705-70
Gulli, Franco: 1926-2001
Gusikoff, Michael: 1895-1978
Habeneck, Francois-Antoine: 1781-1849
Haendel, Ida: b.1923
Harth, Sidney: b.1929
Hassid, Josef: 1923-50
Hauptmann, Moritz: 1792-1868
Hauser, Miska: 1822-87
Accardo, Salvatore: b.1941

Alard, Delphin: 1815-88
Auer, Leopold: 1845-1930
Baillot, Pierre: 1771-1842
Baltzar, Thomas: 1600-63
Barcewicz, Stanislaw: 1858-1929
Bazzini, Antonio: 1818-97
Bell, Joshua: b.1967
Benda, Franz: 1709-86
Bennewitz, Antonn: 1833-1926
Bezekirsky, Vassily: 1835-1919
Biber, Heinrich Ignaz Franz von:
1644-1704
Blinder, Naoum: 1889-1965
Bhm, Joseph: 1795-1876
Bridgetower, George: 1778-1860
Brodsky, Adolf: 1851-1929
Bronstein, Raphael: 1896-1988
Brown, Eddy: 1895-1974
Bull, Ole: 1810-80
Buonamente, Giovanni Battista:
late 1500s-1642
Burgin, Richard: 1892-1981
Busch, Adolph: 1891-1952
Campagnoli, Bartholomeo: 1751-1827
Cannabich, (Johann) Christian: 1731-98
Capet, Lucien: 1873-1928
Cartier, Jean Baptiste: 1765-1841
Chiabrano, Carlo (Chabran):
1723-after 1752
Chung, Kyung-Wha: b.1948
Clement, Franz: 1780-1842
Conti, Giacomo: 1754-1805
Corelli, Arcangelo: 1653-1713
Corigliano, John: 1901-75
Dancla, Charles: 1817-1907
Danner, Christian (Franz): 1757-1813
David, Ferdinand: 1810-73
De Briot, Charles: 1802-70
Delay, Dorothy: 1917-2002
Dittersdorf, Karl Ditters von: 1739-99
Dont, Jacob: 1815-88
Dounis, Demetrius: 1886-1954
Dubois, Alfred: 1898-1949
57
Table 2: Continued
Leduc, Simon: 1742-77
Lonard, Hubert: 1819-90
Lipinski, Karol: 1790-1861
Locatelli, Pietro: 1695-1764
Lolli, Antonio: 1725-1802
Lotto, Izydor: 1840-1927
Manfredi, Filippo: 1731-77
Ma k, Jan: 1870-1932
Marini, Biagio: 1587-1665
Marsick, Martin Pierre: 1847-1924
Marteau, Henri: 1874-1934
Massart, Joseph Lambert: 1811-92
Mayseder, Joseph: 1789-1863
Mazas, Jacques-Frol: 1782-1849
Meerts, Lambert Joseph: 1800-63
Melkus, Eduard: b.1928
Menuhin, Yehudi: 1916-99
Mestrino, Nicola: 1748-89
Midori (Goto): b.1971
Milanova, Stoika: b.1946
Mildner, Moritz: 1812-65
Milstein, Nathan: 1904-92
Mischakoff, Mischa: 1895-1981
Mlynarski, Emil: 1870-1935
Mondonville, Jean-Joseph Cassana de:
1711-72
Montanari, Francesco: 1676-1737
Monteux, Pierre: 1875-1964
Moodie, Alma: 1900-42
Morini, Erica: 1906-95
Moser, Andreas: 1859-1925
Mostras, Konstantin: 1886-1965
Mozart, Leopold: 1719-87
Mullova, Viktoria: b.1959
Musin, Ovide: 1854-1929
Mutter, Anne-Sophie: b.1963
Nardini, Pietro: 1722-93
Neruda, Wilma (Lady Hall): 1839-1911
Neveu, Ginette: 1919-49
Nov ek, Ottokar: 1866-1900
Odnoposoff, Ricardo: b.1914
Oistrakh
(1) David O.: 1908-74
(2) Igor O.: b.1931 [son of (1)]
Ondricek
(1) Franz O.: 1857-1922
Heerman, Hugo: 1844-1935

Heifetz, Jascha: 1901-87
Hellmesberger
(1) George H., Sr.: 1800-73 [father
of (2) and (3)]
(2) Joseph H., Sr.: 1828-93 [father of
(4)]
(3) George H., Jr.: 1830-52
(4) Joseph H., Jr.: 1855-1907
Herrando, Joseph de: 1720/1721-63
Hess, Willy: 1859-1939
Hrimaly
(1) Jan H.: 1844-1915
(2) Vojtech H.: 1842-1908
(3) Bohuslav H.: 1848-94
[(1), (2) and (3) are brothers]
(4) Otakar H.: 1883-1945 [nephew
of (1)]
Hubay, Jen: 1858-1937
Huberman, Bronislaw: 1882-1947
Jacobsen, Sascha: 1895-1971
Jansa, Leopold: 1795-1875
Jarnovick: see Giornovichi
Joachim, Joseph: 1831-1907
Kagan, Oleg: 1946-90
Kaufman, Louis: 1905-94
Kneisel, Franz: 1865-1926
Kochanski, Paul: 1887-1934
Kocin, Jaroslav: 1883-1950
Kogan, Leonid: 1924-82
Krasner, Louis: 1903-95
Kreisler, Fritz: 1875-1962
Kremer, Gidon: b.1947
Kreutzer, Rodolphe: 1766-1831
Kroll, William: 1901-80
Kubelik, Jan: 1880-1940
Kulenkampff, Georg: 1898-1948
LAbb le Fils: 1727-1803
Lafont, Charles Philippe: 1781-1839
Laredo, Jaime: b.1941
Laub, Ferdinand: 1832-75
Laurenti
(1) Bartolomeo Girolamo: 16441726 [father of (2)]
(2) Girolamo Nicol: 1678-1751
Leclair, Jean Marie: 1697-1764
58
Table 2: Continued
(2) Emmanuel O.: 1880-1958
[brother of (1)]
Paganini, Nicol: 1782-1840
Pagin, Andr-Nol: c1719-20--c1787-99
Perlman, Itzhak: b.1945
Persinger, Louis: 1887-1966
Piastro, Mishel: 1891-1970
Pieltain, Dieudonn-Pascal: 1754-1833
Pikaisen, Viktor: b.1933
Pisendel, Georg Johann: 1687-1755
Pixis, Friedrich Wilhelm: 1785-1842
Poliakin, Miron: 1895-1941
Powell, Maud: 1867-1920
P hoda, Va: 1900-60
Pugnani, Gaetano: 1731-98
Rabin, Michael: 1936-72
Rabinof, Benno: 1908-75
Remnyi (real name, Hoffmann), Ede
(Eduard): 1828-98
Repin, Vadim: b.1971
Ricci, Ruggiero: b.1918
Robberechts, Andr: 1797-1860
Rode, Pierre: 1774-1830
Rolla, Alessandro: 1757-1841
Ros, Arnold: 1863-1946
Rossi, Salamone: probably 1570-c1630
Rostal, Max: 1905-91
Rouma, August: 1802-74
Rust, Friedrich Wilhelm: 1739-96
Saint-Georges, Joseph Bologne: 1745-99
Sainton, Prosper: 1813-90
Sammons, Albert: 1886-1957
Sarasate, Pablo de: 1844-1908
Sauret, mile: 1852-1920
Sauzay, Eugene: 1809-1901
Schmelzer, Johann Heinrich: 1621-80
Schneiderhahn, Wolfgang: b.1915
Schop, Johann: ?-1667
Schradieck, Henry: 1846-1918
Schuppanzigh, Ignaz: 1776-1830
Seidel, Toscha: 1900-62
Senofsky, Berl: 1925-2002
Sevcik, Ottokar: 1852-1934
Shumsky, Oscar: 1917-2000
Sibor, Boris: 1880-1961
Silverstein, Joseph: b.1932
Sivori, Camillo Ernesto: 1815-94

Somis, Giovanni Battista: 1686-1763
Spalding, Albert: 1888-1953
Spivakov, Vladimir: b.1944
Spohr, Louis: 1784-1859
Stamitz
(1) Johann S.: 1717-57 [father of (2)
and (3)]
(2) Carl S.: 1745-1801
(3) Anton S.: 1750-betw.1796 &
1809
Stern, Isaac: 1920-2001
Stolyarsky, Pyotr: 1871-1944
Suk
(1) Joseph S.: 1874-1935
(2) Joseph S.: b.1929
[grandson of (1)]
Suzuki, Shinichi: 1898-1998
Szeryng, Henryk: 1918-88
Szigeti, Joseph: 1892-1973
Tartini, Giuseppi: 1692-1770
Telemann, Georg Philipp: 1681-1767
Temianka, Henri: 1906-92
Thibaud, Jacques: 1880-1953
Thomson, Csar: 1857-1931
Torelli, Giuseppe: 1658-1709
Totenberg, Roman: b.1913
Tua, Teresina: 1867-1955
Uccellini, Marco: c1603-80
Urso, Camilla: 1842-1902
Valentini, Giuseppe: 1681-1753
Vecsey, Franz von: 1893-1935
Vengerov, Maxim: b.1974
Veracini, Francesco Maria: 1690-1768
Vieuxtemps, Henri: 1820-81
Viotti, Giovanni Battista: 1755-1824
Vitali, Tomaso Antonio: 1663-1745
Vivaldi, Antonio: 1678-1741
Walther, Johann Jacob: 1650-1717
Weber, Joseph Miroslav: 1854-1906
Weist-Hill, Thomas Henry: 1828-91
Westhoff, Johann Paul von: 1656-1705
White, Jos: 1839-1918
Wieniawski, Henri: 1835-80
Wilhelmj, August: 1845-1908
59
Table 2: Continued
Wranitzky
(1) Paul W.: 1756-1808 [brother of
(2)]
(2) Anton W.: 1761-1820
Yampolsky, Abraham: 1890-1956
Yankelevich, Yuri: 1909-73

Ysae, Eugene: 1858-1931
Zimbalist, Efrem: 1890-1985
Zukerman, Pinchas: b.1948
60
Table 3: Selected Pupil-to-Teacher Relationships

Accardo: Astruc
dAmbrosio
Bronstein: Auer
Brown: Hubay
Auer
Alard: Habeneck
Astruc: Enesco
Milstein
Bull: Lundholm
Poulsen
(Paganini)
Auer: Joachim
Dont
Burgin: Auer
Lotto
Joachim
Baillot: (Viotti)
Pollani
Busch: Hess
Eldering
Baltzar: J. Schop, acd. Hartlib (NGD)

Barcewicz: Laub
J. Hrimaly
A. Katski
Campagnoli: Nardini
Guastarobba
DallOcha
(Kreutzer)
Bazzini: (Paganini)
Camisoni, acd. Bachmann
Cannabich: J. Stamitz
Bell: Gingold
Capet: Maurin
Benda: Pisendel
Carol: Zimbalist
Bennewitz: Mildner
Cartier: Viotti
Walraef
Bezekirsky: Lenard
Chung: Galamian
Blinder: Fidelman
Brodsky
Clement: Giornovichi
Kurzweil
Bhm: Rode
Corelli: Benvenuti(?) acd. Martini
(NGD)
Brugnoli(?) acd. Martini (NGD)
B.G. Laurenti(?) acd. Burney
(NGD)
Bridgetower: Giornovichi
Brodsky: J. Hellmesberger Sr.
Laub, acd. Slonimsky
Bron: I. Oistrakh
Goldstein
Corigliano: Auer
61
Table 3: Continued
(Pupil-to-Teacher)
Ernst: Bhm
De Briot, acd. Campbell
(Paganini)
Crickboom: Thomson
Ysae
DallOcha: Lolli
Feher: Hubay
Dancla: Baillot
(Vieuxtemps)
Fidelman: Auer
Brodsky
Danner: Cannabich
Flesch: Grn
Marsick
Sauzay
David: Spohr
Hauptmann
Francescatti, F.: Sivori

Bazzini
De Briot: Robberechts
Baillot (brief)
(Paganini)
Francescatti, Z.: F. Francescatti (father)

Delay: Persinger
Bronstein
(Galamian)
Frnzl: (J. Stamitz)

Frenkel: Auer
Dont: Bhm
G. Hellmesberger Sr.
Fried: Gingold
Galamian
Dounis: F. Ondricek
Dubois: Ysae
Cornlis
Friedman: Galamian
Heifetz
Milstein
Dupont: Leclair
Fuchs: Kneisel
Duranowski (Durand): Viotti
Galamian: Capet
Mostras
Eck, Franz: Friedrich Joh. Eck (brother),

acd. Bachmann
Galimir: Flesch
Adolf Bak
Eck, Friedrich Joh.: Danner

Garcin: Alard
Elderling: Hubay
Gavinis: unknown
Leclair(?), acd. MGG
Elman: Auer
Fidelman
Geminiani: Corelli
Enesco: White
Marsick
J. Hellmesberger Jr.
Gerke: Spohr, acd. Lauer
62
Table 3: Continued
(Pupil-to-Teacher)
Gilels: Yampolsky
Stolyarsky
Gulli: Serato
his father
Gimpel: Flesch
Pollak
Gusikoff: Kneisel
Habeneck: Baillot
Gingold: Ysae
Graffman
Haendel: Flesch
Enesco
Michalowicz
Giornovichi: Lolli(?)
Harth: Piastro
Enesco
Gitlis: Enesco
Thibaud
Flesch
Hassid: Flesch
Michalowicz
Goldberg: Flesch
Hauptmann: Spohr
Goldstein: Stolyarsky
Yampolsky
Hauser: Kreutzer
Gordon: Kneisel
Heerman: De Briot, acd. Bachmann
Meerts
Graffman: Auer
Heifetz: Auer
Nalbandyan (Auers asst.)
Grappelli: self-taught
Graun, J.G.: Tartini
Pisendel
Hellmesberger, G. Sr.: Bhm

Hellmesberger, G. Jr.: G. Hellmesberger
Sr. (father)
Gregorowicz: Bezekirsky
Dont
Joachim
Hellmesberger, J. Sr.: G. Hellmesberger

Sr. (father)
Grn: Bhm
Hauptmann
Hellmesberger, J. Jr.: J. Hellmesberger

Sr. (father)
Grumiaux: Enesco (brief, and perhaps

only composition)
Dubois
Herrando: Facco(?)
Guastarobba: Tartini
Hess: Joachim
Guignon: Somis
Honigberger: Flesch
Guillemain: Somis
Hrimaly, B.: Mildner
63
Table 3: Continued
(Pupil-to-Teacher)
Hrimaly, J.: Mildner
Hrimaly, V.: Mildner
Krasner: Flesch
Capet
Sevcik
Hubay: Joachim
(Vieuxtemps)
Kreisler: Massart
J. Hellmesberger Jr.
Huberman: Gregorowicz
Marsick
Lotto
Michalowicz
Markees (Joachims asst.)
Kremer: D. Oistrakh
Kreutzer: Viotti(?)
A. Stamitz
Jacobsen: Kneisel
Kroll: Marteau
Kneisel
Jarnovick: see Giornovichi
Kubelik: Sevcik
Joachim: Bhm
Hauser
Hauptmann
(Mendelssohn/David)
Kulenkampff: Hess
Kuzdo: Auer
Lotto
LAbb le Fils: Leclair
Kagan: D. Oistrakh
Lafont: Kreutzer
Rode (brief)
Katski, A.: G. Katski (father)

Paganini
Kaufman: Kneisel
Laredo: Gingold
Galamian
Klingler: Joachim
Laub: Mildner
Kneisel: Grn
J. Hellmesberger (Sr.?)
Laurenti, G.N.: B.G. Laurenti (father)

Torelli
Vitali
K , And : Joachim
Laurenti, B.G.: E. Gaibara
Kochanski: Mlynarski
Thomson
Leclair: Somis(?), acd. Quantz (NGD)
Kocin: Sevcik
Lecloux-Dejonc: unknown, acd. Lauer
Kogan: Yampolsky
Leduc: Gavinis
Korguyeff: Auer
64
Table 3: Continued
(Pupil-to-Teacher)
Lonard: Habeneck
Rouma
Prume
Pieltain(?)
Melkus: Moravec
Menuhin: Persinger
Enesco
Busch
Lipinski, K.: Feliks Lipinski (father), but

otherwise self-taught
Michalowicz: Auer
Locatelli: (Corelli)
Veracini, acd. Martini (NGD)
Valentini(?)
Montanari(?)
Ghilarducci(?)
Midori: Delay
Zukerman
Milanova: D. Oistrakh
Mildner: Pixis
Lolli: Nardini, but practically selftaught, acd. Bachmann
Milstein: Stolyarsky
Auer
Lotto: Massart
Mischakoff: Korguyeff
Lundholm: Baillot
Mlynarski: Auer
Ma k: Bennewitz
Monteux: Maurin
Berthelier
Markees: Joachim
Marsick: Joachim
Lonard
Massart
Dupont
Moodie: Flesch
Morini: Sevcik
Moser: Joachim
Marteau: Lonard
Garcin
Joachim, acd. MGG
Mostras: Sibor
(Auer)
Massart: Kreutzer
Mullova: Kogan
Maurin: Baillot
Habeneck
Musin: Lonard
Mayseder: A. Wranitzky
Mutter: Stucki
Honigberger
Mazas: Baillot
Nardini: Tartini
Meerts: Lafont
Habeneck
Neruda, W.: Jansa

J. Neruda (father)
65
Table 3: Continued
(Pupil-to-Teacher)
Neveu: Flesch
Enesco
Pisendel: Montanari
A. Vivaldi
Torelli
Nov ek, O.: Schradieck

Brodsky
Dont
M. J. Nov ek (father)
Pixis: Frnzl
Viotti (2 months)
Poliakin: Auer
Odnoposoff: Flesch
Pollani: Nardini
Oistrakh, D.: Stolyarsky
Poulsen: Viotti
Oistrakh, I.: Stolyarsky
D. Oistrakh (father)
Powell: Dancla
Schradieck
Joachim
William Lewis
Ondricek, E.: Sevcik

Ondricek, F.: Bennewitz
Massart
Weber
P hoda: Ma k
Prume: Habeneck
Par: Ghiretti
Pugnani: Somis
Tartini, acd. Bachmann and
Campbell
Paganini: Servetto
Costa
Rolla (brief, if at all)
Ghiretti
Par
(Duranowski [Durand])
Rabin: Galamian
Rabinof: Auer
Thibaud
Enesco(?)
Kneisel
Kuzdo
Pagin: Tartini
Perlman: Galamian
Delay
Goldgart
Remnyi: Bhm
Repin: Bron
Persinger: Ysae
Thibaud
Hans Becker
Ricci: Persinger
Lackey (Persingers asst.)
Piastro
Kulenkampff
Stassevitch
Piastro: Auer
Pieltain: Giornovichi
Robberechts: Viotti
Baillot
Pikaisen: D. Oistrakh
66
Table 3: Continued
(Pupil-to-Teacher)
Shumsky: Zimbalist
Auer
Max Senofsky (father of Berl)
Dounis (briefly)
Rode: Viotti
Fauvel
Rolla: Renzi
Conti
Sibor: Auer or (Auer), acd. Schwarz

Ros: Heissler
Silverstein: Zimbalist
Gingold
Mischakoff (briefly)
Dounis (briefly)
Rostal: Flesch
Ros
Rouma: Pieltain
Sivori: Paganini
Rust: Benda
Somis: Corelli
Saint-Georges: Lolli(?)
Spalding: Chiti
Buitrago
Lefort
Sainton: Habeneck
Sarasate: Massart
Alard
Spivakov: Yankelevich
Sher
Sauret: De Briot(?)
Vieuxtemps(?)
Wieniawski(?)
Spohr: (Rode)
F. Eck
Maucourt
Kunisch
Dufour
Sauzay: Baillot
Schneiderhahn: J. Winkler
Sevcik
Stamitz, A: C. Stamitz (brother)

Cannabich
Schradieck: Lonard
David
Stamitz, C.: J. Stamitz (father)

Cannabich
Schuppanzigh: A. Wranitzky
Stamitz, J.: A. I. Stamitz (father)
Seidel: Auer
Stassevitch: Auer
Senofsky, B.: Persinger
Stassevich
Galamian
Stern: Blinder
Persinger
Pollak
Serato: Sarti, acd. Bachmann

Stolyarsky: Karbulka
Mlynarski
Barcewicz
Sevcik: Bennewitz
67
Table 3: Continued
(Pupil-to-Teacher)
Stucki: Flesch
Urso: Massart
Suk, J. (grandfather): Bennewitz
Valentini: Bononcini
Suk, J. (grandson): M. Hlounova

A. Plocek
Kocin (as a child)
Vecsey: Hubay
Joachim
Vengerov: Bron
Turchaninova
Suzuki: And K
Klingler
Veracini, F.: A. Veracini (uncle)

Szeryng: Flesch
Thibaud, acd. Slonimsky
Frenkel (Auers asst.)
(Thibaud), acd. Roth, Schwarz
and Campbell
(Enesco) acd. Schwarz
(Kreisler) acd. Roth and
Campbell
Vieuxtemps: De Briot
Lecloux-Dejonc
Gerke, acd. Lauer
Viotti: Pugnani
Vitali, T.A.: G.B. Vitali(?) (father)
Szigeti: Hubay
Vivaldi, A.: G.B. Vivaldi(?) (father)
Tartini: self-taught
(F. Veracini)
Weber: Laub
Bennewitz
Temianka: Flesch
Boucherit
Hess
Blitz
Weist-Hill: Sainton
White: Alard
Wieniawski: Massart
Thibaud: Marsick
Wilhelmj: David
Thomson: Vieuxtemps
Lonard
Wieniawski
Massart
Yampolsky: Korguyeff
Torelli: Brugnoli(?)
B.G. Laurenti(?)
Yankelevich: Yampolsky
Totenberg: Flesch
Enesco
Monteux
Michalowicz, acd. Schwarz
Ysae: Vieuxtemps
Wieniawski
Wranitzky, A.: P. Wranitzky (brother)
Zimbalist: Auer
Sevcik (briefly)
Tua: Massart
68
Table 3: Continued
(Pupil-to-Teacher)
Zukerman: Galamian
Feher
69
Table 4: Selected Teacher-to-Pupil Relationships

Brodsky: Blinder
Nov ek
Alard: Sarasate
Garcin
White
Bron: Vengerov
Repin
Auer: Elman
Heifetz
Milstein
Zimbalist
Shumsky
Brown
Bronstein
Piastro
Seidel
Korguyeff
Stassevitch
Poliakin
Graffman
Mlynarski
Kuzdo
Rabinof
Michalowicz
Sibor or (Sibor), acd Schwarz
(Mostras), acd. Schwarz
Bronstein: Delay
Oliveira
Cannabich: A. Stamitz
C. Stamitz
Capet: Galamian
Krasner
Corelli: (Locatelli)
Somis
Geminiani
Gasparini
Costa: Paganini
Sivori
David: Wilhelmj
Albrecht
(Joachim)
Baillot: Habeneck
Dancla
Lundholm
Maurin
Mazas
Robberechts
De Briot (brief)
De Briot: Vieuxtemps
Sauret(?)
Ernst, acd. Campbell
Heerman, acd. Bachmann
Delay: Perlman
Midori
Mintz
Bennewitz: Sevcik
F. Ondricek
J. Suk (grandfather)
Ma k
Dont: Auer
Gregorowicz
Nov ek
Bhm: Dont
Joachim
Ernst
Grn, acd. Bachmann
Remnyi
70
Table 4: Continued
(Teacher-to-Pupil)
Graun: W.F. Bach (son of J.S. Bach)
Enesco: Menhuin
Haendel
Neveu
Harth
Gitlis
Astruc
Grumiaux (brief, and perhaps
only composition)
Rabinof(?)
(Szeryng), acd. Schwarz
Grn: Flesch
Kneisel
Habeneck: Lonard
Alard
Maurin
Sainton
Meerts
Prume
Feher: Zukerman
Mintz
Hauptmann: David
Joachim
Grn
Flesch: Szeryng
Rostal
Haendel
Hassid
Moodie
Neveu
Krasner
Temianka
Gitlis
Galimir
Honigberger
Stucki
Hellmesberger
(1) George H., Sr.: Joachim
Dont
Joseph H., Sr.
George H., Jr.
Auer*
Ernst*
(2) Joseph H., Sr.: Auer*
Brodsky
Kneisel (or Jr.?)
Joseph H., Jr.
Grdener
Nikisch
Rappoldi
Schrammel
(3) Joseph H., Jr.: Kreisler
Enesco
*acd. Evidon (NGD) and Slonimsky (in
the entries for Hellmesberger only),
but this is doubtful, as there are no other
indications that Auer or Ernst studied
with either G. or J. Hellmesberger.
Galamian: Perlman
Zukerman
Rabin
Fried
Laredo
Chung
Senofsky
Friedman
(Delay)
Gingold: Bell
Fried
Laredo
Preucil
Silverstein
Hess: Busch
Kulenkampff
Temianka
Giornovichi: Bridgetower
Clement
Pieltain
71
Table 4: Continued
(Teacher-to-Pupil)
Hubay: Szigeti
Brown
Eldering
Feher
Vecsey
Ormandy
Marsick: Huberman
Thibaud
Enesco
Flesch
Massart: Marsick
Kreisler
Wieniawski
Sarasate
Thomson
F. Ondricek
Lotto
Tua
Urso
Joachim: Hubay
Marsick
Auer
Gregorowicz
Hess
Vecsey
Markees
Moser
Klingler
And K
Marteau, acd. MGG
Michalowicz: Huberman
Haendel
Hassid
Totenberg, acd. Schwarz
Kneisel: Jacobsen
Gordon
Gusikoff
Kroll
Kaufman
Rabinof
Mildner: Laub
Hrimaly, B.
Hrimaly, J.
Hrimaly, V.
Bennewitz
Kreutzer: Massart
Lafont
Hauser
(Campagnoli)
Montanari: Pisendel
Locatelli(?)
Nardini: Pollani
Lolli
Campagnoli
Leclair: Gavinis(?)
LAbb le Fils
Dupont
Oistrakh, D.: I. Oistrakh

Pikaisen
Kremer
Kagan
Milanova
Lonard: Marsick
Schradieck
Thomson
Musin
Marteau
Bezekirsky
Paganini: Sivori
Katski, A.
(Bazzini)
(Bull)
(Ernst)
(De Briot)
Lolli: Giornovichi
DallOcha
Saint-Georges(?)
72
Table 4: Continued
(Teacher-to-Pupil)
Persinger: Menhuin
Ricci
Stern
Delay
Senofsky
Spohr: David
Hauptmann
Gerke, acd. Lauer
Stamitz, A.: Kreutzer
Piastro: Ricci
Harth
Stamitz, C.: A. Stamitz (brother)

Stamitz, J.: C. Stamitz (son)
Cannabich
Toeschi
Frnzl
Cramer
Pieltain: Rouma
Lonard(?)
Pisendel: Benda
J.G. Graun
Stassevitch: Ricci
Senofsky
Pugnani: Viotti
Borghi
Bruni
Polledro
Conforti
Stolyarsky: D. Oistrakh
I. Oistrakh
Milstein
Goldstein
Gilels
Robberechts: De Briot
Tiby
Tartini: Nardini
Pugnani
Manfredi
Ferrari
Pagin
Guastarobba
J.G. Graun
Rode: Bhm
Lafont (brief)
(Spohr)
Schradieck: Powell
Nov ek
Schuppanzigh: Beethoven
Thibaud: Persinger
Rabinof
Gitlis
Szeryng, acd. Slonimsky
(Szeryng), acd. Roth, Schwarz
and Campbell
Sevcik: Kubelik
Morini
Kocin
Krasner
E. Ondricek
Schneiderhahn
Zimbalist (brief)
Thomson: Kochanski
Crickboom
Somis: Pugnani
Leclair(?), acd. Quantz (NGD)
Giardini
Guignon
Guillemain
Torelli: Pisendel
G.N. Laurenti
Veracini: (Tartini)
Locatelli, acd. Martini (NGD)
73
Table 4: Continued
(Teacher-to-Pupil)
Vieuxtemps: Ysae
Thomson
Weist-Hill
Sauret(?)
(Hubay)
(Dancla)
Wieniawski: Ysae
Thomson
Gregorowicz
Sauret(?)
Wranitzky, A.: Schuppanzigh
Mayseder
Viotti: (Baillot)
Rode
Kreutzer(?)
Robberechts
Pixis (2 months)
Duranowski (Durand)
Cartier
Poulsen
Yampolsky: Kogan
Gilels
Goldstein
A. Markov
Yankelevich: Spivakov
Tretyakov
Vitali, T.A.: G.N. Laurenti

Senaill
E.F. DallAbaco
L.A. Piediere
Ysae: Gingold
Persinger
Primrose
Dubois
Crickboom
Vivaldi, A.: Pisendel

Zimbalist: Shumsky
Silverstein
Ashkenasi
Carol
74
Table 5: Selected Prominent Violinists/Teachers at Music Schools, Conservatories,

and Other Locations
(Alphabetical by School)
Berlin Hochschule (founded 1869)
Joachim (1869-?)
Moser (1888-1925)
Marteau (1908-15)
Busch (1918-?)
Flesch (1921-22; 1928-34)
Kulenkampff (1923-26)
Brussels Conservatory (1832)
De Briot (1843-52)
Lonard (1853-66)
Vieuxtemps (1871-73; 1877-79)
Wieniawski (1875-77)
Hubay (1882-86)
Ysae (1886-98)
Musin (1897-?)
Thomson (1898-?)
Dubois (1927-49)
Grumiaux (1949-?)
Curtis Institute (1924)
Flesch (1924-28)
Auer (1928-?)
Zimbalist (1928-68)
Galamian (1944-81)
Shumsky (1961-65)
Galimir (1972-?)
France, 18th Century*
Leclair
Guignon
Guillemain
Mondonville
Pagin
Chiabrano (Chabran)
LAbb le Fils
Gavinis
Leduc
Saint-Georges
Viotti
Cartier
Germany/Austria, 17th & 18th

Centuries14
Buonamente
Baltzar
C. Farina
Schmelzer
Biber
Walther
Westhoff
Telemann
Pisendel
Graun
Benda
Stamitz
L. Mozart
Cannabich
Rust
Dittersdorf
Italy, 17th & 18th Centuries*
Rossi
Marini
Uccellini
Corelli
Torelli
Cazzati
Vitali
Facco
Vivaldi
Valentini
Somis
Geminiani
Veracini
Tartini
Locatelli
14
List is chronological by birth year; for more

specific locations, see Selected Prominent
Violinists/Teachers at Music Schools,
Conservatories, and Other Locations: Alphabetical by
Violinist/Teacher (p. 78). Dates included under other
headings indicate years that teachers taught at
specific institutions, if known.
75
Table 5: Continued
Nardini
Ferrari
Lolli
Pugnani
Manfredi
Mestrino
Campagnoli
Juilliard School (1930) - previously
the Institute of Musical Art, N.Y.
Kneisel (1905-26)
Kroll (1922-38)
Thomson (1924-27)
Auer (1926-30)
Kochanski (1924-34)
Persinger (1930-66)
Bronstein (c1940s)
Galamian (1946-81)
Delay (1948-2002)
Shumsky (1953-78)
Galimir (1962-99)
Leipzig Conservatory (1843)
Hauptmann (1842-68)
David (1843-73)
Schradieck (1874-82)
Brodsky (1883-91)
Moscow Conservatory (1866)
Schradieck (1865-68)
Laub (1866-74)
J. Hrimaly (1869-1915)
Brodsky (1875-?)
O. Hrimaly (1909-22)
Sibor (1922-?)
Mostras (1922-?)
Blinder (1923-25)
Yampolsky (1926-56)
D. Oistrakh (1934-?)
Poliakin (1936-?)
Yankelevich (1961-?)
Gilels (1967-?)
Tretyakov (1984-?)
Paris Conservatory (1795) - previously

the Inst. National de Musique
Kreutzer (1793-1826)
Baillot (1795-1842)
Rode (1795-?)
Gavinis (1795-?)
Habeneck (1825-48)
Alard (1843-75)
Massart (1843-90)
Dancla (1855-92)
Sauzay (1860-92)
Marsick (1892-1900)
Thomson (1914-?)
Maurin (dates not found)
Lefort (dates not found)
Berthelier (dates not found)
Gingold (annual master classes 1970-81)
Prague Conservatory (1811)
Weber (first director of the school; dates not
found)
Pixis (1810-?)
Bennewitz (1865-1901)
Sevcik (1892-1906)
Ma k (1897-1932)
Marteau (1923-34)
Kocin (1921-43)
Mildner (dates not found)
St. Petersburg (Imperial) Conservatory
(1862)
[Vieuxtemps taught in St. Petersburg
before the Conservatory was founded
(1846-51)]
Wieniawski (1862-68)
Auer (18681917, acd. Schwarz in NGD)
Kochanski (1915-?)
Korguyeff (dates not found)
76
Table 5: Continued
Vienna Conservatory/Music
Academy (1817)
Bhm (1819-48)
G. Hellmesberger Sr. (1821-67)
J. Hellmesberger Sr. (1851-93)
Dont (1873-?)
Grn (1877-1909)
J. Hellmesberger Jr. (1878-?)
Ros (1893-1924)
Sevcik (1909-19)
E. Moravec (1930-66)
Schneiderhahn (1939-50)
P hoda (1950-60)
Melkus (1958-?)
77
Table 6: Selected Prominent Violinists/Teachers at Music Schools, Conservatories,

and Other Locations
(Alphabetical by Violinist/Teacher)
Alard: Paris Conservatory (1843-75)
Auer: Curtis Institute (1928-?)
Institute of Musical Art, New York (1926-30)
Norway (1915-17), acd. Slonimsky
Dresden (1912-14)
London (1906-11, summers)
St. Petersburg Conservatory (1868-1917, acd. Schwarz in NGD)
Baillot: Paris Conservatory (1795-1842)
Baltzar: Lbeck (Germany), Sweden, England
Benda: Berlin
Bennewitz: Prague Conservatory (1865-1901)
Biber: Salzburg
Bhm: Vienna Conservatory (1819-48)
Brodsky: Royal Manchester College of Music, England (1895-?)
Leipzig Conservatory (1883-91)
Moscow Conservatory (1875-?)
Bronstein: Juilliard (taught Delay, 1941)
Manhattan School of Music
Buonamente: Assisi (1633-?)
Vienna (1626-31)
Busch: Organized the Marlboro School of Music in Vermont (1950)
Berlin Hochschule (1918-?)
Campagnoli: Italy, Germany, Sweden
Cannabich: Mannheim (1774-?)
Chiabrano (Chabran): Paris, London
Cartier: Paris
78
Table 6: Continued
Corelli: Rome
Dancla: Paris Conservatory (1855-92)
David: Leipzig Conservatory (1843-73)
De Briot: Brussels Conservatory (1843-52)
Delay: Juilliard (1948-2002)
New England Conservatory of Music in Boston (1978-87)
Philadelphia College of the Performing Arts (1977-83)
Univ. of Cincinnati College-Conservatory of Music (1974-?)
Aspen Music School (1971-?)
Sarah Lawrence College (1948-87)
Meadowmount (1948-70)
Dittersdorf: Vienna
Dont: Vienna Conservatory (1873-?)
Dounis: Moved to Los Angeles, California in 1954
Established his private studio in New York in 1939
Salonika Conservatory, Greece (after World War I)
Dubois: Brussels Conservatory (1927-49)
Enesco: Mannes (New York)
University of Illinois
American Academy of Music at Fontainebleau
Summer courses at Brighton
Summer courses at Bryanston
Accademia Musicale Chigiana (Siena, Italy)
Bucharest
cole Normale in Paris
Yvonne Astrucs Institut Instrumental
Farina, C.: Dresden, Danzig, Vienna
Briefly in Parma and Lucca
Ferrari: Paris, Stuttgart, Cremona
79
Table 6: Continued
Flesch: Lucerne Conservatory (1943-44)
Summer courses in Baden-Baden (1926-34)
Berlin Hochschule (1921-22; 1928-34)
Curtis Institute (1924-28)
Berlin, private teaching (1908-13)
Amsterdam Conservatory (1903-08)
Bucharest Conservatory (1897-1902)
[Flesch went to London in 1934 to flee Hitlers regime, then to the Netherlands
(until the Nazi invasion in 1940), then Hungary, then Lucerne (from 1943).]
Galamian: Juilliard (1946-81)
Founded the Meadowmount Summer Violin School in Westport, New York
(1944-81)
Henry St. Settlement School, New York (1941)
cole Normale de Musique, Paris (1936-39)
Russian Conservatory in Paris (1925-39, acd. Slonimsky); (1925-29, acd.
Galamian Principles, ed. Green)
Galimir: Mannes (1977-?)
Curtis (1972-?)
Juilliard (1962-99)
Marlboro Festival and Music School, Vermont (1954-?)
Gavinis: Paris Conservatory (1795-?)
Geminiani: Rome
Dublin (1737-40; 1759-62)
London (1714-37; 1740-59)
Gilels: Moscow Conservatory (1967-?)
Gingold: Indiana University (1960-95)
Meadowmount (1955-81)
Annual master classes at Paris Conservatory (1970-81)
Western Reserve University (1950-60)
Graun: Berlin
Grumiaux: Brussels Conservatory (1949-?)
Grn: Vienna Conservatory (1877-1909)
Guignon: France, Italy
Guillemain: Lyons and Dijon (France); Italy
80
Table 6: Continued
Gulli: Indiana University (1972-2001)
Lucerne Conservatory
Accademia Musicale Chigiana (Siena, Italy; 1964-72)
Habeneck: Paris Conservatory (1825-48)
Hauptmann: Leipzig Conservatory (1842-68)
Heifetz: University of Southern California, Los Angeles (1962-72)
Hellmesberger
(1) George H., Sr. [father of (2)]: Vienna Conservatory (1821-67, first as Bhms
asst.)
(2) Joseph H., Sr. [father of (3)]: Vienna Conservatory (1851-93; he also founded the
Hellmesberger Quartet)
(3) Joseph H., Jr.: Vienna Conservatory (1878-?)
Hrimaly
(1) Jan H. [uncle of (2)]: Moscow Conservatory (1869-1915); wrote Scale-Studies,
Doppelgriff-bungen and Tonleiter Studien
(2) Otakar H.: Moscow Conservatory (1909-22); taught violin according to
Slonimsky, but not according to Tyrrell (NGD)
Hubay: Budapest Conservatory (1886-1934)
Brussels Conservatory (1882-86)
Joachim: Founded Berlin Hochschule (1869)
Kneisel: Institute of Musical Art, New York (1905-26)
He also established a summer school of violin and chamber music at his home in
Blue Hill, Maine.
Kocin: Prague Conservatory (1921-43, first three years as Sevciks asst.)
Odessa Conservatory (1907-09)
Korguyeff: Leningrad Conservatory (1900-25)
St. Petersburg Conservatory
Kreutzer: Inst. National de Musique, which became Paris Conservatory in 1795 (17931826)
Kulenkampff: Lucerne Conservatory, Switzerland (1943-?)
Berlin Hochschule (1923-26)
LAbb le Fils: Paris
81
Table 6: Continued
Laub: Moscow Conservatory (1866-74)
Stern Conservatory, Berlin (1855-57)
Leduc: Paris
Lefort: Paris Conservatory
Lonard: Brussels Conservatory (1853-66)
Locatelli: Rome
Amsterdam (1729-64)
Lolli: Italy, Germany, France, England, Scandinavia, Russia
Lotto: Warsaw Music Institute (1880-?)
Strasbourg Conservatory, France (1873-80)
Manfredi: Madrid, Paris, Genoa, Lucca
Marini: Venice, Brescia, Parma, Milan, Ferrara, Neuberg
Marsick: Paris Conservatory (1892-1900)
Marteau: Prague Conservatory (1923-34)
Berlin Hochschule (1908-15)
Geneva Conservatory (1900-08)
Massart: Paris Conservatory (1843-90)
Maurin: Paris Conservatory
Mazas: Directed a music school in Cambrai, France (1837-41)
Orlans, France (1831-?)
Menuhin: Founded the Menuhin School in Stoke dAbernon (Surrey, England; 1963)
Mestrino: Esterhzy (under Haydn), Pressburg (now Bratislava), Paris
Mildner: Prague Conservatory
Moser: Berlin Hochschule (1888-1925)
Mostras: Moscow Conservatory (1922-?)
Moscow Philharmonic School (1914-22)
Mozart, L.: Salzburg
82
Table 6: Continued
Nardini: Florence (1768-93)
Livorno (1766-68)
Brunswick (1765-66)
Stuttgart (1762-65)
Odnoposoff: Zrich Hochschule fr Musik (1975-84)
Stuttgart Hochschule fr Musik (1964-?)
Vienna Hochschule fr Musik (1956)
Oistrakh, D.: Moscow Conservatory (1934-?)
Persinger: Juilliard (1930-66)
Cleveland Institute of Music (1929-30)
Pisendel: Dresden
Pixis: Prague Conservatory (1810-?)
Poliakin: Moscow Conservatory (1936-?)
Leningrad Conservatory (1928-?)
P hoda: Vienna Music Academy (1950-60)
Munich Akademie der Tonkunst (1944)
Salzburg Mozarteum (1936-?)
Pugnani: Turin, Paris, London
Robberechts: Paris
Rode: Berlin (1814-18)
Paris Conservatory (1795-?)
Rossi: Mantua
Rust: Dessau
Sauret: Trinity College of Music, London (1908-?)
Musical College in Chicago (1903-06)
Royal Academy of Music, London (1890-1903)
Sauzay: Paris Conservatory (1860-92)
Schmelzer: Austria, Southern Germany
83
Table 6: Continued
Schneiderhahn: Salzburg Mozarteum (1938-56)
Vienna Conservatory (1939-50)
Lucerne Conservatory (1949-?)
Schradieck: American Institute of Applied Music, New York (1912-?)
South Broad Street Conservatory in Philadelphia (1899-1912)
National Conservatory, New York (1898-99)
Cincinnati College of Music (1882-89)
Leipzig Conservatory (1874-82)
Moscow Conservatory (1865-68)
Sevcik: Guildhall School of Music, London (1933-?)
Prague Master School (1919-21)
Vienna Music Academy (1909-19)
Prague Conservatory (1892-1906)
Imperial School of Music, Kiev (1875-92)
Summer School in Pisek (Southern Bohemia)
Master classes in the U.S. (1920, 1924, 1931)
Master classes in London (1932)
Shumsky: Yale School of Music (1975-?)
Juilliard (1953-78)
Peabody Conservatory (1942-?)
[Shumsky retired from teaching in 1981 to concentrate on his performance
activities.]
Sibor: Moscow Conservatory (1922-?)
School of the Moscow Philharmonic Society (1914-?)
Somis: Turin, Paris
Spohr: Kassell
Stamitz
(1) Johann S. [father of (2)]: Mannheim
(2) Carl S.: University in Jena, Germany (c1795)
Stolyarsky: Odessa State Conservatory (1920-?)
Founded his own music school in Odessa (1911)
Suzuki: Founded Sain Ky iku Kenky -kai in Matsumoto, Japan (1950)
Szeryng: University of Mexico (1946-?)
84
Table 6: Continued
Tartini: Founded the School of the Nations, Padua (from 1728 until at least 1767)
Prague (1723-26)
Telemann: Leipzig, Sorau, Eisenach, Frankfurt, Hamburg
Thomson: Institute of Musical Art, New York (1924-27)
Conservatory of Ithaca, New York (1924-27)
Paris Conservatory (1914-?)
Brussels Conservatory (1898-?)
Liege Conservatory (1882-97)
Torelli: Bologna, Vienna, Ansbach
Uccellini: Modena
Veracini: London, Florence, Dresden
Vieuxtemps: Brussels Conservatory (1871-73; 1877-79)
St. Petersburg Conservatory (1846-51)
Viotti: Paris, Versailles, Provence, London
Vivaldi: Pio Ospedale della Piet (la Piet), a girls orphanage in Venice (1703-09;
1711-c1718) [Vivaldi continued composing for la Piet, but his frequent
travels prevented him from further teaching.]
Walther: Dresden
Westhoff: Dresden
Wieniawski: Brussels Conservatory (1875-77) [retired due to a heart condition]
St. Petersburg Conservatory (1862-68)
Wilhelmj: Guildhall School of Music (London, 1894-1908)
Yampolsky: Moscow Conservatory (1926-56)
Ekaterinoslav Music School, Russia (1913-20)
Yankelevich: Moscow Conservatory (1961-?)
Ysae: Brussels Conservatory (1886-98)
Zimbalist: Curtis Institute (1928-68)
85
Table 7: Significant Treatises on Violin Playing

(Chronological by Publication Date)
Corrette, Michel: Lcole dOrphe (Paris, 1738; Eng. trans. Carol Reglin Farrar, 1978)
Tartini, Giuseppe: Larte del arco (38 variations on Gavotte from Corellis op.5 no.10)
(Paris, 174-?)
Geminiani, Francesco: The Art of Playing on the Violin (London, 1751)
Tartini, Giuseppe: Trattato di Musica (Padua, 1754)
Herrando, Joseph de: Arte y puntual explicacin del modo de tocar el violn (Paris, 1756;
Eng. trans. Mark H. Jasinski, 1974)
Mozart, Leopold: Versuch einer grndlichen Violinschule (Augsburg, 1756; Eng. trans.
Editha Knocker, 1948)
LAbb le Fils: Principes du Violon, pour apprendere le doigt de cet instrument, et les
differrends agrments dont il est susceptible (Paris, 1761)
Tartini, Giuseppe: Trait des agrments de la musique (Paris, 1770)
Corrette, Michel: Lart de se perfectionner dans le Violon (Paris, 1782; Eng. trans. Carol
Reglin Farrar, 1978)
Cartier, Jean Baptiste: Lart du violon (Paris, 1798)
Baillot, Pierre, Pierre Rode, and Rodolphe Kreutzer: Mthode de violon (Paris, 1803)
Campagnoli, Bartolomeo: Nouvelle mthode de la mcanique progressive du jeu de
violon, op. 21 (Leipzig, 1824; Eng. trans. 1856)
Mazas, Jacques-Frol: Mthode de violon (Paris, 1830; ed. Georges Enesco, Paris, 1916)
Spohr, Ludwig: Violinschule (Vienna, 1832; Eng. trans. John Bishop, 1843)
Baillot, Pierre: Lart du violon: nouvelle mthode (Paris, 1834; Eng. trans. Louise
Goldberg, 1991)
Habeneck, Francois-Antoine: Mthode thorique et pratique de violon (Paris, c1835)
Mazas, Jacques-Frol: Lcole du violoniste (Paris, 1839)
Alard, Delphin: Ecole du violon (Paris, 1844)
86
Table 7: Continued
Dancla, Charles: Mthode lmentaire et progressive pour le violon (Paris, 1850; Eng.
trans. Theodore Baker, 1903)
De Briot, Charles: Mthode de violon (Paris, 1858; Eng. trans. George Lehmann, c1899)
David, Ferdinand: Die hohe Schule des Violinspiels (Leipzig, 1864?)
Sauret, Emile: Gradus ad Parnassum du violiniste (Leipzig, c1896)
Wilhelmj, August and James Brown: A Modern School for the Violin (London, 1898)
Joachim, Joseph and Andreas Moser: Violinschule (Berlin, 1902-05; Eng. trans. Alfred
Moffat, c1905)
Flesch, Carl: Urstudien (Berlin, c1911)
Capet, Lucien: La technique suprieure de l'archet (Paris, 1916)
Auer, Leopold: Violin Playing as I Teach It (New York, 1921)
Flesch, Carl: The Art of Violin Playing (New York, 1924)
Marsick, Martin Pierre: La Grammaire du Violon (Paris, c1924)
Auer, Leopold: Graded Course of Violin Playing (New York, 1926)
Galamian, Ivan: Principles of Violin Playing and Teaching (New York, 1962)
De Briot, Charles: Ecole transcendante de violon (Mainz, [n.d.])
Dont, Jacob: Gradus ad Parnassum [n.d.]
Lonard, Hubert: Lcole Lonard pour le violon [n.d.]
87
Table 8: Significant Treatises on Violin Playing

(Alphabetical by Author)
Alard, Delphin: Ecole du violon (Paris, 1844)
Auer, Leopold: Graded Course of Violin Playing (New York, 1926)
Auer, Leopold: Violin Playing as I Teach It (New York, 1921)
Baillot, Pierre, Pierre Rode, and Rodolphe Kreutzer: Mthode de violon (Paris, 1803)
Baillot, Pierre: Lart du violon: nouvelle mthode (Paris, 1834; Eng. trans. Louise
Goldberg, 1991)
Campagnoli, Bartolomeo: Nouvelle mthode de la mcanique progressive du jeu de
violon, op. 21 (Leipzig, 1824; Eng. trans. 1856)
Capet, Lucien: La technique suprieure de l'archet (Paris, 1916)
Cartier, Jean Baptiste: Lart du violon (Paris, 1798)
Corrette, Michel: Lart de se perfectionner dans le Violon (Paris, 1782; Eng. trans. Carol
Reglin Farrar, 1978)
Corrette, Michel: Lcole dOrphe (Paris, 1738; Eng. trans. Carol Reglin Farrar, 1978)
Dancla, Charles: Mthode lmentaire et progressive pour le violon (Paris, 1850; Eng.
trans. Theodore Baker, 1903)
David, Ferdinand: Die hohe Schule des Violinspiels (Leipzig, 1864?)
De Briot, Charles: Ecole transcendante de violon (Mainz, [n.d.])
De Briot, Charles: Mthode de violon (Paris, 1858; Eng. trans. George Lehmann, c1899)
Dont, Jacob: Gradus ad Parnassum [n.d.]
Flesch, Carl: The Art of Violin Playing (New York, 1924)
Flesch, Carl: Urstudien (Berlin, c1911)
Galamian, Ivan: Principles of Violin Playing and Teaching (New York, 1962)
Geminiani, Francesco: The Art of Playing on the Violin (London, 1751)
Habeneck, Francois-Antoine: Mthode thorique et pratique de violon (Paris, c1835)
88
Table 8: Continued
Herrando, Joseph de: Arte y puntual explicacin del modo de tocar el violn (Paris, 1756;
Eng. trans. Mark H. Jasinski, 1974)
Joachim, Joseph and Andreas Moser: Violinschule (Berlin, 1902-05; Eng. trans. Alfred
Moffat, c1905)
LAbb le Fils: Principes du Violon, pour apprendere le doigt de cet instrument, et les
differrends agrments dont il est susceptible (Paris, 1761)
Lonard, Hubert: Lcole Lonard pour le violon [n.d.]
Marsick, Martin Pierre: La Grammaire du Violon (Paris, c1924)
Mazas, Jacques-Frol: Lcole du violoniste (Paris, 1839)
Mazas, Jacques-Frol: Mthode de violon (Paris, 1830; ed. Georges Enesco, Paris, 1916)
Mozart, Leopold: Versuch einer grndlichen Violinschule (Augsburg, 1756; Eng. trans.
Editha Knocker, 1948)
Sauret, Emile: Gradus ad Parnassum du violiniste (Leipzig, c1896)
Spohr, Ludwig: Violinschule (Vienna, 1832; Eng. trans. John Bishop, 1843)
Tartini, Giuseppe: Larte del arco (38 variations on Gavotte from Corellis op.5 no.10)
(Paris, 174-?)
Tartini, Giuseppe: Trait des agrments de la musique (Paris, 1770)
Tartini, Giuseppe: Trattato di Musica (Padua, 1754)
Wilhelmj, August and James Brown: A Modern School for the Violin (London, 1898)
89
Table 9: Primary Sources Consulted for the Tables

Applebaum, Samuel and Sada. The Way They Play. 13 vols. Neptune City, N.J.:
Paganiniana Publications, Inc., 1972-1984.
Bachmann, Alberto. An Encyclopedia of the Violin. New York: Da Capo Press, 1966.
Bloch, Joseph. Methodik des Violinspiels und Violinunterrichts. Strassburg, Germany:
Sddeutscher Musikverlag, 1903.
Blume, Friedrich, ed. Die Musik in Geschichte und Gegenwart. 14 vols. Kassel:
Brenreiter, 1949-68. Suppls., 1973 and 1979. Index, 1986.
Campbell, Margaret. The Great Violinists. Garden City, NY: Doubleday & Company,
Inc., 1981.
Lauer, Tad. "Categories of National Violin Schools." DM diss., Indiana University,
1997.
Roth, Henry. Violin Virtuosos from Paganini to the 21st Century. Los Angeles, CA:
California Classics Books, 1997.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 20 vols. London:
Macmillan, 2001.
Schwarz, Boris. Great Masters of the Violin. New York: Simon and Schuster, 1983.
Slonimsky, Nicolas, ed. Bakers Biographical Dictionary. 8th ed. New York: G.
Schirmer, Inc., 1992.
Tersigni, Andrea. "The American School of Violin PlayingA Reality." DMA diss.,
University of Washington, 1996.
90
APPENDIX
91
92
93
BIBLIOGRAPHY
Applebaum, Samuel and Sada. The Way They Play. 13 vols. Neptune City, N.J.:
Paganiniana Publications, Inc., 1972-1984.
________. With The Artists. New York: John Markert & Co., 1955.
Auer, Leopold. Graded Course of Violin Playing. 8 vols. New York: Carl Fischer, 1926.
________. Violin Playing As I Teach It. London: Gerald Duckworth & Co. Ltd.
Hinrichsen Edition Ltd., 1960.
Bachmann, Alberto. An Encyclopedia of the Violin. New York: Da Capo Press, 1966.
Baillot, Pierre Marie Francois de Sales. The Art of the Violin [1834]. Edited and trans.
Louise Goldberg. Evanston, IL: Northwestern University Press, 1991.
Bloch, Joseph. Methodik des Violinspiels und Violinunterrichts. Strassburg, Germany:
Sddeutscher Musikverlag, 1903.
Blume, Friedrich, ed. Die Musik in Geschichte und Gegenwart. 14 vols. Kassel:
Brenreiter, 1949-68. Suppls., 1973 and 1979. Index, 1986.
Bookspan, Martin. A Conversation with Itzhak Perlman. Journal of the Violin Society
of America, USA III/2 (1977): 5-26.
Boyden, David D. The History of Violin Playing from its Origins to 1761. London:
Oxford University press, 1965.
Campbell, Margaret. The Great Violinists. Garden City, NY: Doubleday & Company,
Inc., 1981.
Capet, Lucien. La technique suprieure de larchet: pour violon [1916]. Paris: Salabert,
1952.
Cartier, Jean Baptiste. Lart du violon [1798]. New York: Broude Brothers Ltd., 1973.
Church, Allan H. and Janine Waclawski. Designing and Using Organizational Surveys: A
Seven-Step Process. San Francisco: Jossey-Bass Business & Management Series,
2001.
94
Corrette, Michel. Lcole dOrphe [1738]. Genve: Minkoff Reprint, 1972.

Dancla, Charles. Elementary and Progressive Method for Violin, Op. 52 [1850]. 2 vols.
Trans. Theodore Baker. New York: G. Schirmer, Inc., 1931.
David, Ferdinand. Die hohe Schule des Violinspiels [1864?]. 2 vols. Leipzig: C. F.
Peters, [19--].
De Briot, Charles. Method for the Violin [1858]. 2 vols. Trans. George Lehmann. New
York: G. Schirmer, Inc., 1935.
Deverich, Robin Kay. How Did They Learn? An Overview of Violin Pedagogy with
an Emphasis on Amateur Violinists.
http://www.violinonline.com/violin_pedagogy.htm.
Directory of Music Faculties in Colleges and Universities, U.S. and Canada, 2001-2002.
23rd ed. Missoula, MT: The College Music Society.
Eddy, Alexandra M. American Violin-Method Books and European Teachers,
Geminiani to Spohr. American Music vol. 8, no. 2 (Summer 1990): 167-209.
Farrar, Carol Reglin. Seven String Instrument Treatises of Michel Corrette: Translation
with Commentary. Ph.D diss., North Texas State University, 1978.
Flesch, Carl. The Art of Violin Playing. Trans. Frederick H. Martens. 2 vols. New York:
Carl Fischer, 1924-1930.
________. Memoirs. New York: Da Capo Press, 1979.
________. Urstudien. Berlin: Ries & Erler, 1911.
Galamian, Ivan. Principles of Violin Playing & Teaching. 2nd ed. Englewood Cliffs, NJ:
Prentice-Hall, Inc., 1985.
Galamian, Ivan and Frederick Neumann. Contemporary Violin Technique. New York:
Galaxy Music Corporation, 1966.
Geminiani, Francesco. The Art of Playing on the Violin [1751]. London: Oxford
University Press, [1951?].
Hill, U. C., ed. Spohrs Grand Violin School. Boston: Oliver Ditson & Co., 1852.
Jasinski, Mark H. A Translation and Commentary on Jos Herrandos Arte y Puntual
Explicacion del Modo de Tocar el Violin (1756) MA thesis, Brigham Young
University, 1974.
95
Joachim, Joseph and Andreas Moser. Violinschule. Trans. Alfred Moffat. Vol. 3. Berlin:
N. Simrock, G.m.b.H., 1905.
Kroemer, Marianne. Die Violinschule in Geschichte und Gegenwart. Violinspiel und
Violinmusik in Geschichte und Gegenwart (Vienna: Universal Edition;
Symposium, Graz, c1975): 235-56.
LAbb le Fils. Principes du Violon, pour apprendere le doigt de cet instrument, et les
differrends agrments dont il est susceptible [1761]. Paris: Centre de
documentation universitaire et S. E. D. E. S. Runis, 1961.
Lauer, Tad. Categories of National Violin Schools. DM diss., Indiana University,
1997.
Malcolm, Noel. George Enescu: His Life and Music. Exeter, Britain: Tocatta Press,
1990.
Martens, Frederick H. String Mastery. New York: Frederick A. Stokes Company, 1923.
Mnatzaganian, Sarah. Lessons from Life. The Strad 112 (Sept. 2001): 978-979.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing [1756].
Trans. Editha Knocker. London: Oxford University Press, 1967.
Neumann, Frederick. Violin Left Hand Technique. Urbana, IL: American String Teachers
Association, 1969.
Roth, Henry. Great Violinists in Performance. Los Angeles, CA: Panjandrum Books,
1987.
________. Violin Virtuosos from Paganini to the 21st Century. Los Angeles, CA:
California Classics Books, 1997.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 20 vols. London:
Macmillan, 2001.
Sametini, Leon. Old and Modern Violin Playing. MTNA Proceedings 28 (1933): 90-98.
Schwarz, Boris. Beethoven and the French Violin School. The Musical Quarterly 44/4
(Oct. 1958): 431-447.
________. Great Masters of the Violin. New York: Simon and Schuster, 1983.
________. The Russian School Transplanted to America. Journal of the Violin Society
of America III/1 (1977): 27-33.
96
Slonimsky, Nicolas, ed. Bakers Biographical Dictionary. 8th ed. New York: G.
Schirmer, Inc., 1992.
Szigeti, Joseph. A Violinists Notebook. London: Gerald Duckworth & Co. Ltd., 1964.
Tartini, Giuseppe: Larte del arco ou lart de larchet: Contenant 38. Variations
Composes sous la plus Belle Gavotte de Corelly [174-?]. New York: Performers
Facsimiles, 1996.
Taylor, Hollis. A Teacher at the Top. Strings vol. 16, no. 2:96 (Aug.-Sept. 2001): 4047.
Tersigni, Andrea. The American School of Violin PlayingA Reality. DMA diss.,
University of Washington, 1996.
Uscher, Nancy. The Schirmer Guide to Schools of Music and Conservatories Throughout
the World. New York: Schirmer Books, 1988.
Wilhelmj, August and James Brown: A Modern School for the Violin [1898]. 6 vols.
London: Novello & Co., Ltd., 1899.
97
BIOGRAPHICAL SKETCH
Christian M. Baker joined the Arkansas Symphony Orchestra and the Rockefeller
String Quartet in September, 2004. Since that time, he has also taught violin at Hendrix
College in Conway, Arkansas. He began studying piano at age six and violin at age ten.
Christian received his Bachelor of Music degree in Violin Performance and Pedagogy
from Brigham Young University (1998), and his graduate degrees in violin performance
from Florida State University (M.M. 2000, D.M. 2005). His primary teachers have
included Nell Gotkovsky, Eliot Chapo, and Igor Gruppman. Christian and his pianistwife Michelle are the happy parents of three energetic little boys: Clyn, Russell, and
Hyrum.
98

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THE FLORIDA STATE UNIVERSITY

THE INFLUENCE OF VIOLIN SCHOOLS ON PROMINENT

A treatise submitted to the

The members of the Committee approve the treatise of Christian M. Baker

Music resembles poetry; in each

1. Andres Cardenes ...............................................................................................................4

1. Abbreviations and Designations in the Tables.................................................................56

See Galamian, Principles, 73-74.

CB: So you find the Dounis to be more helpful particularly in quartets?

somehow transfer them to my students. I am trying to do [this]sometimes successfully,

If applicable, which school(s)?

If applicable, which school(s)?

Feel free to explain, if you wish:

You may comment further, if you wish:

If applicable, which school(s)?

If applicable, which school(s)?

Feel free to explain, if you wish:

You may comment further, if you wish:

The fundamental purpose of the questionnaire was to determine the extent to

Treatises on violin playing represent the largest body of literature pertaining to

Marianne Kroemer, "Die Violinschule in Geschichte und Gegenwart." Violinspiel und

Sources Directly Addressing Schools of Violin Playing

Sources Featuring Individual Artists

Sources which feature individual artists without necessarily attempting to

contain critical evaluations of performers, as well as ample biographical information. In a

Table 1: Abbreviations and Designations in the Tables

Table 2: Life Spans of Selected Violinists

Accardo, Salvatore: b.1941

Heerman, Hugo: 1844-1935

Sivori, Camillo Ernesto: 1815-94

Yankelevich, Yuri: 1909-73

Table 3: Selected Pupil-to-Teacher Relationships

Baltzar: J. Schop, acd. Hartlib (NGD)

Francescatti, F.: Sivori

Francescatti, Z.: F. Francescatti (father)

Frnzl: (J. Stamitz)

Duranowski (Durand): Viotti

Eck, Franz: Friedrich Joh. Eck (brother),

Eck, Friedrich Joh.: Danner

Gerke: Spohr, acd. Lauer

Hellmesberger, G. Sr.: Bhm

Hellmesberger, J. Sr.: G. Hellmesberger

Hellmesberger, J. Jr.: J. Hellmesberger

Grumiaux: Enesco (brief, and perhaps

Hrimaly, B.: Mildner

Jarnovick: see Giornovichi

Katski, A.: G. Katski (father)

Laurenti, G.N.: B.G. Laurenti (father)

Leclair: Somis(?), acd. Quantz (NGD)

Lecloux-Dejonc: unknown, acd. Lauer

Lipinski, K.: Feliks Lipinski (father), but

Lolli: Nardini, but practically selftaught, acd. Bachmann

Neruda, W.: Jansa

Nov ek, O.: Schradieck

Ondricek, E.: Sevcik

Sibor: Auer or (Auer), acd. Schwarz

Stamitz, A: C. Stamitz (brother)

Stamitz, C.: J. Stamitz (father)

Serato: Sarti, acd. Bachmann

Suk, J. (grandfather): Bennewitz

Suk, J. (grandson): M. Hlounova

Veracini, F.: A. Veracini (uncle)

Vivaldi, A.: G.B. Vivaldi(?) (father)