Ten Italian Violin Concertos from Fonds Blancheton

Sherwood Dudley; Jehoash Hirshberg

doi:10.2307/898216

Ten Italian Violin Concertos from Fonds Blancheton

Notes ◽

10.2307/898216 ◽

1987 ◽

Vol 43 (3) ◽

pp. 672

Author(s):

Sherwood Dudley ◽

Jehoash Hirshberg

Keyword(s):

Violin Concertos

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The Violin Concertos of Louis Spohr

Bulletin of the American Musicological Society ◽

10.1525/jams.1937.2.1.03a00230 ◽

1937 ◽

Vol 2 (1) ◽

pp. 28-28

Author(s):

Benjamin F. Swalin

Keyword(s):

Violin Concertos

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Three Violin Concertos

10.31022/c038 ◽

1991 ◽

Author(s):

Maddalena Laura Lombardini Sirmen

Keyword(s):

Violin Concertos

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An Instrumental Problem in ‘Pulcinella’

Tempo ◽

10.1017/s0040298200057491 ◽

1973 ◽

pp. 22-24

Author(s):

Hans Keller

Keyword(s):

String Quartets ◽

The Third ◽

Violin Concertos ◽

Violin Technique ◽

String Playing

Stravinsky knew little about violin technique. It happens in the best circles. Schumann, on the evidence of his highly substantial string quartets, knew as much about string playing as I know about the cimbalom. Brahms and Tchaikovsky wrote great violin concertos against the violin. And Mahler's auditioning of violinists was a joke: ‘He attached the greatest significance to the steadiest possible bowing in sustained notes’, Carl Flesch recounts,and therefore considered the beginning of the third act of Siegfried [Flesch means the beginning of Act III, Scene 3] a touchstone for the bowing technique of an orchestral violinist … He first asked me to play a Mozart Adagio, and then set the Siegfried passage in front of me. As my bow glided over the strings with the phlegmatic calm of a world-weary philosopher, he seemed greatly pleased, wanted to nail me down to the post of leader at once, and accompanied me himself to the administration building …

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