Free Downloads Bladmuziek viool I
Welkom op de pagina muziek viool I. Op deze pagina kan muziek worden gevonden die niet meer wordt uitgegeven en daarom moeilijk te vinden is en waarvan de rechten zijn vervallen. Ook is er muziek te vinden in bewerkte en/of getransponeerde vorm. De informatie betreffende de biografieën van de componisten komt van Wikipedia en verschillende andere publicaties waaronder Alberto Bachmann's Encyclopedia on the violin.
Baklanova - Etudes
Barbella - duo voor 2 violen
Beer - Concertino op. 30
Bohm - Introduction et Polonaise
Carl Bohm (also known as Charles Bohm, Henry Cooper [Pseudonym] and Karl Böhm), (11 September 1844 – 4 April 1920) was a German pianist and composer.
Bohm is regarded as one of the leading German songwriters of the 19th century, and wrote such works as Still as the Night, Twilight, May Bells, Enfant Cheri and The Fountain.
The Oxford Companion to Music says that Bohm was "a German composer of great fecundity and the highest salability... He occupied an important position in the musical commonwealth in as much as his publisher, Simrock, declared that the profits on his compositions provided the capital for the publication of those of Brahms." Bohm's specialty was music in a lighter vein, very different from the dark, brooding and introspective works of Brahms.
Bohm, like Schubert, was more than just a songwriter, composing in most genres. His chamber music, mostly quartets and piano trios, were extremely popular not only amongst amateurs but also among touring professional groups who were always in need of a sure-fire audience pleaser.
Edition Silvertrust states that Bohm "was certainly very well-known during his life time. Yet today, his name brings nothing but blank stares." This curious obscurity is borne out more than ever by the fact that Grove Dictionary of Music and Musicians contains no article about him.
Selected works for strings
- Salon-Kompositionen (op. 327)
- Hausmusik; 2 violen en paino
- Klaviertrio G-dur. (Forelle; op. 330 Nr.2)
- Perpetuo Mobile (Kleine Suite 6)
- Perpetuo mobile op. 380, nr. 6
- Pereptuo Mobile (from Suite 3, nr. 6)
- Suite: Introduction alla marcia-Intermezzo-Notturno-Capriccio
- Skandinavische Romanze ('Arabesken' nr. 5)
- Introduction and Polonaise ('Arabesken' nr. 12)
- Vorspiel-Stücke: Theme Varié op. 348, nr. 1
- Le Bal; Album de danses: Polonaise-Valse-Rheinländer-Polka Mazurkas-Polka-Galop
- Italian Romance
- Wiegenlied op. 380, no. 5
- Cavatina, op. 314, nr. 2
- Gavotte op. 314, nr. 3
- Petite Rhapsodie Hongroise (uit 'Noveletten')
- Arioso (Bunte Reihe no. 1)
- Deuxieme Gavotte op. 314, nr. 8
- Derde suite: Präludium-Largo ma non troppo-Intermezzo-Scherzo-Sarabande-Moto Perpetuo
- Air Gavotte (Mélodie gracieuse) (uit: 'Concert au salon')
- La Mouche
- Canzonetta in G
- Cavatina op. 314, no. 2
- Slumber song op. 187, nr. 5
- Canzonetta op. 314, nr. 23
- Italienische Weise (uit 'Albumleaves')
- Boléro ('Albumleaves' no. 9)
- Alla Marcia ('Amusements' nr. 1)
- Moment Musical (uit 'Amusements')
- Tremolo ('Amusements' nr. 12)
- From Many Lands, book 1: Adagio Rligioso-Roccoco-Slavonian dance-spagnola-Scene de Ballet-At the spinning wheel
- From Many Lands, book 2: Estella-At evening-Gipsy melody-Northern legend-Kujawiak-Moto perpetuo
- La Zingana:'Danse Hongroise' op. 102
- La Zingana:'Dance Hongroise' op. 102 (arrangement van Gustav Saenger voor 4 violen en piano)
- Italian Romance
- Gigue, op. 378, nr. 7
- Spanish Serenade op. 378, nr. 8
- Ballet scene, op. 378, nr. 9
- Walzer Etude op. 378, nr. 10
- Italian Song op. 378, nr. 11
- Mazurka op 378, no. 12
- Sérenade Italienne op. 390
- Slumber song op. 187, nr. 5
- Spanischer Tanz (uit 'Tonskizzen')
- The Fountain (op. 221) (G major)
- Concertino op. 370
- Entry for Carl Bohm in the catalogue of Deutsches Musikarchiv
- Free scores by Carl Bohm in the International Music Score Library Project
- Carl Bohm Piano Trio, Op.330 No.2 Soundbites & information.
- Some of Bohm's violin pieces are available at Free violin music
Bunge - 'Uit': Suite voor 2 violen
Sas Bunge, hier op de foto in de Haarlemse sociëteit 'Teisterbant', op 28 april 1961 bezig aan zijn vertolking van Jeux d'eau van Maurice Ravel. De hier te downloaden suite met de titel 'uit' is in manuscript. De oorspronkelijke titel bezetting is voor 2 violen en piano ad libitum maar de pianopartij ontbreekt. De compositie werd in 1975 geschreven.
Bytovetzski - Double stopping
Pavel Bytovetzski was een violist, viooldocent en componist. Hij werd vooral bekend door zijn boek met dubbelgreep-oefeningen voor viool.
Verder schreef hij:
*How to Master the Violin; a pratical guide for students and teachers
*Development of finger strength and independence of fingers in all positions
*'The bee' voor viool en piano
*'Pays lointain'. Souvenir. voor viool en piano
*Scale technic, how acquired, developed snd mastered
*Specific exercises for the developent of the 3rd and 4th fingers
Bytovetzski - Development of finger strength
Campagnoli - duo voor 2 violen
Bartolomeo Campagnoli (Cento di Ferrara (near Bologna), 10 september 1751 – Neustrelitz, 6 november 1827) was een Italiaans violist en componist.
Hij was een violist die tournees maaakte door Europa. Hij speeld een componeerde in de vooor die tijd populaire 18de eeeuwse Italiaanse vioolstijl.
Een aantal van ziujn compposities:
- 17 Divertimenti op. 18 voor solo viool
- Nouvelle Méthode voor de viool (1827).
- 41 Caprices for altviool solo
- Duo's voor fluit en viool
- Duo's voor 2 violen
Chédeville - Rondeau en 2 menuetten voor 2 violen
Coerne - Concertino op. 63
Coutts - Hornpipe
George Couts was a Canadian organist, pianist, composer, conductor and teacher. Born in Aberdeen, Scotland on August 6, 1888. Moved to Toronto, Ontario, in 1911, where he taught at the Academy of Music and at Woodstock (Ontario) College. Head of the Regina Conservatory piano department, ca. 1921-1928; studied in England, 1928-1929; organist Chalmers United Church (Vancouver, British Columbia) and conductor of the Brahms Choir and the Little Symphony (later the Vancouver Junior Symphony), ca. 1931-1940; organist-choirmaster at various Toronto churches, 1940-1959. Adjudicated throughout Canada and taught at the Royal Conservatory of Music of Toronto and University of Toronto. Wrote for organ, piano, violin and piano, choir and solo voice. Died in Toronto on April 28, 1962.
Dancla - Duo op. 23/1 voor 2 violen
Charles Dancla (Bagnères de Bigorre, 19 December 1817 - Tunis, 10 November 1907) was a violinist, composer and Teacher.
Depas - Etudes - Le Progres
Lambert-Joseph Ernest Depas (geboren Liege, 2 december 1809) studeerde viool bij zijn vader Pierre-Joseph Depas. Hij vervolgde zijn studies aan het Conservatorium van Brussel bij Lambert Wéry en bij Alphonse Wanson aan het Conservatorium van Liege. Depas schreef verschillende etude-boeken voor viool: o.a. Etudes Préliminaires, Le Progres, l'Agilité. Voorts zijn vioolmethode op. 28, petites fantaisies pour violon et piano, kamermuziek waaronder het bekende 10de pianotrio. In 1834 was hij dirigent van het Theatre Lyrique de Chartres. Eveneens vervulde Depas de functie van concertmeester in het Grand theatre de Nantes in 1838 en fungeerde verder als concertmeester bij verschillende orkesten te Parijs.
Dounis - Advanced studies op. 30
Demitrios Constantine Dounis (1886) was born in Greece, received a degree in medicine from the University of Vienna, had a brief career as a concert violinist and then returned to Greece, where he was a violin professor at the Salonika Conservatory and wrote many of his pedagogical works. He later settled in the United States.
Extreme efficiency and simplicity are the emphasis in Dounis's teachings: Efficiency of body motion (he analyzed all the motions required to play the violin, long before the word "ergonomics" became a common term in our vocabulary), efficiency of practice (there are many time-saving, technical problem solvers in his works) and above all, mental efficiency (the concept that the training of the mind is paramount). Having used the works of Dounis In my own playing and teaching. Violinist and teacher Karen Clarke from Tallahassee, Florida says: "Having used the works of Dounis in my own playing and teaching, I heartily welcome this collection of his works and hope that more string teachers will discover his wisdom.
Unlike Ivan Galamian, the teaching career of Dounis consisted, for the most part, of giving master classes and helping mature professional musicians solve problems in their playing, rather than developing prodigies or holding an appointment at a major conservatory. Therefore, his recognition as one of the most influential pedagogues of the 20th-century has been belated. Among his disciples are the well known violinst David Nadien, former concertmaster of the New York Philharmonic Orchestra from 1966 to 1970 under the baton of Leonard Bernstein and currently teaching at the Mannes College of Music, New York, cello teacher George Neikrug and the late violist, William Primrose and among his students were concertmasters of major orchestras, including Joseph Silverstein.
Dvarionas - Prelude voor 2 violen
Balys Dvarionas was a Lithuanian composer, pianist, conductor and educationalist. Dvarionas also displayed himself as a composer. His works are abundant with romanticism and the pieces are based on folk songs.
Balys Dvarionas was born in a big family of an organist. Along with his ten sisters and brothers, Dvarionas was taught music from his very childhood. Later Dvarionas had private lessons from Alfrēds Kalniņš, the famous Latvian composer. After completing the middle school of commerce, Dvarionas worked as an organist and a conductor of Youth Choir of Lithuanian Society in Liepaja. In 1920, Dvarionas went to Leipzig, where he studied piano under Robert Teichmüller at the Conservatory and attended special music theory and composition courses held by Stephan Krohl and Sigfried Karg - Elert. After graduating from the Conservatory in 1924, Dvarionas came back to Kaunas, Lithuania where he performed his first recital, and afterwards spent two years studying piano in Berlin under Egon Petri, a famous German pianist.
Balys Dvarionas was a synthesis of talents in piano, teaching, conducting and composing. They bloomed almost all at once and B.Dvarionas soon became one of the most famous personalities in Lithuanian music. From 1924 on he performed throughout Lithuania, and in 1928 he began to perform abroad.
In 1930s, Dvarionas emerged as a conductor as well. He attended conductors' courses in Salzburg and in 1939 he passed his examinations as an external student at the Conservatory in Leipzig. From 1935 until 1938 Dvarionas was a conductor of Kaunas Radiophone Orchestra. In 1939 he established the Vilnius City Orchestra together with the well-known Lithuanian architect Vytautas Landsbergis-Žemkalnis, and worked as a conductor there until the Lithuanian Philharmonic Orchestra was established, where he occupied a position of a head conductor in 1940-1941. Balys Dvarionas is buried at the cemetery in Palanga, a seaside resort town in western Lithuania, where B. Dvarionas loved to spend summers and composed many pieces at his cottage (address: Birutės al.6).
Dvarionas composed miscellaneous works ranging from opera, ballet, symphony to music for films and theatres. Balys Dvarionas, together with another famous Lithuanian composer Jonas Švedas, was vested in composing music for the Anthem of Lithuanian SSR.
Dvarionas's musical works are distinctive for their melody, emotionality, familiar motives from folk tunes. In spite of developing the musical images, the composer prefers exposition and juxtaposition of various musical ideas. The music by Dvarionas seems extemporaneous but natural, flexible in rhythmics, and makes an impression of clear and colourful mood.
Some works by Balys Dvarionas:
- Ballet Matchmaking (Piršlybos), (presented 1933).
- Various piano pieces: '24 pieces in all tonality', 'Winter Sketches', 'Little Suite', etc.
- Various violin pieces
- Songs for solo voice and accompaniment, choir
- Some music by Balys Dvarionas
Balys Dvarionas. Composer, Pianist, Conductor
- Competition for Young Pianists and Violinists
International Balys Dvarionas Competition
Eller - Deux etudes de concert op. 2
Ellerton - Tarantella
John Lodge Ellerton (Cheshire, 1801– Londen, 1873) was een Engels componist.
Volgens de Dictionary of National Biography uit 1889 studeerde hij af met een Masters degree aan de Universiteit van Oxford in 1828 en trouwde in 1837 met de zuster van de achste Earl of Scarbrough. Zijn opera 'Domenica' werrd uitgevoerd in Drury Lane in 1838, maar zonder succes; zijn oratorium Paradise Lost op. 125 had veel meer succes.
Hij stierf in Hyde Park in 1873.
Enkele van zijn andere composities:
Feygin - 5 liederen voor viool en piano op. 7
Leonid Veniaminovich Feygin (May 6, 1923) Soviet composer, violinist, conductor, arranger. He studied violin with David Oistrakh and composition with N. Myaskovsky and V. Shabalin. He was a nephew of Vera Nabokova-Slonim, wife of the writer Vladimir Nabokov. He was the author of numerous works in almost all musical genres: Opera "Sister Beatrice" (after Maeterlinck, 1963), the ballets "Star Fantasy", "Don Giovanni", "Forty girls"; "Faust", three symphonies (1967, 1974, 1978), concertos for violin, trumpet, two violins and string orchestra, and four quartets, two sonatas for violin and piano pieces for various instruments, vocal works, music for theater productions and films. He was married to Galina Stepanovna Maksimova (1914-2004)
Fibich - Sonatine voor viool en piano
Zdeněk Fibich (December 21, 1850 – October 15, 1900) was a Czech composer of classical music, including chamber works (including two string quartets, a piano trio, piano quartet and a quintet for piano, strings and winds), symphonic poems, three symphonies, at least seven operas, the most famous probably Šárka and The Bride of Messina; melodramas including the substantial trilogy Hippodamia, liturgical music including a mass - a missa brevis; and a large cycle (almost 400 pieces, from the 1890s) of piano works called Moods, Impressions, and Reminiscences among other works. The piano cycle served as a diary of sorts of his love for a piano pupil. He was born in Všebořice (Šebořice) near Čáslav. That Fibich is far less known than either Antonín Dvořák or Bedřich Smetana can be explained by the fact that Fibich lived during the rise of Czech nationalism within the Habsburg empire. And while Smetana and Dvořák gave themselves over entirely to the national cause consciously writing Czech music with which the emerging nation strongly identified, Fibich’s position was more ambivalent. That this was so was due to the background of his parents and to his education. Fibich’s father was a Czech forestry official and the composer’s early life was spent on various wooded estates of the nobleman for whom his father worked. His mother, however, was an ethnic German Viennese. Home schooled by his mother until the age of 9, he was first sent to a German speaking gymnasium in Vienna for 2 years before attending a Czech speaking gymnasium in Prague where he stayed until he was 15. After this he was sent to Leipzig where he remained for three years studying piano with Ignaz Moscheles and composition with Salomon Jadassohn and Ernst Richter. Then, after the better part of a year in Paris, Fibich concluded his studies with Vinzenz Lachner (the younger brother of Franz and Ignaz) in Mannheim. Fibich spent the next few years living with his parents back in Prague where he composed his first opera Bukovina, based on a libretto of Karel Sabina, the librettist of The Bartered Bride. At the age of 23, he married Růžena Hanušová and took up residence in the Lithuanian city of Vilnius where he had obtained a position of choirmaster. After spending two personally unhappy years there (his wife and newly born twins both died in Vilnius), he returned to Prague in 1874 and remained there until his death in 1900. In 1875 Fibich married Růžena's sister, the operatic contralto Betty Fibichová (née Hanušová), but subsequently leaving her in 1895 for his former student and lover Anežka Schulzová. The relationship between Schulzová and Fibich was also a tremendously artistic one, since she both wrote the libretti for all his later operas including Šárka, but also served as the inspiration for his Moods, Impressions, and Reminiscences. Hence Fibich, in contrast to either Dvořák or Smetana, was the product of two cultures, German and Czech. He had been given a true bi-cultural education. And during his formative early years, he had lived in Germany, France and Austria in addition to his native Bohemia. He was perfectly fluent in German as well as Czech. All of these factors were important in shaping his outlook and approach to composition. And this outlook was far broader than that of Smetana and Dvořák, who in their maturity, exclusively took up the Czech cause and never let it fall. Such an approach was too narrow and constricting for a man like Fibich, trained at the great Leipzig Conservatory by colleagues and students of Felix Mendelssohn and Robert Schumann; too narrow for a man who had sojourned in Paris and Vienna; a man who understood that German, along with French, was clearly one of the leading languages of Europe. And Fibich could plainly see that writing opera and vocal works (his main areas of interest) in Czech would limit their appeal. What he did not appreciate was that writing such works in German would profoundly affect the way in which he and his music were regarded by Czechs. In his instrumental works, Fibich generally wrote in the vein of the German romantics, first falling under the influence of Weber, Mendelssohn and Schumann and later Wagner. It seems, that like Tchaikovsky, Fibich did not wish to write music that merely sounded nationalistic, but unlike Tchaikovsky, for the most part, Fibich succeeded. And therein lies the reason that Fibich has never been held in the same regard by his countrymen as either Dvořák and Smetana or even Leoš Janáček. There is no denying that during his first thirty years, Fibich identified more with German culture than Czech. He preferred the German form of his first name Zdenko, rather than the Czech Zdeněk, and insisted that it appear on his published works. His early operas and close to 200 of his early songs are in German. These works along with his symphonies and chamber music won considerable praise from German critics if not from Czechs. However, his reputation abroad began to fade when the international public began to clamor for the exotic sounding Czech music his rivals were composing. The public no longer wished to hear works from a Czech composer, which no matter how well-crafted or ingenious, nonetheless did not sound particularly Slavic. Having said all this, it would be unfair to omit that the bulk of Fibich’s operas are in Czech, although many are based on subjects from non-Czechs such as Shakespeare, Schiller and Byron. Nor is it fair to state that his music never sounds Czech. It just does not often sound obviously so. Perhaps in his chamber music, more than anywhere else, Fibich makes use of Bohemian folk melodies and dance rhythms such as the Dumka. Lastly, it must be noted that Fibich was the first to write a Czech nationalist tone poem (Záboj, Slavoj a Luděk) which served as the inspiration for Smetana’s Má vlast. He was also the first to use the polka in a chamber work (his quartet in A), again serving as an example for the older Smetana. In the years after his return to Prague in 1874, Fibich's music encountered severely negative reactions in the Prague musical community, stemmed from his (and Smetana's) adherence to Richard Wagner's theories on opera. While Smetana's later career was plagued with problems for presenting Wagnerian-style music dramas in Czech before a conservative audience, Fibich's pugilistic music criticism, not to mention his overtly Wagnerian later operas, Hedy, Šárka, and Pád Arkuna, exacerbated the problem in the years after Smetana's death in 1884. Together with the music aesthetician Otakar Hostinský he was ostracized from the musical establishment at the National Theatre and Prague Conservatory, and forced to rely on his private composition studio. This studio nevertheless was well respected among students, drawing such names as Emanuel Chvála, Karel Kovařovic, Otakar Ostrčil, and Zdeněk Nejedlý, the notorious critic and subsequent politician. Much of the reception of Fibich's music in the early twentieth century is a result of these students' efforts after their teacher's death, especially in Nejedlý's highly polemical campaigns enacted in a series of monographs and articles that sought to redress past inequities. Although this served to bring Fibich's music to greater attention, subsequent scholarship has had to deal with the spectre of Nejedlý's intensely personal bias.
There is a Fibich Society which has organized projects such as Hudec's Thematic Catalog below, and much else. Fibich was the original composer of the tune for "My Moonlight Madonna' for which Paul Francis Webster wrote the English lyrics. In 1933 the tune was popularly harmonized by William Scotti.
Fortunatov - Etudes deel 1
Gedike - Mazurka voor 2 violen
A skilled and imaginative, though conservative, Russian composer of the first half of the twentieth century, Alexander Fyodorovich Gedike remains much more widely known in Eastern Europe than in the world at large, where he is nearly unknown.
He was a contemporary of Rachmaninov and Stravinsky. Unlike Stravinsky, he did not embrace modernism of the early twentieth-century movement of futurism, and unlike Rachmaninov, he remained in Russia after the 1917 Bolshevik coup. His avoidance of futurism somewhat marginalized him in the 1920s, when it appeared that the new Revolutionary state would embrace that movement as a revolutionary and anti-bourgeois force in art. He returned to favor, and stayed there, after Stalin's adoption of a Soviet Realism, an unproblematic and conservative style such as the one Gedike had been pursuing all along.
Alexander Fyodorovich Gedike's name is often rendered in different ways. The more precise English rendering (most often to be found in library listings) is Aleksandr Fjodorovich Gedike. However, due to the German derivation of the family name, German and other European sources often spell it "Goedicke." The "G" in the name is hard, as in "get."
Alexander's father was a piano instructor at the Moscow Conservatory and the organist of the French Church of Moscow. Fyodor Gedike taught his son piano, organ, and the rudiments of music. Alexander entered Moscow Conservatory in 1891 as a student of piano and theory. His teachers were Galli, Pabst, and Safonov. He did not take any composition courses, but his skills in this field attracted the attention of the respected composer Sergei Taneyev, who gave the young man informal lessons and advice. Gedike graduated from the Moscow Conservatory in 1898.
Aleksander Fyodorovich Gedike was born on February 20, 1877 (old style calendar) into a musical familiy of German descent. His name is sometimes spelled Goedicke, however, already his great-grandfather worked in Moscow as a musician. Gedike got his first piano lessons from his father who taught at the Moscow conservatory. From 1892-8 he studied there; among his teachers were Pabst and Safonov for piano and Arensky for composition. As a composer he also profited from his acquaintance with Taneyev. In 1900 won the first prize at the third international Rubinstein competition in Vienna, playing his own piano concerto. He earned his living as concert pianist till he was appointed as professor for piano at the Moscow conservatory in 1909. After 1919 he also taught chamber music. In 1923 he became principal teacher for organ and it is as interpreter of Bach’s organ works, that he is chiefly remembered in Russia. During his long life Gedike was awarded several honors, including the Stalin Prize.
He began a career as a pianist and composer. The later career was boosted in 1900 when he won the Anton G. Rubinstein Prize in Vienna for composition. The prize cited his Piano Concerto, his First Violin Sonata, and other works. At the same time Gedike received an honorary diploma for his accomplishments as a pianist.
In 1909, he became a professor of piano at the Moscow Conservatory. In 1920 he also took on the subjects of chamber music and organ.
After the 1917 Revolution, the new Soviet Union appeared likely to take a Revolutionary position in arts. Many artists in several fields embraced the Italian-originated school of "futurism," stressing tough, militant modernism, an anti-bourgeois (hence, anti-Romantic) viewpoint, and a fondness for machine rhythms. Gedike remained apart from this trend. As a serious student of Bach, he preferred to preserve Classical virtues and strong counterpoint, and became known as a champion of classical traditions.
By 1930, with the solidification of Josef Stalin's rule over the U.S.S.R., came signs that futurism was becoming disfavored, omens that came true in the following decade. Gedike's solidly conservative style gave Stalin's arts commissars no trouble. He was granted a Doctorate in Arts in 1940 and won several state prizes, though mostly as a concert pianist and organist. He was especially known for his penetrating performances of the organ music of Johann Sebastian Bach and his early concern with determining stylistic authenticity in that music. He rarely visited the West, but became known as an important performer and composer in Eastern Europe and throughout the Soviet Union. He survived the 1948 Zhdanovschina (composers' purge) with no serious threat to his position, and still occupied his professor's seat at the Conservatory at the time of his death on July 9, 1957. ~ Joseph Stevenson, All Music Guide
Gliere - Andante
Reinhold Moritzevich Glière (January 11, 1875) was a Ukrainian-Russian, Soviet composer of German-Polish descent.
Glière was the second son of the wind instrument maker Ernst Moritz Glier (1834-1896) from Saxony, who emigrated to Kiev and married Józefa (Josephine) Korczak (1849-1935), the daughter of his master, from Warsaw (Poland). His original name, as given in his baptism certificate, was Reinhold Ernst Glier. About 1900 he changed the spelling and pronunciation of his surname to Glière, which gave rise to the legend, stated by Leonid Sabaneyev for the first time (1927), of his French or Belgian descent.
He was born in Kiev. Glière entered the Kiev school of music in 1891, where he was taught violin by Otakar Ševčík, among others. In 1894 Glière entered the Moscow Conservatory where he studied with Sergei Taneyev (counterpoint), Mikhail Ippolitov-Ivanov (composition), Jan Hřímalý (violin; he dedicated his Octet for Strings, Op. 5, to Hřímalý), Anton Arensky and Georgi Konjus (both harmony). He graduated in 1900, having composed a one-act opera 'Earth and Heaven' (after Lord Byron) and received a gold medal in composition. In the following year Glière accepted a teaching post at the Moscow Gnesin School of Music. Taneyev found two private pupils for him in 1902: Nikolai Myaskovsky and the eleven-year old Sergei Prokofiev, whom Glière taught on Prokofiev's parental estate Sontsovka. Glière studied conducting with Oskar Fried in Berlin from 1905 to 1908. One of his co-students was Serge Koussevitzky, who conducted the premiere of Glière's Symphony No. 2, Op. 25, on January 23, 1908 in Berlin. Back in Moscow, Glière returned again to the Gnesin School. In the following years Glière composed the symphonic poem Sireny, Op. 33 (1908), the programme symphony Ilya Muromets, Op. 42 (1911) and the ballet-pantomime Chrizis, Op. 65 (1912). In 1913 he gained an appointment to the school of music in Kiev, which was raised to the status of conservatory shortly after, as Kiev Conservatory. A year later he was appointed director. In Kiev he taught among others Levko (Lev) Revoutski, Borys Lyatoshynsky and Vladimir Dukelsky (who became well-known in the West as Vernon Duke).
In 1920 Glière moved to the Moscow Conservatory where he (intermittently) taught until 1941. Boris Alexandrov, Aram Khachaturian, Alexander Davidenko, Lev Knipper and Alexander Mosolov were some of his pupils from the Moscow era. For some years he held positions in the organization Proletkul't and worked with the People's Commissariat for Education. The theatre was in the centre of his work now. In 1923 Glière was invited by the Azerbaijan People's Commissariat of Education to come to Baku and compose the prototype of an Azerbaijani national opera. The result of his ethnographical research was the opera Shakh-Senem, now considered the cornerstone of the Soviet-Azerbaijan national opera tradition. Here the musical legacy of the Russian classics from Glinka to Scriabin is combined with folk song material and some symphonic orientalisms. In 1927, inspired by the ballerina Yekaterina Vasilievna Geltser (1876-1962), he wrote the music for the ballet Krasny mak (The Red Poppy), later revised, to avoid the connotation of opium, as Krasny tsvetok (The Red Flower). The Red Poppy was praised "as the first Soviet ballet on a revolutionary subject". Perhaps this was his most famous work in Russia as well as abroad. The ballet-pantomime Chrizis was revised just after The Red Poppy, in the late 1920s, followed by the popular ballet Comedians after Lope de Vega (1931, later re-written and re-named The Daughter from Castile).
After 1917 Glière never visited the West as some other Soviet composers did. He gave concerts in Siberia and other remote areas of the Soviet Union instead. He was working in Uzbekistan as a "musical development helper" at the end of the 1930s. From this time emerged the "drama with music" Gyulsara and the opera Leyli va Medzhnun, both composed with the Uzbek Talib Sadykov (1907-1957). Before the revolution Glière had already been honoured three times with the Glinka prize. During his last few years he was very often awarded: Azerbaijan (1934), the Russian Soviet Republic (1936), Uzbekistan (1937) and the USSR (1938) appointed him Artist of the People. The title "Doctor of Art Sciences" was awarded to him in 1941.
As Taneyev's pupil and an 'associated' member of the circle around the Petersburg publisher Mitrofan Belyayev, it appeared Glière was destined to be a chamber musician. In 1902 Arensky wrote about the Sextet, Op. 1, "one recognizes Taneyev easily as a model and this does praise Glière". Unlike Taneyev, Glière felt more attracted to the national Russian tradition as he was taught by Rimsky-Korsakov's pupils Ippolitov-Ivanov and Arensky. Alexander Glazunov even certified an "obtrusively Russian style" to Glière's 1st Symphony. After all he finds with the 3rd Symphony Ilya Muromets a synthesis between national Russian tradition and impressionistic refinement. The première was in Moscow in 1912, and it resulted in the award of the Glinka Prize. The symphony depicts in four tableaux the adventures and death of the Russian hero Ilya Muromets. This work was widely performed, in Russia and abroad, and earned him world-wide renown. It became one of the favourite items in the extensive repertoire of Leopold Stokowski, who made, with Glière's approval, an abridged version, shortened to around the half the length of the original. Today's cult status of Ilya Muromets is based not least on the pure dimensions of the original 80 minute work, but Ilya Muromets demonstrates the high level of Glière's artistry. The work has a comparatively modern tonal language, massive Wagnerian instrumentation and long lyrical lines.
Notwithstanding his political engagement after the October revolution Glière kept out of the ideological ditch war between the Association for Contemporary Music (ASM) and the Russian Association of Proletarian Musicians (RAPM) during the late 1920s. Glière concentrated primarily on composing monumental operas, ballets, and cantatas. His symphonic idiom, which combined broad Slavonic epics with cantabile lyricism, is governed by rich, colourful harmony, bright and well-balanced orchestral colours and perfect traditional forms. Obviously this secured his acceptance by Tsarist and Soviet authorities, at the same time creating resentment from many composers who suffered intensely under the Soviet regime. As the latter genuine representative of the pre-revolutionary national Russian school, i.e. as a 'living classic', Glière was immune to the standard reproach of "formalism" (mostly equivalent to 'modernity' or 'bourgeois decadence'). Thus the infamous events of 1936 and 1948 passed Glière by. The concerti for harp (Op. 74, 1938), coloratura soprano, the concerto for horn (Op. 91) dedicated to Valery Polekh), which attained popularity also in the West, have to be mentioned as 'virtuoso use music'. Nearly unexplored are Glière's educational compositions, his chamber works, piano pieces and songs from his time at the Moscow Gnesin School of Music.
*Concerto for cello and orchestra in D minor, Op. 87
*Concerto for violin and orchestra (Concerto-Allegro) G minor, Op. 100 , completed and orchestrated by Boris Lyatoshynsky.
*Intermezzo and Tarantella for double bass and piano, Op. 9, No. 1 and 2
*Praeludium and Scherzo for double bass and piano, Op. 32 No.1 and No.2
*String Quartet No 1 in A major, Op.2 (1899)
*String Quartet No 2 in G minor, Op.20 (1905)
*String Quartet No 3 in D minor, Op.67 (1927)
*String Quartet No 4 in F minor, Op.83
*String Sextet No 1 in C minor, Op.1 (1898)
*String Sextet No 2 in B minor, Op.7 (1904)
*String Sextet No 3 in C major, Op.11 (1904)
*String Octet in D major, Op.5 (1902)
*Duo's for various instruments
Heins - Country dance
Heins, (Francis) Donald (Donaldson). Violinist, violist, conductor, organist, composer, teacher was born in Hereford, England, 19 Feb 1878. The grandson of a German-born piano maker, he studied 1892-1897 at the Leipzig Conservatory with Gustav Schreck (harmony), Richard Hoffmann (orchestration) and Hans Sitt (violin). He continued his training in London with August Wilhemj, also playing in the first violins of orchestras conducted by Elgar, Parry, and others. Heins settled in Ottawa in 1902 and lived there until 1927, teaching at the Canadian Conservatory of Music (Ottawa) (established by his brother-in-law Harry Puddicombe) and founding and directing 1903-27 that institution's orchestra with which he presented the Ottawa premieres of symphonies by Mozart, Beethoven, Dvořák, Tchaikovsky and others. In 1910 this orchestra became the Ottawa SO. Over a period of 23 years Heins was organist successively in three Presbyterian churches and for three years conducted the Royal Artillery Band of the 43rd Regiment. In 1918, assisted by 14 teachers whom he had trained, he set up a program for teaching violin in Ottawa public schools and then organized and conducted a student orchestra which performed approximately four times a year. Sometime after 1918 he studied with Leopold Auer in New York.
After moving to Toronto in 1927 Heins was concertmaster of the Toronto Symphony Orchestra until 1931, then principal violist until 1938. He remained a member of the viola section thereafter until his death and also was assistant conductor from 1931-1942. He taught at the Royal Toronto Conservatory of Music (RTCM), was violist of the Conservatory String Quartet 1929-1934 and conductor of the RTCM Symphony Orchetra frm 1930-1934. Heins also was organist at St Mary the Virgin Anglican Church. He is supposed to have performed his Concertino in D Minor for violin and orchestra at the Chicago Musical College and to have played with the Chicago Symphony Orchestra, but corroboration and dates have not been found.
Heins composed two short operetta's for the Canadian Broadcasting Corporation (CBC), 'An Old Tortugas' (1936) and 'Yellow Back', as well as several motets, various pieces for string instruments, and the Saint Ursula Mass for female choir and small orchestra. The Awakening, a symphonic poem, was performed in 1910 in Ottawa. His anthem 'Blest Are the Pure in Heart' (McKechnie Music Co. 1913) is reprinted in CMH, vol 9.
Hertel - Concertino 1 t/m 3 positie
Klaus Hertel (Leipzig 1936) studeerde aan de Georg Friedrich Händel-Schule in Halle (Saale). Van 1953 tot 1958 studeerde hij viool hij aan de conservatorium van Leipzig bij Prof. Boche en Theorie bij Prof. P. Schenk en F. F. Finke. Na zijn studie speelde hij enige jaren in het Gewandhaus Orchester Leipzig. Hij was vioolleraar aan de Leipziger Musikschule. Hij schreef veel stukken voor beginnende violisten, o.a. ook 'Zu dritt musiziert', een collectie stukjes voor drie violen in de eerste positie, 'Liedspiel auf der Violine' en '15 Kleine Stücke' voor viool en piano. Hertel gaf eveneens vioolles en vioolmethodiek aan het conservatorium van Leipzig. Als componist valt Klaus Hertel op door het gebruik van een zeer eigen idioom met interessante harmonieën.
Hofmann - Concertino op. 126
Hoffstetter - Stringquartet arr. for quintet
Gustav Holländer - vioolconcert in a
Gustav Holländer, (Leobschütz 15 februari 1855 - Berlijn, 4 december 1915), was een Duits violist, viooldocent en componist. Hij studeerde allereerst bij zijn vader die een amateur-violist was. Later, vanaf 1867, studeerde hij bij Ferdinand David aan het conservatorium van Leipzig en vanaf 1869 bij Joseph Joachim in Berlijn bij wie hij vijf jaar lessen volgde. Later gaf hij zelf vioolles aan de Kullak Academie te Berlijn, gesticht door Theodor Kullak. Van 1878 tot 1881 gaf Holländer veel solo-optredens en werd in 1881 ook concertmeester van het Gürzenich Orkest alsmede docent viool aan het Conservatorium van Keulen. Toen George Japtha het Keuls Strijkkwartet verliet werd Holländer de nieuwe eerste viool van dat ensemble. In 1884 werd Holländer directeur van het noodlijdende Stern Conservatorium in Berlijn welk instituut hij weer financieel gezond wist te maken. Naast deze laatst genoemde positie gaf Holländer in die periode regelmatig concerten in Duitsland, Holland en België.
Victor Hollaender - Gavotte
Victor werd als oudste zoon geboren in het gezin van Siegmund Hollaender en Renette Danziger. Binnen de familie waren nog enkele muzikanten te vinden. Victors nicht Alma Hollaender was pianist, haar vader Isaac was muziekleraar, haar moeder Rosalie pianiste. Verder was er Gustav Hollaender. Felix Hollaender was ook kunstenaar, maar dan in de letteren. Victor huwde Rosa Perl, een revuezangeres. In 1896 kregen zij zoon Friedrich Hollaender, eveneens muzikant. In 1934 vluchtte de familie voor Nazi-Duitsland en leefde in ballingschap in Hollywood. Friedrichs dochter Melody Hollaender, geboren in 1944, had als artiestennaam Katja Holländer en had kleine succesjes in Duitsland met Er Heisst Peter in en na 1966.
Victor Hollaender kreeg zijn muzikale opleiding aan de Neuen Akademie der Tonkunst, gesticht door Theodor Kullak. Zijn docenten waren Franz Kullak (piano) en Otto Neitzel en Albert Becker(compositieleer). Voor zijn composities kreeg hij veelal opdrachten. Hij werkte als theater- en koordirigent bijvoorbeeld in het Carl Schulze-theater in Hamburg, maar ook in steden als Boedapest, Mariënbad en Berlijn. Zijn werkgebied werd uitgebreid met het Neuen Deutsche Theater in Milwaukee. Andere werkplekken waren opnieuw Berlijn (Wallnertheater) en Chicago. Vervolgens verscheen hij in het Opera Comique in Londen; in 1896 had hij zich aangesloten bij het circus Barnum & Bailey. Hier had hij de functie van muzikaal leider, terwijl zijn vrouw zong.
In 1899 keerde de familie terug naar Berlijn, waar hij les gaf aan het Stern'sches Konservatorium. Hij componeerde in 1901 voor Überbrettl, een van de eerste cabarethuizen van Duitsland. In datzelfde jaar was hij verbonden aan het Metropol-Theater in Berlijn. Gedurende tien jaar schreef Hollaender operettes en zogenaamde jaarrevues met zang, dans en cabaret. Tijdens de Eerste Wereldoorlog schreef hij nog meer operettes, daarna was hij meer theaterregisseur. Zijn eerste muziek kwam al van zijn hand terwijl hij nog studeerde. Hij wordt in Duitsland met Paul Lincke en Walter Kollo gezien als een van de populairste componisten binnen zijn vakgebied. Hij gebruikte daarbij af en toe ook zijn pseudoniem Arricha del Tolveno. Hij heeft ook een aantal films voorzien van muziek.
Zijn muziek werd niet alleen in Duitsland gespeeld getuige een tweetal concerten. Agathe Backer-Grondahl voerde in Bergen in 1886 samen met Ingeborg Pettersen Unter’m Machandelbaum uit. Dat werk kreeg een herhaling in 1899 in Oslo, maar dan door Marie Irgens en Kaja Fleischer.
Hristoskov - Vioolconcertino
Petar Hristoskov (1917, Sofia) is een Bulgaars violist en componist. Hij studeerde viool bij Prof. Sasha Popov aan het Staatsconservatorium van Bulgarije. Al vóór zijn afstuderen was hij lid van het Koninklijk Symfonie Orkest van Bulgarije. Tijdens de tweede wereldoorlog studeerde hij van 1940 tot 1943 aan de Berlijnse Hochschule für Musik bij Gustav Havemann en G. Malke. Tijdens deze periode gaf Hristoskov concerten in Berlijn, München, Wenen en Salzburg. In 1943 keerde hij terug naar Bulgarije waar hij van 1952 tot 1954 lid was van het Philharmonisch Orkest van Sofia. Hij vormde een duo met zijn vrouw, de pianiste Zlatka Arnaudova en vormde een pianotrio met pianist en componist Dimitar Nenov en de cellist Konstantin Popov. Sinds 1944 gaf hij met veel succes concerten in Azië en Europa. Hij was en veelgevraagd solist alsmede een zeer gerespecteerd docent aan de Staats Muziek Academie te Sofia waar hij sinds 1950 les gaf.
Hij was een jurylid bij vele internationale wedstrijden en schreef vele orkest- en kamermuziekwerken. Sommige van zijn werken zijn geschreven als studiewerk zoals het hier down te loaden vioolconcertino no. 1. Voor strijkers componeerde Hristostov o.a. dit vioolconcertino, 24 Bulgaarse Caprices voor viool solo en een fantasie voor cello solo.
Ippolitov-Ivanov - Melodie
Mikhail Mikhailovich Ippolitov-Ivanov (Gatchina, near St. Petersburg, 19 november 1859 - Moscow, 28 januari 1935). His father was a mechanic employed at the palace of Gatchina. He studied music at home and was a choirboy at the cathedral of St. Isaac, where he also had musical instruction, before entering the St. Petersburg Conservatory in 1875. In 1882 he completed his studies as a composition pupil of Rimsky-Korsakov, whose influence was to remain strong.
Ippolitov-Ivanov’s first appointment was to the position of director of the music academy and conductor of the orchestra in Tblisi (Tiflis), the principal city of Georgia, where he was to spend the next seven years. This period allowed him to develop an interest in the music of the region, a reflection of the general interest taken in the music of non-Slav minorities and more exotic neighbours that was current at the time, and that was to receive overt official encouragement for other reasons after the Revolution.
In 1893 Ippolitov-Ivanov became a professor at the Conservatory in Moscow, of which he was director from 1905 until 1924. He served as conductor for the Russian Choral Society, the Mamontov and Zimin opera companies and, after 1925, the Bolshoi Theatre, and was known as a contributor to broadcasting and to musical journalism.
Politically Ippolitov-Ivanov retained a measure of independence. He was president of the Society of Writers and Composers in 1922, but took no part in the quarrels between musicians concerned either to encourage new developments in music or to foster a form of proletarian art. His own style had been formed in the 1880’s under Rimsky-Korsakov, and to this he added a similar interest in folk-music, particularly the music of Georgia, where he returned in 1924 to spend a year reorganizing the Conservatory in Tblisi. He died in Moscow in 1935.
The suite "Kavkazskiye Eskizi" (Caucasian Sketches), written in 1894, is a further example of Ippolitov-Ivanov’s debt to Rimsky-Korsakov, as well as to the influence of folksong, in this case the music of Georgia, on his work, an element apparent in the 1882 "Spring Overture" [Yar-khmel] and in the biblical scenes that formed the opera "Ruf’" (Ruth).
(The above was taken directly from the booklet in the Marco Polo label’s recording of the Caucasian Sketches.)
The booklet in the Marco Polo recording of the Armenian Rhapsody et al. adds the following:
A member of the generation that followed the innovations of the Mighty Five and the technical improvements in musical education brought about by the Rubinsteins, [Ippolitov-Ivanov] coupled soundness of technique with musical inspiration that often drew sustenance from the exotic, whether from Armenia or the Caucasus, Uzbekistan or Azerbaijan. In this he followed the example of composers like Rimsky-Korsakov, satisfying the Soviet encouragement of the use of regional material. His style remained conservative, with music that continued in the traditions of the 1880’s, even in his final works.
Járdányi - Hongaarse dans
Kalnins - Melodie
Alfreds Kalnins (1879 - 1951)
The founder of Latvian national opera and the finest early 20th century Latvian composer of solo songs. He has also enriched a variety of genres – piano, organ, orchestral, ballet and choral music, as well as arrangements of folk music – with his romantically unrestrained use of poetic imagery and subtly picturesque treatment of the folk idiom. A pupil of Anatoly Lyadov at the St.Petersburg Conservatory (1897–1900), Kalniņš preferred the delicate expression of moods in miniatures, an approach whose roots and analogues can also be traced to the national schools of Northern European composers – in the works of E. Grieg, S. Palmgren, and E. Melartin.
In the 1920s Kalniņš worked for a short time at the Latvian National Opera, mounted the first performances of his operas Baņuta (1920) and Salinieki (1926), and gave organ recitals. During this period his national romantic musical style became even more picturesque, refined and expressionistic. His development continued during his years in New York (1927–33), when his orchestral, piano and organ works were influenced also by constructivism, although this did not affect his choral music.
Numbering over 100, his works for choir are often narrative and ballad-like, lyrical-epic in nature, with a dramatic pathos and a joyful enthusiasm inspired by the social struggle of his time. In the period up to 1918 Kalniņs' choral works sometimes touch on the genre of the Latvian romantic ballad, but in his poetic perception he also makes use of idyllic pastoral scenes, painted in his own dreamy or mournful fashion, where nature often appears as a personification of his native land.
Most of his over 120 folk song arrangements for voice and piano were written in the 1920s, whereas the 1930s and 1940s saw the creation of his most important choral arrangements, about 40 in all. In his arrangements Kalniņš respects the harmonies based on natural folkloric scales, yet he also employs chromatic elements for harmonic colour and favours a rich choral texture.
Kalliwoda - duo's op. 116 voor 2 violen
Johannes Wenzeslaus Kalliwoda geboren Praag 21-2-1801, gestorven Karlsruhe 3-12-1866
Tsjechisch componist en violist. Kalliwoda was leerling aan het Praagse conservatorium, waar hij theorie en compositie studeerde bij Weber en viool bij Pixis. Hierna werkte hij zes jaar als violist in het Praagse Theaterorkest.
Hierna maakte Kalliwoda verschillende concertreizen, waarbij hij diverse Europese steden aandeed. Teruggekeerd in Praag trad hij in het huwelijk met de zangeres Therese Brunetti.
In 1822 werd hij benoemd tot hofkapelmeester Fürstenberger kapel in Donaueschingen. Hij componeerde onder meer kerkmuziek (o.a. 10 missen, een requiem en vele Ave Maria- zettingen), orkestmuziek (7 symfonieën, vioolconcerten), kamermuziek, pianomuziek, mannenkoren en liederen waaronder het bekende Deutsches Lied. In 1853 trok hij zich uit het openbare leven terug en vestigde zich in Karlsruhe, waar hij ook gestorven is.
Kepitis - Scherzo
Janis Kepitis (1908-1990)
Born in Trikata. He graduated as a pianist, conductor and composer from at the Latvian Conservatory in Riga with Jazeps Vitols as his composition teacher and Janis Medinš for conducting. He went abroad for advanced piano studies with Robert Casadesus in Paris and Walter Gieseking in Wiesbaden. He taught at the Latvian Conservatory. He composed opera, orchestral, chamber,solo instrumental, vocal and choral works. His other Symphonies are Nos. 1 (1955), 2 (1963), 4 "Forest" (1972), 5 "Tale of the Mighty Warrior of the Motherland" (1975) and 6 (1977). His orchestral catalogoe also includes Concertos for Piano (3), 2 Pianos, Violin, Cello, Horn and Harp.
Symphony No. 3 for String Orchestra (1971)
Tovijs Lifšics/Latvian SSR State Philharmonic Chamber Orchestra
( + Ivanovs: Symphony No. 14 and Jekabš Medins: Legend)
MELODIYA 33CM 03103-4 (1972)
Komarowski - Thema met 9 variaties
Kortsjmarev - Malaguena
Stanislav Mach - Carols for violin solo
Meerts - Etude voor 2 violen in e klein
Lambert Joseph Meerts (1800-1863) , te Brussel geboren, was een Belgisch violist, vioolleraar en componist. Hij was de laatst genoemde leerling van vioolleraar Van der Plancken. Hij voltooide zijn studie bij Henri Lafont, Francois-Antoine Habeneck en Pierre Baillot te Parijs. Een exponent van de Belgische vioolschool, Meerts was viooldocent aan het Koninklijke Conservatorium te Brussel en was sinds 1828 concertmeester bij het Theatre Royal de Bruxelles (Het Brusselsche Théatre de la Monnaie). In 1836 volgde zijn benoeming tot leraar aan het Brusselse Conservatorium. Hij schreef veel oefeningen en etudes voor viool, o.a. Le mécanisme de l'archet, Le Mécanisme du violon in 4 delen, 12 Etudes (hier te downloaden), Etudes voor 2 violen. Het etude-boek dat hier te downloaden is heet voluit: 12 Etudes pour violon avec accompagnement d'un second violon en is zeer de moeite waard omdat deze etudes zeer melodisch van aard zijn. Het is een uitgave die in de 19de eeuw tot stand kwam, gereviseerd door Hans Sitt, speciaal voor de leerlingen van het Conservastorium van Leipzig, dat in het midden van de 19de eeuw behoorde tot de vooraanstaande conservatoria van Europa.
Arnold Mendelssohn - Vioolconcert in D op. 213
Mestrino - duet voor 2 violen
Niccolò Mestrino (Milaan, 1748 - Parijs, Juli 1789) was een Italiaanse violist en componist. Mestrino was goed bevriend met de contrabassist Domenico Dragonetti met wie hij intensief samenwerkte. Niccolò Mestrino werkte vanaf 1 november 1780 voor vijf jaar onder Joseph Haydn in het orkest van de vorst Esterhazy in Eisenstadt. Aansluitend werkte hij enige maanden in het orkest van Graaf Ladislaus Erdödy in Bratislava. In 1786 had hij zijn debuutoptreden bij de 'Concerts Spirituels' in Parijs. Daar behoorde Antonio Lolli tot zijn concurrenten. Mestrino kreeg in 1789 een aanstelling als solist verbonden aan het 'Théâtre de Monsieur', het orkest van de broers van koning Lodewijk XVI, dat onder leiding stond van Giovanni Battista Viotti. Mestrino componeerde verschillende viool-concerten alsook werken voor soloviool en kamermuziek.
Micka - Elementaire etuden
Josef Micka ranks among the outstanding personalities of Czech violin education. After graduation from the secondary school, he continued his music studies at the Prague Conservatoire in the class of prof. Jindrich Bastar. He was an excellent soloist but from the very beginning he largely gave himself to the chamber music as well. In the 1920’s he founded a very successful quartet together with his schoolmates. After the graduation from the Prague Conservatoire, Josef Micka gained a scholarship of the Czech government which allowed him to continue studying for one year at the Conservatoire Supérieure in Paris in the class of Jacques Thibaud. This stay was equally inspiring for Micka's pedagogic activities, which gradually became his main focus. In spite of his teaching and concert schedule before the Second World War he also managed to complete his studies of musicology and psychology at the Charles University. In 1939 Micka became a professor at Prague Conservatoire and until 1945 he was concurrently a member of the Czech Philharmonic Orchestra. In 1946 he started teaching at the Academy of music in Prague. However, two years later he was expelled for his critical approach towards the political administration of that period. Despite his effort to resume his teaching career and favorable testimonials from some of the academy professors he was not permitted to return even after 1969. Micka educated a number of soloists and chamber musicians. Among his greatest successes are three ensembles which became famous both at home and abroad: The Smetana-, Talich- and Panocha String Quartet. Josef Micka is also the author of many books and articles on the subject of violin playing; the most famous and significant are Violin playing and The school of violin playing for beginners, which he wrote toether with his daughter Magdalena Mickova.
De Monasterio - Vioolconcert (vioolpartij)
Jesús de Monasterio Y Agneros (Potes, 21 maart 1836 - Casar de Periedo 1903) was een Spaans violist, dirigent en componist. Hij studeerde viool in Madrid en later in Brussel bij Auguste de Bériot. Monasterio werd in 1857 violist bij de koninklijke kapel in Madrid. Hij maakte vele tournees en werd, hoewel hem de post van Kapellmeister in Weimar werd aangeboden, eveneens in 1857 leraar aan het conservatorium van Madrid. Tussen 1894 en 1897 had Monasterio de leiding over dit conservatorium. Monasterio was de stichter van het Quartettgesellschaft en ging enkele keren op concerttournee naar England, België, Nederland en Duitsland. Verder werkte hij als dirigent vaak mee aan festiviteiten van het Konzertgesellschaft. Hij trad ook op als kwartetspeler. Jesús de Monasterio componeerde aan concertstukken o.a. een Scherzo fantastico en een Andante religioso. Verder zijn van hem nog enkele liederen, een cantate en meerdere werken voor viool en piano bekend. Ook schreef hij een bekend vioolconcert.
Mostras - Rijdans
Konstantin Georgiyevich Mostras (April 4, 1886) was a Russian violinist, pupil of Boris Sibor, a teacher at the Moscow Philharmonic Society school (1914) and at the Moscow Conservatory (1922).
Russian violinist, teacher and composer. He studied at the Moscow Philharmonic School of Music and Drama until 1914, and taught there himself (1914–22). During this period he performed in the Lenin Quartet (1918-1919), one of the earliest Soviet quartets, and of Persimfans (1922-1932), the first Soviet orchestra to perform without a conductor and meet the Communist ideal of collectivism. From 1922 he taught the violin at the Moscow Conservatory, where he became head of the violin department and in 1931 introduced his own course on violin technique. From 1922 to 1932 he was one of the directors of Persimfans, the conductorless symphony orchestra. But his chief importance was as a teacher who played a significant role in the development of a Soviet violin school; among his pupils were Ivan Galamian and Mikhail Terian. He wrote and edited numerous instructional works and transcriptions for the violin, including an edition of Tchaikovsky's Violin Concerto (in collaboration with David Oistrakh) with a commentary on technique (Moscow, 1947) and studies for solo violin, as well as valuble writings on violin technique.
•Intonatsiya na skripke [Intonation on the violin] (Moscow and Leningrad, 1947, 2/1963; Ger. trans., 1961)
•Ritmicheskaya distsiplina skripacha [The rhythmical discipline of the violinist] (Moscow, 1951; Ger. trans., 1959)
•Dinamika v skripichnom iskusstve [The dynamics of the art of violin playing] (Moscow, 1956)
•Sistema domashnikh zanyatiy skripacha [A system of home studies for the violinist] (Moscow, 1956)
•Metodicheskiy komentariy k 24 kaprisam dlya skripki solo N. Paganini [A technical commentary on Paganini's 24 Caprices for violin solo] (Moscow, 1959) I.M. Yampolsky/R
C. H. Muldermans - Violinconcerto nr. 3 - Violinpart
Karel (Charles-Joseph) Muldermans (Leuven, 10 november 1832 – Charleroi, 30 oktober 1910) was een Belgisch componist, dirigent, kornettist, violist en leraar. Hij is de oom van de componist en kapelmeester Justin Muldermans (1843-1921).
Muldermans kreeg van zijn oudere broer Pieter, die muziekleraar was, eerste muziekles. Op negenjarige leeftijd verzorgde hij eerste optredens als violist. Hij richtte korte tijd later een orkest op, dat hij zelf dirigeerde. Hij verhuisde vervolgens naar Engeland, maar kwam samen met zijn broer Pieter in 1849 totaal verarmd terug naar België. Zij vestigden zich in Jumet en waren werkzaam als muziekleraren aan het gemeentelijke college. Hij werd kornettist in de plaatselijke harmonie. In 1850 werd hij lid van de militaire muziekkapel van het 2e Lansiersregiment in Namen. Toen de muziekkapel overgeplaatst werd naar Brugge studeerde hij harmonie bij Louis Hubené (stadsbeiaardier) en Jules Busschop. Omdat de muziekkapel opnieuw overgeplaatst werd naar Tienen nom hij ontslag bij het militair.
Vanaf 1866 was hij leraar aan de middelbare school in Pâturages. In dit dorp werd hij tevens dirigent van de plaatselijke muziekvereniging. In 1874 werd hij eveneens dirigent van de nieuw opgerichte fanfare van het 1e Jagersregiment te Voet en kwam daardoor opnieuw in militaire dienst. Nadat de muziekkapel overgeplaatst werd naar Bergen werd Muldermans directeur van de muziekschool in Nimy en aldaar tevens dirigent van het harmonieorkest. Het garnizoen wisselde opnieuw naar Hasselt en hij werd ook dirigent van de stadsharmonie en leider van de stedelijk muziekschool (1882-1884). In 1883 verhuisde de muziekkapel naar Charleroi en aldaar werd Muldermans eveneens dirigent van het harmonieorkest. In 1896 ging hij met pensioen en werd opgevolgd als dirigent van de militaire fanfare door Jean-François De Ridder.
Naast bewerkingen van klassieke muziek voor harmonie- en fanfareorkest, zoals de ouverture tot de opera Les Dragons de Villars van Louis-Aimé Maillart heeft Muldermans werken gecomponeerd voor orkest, harmonie- en fanfareorkest, kerkmuziek en kamermuziek.