This exhibition on the violin is also about passing the “art of the violin game” and possible unknown networking. Furthermore, the development of violin schools from Corelli and their possible influences on the music are also illuminated. This range of music is shown about the links between teachers and students over a period of 250 years and other subdivisions in national schools in order to illustrate influences for our music today! This exhibition would like to combine all generations in an inspiring insight into the world of these violin virtuosos and composers. The mediation of these values is also an important part of the artistic and pedagogical orientation of the University of Music and Performing Art Vienna (MDW).
Italy
At the beginning of the 18th century, Italy dominated the European music nations. This was embodied in the violin game by well-known composers and violinists like Arcangelo, Corelli (1653-1713), Antonio Vivaldi (approx. 1675-1741), Francesco Geminiani (1680-1762) and Giuseppe Tartini (1692–1770). You have contributed a lot to make the development of the genres of the sonatas and concerts ready for stage. Italian musicians occupied many leading “musical offices” across Europe and were particularly prominently represented in the expanding music publishing industry of the continent. By the beginning of the 19th century, Corelli's works were the most relocated works in music history and thus founded Corelli's Europe -wide fame. Despite the dominance of the Italians, of course, new traditions of the violin game developed in many European countries.
France - the Paris Conservatoire
A particularly central figure that combined the Corelli tradition with the 19th century was Giovanni Viotti (1753-1824)-"the most influential violinist between Tartini and Paganini". ViviTi was the pioneer of a arched technique in which the newly invented touring sheet (1785–90) was used. In fact, he was one of the first violinists to use this sheet, which had a lightness, strength and elasticity that lacked the older versions. He is also called the "father of modern violin game".
Viotti's stay in Paris effectively justified the famous French school of the 19th century. The three most important violin educators, Rodolphe Kreutzer (1766-1831), Pierre Marie François Baillot (1771-1842) and Pierre Rode (1774-1830), worked in Paris Conservatoire at the same time in 1795. All three were students of VIATI and helped spread the new vibrating style. Until 1845, only VIATI concerts were prescribed at the Paris Conservatoire. They form the bridge between the violin concerts Wolfgang Amadeus Mozarts (1775) and Ludwig van Beethovens (1806). Baillot later wrote a more mature methodology in which he incorporated his years of experience in the conservatoire. It was published in 1834 under the title "L'Art du Violon". Kreutzer and Rode wrote known etüden or caprices. The first detectable violin tolds can be found by Federigo Fiorillo (1755-1823) in Paris from 1793.
Germany
The development in Germany reached its first major climax with the publication of Leopold Mozart's "Attempt at a thorough violin school" in 1756. The purpose of Mozart's violin school was to give students thorough musical training in the violin play, not just bare dexterity.
Then Louis Spohr then dominated the German violin world at the beginning of the 19th century. He experimented with both the string and the mood; One of his most important contributions is the invention of the chin holder. Perhaps the foundation of his “school” of the violin game was even more important. Spohr's method was based on the principles of the Mannheim school, inherited from his teacher Eck, supplemented by the influence of P. Rode's arched techniques.
One of the most individual and influential representatives of Spohr's students was undoubtedly Ferdinand David, especially through his participation in the founding of the Leipzig Conservatory. The most important representative of the German violin school in the second half of the 19th century was certainly Joseph Joachim.
Under Joachim's management, the Berlin University developed more and more and produced many important violinists, including Jëno Hubay (1858–1928), Bronisław Huberman (1882–1947) and Maud Powell (1867–1920), to name just. Joachim's violin teaching was passed on by one of his best -known students "Leopold Auer" - who in turn was considered the founder of the "Russian School"!
Russia
Leopold Auer (1895-1930) held on many teachings in Joachim, as his treatise "as I Teach IT" confirmed. But it has long been recognized that violinists Jakob Dont (1815-1888) and Jean-Delphin Alard (1815-1888) had another major influence on him. In 1868, L. Auer replaced the famous Henryk Wieniawski as a professor at the St. Petersburg Conservatory, where he taught from 1868 to 1917 - incredible 50 years! During this time, he was instrumental in establishing the Russian violin school.
Henryk Wieniawski (1835-80), again a student of Lambert Massart (Paris Conservatory), was the only violin professor of the conservatory in St Petersburg when founding. He created the foundation stone of the St. Petersburg violin school, which was later developed by Auer to the so -called Russian school. Therefore, there is a connection between the French-Belgian school, the Vienna School and the Russian school, even if it was not always immediately recognizable.
Austria
Joseph Böhm ( 1795 _ 1876 ), a student of P. Rode, is considered the founder of the " Vienna Violin School" - and was one of the most important violin educators in the 19th century. His most famous student was J. Joachim. But the virtuoso W. Ernst, Georg Hellmesberger sen., Joseph Dont, Edmund Singer, Jakob Grün and Ede Reményi are still to be taken into account. His colleague and co-founder Joseph Mayseder (1789-1863), also an excellent representative of the Viennese violin game, represented the delicate genre of this unique city both as a composer as well as artists.
had emerged from the development of François (1747/1748–1835) and François Nicolas Voirin . Qualities of this École contain elegance, a full tone with a feeling for a "long" arch line without jerking, precise techniques of the left hand and the painting with the whole forearm, while both the wrist and the upper arm remain calm (in contrast to the "German School ”in which Joachim Joachim uses Leoplod Auer
