The Violin: Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.Dubourg, George
History
The Violin: Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.
Dubourg, George
Violin; Violinists -- Biography
In 1838, Vieuxtemps played with success at the theatre at Brussels, and
also in a concert given in the Church of the Augustins by the
Philanthropic Society. His performances were “fantaisies” and fragments
of Concertos, in which some happy ideas were noticeable, but mixed with
incoherences. Immediately after this, he set out for Russia, giving
concerts, by the way, at Prague, Leipsig, Dresden, and Berlin. On
quitting this last city for Petersburgh, he was seized with a serious
illness, in a little Russian village, and was detained there more than
two months. On his arrival at Petersburgh, he met with splendid success,
as he did also at Moscow. It was in Russia that he wrote a new Violin
Concerto, and a Grand “Fantaisie” (orchestral), the superiority of
which, when compared with his foregoing productions, is so marked, that
his detractors, both at Paris and Brussels, availed themselves of this
fact to dispute the authorship. It is no unreasonable supposition, that
his future works will give an emphatic denial to these jealous
insinuations. After a stay of more than a year in Russia, Vieuxtemps
returned to Brussels in 1840, and, the 7th of July following, he played
his new Concerto and his “Fantaisie” in a grand concert given for the
benefit of the musicians of the orchestra at the theatre. These pieces,
in the execution of which the artist displayed the finest talent,
excited transports of enthusiasm. Vieuxtemps played them again, with
similar result, at the concerts given at Antwerp, on the inauguration of
the statue of Rubens.
A Parisian success formed now the object of Vieuxtemps’ advancing
ambition. This he obtained in the winter following, exciting no less
interest by the merit of his later productions, than by his skill upon
his instrument. He afterwards made a second tour in Holland, and then
revisited Germany, and appeared, for the third time, at Vienna. Having
travelled through Poland, he returned to Brussels in June 1843, and, in
the fall of that year, was heard in America. His subsequent career has
confirmed all the anticipations formed by the judicious as to the
distinction he would attain.
Public-domain text, read in full here on John Shaqi.
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