Arkadi Futer

Arkadi Futer (Arkadi Naumovitch Futer) was a Russian violinist and teacher born (in Moscow) on September 6, 1932.  He is known for his impressive recording of Wieniawski’s first violin concerto in F sharp minor, but he is also known for having spent a large part of his career in Spain.  For some time, he was concertmaster of Vladimir Spivakov’s Moscow Virtuosi, which was founded in 1979.  I do not know if he was the initial concertmaster – he probably was.  The Moscow Virtuosi later resided in Spain for nine years (1990-1999.)  When the Moscow Virtuosi left Spain, Futer stayed behind.  He then became concertmaster of the Oviedo Symphony Orchestra.  He was 67 years old.  (Oviedo is the small capital city of the principality of Asturias, located in northern Spain, next to the Bay of Biscay.)  Prior to his association with the Moscow Virtuosi, Futer was concertmaster of the Moscow Philharmonic, the Moscow Radio Orchestra, and the Orchestra of the Film Industry of the USSR.  He was also a member of at least two string quartets.  Futer began his studies at age 7 in Kiev, in the years of 1939 or 1940, I don’t know which.  His first teacher was Nina Dulova.  In 1943, he returned to Moscow with his family.  He was 11 years old.  He entered the Tchaikovsky Conservatory at age 18.  Yuri Yankelevitch was one of his teachers.  He later graduated from the conservatory with top honors.  He was named Artist of the Russian Republic in 1998.  Futer died (in Gijon, Asturias, Spain) on September 5, 2011, at (almost) age 79.  His granddaughter, Vera Futer, is now a professor at the University of Oviedo.  Here is an audio file of Futer’s Wieniawski recording. 

Wilma Neruda

Wilma Neruda (Wilhelmine Maria Franziska Neruda aka Madame Norman-Neruda aka Lady Halle) was a Czech (Moravian) violinist and teacher born (in Brno) on March 21, 1838.  (As far as I could determine, her year of birth is still in question - it could be 1838, 1839, or even 1840.)  She was very famous and influential in her day but now – even among serious music enthusiasts – is largely forgotten.  However, her name will be immortal in music history for the fact that she married one of the best known names in the conducting world, Charles Halle, founder of the Halle Orchestra.  She began violin studies with her father, Josef Neruda, at age 4.  At age six, Neruda began studying with Leopold Jansa, in Vienna.  Jansa was also the teacher of Composer Karl Goldmark.  At age 7, she made her public debut in Vienna, with her sister at the piano, playing a Bach violin sonata.  In 1848, she made her English debut in London – she was 10 years old.  (One source gives the date as June 11, 1849.)  In 1852, she presented a series of concerts in Moscow.  It has been said that none other than Henryk Wieniawski considered her one of his main rivals.  In 1859, Neruda formed the Neruda Quartet, comprised of three of her siblings and herself as first violinist.  She was 20 years old.  She subsequently enjoyed a very busy and successful career.  In 1864, she married F. W. Ludwig Norman, a well-known Swedish musician, and subsequently presented herself as Wilma Norman Neruda.  The couple separated after four years and she soon moved to London – she had not returned to England since 1848.  She was now 30 years old.  In 1869, she was named professor of violin at the Royal Music Academy in Stockholm.  Many years later, in 1888, Neruda married Charles Halle and, after Halle was knighted that same year, became Lady Halle.  She and Halle, who was an accomplished pianist, had participated in many chamber music concerts together before their marriage and continued to do so afterward.  In 1890, they toured Australia.  In 1895, they toured South Africa.  Shortly after her husband died in October of 1895, she was gifted a palace in Italy (near Venice) by several members of the aristocracy.  She resided there for a while.  In 1899, four years after Halle died, she toured the United States and Canada.  Although she retired from concert life at age sixty, she continued to perform sporadically.  In late 1898, she moved to Berlin to teach, but continued to live part of the year in London.  In 1907, she played at the memorial concert for Joseph Joachim.  Neruda played a Stradivarius violin from 1709 (or 1710), known as the Vieuxtemps Strad.  The violin was a gift to her made (by several members of the aristocracy) in 1876.  She also owned several other violins.  Neruda died on April 15, 1911, in Berlin, at age 73. 

Marianna Vasileva

Marianna Vasileva (Marianna Vasilyeva, Marianna Wasiljewa) Is a Russian violinist and teacher born (in St Petersburg) on November 25, 1986.  In addition to a fantastic technique and a very expressive style of playing, she is known for performing all 24 Caprices by Paganini in a single recital – currently, probably the only female violinist to do so.  As far as I know, she has not recorded the famous Caprices but probably will in the near future.  (The first female to record all 24 Caprices is Bulgarian violinist Vanya Milanova, back in 1985.)** (See comment below.)   Vasileva began her violin studies at age five with her father, a professional violinist.  She has stated that even at that tender age she practiced several hours a day.  Her first accompanist was her mother, a professional pianist, with whom she has performed in recital many times.  At age 7, she began her studies at the St Petersburg Conservatory’s School for Gifted Children with an obscure teacher named Vladimir Ovcharek.  At age 11, she began studying with Dora Schwarzberg at the Advanced School for Music in Vienna.  At age 17 she began studying with Zakhar Bron at the Advanced School for Music and Dance in Cologne.  During all those years, she was also (simultaneously) studying at the St Petersburg Conservatory.  (The St Petersburg Conservatory is where the famous Leopold Auer taught for many years.)  Her performing career actually began at age 8, when she played in public for the first time.  At age 10, she made her formal debut in Russia and Germany playing the first concerto (the one in g minor) by Max Bruch.  In that year, she also won her first violin competition in Russia.  In 2001, she actually won a violin in the International Spohr Violin Competition – I don’t know what violin it was but I’m certain it was a high quality instrument.  She was 15 years old.  In 2009, she won first prize in the International Competition for Young Violinists in honor of Karol Lipinski and Henryk Wieniawski in Lublin, Poland (not to be confused with the well-known Henryk Wieniawski Violin Competition held in Poznan, Poland, every five years.)  She was 23 years old.  In 2010 she won first prize in the Prague Spring International Music Competition.  She currently teaches at the Music Academy in Madrid, in addition to teaching masterclasses around the world, as so many other soloists do.  Her concert tours span the entire world and she has played in almost all of the important musical venues and concert halls.  Her repertoire is very extensive although her discography is still quite small.  I know Vasileva has played a Guarneri Del Gesu violin from 1724 and a 1752 Carlo Antonio Testore violin on many concerts but I don’t know if those are her current instruments – I will try to find out and post it as a comment below.  Vasileva is fluent in four languages; Russian, English, German, and Hebrew.  Here is a YouTube video where she plays a well-known piece by Tchaikovsky.  Here is a sound file where she plays the seldom-heard Ysaye sonata for two violins – the other violinist is Dmitri Kogan, grandson of the great Leonid Kogan.  

Henri Dupont

Henri Dupont (Henri Joseph Dupont) was a Belgian violinist, conductor, composer, and teacher born (in Ensival) on January 3, 1838.  Brahms was five years old that year and Belgium itself was almost a brand new country at that time.  Other than that he has a very recognizable surname, Dupont is not known – with regard to the violin - for anything in particular.  Belgium has for generations produced many spectacular violin virtuosos but Dupont is not one of them.  His name is most often mentioned as a conductor of opera – according to several sources, he conducted many outstanding performances in England (Covent Garden) which today (had they been filmed for posterity) would probably be acclaimed.  He received his training from the conservatories at Liege and Brussels – I don’t know how early he began his violin studies nor who his teachers were.  In 1863 he won the Belgian version of the Rome Prize (Prix de Rome) for composition.  He was 25 years old.  After that, he took off on a study tour throughout Europe which lasted four years – this excursion was probably subsidized by the Belgian government, although I am not certain of that.  In 1867, he became concertmaster of the Warsaw Opera House.  He was 29 years old.  In 1871, he took a similar post at the Imperial Theatre of Moscow.  One year later, he was back in Brussels where he was hired as professor of harmony at the Conservatory while simultaneously serving as concertmaster of the Monnaie Theatre (Theatre Royal de la Monnaie or Royal Theatre of the Coin – a theatre dating back to 1700.)  He also served as conductor there beginning that same year.  He was 34 years old.  He also guest conducted operas at the Royal Opera House in London many times.  In 1873, he took over as director of the Popular Concerts (Concerts Populaires) from none other than Henri Vieuxtemps (who had become incapacitated as the result of a stroke that same year.)  Dupont was made a member of the Royal Academy of Belgium in 1899.  He died on December 21, 1899, at age 61, just ten days before the start of the Twentieth Century.  

Arma Senkrah

Arma Senkrah (Anna Loretta Harkness) was an American violinist born (in Williamson, New York) on June 6, 1864.  She had an extraordinary but very short career (1882-1888) and, as did Patricia Travers much later, stopped playing and dropped out of sight altogether quite suddenly.  Nevertheless, a 1750 G.B. Guadagnini violin (which Isaac Stern owned and played for more than fifty years) is named after her and that alone will ensure she is forever remembered.  If not for that, then there are also very famous photos of her and Franz Liszt playing together.  In fact, she participated in duo recitals with several of Liszt’s pupils on several occasions.  Her career was spent entirely in Europe.  According to almost all sources, her life ended tragically in Weimar, Germany.  Her mother was her first violin (and piano) teacher.  At age 9, she went to Europe with her in order to pursue more advanced instruction.  (At that time, the U.S. had not yet established a solid framework of advanced music schools which Americans could rely on to further their education.  The very few American orchestras then in existence were made up almost entirely of European musicians.)  Between 1873 and 1875, Senkrah studied in Leipzig with Arno Hilf and, in Brussels, with Henryk Wieniawski.  It is not clear whether Senkrah was actually enrolled as a student at the Leipzig Conservatory (where Hilf was a teacher) or the Brussels Conservatory where Wieniawski taught.  It is far more likely that, due to her young age, she studied privately with both teachers.  She is also said to have studied with Henri Vieuxtemps – Vieuxtemps was teaching at the Brussels Conservatory at the time.  From 1875 to 1881, she studied at the Paris Conservatory with Joseph Lambert Massart and received a first prize in 1881.  She was 17 years old.  She began almost immediately to concertize all over Europe, still using her birth name - Harkness.  On November 25, 1882, she made her London debut at the Crystal Palace, playing Vieuxtemps’ fourth concerto, the one in d minor.  The reviewers praised her highly.  It was written that the concerto was “wonderfully interpreted,” that her tone “was clear and soulful,” and that “her mastery of the technical possibilities of her instrument left nothing to be desired.”  Wherever she played, the reviews were just as enthusiastic, if not more.  In Germany, she achieved even greater success.  It may have been in the autumn of 1883 that, at the urging of her German agent, she changed her name to Senkrah.  On December 28, 1883, she played the Mendelssohn concerto at a new theatre in Leipzig.  On January 3, 1884 she played at the Gewandhaus (Leipzig.)  And so it went.  She was compared to Italian violinist Teresina Tua who was touring England and Germany at about the same time.  Some reviewers made it a point to mention that Senkrah was Tua’s equal in technique but not in good looks.  Ironically, Tua and Senkrah both stopped playing publicly at about the same time.  On September 30, 1884, she made her debut with the Berlin Philharmonic with the Vieuxtemps d minor concerto.  On November 13, 1884, she again played with the same orchestra, this time playing the Wieniawski concerto in d minor.  A critic in 1885 mentioned that she overcame any difficulty “with the greatest of ease.”  In the summer of that year, she met Franz Liszt.  She was welcomed into his circle of friends and professional colleagues.  She was 21 years old.  Senkrah and Liszt played Beethoven’s Kreutzer Sonata (and some of Liszt’s music transcribed for violin and piano) on July 20, 1885.  I do not know whether it was a private or public recital.  Several sources say that Liszt was very fond of her and that they gave many public concerts together.  Her handling of the violin was then described as “incomparable.”  She also undertook several tours of Austria and Hungary with pupils of Franz Liszt.  In 1886, she was in Russia and met Tchaikovsky.  In 1888, she was appointed chamber virtuoso to the court of the Grand Duke (Charles Alexander Augustus John) of Saxony.  Karl Halir was the concertmaster of the Grand Ducal Court Orchestra (in Weimar) at the time.  On September 5, 1900, the New York Times reported that Arma Senkrah had committed suicide the previous day.  Another source gives the date of her suicide as September 3.  She was 36 years old.  Be that as it may, it was accepted as fact that she had indeed committed suicide with a pistol, although it was never confirmed.  In the autumn of 1888, she had met and soon after married a Weimar attorney surnamed Hofmann (or Hoffman) – nobody seems to know his first name.  She had henceforth not played in public.  Some sources say her brief marriage was happy but that she suffered from a disorder of the brain which supposedly rendered her emotionally unstable.  Other sources say her marriage was unhappy because she suspected her husband of infidelity and was chronically and hysterically jealous, which eventually resulted in her ending her life in despair.  One source states that she shot herself through the heart.  Whether it might be true that her husband at one time was infatuated with an actress is anyone’s guess.  One source claims that to be the case.  Senkrah owned a 1685 Stradivarius violin which bears her name.  I do not know who owns it now.  She also played the previously-mentioned Guadagnini.  Her mother was forced to sell both instruments (and perhaps others) when she later became destitute.  

Achille Rivarde

Achille Rivarde (Serge Achille Rivarde) was a Spanish violinist, teacher, and writer born (in New York) on October 31, 1865.  He is referred to in various sources as either a British, French, Spanish, and even American violinist.  Although he was known to concertize in the U.S., he spent most of his time in Europe.  He is now obscure but was well-known and appreciated by many famous musicians of his day.  He bore a resemblance to another Spanish violinist: Pablo Sarasate.  Although a somewhat reliable source states that Rivarde studied with Henryk Wieniawski and Jose White Lafitte, he would have had to do so privately and before he entered the Paris conservatory to study with Charles Dancla in 1876, at age 11.  Between 1860 and 1872, Wieniawski was in Russia, then he was in the U.S. (on tour) between 1872 and 1875.  In 1875, Wieniawski started teaching in Brussels and began a tour of Russia in 1879 during which he became ill, subsequently dying in early 1880.  Jose White Lafitte was likewise unavailable (in Paris) between 1875 and 1889 because he was either touring the U.S. or teaching in South America.  So, the question is: when would these two violin virtuosos been available to teach young Rivarde?  My conclusion from the circumstantial evidence is that he studied with these virtuosos while they were touring the U.S. - between 1872 to 1875 and 1875 to 1876, respectively.  Rivarde appears to have graduated from the Paris Conservatory in July, 1879, at age 14.  The source mentioned above also states that Rivarde studied with Felix Simon too although it does not say when or where.  Felix Simon, concertmaster of the theatre orchestra in Nantes, France, was Camilla Urso’s first teacher in (Nantes) France so the possibility exists that Rivarde studied with him there, either before entering the Paris Conservatory or after graduating.  It is also possible that Simon had relocated to the U.S. by (approximately) 1870 and little Rivarde would have been able to study with him as a child of four or five.  In any case, at least one music dictionary states that Simon was Rivarde’s first teacher so my conjecture is probably correct.  In 1881, Rivarde left Paris and returned to the U.S.  He was still only 16 years old.  What he did here at that time is unknown to me.  One source says he gave up violin playing entirely.  In 1885, he returned to France and became concertmaster of the Lamoureux Orchestra.  He was 19 years old.  The Orchestra had been founded by Charles Lamoureux just three years previously.  In 1891, Rivarde quit his post, possibly to concentrate on touring.  In 1893, he and pianist Harold Bauer premiered Frederick Delius' b minor violin sonata (an early work without number) in Paris.  His London debut came in 1894 and, in 1895, he gave the first English performance of Lalo’s Symphonie Espagnol, presumably in London.  On November 17, 1895, he made his U.S. debut at Carnegie Hall (New York) playing Saint-Saens’ third concerto.  The critic for the New York Times praised him for his elegant style and beautiful, crisp tone.  He was mentioned in The Strad magazine as having “a superb tone, perfect technique, and great breadth of style.”  On November 19, 1895, he played in Toronto, Canada.  On March 3, 1896, he played Bruch’s second concerto (in d minor) with the New York Philharmonic with Anton Seidl on the podium.  In 1899, he was appointed violin teacher at the Royal College of Music in London and thereafter spent most of his time teaching.  He retired from that position in 1936.  Among his pupils are violist and film composer Anthony Collins; violist, violin collector, and writer Robert Lewin; and violinist and pianist Margaret Harrison.  Among his admirers were Carl Flesch, Fritz Kreisler, and Eugene Goossens.  A downloadable audio file of a transcription (Dvorak’s first Slavonic Dance played by Leonidas Kavakos) which Kreisler dedicated to Rivarde can be purchased here for about fifty cents.  In 1922, Rivarde published The Violin and Its Technique as a Means to the Interpretation of Music, a small study book on violin technique.  The book is still available and can be purchased for about $20.00.  Rivarde played the 1729 Defauw Stradivarius - being one of the later violins constructed by Stradivari, its back is not made of flamed maple but is quite plain.  The violin was later owned by Leonard Sorkin, first violinist of the Fine Arts Quartet.  (In contrast to the Amadeus String Quartet, the Fine Arts Quartet has gone through more violists than any string quartet in history - a total of 10.)  Rivarde died in relative obscurity (in London) on March 31, 1940, at age 74.  The Second World War had begun six months previously.  

Joseph Lambert Massart

Joseph Lambert Massart was a Belgian violinist and teacher born (in Liege) on July 19, 1811 (Paganini was 29 years old and would live another 29.)  He performed as a soloist only infrequently and devoted most of his time to teaching. As a young student, because he was not admitted to the Paris Conservatory (because he was a foreigner), he took private lessons with Rodolphe Kreutzer.  Luigi Cherubini (the Italian composer) was the Conservatory Director at the time. Paradoxically, at age 32, he was accepted as a Professor at the same Conservatory (1843.)  He then taught there for 47 years.  Massart performed Beethoven's Kreutzer Sonata with none other than Franz Liszt – his teacher had previously rejected it as unintelligible.  Among Massart’s students were legendary violinists Isidor Lotto, Fritz Kreisler, Franz Reis, Eugene Ysaye, Pablo Sarasate, Julius Conus, Teresina Tua, Arma Senkrah, and Henryk Wieniawski.  When one teaches for forty seven years, one is bound to find at least a few good students.  Among this group, Pablo Sarasate and Fritz Kreisler are the only ones who produced no extraordinary students although, to be fair, Kreisler did teach Samuel Dushkin, the violinist who premiered Stravinsky's violin concerto.  Massart has been credited with the origination of the systematic vibrato.  This is his claim to fame, since he is not among the trio of violinists who earlier established the violin method taught at the Paris Conservatory – Rode, Baillot, and Kreutzer.  It has been conjectured that Kreisler championed such a system, though it was widely criticized at the time, being considered a little too emotive and perhaps even vulgar.  Massart was also a chamber music player and gave many concerts with his wife (Louise Aglae Marson), who was a pianist.  He died in Paris on February 13, 1892, at age 80.  Other than in connection with his famous pupils, his name is infrequently mentioned nowadays.

Henryk Wieniawski

Henryk Wieniawski (Henryk Helman) was a Polish violin virtuoso, composer, and teacher born on July 10, 1835 (Paganini was 53 years old and Joseph Joachim was 4 years old.) Among violinists, he is most famous for his Scherzo Tarantelle and his second violin concerto (d minor – 1862 – dedicated to Sarasate), which all violinists – without exception – have in their repertoire (it’s the one Heifetz played on his U.S. debut.) He began his violin studies at age 5 and at age 8 (1843 - some sources say age 9), Wieniawski entered the Paris Conservatoire. Upon graduation, he concertized all over Europe. By all accounts, he was an extremely busy artist, presenting hundreds of concerts every year. His first published composition was the Caprice Fantastique (1847.) From 1860 to 1872, Wieniawski lived and taught in St Petersburg. He toured the U.S from 1872 to 1874. In 1875, he lived and worked (in the Royal Conservatory) in Brussels, Belgium. Among his pupils is Spanish violinist Achille Rivarde.  Wieniawski also composed, among many other works, Etudes (Caprices) for violin (dedicated to Ferdinand David), Caprices for 2 violins (1862), cadenzas for the Beethoven, Vieuxtemps (#5), and Mendelssohn (!!) violin concertos, and a third (unpublished) violin concerto in a minor (1878.) Few violinists – if any - have ever had their image engraved on a coin but he has (Poland - 1979.) No fewer than three Guarneri and two Stradivari violins still bear his name. He died in Moscow on March 31, 1880, at age 44.