Daniel Garlitsky

Daniel Garlitsky is a Russian violinist, composer, arranger, singer, and teacher born (in Moscow) on September 8, 1982.  In addition to being a classical violinist, he is well-known for playing jazz violin in various jazz combos.  He is frequently seen playing with Duved Dunayevsky, jazz guitarist based in Paris, France, who hearkens back to the days and style of Django Reinhardt.  Some have said that Garlitsky specializes in old style jazz, referencing the days of Eddie South, Stephane Grapelli, and Joe Venutti, though that is a much too narrow description of his artist profile.  He does, however, dress in the style of the times of the old jazz players when he performs jazz concerts, saying that modern suits make him look “like a security agent.”  He says the fashion helps project the charm of the old era of jazz so it’s like part of the show, providing a suitable backdrop for the music itself.  Garlitsky’s playing has been described as “exciting, elegant, subtle, and majestic, displaying incredible precision, character, and a pure sound."  Here is a video of a well-known jazz song – Minor Swing – featuring Garlitsky’s improvisational skills.  Violin players reading this will note that his bow hold and his bowing style is very similar to that of Heifetz.  Garlitsky began his violin studies at age 6 with his father (Boris Garlitsky, a respected violinist in Russia who served as concertmaster of the London Philharmonic for a time) using the violin method book written by his (Daniel’s) grandfather, Mikhail Garlitsky, a violin study method book widely used in Russia which is based on the study of scales and arpeggios, something that Heifetz and Paganini highly valued.  He was soon thereafter enrolled at the Gnessin school for gifted children in Moscow, where he also studied piano.  At age 9 (1991), he moved to France with his family, where he began studies at the Lyon Conservatory.  In 1999, he became a student at the National Conservatory for Music and Dance, graduating three years later.  He then immediately began concertizing around Europe and sat in as concertmaster with various orchestras as well.  Here is a video from early in his career when he served as leader of a famous European chamber ensemble.  Garlitsky was also seriously interested in harmonic theory and composition and, in addition, studied early music performance practices.  While doing all this, he encountered the field of jazz and swing music in Paris.  Later, he was invited to teach at the Paris Conservatory, but I don’t know whether he still teaches there.  One source says that his career actually took a 180 degree turn and so he now devotes almost all his time to jazz gigs, composing, and arranging. He is the composer of several movie soundtracks and has arranged songs for pop stars. His itinerary has taken him on tour to the U.S., Europe, and Asia.  He plays a modern violin made for him by Jacques Fustier in 2003 although he also plays a Joseph Guarnerius (son of Andrea Guarnerius and father of the famous “del Gesu” Joseph Guarnerius) from an unknown year of construction.  Among Garlitsky’s teachers are Igor Volochine, Rainer Kussmaul, Matis Vaitsner, Pierre Aimard, and Glenn Dicterow.  

David Grimal

David Grimal is a French violinist, conductor, and teacher born on February 9, 1973.  He is best known as the Artistic Director (and Conductor) of the French group Les Dissonances.  Ironically, Les Dissonances plays without a conductor and performs challenging repertoire (such as the Rite of Spring) which no other conductor-less orchestra would dare.  Grimal leads from the first chair.  Regarding Les Dissonances, Grimal has stated: “We work together in the sense of community of mind, a gathering of very strong positive energy and joy.”  Regarding the violin itself, he has said: “What interests me is the invisible - that something which makes the dancer take flight and causes his gesture to be eternal.”  The Dissonances musicians are from different parts of France and Europe – from various other ensembles – almost none are permanent members.  The orchestra plays in many different cities and venues.  Understandably, Grimal frequently plays the violin concerto repertoire with this orchestra.  When he does, he never actually conducts, as all other conductor/violinists do - he just lets the orchestra play by itself (and it is fully capable of doing so.)  His style of playing, although virtuosic and brilliant, is relaxed, unassuming, and unpretentious.  His repertoire includes the Schumann concerto, which is now gaining in popularity.  Grimal began lessons at age five but I do not know the name of his first teacher.  First teachers are usually not famous pedagogues or even famous violinists – sometimes they are immediate family members.  At the Paris Conservatory Grimal won first prizes in violin and chamber music at age 20 (1993.)  He later studied with the enigmatic Philippe Hirschhorn, most likely in the Netherlands, where Hirschhorn was then teaching.  He also briefly studied with other violinists after he graduated.  In 1996, he received the European Culture Prize.  He was 23 years old.  Needless to say, he has played in most of the world’s great halls with high-profile conductors and orchestras.  However, other than live recordings, his discography (on various labels) is not extensive.  Nonetheless, the few studio (commercial) recordings he has done have received national and international awards and recognition.  A great many composers have written works for him.  In 2004 Grimal founded Les Dissonances.  In 2008, he became artist in residence at the Dijon Opera.  (Dijon is about 200 miles southeast of Paris and is the birthplace of Rameau.)  Grimal has taught at the Advanced School of Music in Saarbrucken (Germany) for some time although I don’t know how long he has been there.  (Saarbrucken is about 180 miles north of Dijon and 200 miles east of Paris.  It is very close to the French border with Germany.)  Additionally, he plays at many music festivals around Europe and has frequently held masterclasses wherever he performs.  His violin is the Roederer Stradivarius from 1710, previously owned by Turkish violinist Ayla Erduran.  He also plays a modern violin made for him by French luthier Jacques Fustier.  You can listen to the finale from Brahms’ Third Symphony here.  Here is Grimal playing Mozart’s fifth concerto – first movement.  

Augustin Dumay

Augustin Dumay is a French violinist, teacher, and conductor born on January 17, 1949.  He has enjoyed an international career since 1979, although he has spent most of his time in Europe and Japan.  He has recorded most of the standard repertoire (a repertoire consisting of about 15 concertos plus a few sonatas by the upper crust of composers for the violin – Bach, Vivaldi, Brahms, Mozart, Beethoven, Franck, Prokofiev, Strauss, and Debussy) on more than forty discs.  Dumay has appeared with most major orchestras and conductors in the most important and prestigious venues around the world.  He began his studies as a child but with whom I do not know.  He entered the Paris Conservatory when he was 9 years old.  After two years at the Conservatory, he studied privately with a few teachers, including Nathan Milstein and Arthur Grumiaux.  His public debut came at age 14 at the well-known Montreux Festival in Switzerland.  Orchestras he has conducted include the Royal Chamber Orchestra of Wallonia (since 2003), the Salzburg Camerata, the Picardie Orchestra, the New Jersey Symphony, the Kansai Philharmonic, the Sinfonia Varsovia, and the English Chamber Orchestra.  It has been said that none other than Herbert von Karajan gave him conducting lessons.  He has taught at the Queen Elizabeth College of Music in Brussels.  Here is a YouTube video of him playing the seldom heard Mendelssohn concerto for violin in d minor. 

Vladimir Cosma

Vladimir Cosma is a Romanian violinist, composer, and conductor born (in Bucharest) on April 13, 1940.  He is one of several musicians who began their careers as violinists and digressed to other (musical) endeavors.  In France, he is well-known as a prolific film composer although he is a composer of classical (concert) works as well.  Perhaps he can be compared to Victor Young, American violinist-composer.  There is scant information about Cosma’s career as a violinist other than that he began his violin studies while still quite young and he graduated from the Bucharest Conservatory of Music and then moved on to the Paris Conservatory in 1963.  In Paris, he also studied with Nadia Boulanger, the famous French teacher.  Up until about 1968 (between 1964 and 1967 approximately), he played in orchestras and toured as a concert violinist.  After that, he focused on composition and (necessarily) on conducting.  He credits a meeting with French composer Michel Legrand with his entry into the world of soundtrack composing.  He was 28 years old by then.  It has been said that one of his grandmothers (I don’t know which one) studied with the famous piano player, Ferruccio Busoni.  According to one (usually-reliable) source, Cosma is the composer of more than 300 scores for films and television programs.  Another source puts the number at 150.  He has conducted a number of orchestras outside of the recording studios though mostly in France.  The French government has bestowed several honors on him as he is considered a national artistic treasure.  Several of his scores have also been awarded the French equivalent of an Academy Award.  As you can see from the photo, Cosma has never entirely given up the violin.  Whether he has or has ever had any pupils is something I do not know.  He is on record saying that melody is the most important thing in a composition.  In an interview, Cosma was quoted as follows: “In a few centuries, we shall see what will come of the serial experiments and of these [atonal] composers.  I think that all this decadence of the Viennese romantic music is an end and not a beginning as, for such a long time, Boulez and the promoters of new music wanted to make us believe.” Here is a YouTube audio file of one of his film works featuring the Berlin Philharmonic - I don't think I need to identify the violin soloist because you will immediately recognize it is the inimitable Ivry Gitlis.  

Melanie Clapies

Melanie Clapies is a French violinist, teacher, and composer born (in Paris) on December 16, 1981.  She is one of less than a handful of concert violinists who currently write works for their own use, in the style of so many violinists of past generations – Tartini, Corelli, Nardini, Geminiani, Biber, Vivaldi, Locatelli, Mozart, Leclair, Paganini, Viotti, Lipinski, Gavinies, Spohr, Wieniawski, Joachim, Ernst, Vieuxtemps, De Beriot, Conus, Enesco, Ysaye, Kreisler, Spalding, and Markov are among them.  In fact, the tradition of the violinist-composer has so much been neglected that violinists do not even write their own cadenzas to concerti anymore.  Clapies does.  As did Bronislaw Huberman so many years ago, Clapies has had a good number of teachers.  She began her violin studies at age 5 in Paris and later, in the southern coastal city of Toulon, beginning at age 8, with Solange Dessane (Toulon is located about 520 miles south of Paris but only 25 miles west of Saint-Tropez.)  Her public debut came at age 14.  She later studied with Pavel Vernikov and Christophe Poiget at the Lyon Conservatory.  She graduated in 2003.  While studying in Lyon, she also studied with John Glickman at the Guildhall School in London as an exchange student.  She later entered the Paris Conservatory where she was a student of Ami Flammer and Claire Desert, graduating in 2011.  Clapies also received her Master’s from Yale University in the US this year (2014.)  Her chamber music studies were under the tutelage of the world-famous Tokyo String Quartet and the Emerson String Quartet.  Clapies has already taught at the conservatories in Toulon and Bordeaux, and at the Alfred Cortot Music School in Paris (Zino Francescatti, Pablo Casals, Charles Munch, Jacques Thibaud, and Paul Dukas were once teachers there.)   She has also founded (with French cellist Yan Levionnois) a Chamber Music Festival in Burgundy, France.  Clapies has performed most extensively in England, France, Italy, Russia, Canada, and the US.  Leonard Bernstein once said that “music can name the unnamable and communicate the unknowable.”  In a similar vein, Clapies has stated that her compositions are attempts to catch something from the inexpressible.  She has also stated the following: “To me, a good interpreter is a researcher, someone able to find new ways to express and reveal what the pieces possess.  I find a direct path to composition from there.  For me, composing is a means by which to interrogate my surroundings; to make deeper my relation to it.”  She formerly played a Tommaso Carcassi violin and a modern violin by Italian luthier Carlo Colombo Bruno but her current violin is a Joseph Gagliano from 1781.  Nonetheless, Clapies also plays an authentic (period instrument) baroque violin on occasion.  Among the works in her extensive repertoire is one of my favorites – the Schumann concerto.  Here is her recording of the second movement from it on YouTube with the Amadeus Chamber Orchestra.  You will immediately notice that her playing is intensely poetic.  Her recordings include a collection of duo works – in a more contemporary vein - for violin and cello, available here.  She is currently organizing a piano trio in New York as well as a project which will feature the music of Ravel which combines music and mime.  In addition, Clapies is also interested in conducting!  In her upcoming performances of the Beethoven concerto, she will be using her own cadenza.  (There are at least ten cadenzas to the Beethoven concerto out there (Kreisler’s and Joachim’s being the most played) and Heifetz used his own too (some of it borrowed from Leopold Auer), but there are no contemporary violinists who play their own original cadenzas so this will be a unique joy for her audiences.)  Photo of Melanie Clapies is used courtesy of Francois Olivier de Sardan.  

Maurice Hasson

Maurice Hasson is a French violinist and teacher born on July 6, 1934.  He is recognized as a long-time violin professor at the Royal Academy of Music in London.  He is also known for having spent thirteen years of his music career in Venezuela (1960-1973), contributing greatly to that country’s cultural life.  He entered the Paris Conservatory in 1950.  He was 16 years old.  I do not know who his teachers were before his conservatory days.  After graduation, he studied privately with Polish violinist Henryk Szeryng.  In Venezuela, he taught at the University of the Andes, after which he relocated his career to England.  Though he has dedicated a great deal of time to teaching, he has also been very busy concertizing around the globe since the early 1960s.  He owned and played a 1727 Stradivarius for quite some time (the Halphen Strad, also known as the Benvenuti Strad) but now plays a Domenico Montagnana and a Guadagnini, although I don’t know the years of his current instruments.  It is said he also owns several other fine violins.  The 1727 Strad is now being played (though not owned) by Eckhard Seifert, a violinist with the Vienna Philharmonic.  Hasson made his American debut on January 19, 1978, playing Paganini's first concerto (in D) with the Cleveland Orchestra.  Lorin Maazel was on the podium.  Hasson has been teaching at the Royal Academy of Music since 1986.  He has approximately 20 CDs to his credit and has recorded most of the standard repertoire for various labels, including EMI, Philips, and Pickwick.  He is also known for master-classes all over the world.  Here is a fascinating YouTube video of him playing “Summer” from Vivaldi’s Four Seasons in 1987.  It is very interesting and very rare – apart from the brilliant performance – in that Yehudi Menuhin is the conductor.  You can marvel at how unobtrusive Menuhin was as a conductor.  The governments of France and Venezuela have bestowed several honors on Hasson in recognition of his service to their countries.  His best-known pupil is probably brilliant Dutch violinist Simone Lamsma.  Among his other pupils are Cassandra Hamilton, Catherine Geach, Gill Austin, Diana Yukawa, Amy Yuan, Marisol Lee, Tereza Privratska, Daniel Pioro, Laurence Kempton, Luis Cuevas, Mark Wilson, Nathaniel Anderson, Patrick Sabberton, Pierre Bensaid, Giovanni Guzzo, Remus Azoitei, and Eloisa-Fleur Thom.  

Angel Reyes

Angel Reyes was a Cuban violinist and teacher born on February 14, 1919.  There is little information about him readily available and this blog post is one I had very little time to write so I will conduct further research and expand it later in the week.  His first teacher was Juan Torroella in Cuba and he made his first public appearance at age 12. Reyes then studied in Europe at the Paris Conservatory from which most sources say he graduated at age 16.  His main teacher there was Firmin Touche (1875-1957), concertmaster of the Paris Opera as well as the Edouard Colonne Orchestra.  Touche also had his own quite successful string quartet - the Firmin Touche Quartet.  Reyes had a brief concertizing career before settling down to a teaching career at the University of Texas (1947 to 1955), Northwestern University  (1955 to 1965), and the University of Michigan (Ann Arbor), from which he retired in 1985. He was appointed Chairman of the String Department at Michigan in December of 1977.  Reyes was also first violinist with the quartet-in-residence at the University of Texas.  The quartet probably had a name but I do not yet know what it was.  He made his U.S. orchestral debut with the Philadelphia Orchestra on January 7, 1944.  Eugene Ormandy conducted that concert and Reyes played the Brahms concerto on that occasion.  He again appeared with Ormandy and the Philadelphia Orchestra on April 16, 1948, playing Karol Szymanowski's second concerto.  Reyes first performed with the New York Philharmonic on March 23, 1946, playing the Mendelssohn concerto at Carnegie Hall with Artur Rodzinski on the podium.  The performance was recorded and the recording is still available from the Richard Rodzinski collection. On June 6, 1946, he again played with the Philharmonic - he performed the first movement of Lalo's Symphonie Espagnol at a pops concert on which a variety of works (and several artists) were on the program.  He was 27 years old.  He later soloed with the Havana Philharmonic (pre-Fidel Castro days, of course) and many other orchestras in Europe, Canada, and Latin America many times.  He played, among other violins, the Lipinski Stradivarius (1715) and the Kreisler (Carlo) Bergonzi violins.  It has been said that the Lipinski Strad was first owned by none other than Giuseppe Tartini.  It is now played (and has been for a while) by Frank Almond, concertmaster of the Milwaukee Symphony.  Among Reyes' many students are Barbara Barber, Tyrone Greive, Joseph Sylvan, Laura Hammes Black, Michael Goldman, and Marilyn McDonald.  Reyes died on November 17, 1988, at age 69. 

Tedi Papavrami

Tedi Papavrami is an Albanian violinist, teacher, and actor born (in Tirana, Albania) on May 13, 1971.  Although it can most assuredly be said that he possesses a quite fantastic technique and formidable artistic insight (second to none, in my opinion), he is much better known in Europe than in the U.S. and therefore has a lower global profile than he might otherwise.  Besides being a musician and actor, he is also a writer.  In addition, he has transcribed various works written for other instruments for his use as violin pieces.  Among them are several Scarlatti piano sonatas.  Nowadays, that activity is rare among violinists, though it was commonplace in the old days – say, prior to 1945.  Papavrami first studied with his father – Robert Papavrami, a violinist and violin teacher – from age 5.  At age 7, he enrolled at the Jordan Misja School of Art in Tirana.  He made his orchestral debut at age 8, playing Sarasate’s Gypsy Airs (Zigeunerweisen.)  At age 11, he played Paganini’s first concerto with the same orchestra – the Tirana Philharmonic.  Soon thereafter, he was offered a scholarship by the French government to study at the Paris Conservatory.  He was 12 years old.  His teacher there – among others - was Pierre Amoyal.  Papavrami graduated from the Paris Conservatory at age 15.  He studied further with Zino Francescatti and Viktoria Mullova.  According to one source, he also received a degree – I don’t know in what field of study – from the Lausanne Conservatory in 1987.  By 1986, he had already established his base, so to speak, in Paris, France.  Here is a YouTube video of his performance of Paganini’s second concerto.  I’ve already heard nearly all of the recordings of this concerto that are out there and this one is the best among them.  Papavrami has concertized around the world since completing his formal music studies but spends scant time in the U.S.  He is also one of a handful of violinists who have played recitals composed entirely of the 24 Paganini Caprices.  In 2003, he was engaged to play a principal role in the French film, Dangerous Liaisons, with Catherine Deneuve and the notorious Natasha Kinski.  In 2008, he was appointed violin professor at the Geneva Conservatory in Switzerland and has been living in Geneva ever since.  In 2002, Papavrami was named official French translator by the publisher of the works of his countryman, Ismail Kadare.  His recordings on the Naxos and Aeon labels have been praised by every music critic.  His first major recording (for Naxos) was released in 1997.  It features both Prokofiev concertos.  Papavrami’s transcriptions - for solo violin - of the Domenico Scarlatti Sonatas have been published but I know not by whom.  Papavrami is also the violinist of the Schumann Piano Quartet - with violist Christoph Schiller, pianist Christian Favre, and cellist Francois Guye.  Their magnificent recording of the piano quartets of Ernest Chausson and Gabriel Faure can easily be found on the internet.  Papavrami's violin is one constructed especially for him by French violin maker (luthier) Christian Bayon.  

Gerard Poulet

Gerard Poulet is a French violinist and teacher born (in Bayonne) on August 12, 1938.  His father (Gaston Poulet), with whom he began his violin studies, was also a violinist.  His career has been mainly spent in Europe though he has performed in almost every continent.  He entered the Paris Conservatory at age 11 and graduated at age 12.  His main teacher there was Andre Asselin.  As did Bronislaw Huberman before him, he had many teachers: Zino Francescatti, Nathan Milstein, Yehudi Menuhin, and Henryk Szeryng were among them.  Poulet made his debut at age 12 playing the Mendelssohn concerto.  He recorded the third concerto of Mozart at age 14 with his father on the podium.  At age 18, he won the Paganini Competition in Genoa, Italy.  As do all winners of that competition, he got to play Paganini’s violin, the famous Cannone.  He later dedicated a good deal of time to teaching at the National Conservatory in Paris.  In 2007, he began teaching at the University of Arts in Tokyo.  He might not be there any longer since I could not locate his name on any faculty roster.  Poulet played the 1720 Henri Marteau Guarnerius from 1975 until about 1988 and that violin is supposedly now owned by Maxim Vengerov, though I could not find a single public source to confirm that.  His most famous pupils are most probably Renaud Capucon and Vineta Sareika.  

Edouard Colonne

Edouard Colonne (Edouard Juda Colonne) was a French violinist and conductor born (in Bordeaux) on July 23, 1838.  He is best recognized as the founder (actually, co-founder) of the Concerts Colonne and what became known as the Colonne Orchestra in Paris, in 1873.  He was an orchestral violinist for at least ten years but is now almost exclusively remembered as a conductor and concert promoter, in the style of Theodore Thomas.  He began his music studies at age 8, but not on the violin.  He entered the Paris Conservatory at about age 17 but did not study with any famous teachers there.  While going to school, he played in the orchestra of the Lyric Theatre.  In 1863 he won first prize for his violin playing and had already (in 1858) won first prize in harmony.  He was engaged as concertmaster for the Paris Opera orchestra in 1858 – he was 20 years old.  He also played second violin in the Lamoureux Quartet at the same time – Charles Lamoureux played first violin.  Possibly (actually, very probably) simultaneously, he also played in Jules Pasdeloup’s orchestra.  In 1867, he came to New York to play in an orchestra for a newly founded comic opera company; while in New York, Colonne later led an ensemble called Niblo’s Garden Orchestra which until now I had never heard of.  He returned to Paris in 1871 and conducted a hotel orchestra for a while.  In 1873, he founded – together with a music publisher – the orchestra that would become the Colonne Orchestra.  His concerts became known as the Concerts Colonne.  This name was used until the 1960s – about ninety years.  At first, the orchestra presented its concerts at the Odeon Theatre and later at the Theatre of the Chatelet.  Colonne was known to champion the music of Hector Berlioz, Richard Wagner, Gustav Mahler, and Camille Saint Saens.  It has been said that Pierre Monteux was Principal violist of the Colonne Orchestra.  Other famous players who played in his orchestra for a time were Julius Conus and Jacques Thibaud.  Colonne gave the Paris premiere of Tchaikovsky’s fourth symphony in 1878, the year it was completed.  The orchestra toured Spain, Russia, Portugal, Germany, and England.  Among the musical luminaries who conducted the orchestra in performances of their own works were Serge Prokofiev, Gustav Mahler, Richard Strauss, Peter Tchaikovsky, Claude Debussy, Edvard Grieg, and Maurice Ravel.  In 1892, Colonne became conductor and adviser at the Paris Opera.  He was 54 years old.  In 1907 (one source says 1906), he was one of the first to record with an orchestra.  It has been said that he was hard on his players.  Colonne was a pioneer in that his program books were the first to include program notes.  Perhaps they included advertisements as well though I’m not at all sure about that.  He died (in Paris) on March 28, 1910, at age 71.  

Jules Garcin

Jules Garcin (Jules Auguste Salomon Garcin) was a French violinist, teacher, composer, and conductor born (in Bourges) on July 11, 1830.  He was an important musician in his day but, as were so many other significant violinists of his time, he was, after his death, soon forgotten.  Nevertheless, unlike orchestral musicians, he can never be completely invisible because of two historical facts: he taught Henri Marteau and he conducted the premiere of Cesar Franck’s d minor symphony.  In old age, he bore a striking resemblance to Czech violinist, Ottokar Novacek, although his claim to fame does not in the least depend on that fact.  He must have started violin lessons at an early age but I don’t know what age.  At 13, he entered the Paris Conservatory, studying with Jean Delphin Alard among other teachers.  He graduated in 1853, and was about 23 years old by then.  Three years later (1856) he became a member of the opera orchestra.  Fifteen years after that (1871), he was appointed concertmaster and assistant conductor of the orchestra.  Fourteen years later (1885), he was made chief conductor.  During all that time, he had also been assistant conductor and solo violinist of other orchestras (or concert associations) in Paris.  One such orchestra was the Orchestra of the Concert Society of the Conservatory.  He began teaching at the Paris Conservatory in 1875.  He was 45 years old.  On February 17, 1889, he conducted the premiere of Cesar Franck’s symphony in d minor, a work which was initially much-maligned by French musicians and critics alike.  Garcin played a copy (constructed in 1868 by JB Vuillaume) of the famous Messiah Stradivarius (1716), a Stradivarius from 1715 (the Cremonese, later owned by Joseph Joachim and now held by the City of Cremona), and another Strad from 1731 which bears his name.  The 1731 Strad was later owned by Israel Baker, then Sidney Harth, and later still by Kees Hulsmann.  Among the small number of Garcin compositions is a violin concerto which he used to play.  I don’t know if anyone else ever played it.  After retiring from the conservatory due to illness, Garcin died (in Paris) on October 10, 1896, at age 66.  

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.  

Hubert Leonard

Hubert Leonard was a Belgian violinist, teacher, and composer born (in Bellaire) on April 7, 1819.  He is mostly remembered for having taught – for almost 20 years - at the Brussels Conservatory where Charles De Beriot, between 1843 and 1852, had also taught.  Leonard later settled in Paris where he continued to teach privately.  Among his most celebrated students were Henry Schradieck and Martin Marsick.  As a child, he began his studies with his father and even gave a public concert before entering  the Brussels Conservatory in 1832, at age 12.  From age 9, he had also been studying privately with an obscure teacher surnamed Rouma - this is probably one and the same as Francois Prume, another Belgian violinist who at age 17 (1832) was already professor of violin at the Liege Conservatory and who was only 3 years older than Leonard.  Leonard enrolled in the Paris Conservatory in 1836 where his principal teacher was Francois Habeneck.  He was 17 years old.  Funding for his studies came from a wealthy merchant.  He left the conservatory in 1839 but stayed in Paris where he was employed by the orchestras of the Variety Theatre and the Opera Comique.  He toured through various European cities from 1844 to 1848.  A single source gives a different date for this event in Leonard’s life (1845.)  In Leipzig, he met Mendelssohn who briefly tutored him in composition.  Leonard also learned Mendelssohn’s concerto and played it on tour.  The concerto had just then recently been premiered in 1845 by Ferdinand David but Leonard was the first to play it in Berlin with Mendelssohn on the podium.  Leonard began teaching at the Brussels Conservatory in 1848 (Grove’s Dictionary says 1847), at age 29, but continued to tour sporadically, extending his tours as far as Norway and Russia.  After quitting the conservatory in Brussels in 1866, he again settled in Paris, where he spent the next 24 years.  Leonard’s compositions include five (or six) violin concertos, duos for violin and piano, a cadenza for the Beethoven concerto, fantasias, salon pieces, and etude books for violin, including a book entitled 24 classic etudes.  I am not certain but I’m pretty sure the concertos have never been recorded.  Supposedly, Leonard once said “The bow is the master, the fingers of the left hand are but his servants.”  Leonard died in Paris on May 6, 1890, at age 71.  He had owned a G.B. Guadagnini (1751), an Andrea Guarneri (1665), and two Magginis, one of which went to his widow, who sold it in 1891.  

Teresina Tua

Teresina Tua (Maria Felicita Tua, aka Maddalena Maria Teresa Tua) was an Italian violinist born (in Turin) on May 22, 1867.  Her date of birth is somewhat vague – she may also have been born on April 23, 1866.  For a time, she was called the “violin fairy” for her angelic face and good looks.  However, her fame did not last into the twentieth century.  She studied at the Paris Conservatory with Joseph Lambert Massart, taking a first prize in violin at the age of thirteen.  In 1882, she toured Germany.  She played in London, England for the first time on May 5, 1883.  It has been said that in Europe, everywhere she played, she created a sensation.  She very successfully toured all of Europe and Russia.  One source states that in Russia, in the fall of 1885, her accompanist was none other than Sergei Rachmaninoff.  He was not impressed with her playing but shared the stage with her for three months.  Stating that she did not play particularly well, he went on to say that "as an artist, she is not serious, but she has talent."  Soon after touring the U.S. – in 1887 – she gave up her public stage life altogether.  A review of one of her performances in New York (New York Times, October 18, 1887) was fairly typical of the reception she received in this country.  After her debut performance in New York on October 17, 1887, the reviewer pointed out (among other shortcomings) that “Her enunciation of rapid passages is often unfinished and at times absolutely unintelligible, and her double stopping is frequently distressing to the acute ear.”  The reviewer also noted that Tua seemed to want to beguile her listeners with her looks rather than with her playing.  After she returned to Europe, Tua seemed to gradually lose interest in concertizing further but devoted some of her time to teaching.  It also didn’t help that in 1889, she married a wealthy member of the nobility – Giuseppe Franchi Verney.  When he died, she married another aristocrat – Emilio Quadrigo.  Her economic incentive to keep playing– if there had ever been one – was thus destroyed.  A similar thing happened to Johanna Martzy.  Another now-obscure violinist (and Tua's contemporary), Arma Senkrah, also gave up playing in public after marrying an attorney in Weimar.   Senkrah's ultimate fate, however, was very dissimilar.  According to a usually reliable source, from 1885 until about 1935, Tua played a Stradivarius constructed in 1708.  From 1909 forward, she owned and played a 1709 Stradivarius – now in a museum in Turin – given to her by a British friend and patron (Ludwig Mond) via his will.  In 1940, she entered a convent and was obliged to give this violin up.  She was 74 years old.  Tua died on October 29, 1956, at age 90, largely forgotten. 

Isidor Lotto

Isidor Lotto (Izydor Lotto) was a Polish violinist, teacher, and composer born (in Warsaw) on December 22, 1840 (Paganini died that same year and Brahms was 7 years old.)  Some sources give the year of his birth as 1844.  Even though he lived a long life which covered some of the most outstanding events in classical music history and had a few prominent pupils in an important music school, details of his life remain obscure.  Other than that his family was poor, little is known of his early life.  His father may have been a street musician and little Isidor could well have played with him as he made the rounds of the Warsaw taverns. At age 12 (1852), he received financial backing from wealthy patrons that allowed him to study at the Paris Conservatoire.  Upon arriving in Paris, he gave a concert at Herz Hall (Salle Herz.)  His principal teachers at the Conservatory were Joseph Lambert Massart (pupil of Rodolphe Kreutzer and teacher of Eugene Ysaye, Henryk Wieniawski, and Fritz Kreisler as well), Napoleon Reber (teacher of Benjamin Goddard), and Ambroise Thomas.  At graduation (1855), he made a very successful debut in Paris.  He toured briefly in Germany and Poland after that then, in 1862, was appointed solo violinist and chamber virtuoso to the Grand Duke in Weimar (J.S. Bach lived and worked in Weimar for nine years, more than one hundred years before this.)  Lotto was either 18 or 22 years old, depending on the actual year of his birth.  He was also later appointed professor of violin at the Warsaw Conservatory (Warsaw Music Academy), all the while sporadically concertizing in Europe.  Ten years later, in 1872, he was appointed professor at the Conservatory in Strasbourg (in northeastern France, on the border with Germany, now the official seat of the European Parliament); however, due to ill health, he was mostly unable to teach there and very soon afterward returned to Warsaw.  (A usually reliable source (Grove's Dictionary, which is, of course, not infallibe) has it that Lotto taught at the Strasbourg Conservatory from 1873 to 1880.)  He taught at the Warsaw Conservatory for many years - I don’t know how many - presumably until his death.  Lotto was also concertmaster of the Warsaw Opera Orchestra during this time.  His most famous pupils were Bronislaw Huberman, who probably only studied with him for three months (either in Paris or at the Warsaw Conservatory), prior to 1892, Richard Burgin (concertmaster of the Boston Symphony), Joseph Achron (violinist-composer), Victor Young (violinist-composer), and Henryk Heller (violinist-theorist.)  A contemporary account of his playing declared that Lotto’s virtuosity rivaled Wieniawski’s, though, of course, his fame now does not even come close.  It is indicative of how carelessly some records are passed down from one generation to the next that even Lotto's year of death is in question.  According to Grove's Dictionary, Lotto died on July 13, 1927, though another very reliable source gives the year of his death as 1936 - the day itself is not in question.  Depending on which dates one relies on, he was either 82, 87, 91, or 95 years old.  The few pieces he composed for violin (which include 5 violin concertos) are now never played.