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.  

Henri Marteau

Henri Marteau was a French violinist, teacher, and composer, born (in Reims, France) on March 31, 1874.  He was a child prodigy and was similar to Felix Mendelssohn in that both of his parents came from wealthy families; however, Marteau’s parents were musicians as well – his mother was a pianist (and former pupil of Clara Schumann) and his father was a violinist and President of the Philharmonic Society of Rheims.  After hearing Camillo Sivori play a concert at the Marteau residence at age 5, Marteau began his violin studies with his father.  One usually reliable source states that Sivori himself presented the child with a violin.  Sivori would have been about 64 years old at the time.  Marteau later proceeded to study with a Swiss violinist named Bunzl (a pupil of Wilhelm Molique) and after three years went to study with Hubert Leonard at the Paris Conservatory.  He was 8 years old.  Leonard may have been Marteau’s uncle but I am not certain of that.  He made his debut at age 10 in Reims, playing for a very large audience – possibly more than 2000.  At age 13, on December 14, 1887, he played a Bruch concerto (probably the one in g minor) in Vienna, with Hans Richter on the podium.  Brahms was in the audience - it has been said that he was fascinated with the young violinist.  Grove’s Dictionary of Music says this took place when Marteau was 10 years old but that is probably quite incorrect.  In 1888, he made his debut in London, England.  He was 14 years old.  He then studied with Jules Garcin at the Paris Conservatory beginning in 1891.  In 1892, he was awarded first prize by the conservatory.  By then he was already an established touring artist.  In 1893, he toured the U.S. and again in 1898.  He also played in the U.S. in the years 1894, 1900, and 1906.  I don’t know if those appearances were part of a broader concert tour.  Marteau was a sensation each time.  It has been said that when he performed in Boston on his first U.S. tour, he played the Bruch g minor concerto with the Boston Symphony without rehearsal.  Arthur Nikisch was on the podium and Marteau had 12 curtain calls.  On March 3, 1893, he made his debut with the New York Philharmonic playing the first Bruch concerto.  Anton Seidl was on the podium.  His last concert with this orchestra was on March 18, 1906.  He played Vieuxtemps' concerto number 5 on that occasion.  He was 31 years old.  On November 28, 1894, he premiered Theodore Dubois’ violin concerto in Paris.  That work has probably not been heard from since, except, perhaps, in France.  Marteau toured Russia in 1897 and 1899.  By age 26, he was professor of violin at the conservatory in Geneva, Switzerland.  Seven years later (1907), he was called upon to take over Joseph Joachim’s position at the Advanced School of Music (Hochschule fur Musik) in Berlin, where he remained until 1915.  There was some grumbling over this appointment because he was not German and it was rumored he had even been asked to renounce his French citizenship if appointed.  He supposedly refused and, being an international celebrity of the violin, was appointed anyway.  However, being French, he was placed under house arrest in Lichtenberg in 1916 because of hostilities between France and Germany in World War One (1914-1918.)  He eventually settled in Sweden and became a Swedish citizen in 1920.  Marteau eventually also taught at the music conservatories in Prague (1921), Leipzig, and Dresden.  Max Reger and Jules Massenet composed violin concertos for Marteau.  In fact, Marteau was a champion of Reger’s music and played dozens of concerts with him throughout Europe.  He premiered Reger's monumental violin concerto in Leipzig in October, 1908.  It has been reported that it was over a dispute over Reger’s music that Marteau’s first string quartet ensemble broke up.  The quartet probably had a name but I don’t know what it was.  He later re-assembled another quartet in Berlin.  Marteau was also a champion of Swedish composer Franz Berwald's music.  He played Berwald's violin concerto all over the place but the piece never entered the standard repertoire.  (The standard concerto repertoire consists of about twenty concertos and, sadly, that will probably never change.)  In April of 1894, Marteau played a piano quartet concert with Anton Hegner (cellist), Jan Koert (violist), and Aime Lauchame in New York.  It wasn’t the first time so it would appear that he played chamber music concerts on a regular basis though his ensembles are not reported (in any sources I found) to have been well-established or even well-known.  He played a Giovanni Paolo Maggini violin which had belonged to his teacher, Hubert Leonard, and had previously been in the possession of the Austrian Emperor.  He also owned and played a 1709 Stradivarius violin which now bears his name, a 1720 Guarnerius Del Gesu (one source says from 1731) which also bears his name, an 1827 J.B. Vuillaume, and a 1925 Gaetano Sgarabotto violin.  These last four violins together were valued, in Marteau’s day, at approximately $15,000, or $175,000 in today’s dollars.  They are now worth approximately $7,000,000.  In 1920, one could buy a Stradivarius for less than $5,000.  An average person in 1920 could buy one if he worked 25,000 hours or 12 years at minimum wage and saved every penny for just that purpose.  An average person today could buy one if he worked 400,000 hours or 192 years at minimum wage.  It has always been my opinion that those old violins are simply not worth the trouble.  Their values have been hyper-exaggerated by dealers.  Marteau’s tone was said to be large and brilliant and his style warm and charming.  One reference (E.N. Bilbie, 1921) claims that Marteau, prior to 1914, played six concerts at intervals of one every two weeks and that he played three concertos at each of them – 18 different concertos altogether.  Besides a substantial amount of chamber music, Marteau composed an opera, a cantata, two violin concertos, and a cello concerto.  Marteau died (in Lichtenberg, Germany) on October 3, 1934, at age 60.  In 2002, his home in Lichtenberg became the site for part of the tri-annual Henri Marteau violin competition which was established in that year.