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Updated: June 14, 2025
"And when I mention great violinists with whom I have been associated as an editor, Mischa Elman must not be forgotten. I found it at first a difficult matter to induce an artist like Elman, for whom no technical difficulties exist, to seriously consider the limitations of the average player in his fingerings and interpretative demands.
Emilia Arditi, Fraülein Hortensia Zirges, Miss Hildegard Werner, Miss Bertha Brousil, and Madame Rosetta Piercy-Feeny were all born during the decade 1830 to 1840, and were well known, but in 1840 and 1842 two violinists were born who were destined to hold the stage for many years and to exert a great influence in their profession.
Her career has been marked by hard work and continual practice, which have enabled her to overcome many obstacles, and have placed her on a level with the very best violinists of her sex.
In the Bach Chaconne, for instance, some very great violinists do not pay enough attention to making a distinction between principal and secondary notes of a chord. And it can be done, though not without some study. Bach abounds in such pitfalls, and in studying him the closest attention is necessary.
Few violinists have been more closely associated with quartet playing than Ferdinand David, in his way one of the most celebrated violinists. Little is known of his early youth except that he was born at Hamburg in 1810, and was there at the time of the French occupation. It has been said that he played in a concert at ten years of age and at thirteen became a pupil of Spohr at Cassel.
England has not been the home of any particular school of violin playing, but has received her stimulus from Continental schools, to which her sons have gone to study, and from which many eminent violinists have been imported. The word "school," so frequently used in connection with the art of violin playing, seems to lead to confusion.
It was not rare that one or the other of them had pawned his instrument. Once a performance had to be postponed because the violinists had stayed over their time at a village dance where they were playing in order to add to their paltry income.
When Remenyi visited the United States in 1878, he arrived a few weeks after Wilhelmj, and notwithstanding the fact that the two violinists were widely different in temperament, ideas, musicianship, in fact in every particular, they were frequently made the subjects of comparison. At this time Remenyi played an "Otello Fantaisie," "Suwanee River," "Grandfather's Clock," etc.
But a still greater honour was in store for him, the following year he took part, in a Gewandhaus concert, in a concertante for four violins by Maurer, the other performers being Ernst, Bazzini, and David, all violinists of renown and very much his seniors.
The titles, such as "Great Violinists," "Harmony in Thirteen Lessons," and "How to Sing," did not intrigue me, but in idly turning the pages of this "Popular American Composers" I came across a half-tone reproduction of a photograph of Paul Dresser, the only less celebrated brother of Theodore Dreiser, with a short biography of the composer of On the Banks of the Wabash.
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