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Updated: May 24, 2025
Petersburg a quartet was formed by Leopold Auer, an excellent violinist, who at the death of Wieniawski was appointed professor of violin at the Conservatoire. Auer was born in Hungary, and became a pupil of Dont at Vienna, after which he had a brilliant career as a virtuoso in Europe. His St.
Joachim was amongst the audience, and came to the rescue, taking up Wieniawski's violin and finishing the programme, thus showing his friendship for the sufferer and earning the enthusiastic applause of an appreciative audience. Notwithstanding his sufferings, Wieniawski continued his tour, but at Odessa he broke down altogether.
Wieniawski, like nearly all the great performers, showed his talent while very young. He was born in 1835 at Lublin, in Poland, where his father was a medical man. He was taken to Paris by his mother when he was only eight years old, and he entered the Conservatoire, where he soon joined Massart's class, and when only eleven gained the first prize for violin playing.
Gregorowitsch was the last pupil of Wieniawski, and that master was so impressed with the great promise of the boy that on first hearing him he offered to take him as a pupil gratis. Few violinists have had the advantage which has fallen to the lot of Gregorowitsch, of receiving instruction from so many great teachers.
Other criticisms of the same concert, however, were of a very different tenor, and when, a week or two later, Wieniawski played the same concerto in Boston, John S. Dwight praised the performance highly, and took occasion to specially record his disagreement with the eminent critic in New York.
In light spiccato and staccato the detached notes should be played always with a single stroke of the bow. Some players, strange to say, find staccato notes more difficult to play at a moderate tempo than fast. I believe it to be altogether a matter of control if proper control be there the tempo makes no difference. Wieniawski, I have read, could only play his staccati at a high rate of speed.
But young Laroche, whose family had lately lost a large fortune, was now in no position to leave the Rubinstein apartment, where his expenses were very light. Moreover, Wieniawski the pianist had rented the rooms on the fourth floor; and both he nor Shrâdik could be counted on to maintain a duet scales and exercises during the entire day.
For he had not lost Professor Casimir Wieniawski from sight a moment since the hour of ten, and that "distinguished noble refugee" was now in a maudlin way, murmuring perfunctory endearments in the ear of the ex-prima donna, who tenderly gazed upon him in a proprietary manner.
It may be said with truth that the country was hardly ready for musicianship of the highest quality, and even in 1872, when Wieniawski came with the great pianist and composer, Rubinstein, the two were accepted on their reputation rather than on their merits, which were understood by a comparatively small proportion of their audiences.
He refused to part with it for 20,000 francs when Wieniawski, in 1859, wished to buy it. To-day it would command a far higher price. It is stated on authority that not more than fifty instruments of its make now exist, although a large number of French imitations claim recognition.
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