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The Professor lifted his fingers to his lips and blew on them as if to warm the ends, which were flat and stubbed from much playing on the strings: "Humph!" he said, "You are only a boy! You are talented, it is true; but what do you know of violinists? You ought to be studying." "That is true, Bárin," said Velasco humbly. "I am only a poor gypsey; I know nothing!"
Hubert Léonard was born at Bellaire, near Liège, in 1819, but unlike the majority of violinists he did not appear in concerts at an early age, nor did he enter the Paris Conservatoire until he was seventeen. At this time the wife of a wealthy merchant in Brussels took interest in him and provided the means necessary for him to go to Paris.
Now, I had nothing particular against the viola, as an instrument. Frankly speaking, I've known a couple of violists pretty intimately and I've always found violists to be warm and tender people. Much less high-strung, so to speak, than violinists. Not quite as passionate as cellists. But I would hardly have considered the viola to be a prestigious solo instrument.
Hawksley stretched out his hands to receive the instrument. Of course Cutty had heard of Amati and Stradivari, master and pupil. He knew that all famous violinists possessed instruments of these schools, and that such violins were practically beyond the reach of many. Only through some great artist's death or misfortune did a fine violin return to the marts.
Henry Eccles, who lived about the end of the seventeenth century, went to France, where he became a member of the king's band, and William Corbett, who went to Italy to study the violin in 1710, was a player of much ability; but one of the most eminent of English violinists was Matthew Dubourg, born 1703, who played at a concert when he was so small that he was placed on a stool in order that he might be seen.
"I have heard of Paganini," he said, "but he died years ago." "Yes, he is dead, poor fellow! I am not Paganini." "I am at a loss, then," said Nino, dreamily, "I do not know the names of many violinists, but you must be so famous that I ought to know yours." "No; how should you? I will tell you. I am Benoni, the Jew." The tall man's eyes twinkled more brightly than ever.
James's Hall, London, after an absence of eight years, and it was considered that her playing had gained in breadth, while her technique was as perfect as ever. Miss Emily Shinner has been in many respects a pioneer amongst lady violinists, for in 1874, when quite young, she went to Berlin to study the violin.
Among the most talented violinists of the early part of the nineteenth century was Karl Joseph Lipinski, the son of a Polish violin player whose gifts were uncultivated. He was born in Poland, in 1790, at a small town named Radzyn.
Toscha Seidel, though one of the more recent of the young Russian violinists who represent the fruition of Professor Auer's formative gifts, has, to quote H.F. Peyser, "the transcendental technic observed in the greatest pupils of his master, a command of mechanism which makes the rough places so plain that the traces of their roughness are hidden to the unpracticed eye."
In the girls' school, for instance, they form into groups according to the instrument on which they play, violinists, pianists, and flute-players, and they never separate. When they have become attached to any one, it is difficult for them to break it off. They take much comfort in friendship. They judge correctly among themselves. They have a clear and profound idea of good and evil.
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