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Music in the making. Produced by Milliken university under a grant from the Educational Television and Radio Center in cooperation with the National Association of educational broadcasters. The Milliken School of Music presents Professor Clyde Hess chairman of the violin department in a recorded consideration of the history of violin technique his musical selections here play the theme of the La Folie of variations by Correlli the grav from the D-minor concerto by Teenie and a few measures from violin concerto by Sibelius and here to take over at this point. His professor hiss and I often when we think of violin technique we think of the finger has a pass over the strings. But it's also very important to consider the boys it causes strings and produces a tone. Then there's a combination of thinkers and bowin that result in style musicianship and also very important.
Early violinists and nothing has a background on which to build technique. And the style they were the beginners themselves. These early violins as they left the hands of the great makers Maadi Stradivarius mourner had a short string length due to the short neck. This was very satisfactory. At that particular time because the early violinist knew nothing about the higher positions and playing in first position was facilitated by the short string length you know the ease with which they could play in tune the distances they had to reach with their fingers was very short. However as time went on and higher positions came into being it became necessary to change the neck in the violin the bore
that was used by these earlier. As was also a handicap short in length. Heavy awkward. Anything with conducive to playing long back as he does and and very graceful fast passages. The boy also was bent out like the ball of archery rather than bend in as the ball we know used today. That these early composers corralling retired but Tyler could do so much with the limited means at their command. It is indeed remarkable. Violin music and music in general. Oh the great these early violinist composers they did a tremendous job in setting down for posterity some of the finest most beautiful and lasting music that has ever been written.
I don't like to play a melody. The theme from the correct way for this is the Thompson arrangement that I play in. Way too early.
Were. The earth. I think you'll agree that that melody is deserving of lasting importance. The growth from the D-minor concerto by time. Is also lost a divine gift. The mind in this composer's hand for writing lasting music. Will.
Move. Believe me. Another great composer who contributed to violin technique
with jazz Bach Bach wrote six dollars for violin solo. He explored all the possibilities of the first five positions. He also tracks to the extreme the capabilities of the or short mo. At about the same time the bug died in German jimin was born in France. It was destined to change the whole art of violin playing. This man was France what tort tord invented the modern bore. He determined the link to be a slightly over 29 inches. He found Pernambuco wood to be ideal for strength and flexibility. He invented the modern frog with a screw to tighten the bore. His great genius worked out the most perfect balance that has ever been attained with a new bow. A whole new development technique came into being. The first great violinist to use a tour born of the Audi the Audi contributed a great
deal to violin technique in writing many concertos that were used in his day as head of the violin Department of the Paris Conservatory. His influence was very great. He had pupils in roadie and Beatty or and I graded Meyer in Kreitzer who also contributed to violin technique the works of these men and written for the students of the Paris Conservatory. I have come to be the road to be traveled by every aspiring violinist as violins came due to the higher positions. It was discovered that a long neck was necessary in the violin and if the higher positions were to be used all of the old violins went back to the repairing shop and a new neck was put in. This enabled the violinist to play in the upper positions with greater ease in 1784 to great violinist composers were born Paganini
was born in Italy and born in Germany. Spores contribution was musical. He raised the standard of the Violin Concerto to that of an art rather than just a showpiece peg and then he developed the technique of the violin. You do it to extreme limits every demand of born fingers are to be found in the compositions of Paganini senses time little new in the way a boy in fingers has been added to his twenty four caprices are not only studied by every serious student but they appear in pieces on many programs. Violinist composers did most of the work in developing the technique of the violin as far as the born fingers are concerned. They not only explored the possibilities of the instrument but they said how on paper what they discovered so others could profit by their work. However the great music for the violin was not written by a violinist to the great composer of Mendelssohn by Brahms
Beethoven Tchaikovsky as a bassist and many others. We all had tremendous depth in the development of the third day of lighting technique. Musicianship and style are so important that boy and fingers alone will not suffice. Beethoven and Brahms respected the technique of man as it was known they collaborated with violinists to be sure that what they wrote was playable. Telcos doing the road what he felt and his concerto for years was not played. A new technique had to be developed. So we Tchaikovsky ADAT in the development of technique a violin concerto of Sabaidee and this has come to be one of the foremost in the violins repertoire. I'd like to close with a few measures of this concerto. Professor Clyde has brought you a record consideration of the history of violin
technique. Music in the making was produced by Milligan university under a grant from the Educational Television Radio Center. This program is distributed by the National Association of educational broadcasters. This is the end of the network.
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Series
Music in the making
Episode
History of violin technique
Producing Organization
Millikin University
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-t727fp7j
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-t727fp7j).
Description
Episode Description
This program features Professor Clyde Hess looking at the history of violin technique.
Series Description
Instructional comments and musical illustrations using faculty and students from the Millikin University School of Music. The first thirteen programs in the series focus upon historical aspects of music. The second half of the series explores music's technical side.
Broadcast Date
1956-01-01
Topics
Music
Subjects
Violin--Performance
Media type
Sound
Duration
00:14:30
Credits
Producing Organization: Millikin University
Speaker: Hess, Clyde
AAPB Contributor Holdings
University of Maryland
Identifier: 56-8-13 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:14:17
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Citations
Chicago: “Music in the making; History of violin technique,” 1956-01-01, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed May 22, 2024, http://americanarchive.org/catalog/cpb-aacip-500-t727fp7j.
MLA: “Music in the making; History of violin technique.” 1956-01-01. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. May 22, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-t727fp7j>.
APA: Music in the making; History of violin technique. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-t727fp7j