Demetrius Constantine Dounis (Δημήτριος Κωνσταντίνος Δούνης) (born. 1886(?) or 1894(?) - August 13, 1954) was an influential teacher of violin and string instrument technique, as well as violinist, violist, and mandolin player.

Considerable uncertainty prevails on the subject of Dounis's early life, beginning with the date of his birth in Athens, variously given as 1886 (according to most library catalogues), 1893, or 1894. He is said to have performed his first violin recital at the age of 7, and to have toured the United States as a mandolinist at 14. He studied under Franz Ondriček in Vienna, where he also took a medical degree, specializing in neurology and psychiatry. After World War I, when he served as a doctor in the Greek army, he was appointed to the chair in violin at the State Conservatory of Thessaloniki, but soon established himself in the United States.

Dounis focused his early medical career on treating professional musicians from the world's major symphonies. He would work with a musician for at least six months, observing the musician's technique, asking questions, and devising new exercises to indirectly address the problem. Dounis also wrote several instructional books. In his 1921 volume The Artist’s Technique of Violin Playing op. 12, Dounis emphasized the importance of shifting and finger exercises. These were to develop the musician's mental map at the beginning of practice, after which scale drills would be more effective.

Dounis's first name is variously spelled in the Roman alphabet as Demetrios or Demetrius. Valborg Leland, head of the violin department at Stephens College, Columbia, Missouri wrote an interesting book on Dounis's principles called: The Dounis principles of Violin Playing (The Strad publications).

References and further reading

• Constantakos, Chris A. (1997). Demetrios Constantine Dounis : his method in teaching the violin. American University Studies 14: Education, vol. 13 (second revised ed.). New York: Lang. ISBN 978-0-8204-3895-5. 
• Eaton, Sybil (October 1954). 'Dr. D.C. Dounis, a great violin teacher'. Musical Times: 559. 
• Wrochem, Claudius von (2001). 'Dounis, Demetrios Constantine'. Die Musik in Geschichte und Gegenwart. Personenteil 5. Kassel: Bärenreiter. pp. 1345–46. 
• Wasson, George Dwayne and John M. Geringer (January 2006). "Elevators and escalators: the study of an innovative approach to teaching fingerboard geography to heterogeneous string classes". Theses and Dissertations from The University of Texas at Austin: 10–12. https://hdl.handle.net/2152/561. Retrieved 2007-08-21.
• Leland, Valborg: The Dounis principles of Violin Playing (The Strad publications) 
  
• The Dounis Collection: Eleven books of studies for the violin: Opp. 12, 15 (two books), 16 (two books), 18, 20, 21, 27, 27, 29, 30, by Demetrios Constantinos Dounis. (Carl Fischer)
  

Sándor Frigyes, naast al zijn activiteiten ook bekend geworden door zijn vioolmethode die hij schreef samen met Pál Járdányi en Endre Szervánszky

Born: April 24, 1905 - Budapest, Hungary
Died: June 1, 1979 - Budapest, Hungary

The Hungarian violinist, conductor and educator, Frigyes Sándor (the younger brother of pianist Renée Sándor; husband of cellist Vera Dénes), studied at the Musical College in Budapest by Gyula Mambriny and Imre Waldbauer. From 1926 he was concert master, from 1936 assistant conductor in the Budapest Choral and Orchestra Association. Gradually, he had to abandon instrument playing because of problems with his arm.

In the mid-1930's Frigyes Sándor (`Frigyes´ means `Fritz´) was already an acclaimed conductor, directing numerous orchestras, such as the Hungarian Women Chamber Orchestra. His main goal was performing works of the baroque era, Haydn and Mozart, and contemporary Hungarian music. He was the first to perform Béla Bartók's Divertimento in Hungary, a composition written in the summer of 1939.

After World War II, Frigyes Sándor taught violin playing and chamber music at the Capitol Musical College and at the National Conservatorium. In 1949, together with Pál Járdányi, Albert Rényi, and Endre Szervánszky (`Endre´ means `Henry´ in the English language), they published a well known 5-volume Violin Tutor. This was the first time that playing in the pentatone scale, based on Zoltán Kodály's works and Hungarian folk songs, was put forward for elementary education. Still in this year, he was appointed director of the newly established Bartók Béla Musical School.

During this period, Frigyes Sándor was also active as a conductor: he performed often with the school's choir and orchestra. Between 1958 and 1975 he taught chamber music at the Budapest Musical College. In 1963 he founded the Liszt Ferenc Chamber Orchestra of his students. He remained artistic director of the orchestra right until his death.

His publications: Violin Studies (Kayser); Mihály Hajdu: 8 Studies for Youth String Orchestras (together with Ottó Till); Dances and Trio Sonatas from the XVII. Century (together with Olivér Nagy); János Decsényi: 15 Studies for Youth String Orchestras (together with Ottó Till); István Szelényi: 8 Small Duettes and Sonatina for 2 Violins; Tartini: 3 Sonatas for Violin and Piano; Musical Education in Hungary (editor, Budapest 1964).

Jean-Delphin Alard (May 8, 1815 – February 22, 1888) was a French violinist.

Alard was born in Bayonne, the son of an amateur violinist. From 1827 he was a pupil of F. A. Habeneck at the Paris Conservatoire, where he succeeded Pierre Baillot as professor in 1843, retaining the post till 1875. He was also a pupil of François-Joseph Fétis and succeeded Baillot as first violinist to the King in 1840. His playing was full of fire and point, and his compositions had a great success in France, while his violin school had a wider vogue and considerably greater value. He was a representative of the modern French school of violin playing, composed nocturnes, duets, études, etc., for the violin, and was the author of an Ecole du violon, which was adopted by the Conservatoire. Pablo de Sarasate was amongst his students. Mention should also be made of his edition in 40 parts of a selection of violin compositions by the most eminent masters of the 18th century, Les Maitres classiques du violon (Schott). Alard died in Paris. Jean-Delphin Alard was the son-in-law of Jean-Baptiste Vuillaume.

Natalia Baklanova (1902-1980) was een Russsische violiste en viooldocente. Ze schreef verschillende werken waaronder het boekje Acht leichte Stücke met daarin opgenomen het bekende Concertino. Voorts schreef ze etudes en een belangrijk werk: Intonationsetüden voor viool met pianobegeleiding.

Emanuele Barbella: Sonata I from Sei Sonate à violino Solo, è Cembalo (in the composer's hand). British Library, Add. MS 56102, f. 1v. Photograph © The British Library. This manuscript is described in the RISM music manuscripts database, http://www.r

Emmanuele Barbella, (Napels 1704 - aldaar, 1737) was een Italiaans violist en componist. Barbella schreef veel vioolsonates. Eveneens schreef hij een duo dat oorspronkelijk voor 2 mandolines is geschreven maar dat is bewerkt voor twee violen. Zie hiervoor de pagina 'Free Downloads Bladmuziek viool I')

Carl Bohm (also known as Charles Bohm, Henry Cooper [Pseudonym] and Karl Böhm), (11 September 1844 – 4 April 1920) was a German pianist and composer.

Bohm is regarded as one of the leading German songwriters of the 19th century, and wrote such works as Still as the Night, Twilight, May Bells, Enfant Cheri and The Fountain.

The Oxford Companion to Music says that Bohm was "a German composer of great fecundity and the highest salability... He occupied an important position in the musical commonwealth in as much as his publisher, Simrock, declared that the profits on his compositions provided the capital for the publication of those of Brahms." Bohm's specialty was music in a lighter vein, very different from the dark, brooding and introspective works of Brahms.

Bohm, like Schubert, was more than just a songwriter, composing in most genres. His chamber music, mostly quartets and piano trios, were extremely popular not only amongst amateurs but also among touring professional groups who were always in need of a sure-fire audience pleaser.

Edition Silvertrust states that Bohm "was certainly very well-known during his life time. Yet today, his name brings nothing but blank stares." This curious obscurity is borne out more than ever by the fact that Grove Dictionary of Music and Musicians contains no article about him.

Selected works for strings

• Salon-Kompositionen (op. 327)
• Hausmusik; 2 violen en paino
• Klaviertrio G-dur. (Forelle; op. 330 Nr.2)
• Perpetuo Mobile (Kleine Suite 6)
• Perpetuo mobile op. 380, nr. 6
• Pereptuo Mobile (from Suite 3, nr. 6)
• Suite: Introduction alla marcia-Intermezzo-Notturno-Capriccio
• Skandinavische Romanze ('Arabesken' nr. 5)
• Introduction and Polonaise ('Arabesken' nr. 12)
• Madrigal
  
• Vorspiel-Stücke: Theme Varié op. 348, nr. 1
• Le Bal; Album de danses: Polonaise-Valse-Rheinländer-Polka Mazurkas-Polka-Galop
  
• Italian Romance
• Wiegenlied op. 380, no. 5
• Intermezzo
• Cavatina, op. 314, nr. 2
  
• Gavotte op. 314, nr. 3
• Petite Rhapsodie Hongroise (uit 'Noveletten')
• Arioso (Bunte Reihe no. 1)
  
• Deuxieme Gavotte op. 314, nr. 8
  
• Sarabande
• Derde suite: Präludium-Largo ma non troppo-Intermezzo-Scherzo-Sarabande-Moto Perpetuo
  
• Air Gavotte (Mélodie gracieuse) (uit: 'Concert au salon')
  
• La Mouche
  
• Canzonetta in G
• Cavatina op. 314, no. 2
• Slumber song op. 187, nr. 5
  
• Canzonetta op. 314, nr. 23
• Italienische Weise (uit 'Albumleaves')
  
• Boléro ('Albumleaves' no. 9)
• Alla Marcia ('Amusements' nr. 1)
• Moment Musical (uit 'Amusements')
• Tremolo ('Amusements' nr. 12)
• Cavatina
• From Many Lands, book 1: Adagio Rligioso-Roccoco-Slavonian dance-spagnola-Scene de Ballet-At the spinning wheel
• From Many Lands, book 2: Estella-At evening-Gipsy melody-Northern legend-Kujawiak-Moto perpetuo
  
• Notturno
• La Zingana:'Danse Hongroise' op. 102
• La Zingana:'Dance Hongroise' op. 102 (arrangement van Gustav Saenger voor 4 violen en piano)
  
• Italian Romance
• Gigue, op. 378, nr. 7
• Spanish Serenade op. 378, nr. 8
• Ballet scene, op. 378, nr. 9
  
• Walzer Etude op. 378, nr. 10
  
• Italian Song op. 378, nr. 11
• Mazurka op 378, no. 12
  
• Sérenade Italienne op. 390
• Slumber song op. 187, nr. 5
  
• Spanischer Tanz (uit 'Tonskizzen')
  
• The Fountain (op. 221) (G major)
• Concertino op. 370

External links

• Entry for Carl Bohm in the catalogue of Deutsches Musikarchiv
• Free scores by Carl Bohm in the International Music Score Library Project
• Carl Bohm Piano Trio, Op.330 No.2 Soundbites & information.
• Some of Bohm's violin pieces are available at Free violin music

Willem ten Have was born in Amsterdam on the 12th of august 1831.

He studied with Charles de Beriot in Brussels. Later he bought two violins from De Beriot, including the famous 'De Beriot' Guarneri del Jesu 1744, which is currently being owned by Ruggiero Ricci.

The name Willem ten Have has not been forgotten because of one piece he wrote: It is the 'Allegro Brilliant' for violin and piano. Violinists all over the world like to play this piece. Part of the "Bosworth School Orchestra Series", this fast and exhilerating piece has been arranged for amateur string orchestra. Perfect for school string orchestras and amateur groups and the perfect opportunity for young players to gain confidence in ensemble playing.

Pieces Willen ten Have wrote for violin and piano which are for sale:

*Allegro Brilliant

*Bolero op. 11

*Capriccio op. 24

*Reverie op. 27 

Felix Borowski

Felix Borowski (March 10, 1872 – September 6, 1956) was a British/American composer and teacher.
Borowski was of Polish descent but was born in the English village of Burton-in-Kendal, Westmorland. His father came from a distinguished Polish family, who was quite a musician. His mother was English and very accomplished in music. His father gave him his first instruction on the piano as well as on the violin. He was educated in London and at the Cologne Conservatory. He then taught for a while the piano and the violin in Aberdeen, Scotland. At this time Mr. Borowski had begun to publish smaller compositions for piano and violin. Somewhat later his compositions won strong commendation from composers such as Edvard Grieg, Theodor Leschetizky, Sauer and other renowned masters. In 1896 Borowski moved to the USA to become Director of the Chicago Musical College. His connection with this musical college continued until 1925 when he resigned to devote himself to private teaching and to composition. During his working life in the U.S.A. he was a composer, teacher and newspaper critic in Chicago. He was the programme annotator for the Chicago Symphony Orchestra (CSO) from 1908-1956. The CSO holds a collection of his original compositions as well as arrangements by him of the works of others. In 1917, he was elected as an honorary member of Phi Mu Alpha Sinfonia music fraternity.
One of his compositions for piano and violin ('Adoration') was recorded on Edison Blue Amberol in 1914 (#2475) by Richard Czerwonky (1886-1949), also an American musician of Polish descent, being an outstanding violin-player and orchestra conductor at his time. Borowski wrote two large-scale and romantic Sonatas for the organ (1904 and 1906).
He is also known as teacher of the Mexican composer Silvestre Revueltas at Chicago Musical College during a period between 1918-22.

Works for violin and piano

*Adoration

*Cantilene

*Chanson de Berceau

*Dance Rustique

*Humoresque

*Ritournelle

*Vilanelle

Pavel Bytovetzski was een violist, viooldocent en componist. Hij werd vooral bekend door zijn boek met dubbelgreep-oefeningen voor viool.

Verder schreef hij:

*How to Master the Violin; a pratical guide for students and teachers 

*Development of finger strength and independence of fingers in all positions

*Bowing studies

*'The bee' voor viool en piano

*'Pays lointain'. Souvenir. voor viool en piano

*Scale technic, how acquired, developed and mastered

*Specific exercises for the developent of the 3rd and 4th fingers

Adam von Ahn Carse

Adam (von Ahn) Carse (May 19, 1878 - 1958) was born in Newcastle upon Tyne. He was educated in Hannover (Germany) and was a Macfarren scholar at the Royal Academy of Music, London where he studied composition with Frederick Corder.

Whilst Carse is perhaps best known for his study of the history of instruments and the orchestra (in 1947 he donated his collection of 350 wind instruments to the Horniman Museum), the wealth of material he wrote for young string players and pianists is still played today.

Through pieces written for students, the name of the English composer and teacher Adam Carse was once very familiar to musical beginners. To others he has long been known as the author of two important books on the history of the orchestra and as an editor of early Classical symphonies. He was educated in Germany and at the Royal Academy of Music in London, where he later served as a professor.

Orchestral and Instrumental Music

Many of Carse’s compositions were designed for students of varying degrees of competence. His earlier works include two symphonies.

Adam Von Ahn Carse (the Von Ahn was little used latterly especially after the outbreak of the Great War) was born in Newcastle on 19 May 1878 and died in Great Missenden on 2 November 1958. During the intervening eighty years he acquired a considerable reputation as a teacher, writer, collector of old instruments and composer. mainly of music for students and amateurs. He was educated for a short time (in 1892) in Hanover, Germany and then as a Macfarren Scholar at the RAM between 1893 and 1902, where his composition teacher was Frederick Corder. For thirteen years (1909-22) he was Assistant Music Master at Winchester College, after which he returned to the RAM as Professor of Harmony and Counterpoint a post he held until 1940. His collection of 350 old wind instruments was presented in 1947 to the Horniman Museum.

His early compositions included an orchestral prelude to Byron's Manfred, the symphonic poems The Death of Tintagiles (1902) and, performed at the 1905 Henry Wood Proms, In a Balcony plus two symphonies premiered in London in 1906 and 1908, the second being revised for a Newcastle Festival performance in 1909. Later orchestral compositions were mainly shorter and lighter in style and easy enough to be readily played by amateurs. He catered indeed for the very young with a Toy Suite for piano and seven toy instruments entitled Childhood's Happy Days. Many other works were for strings only: The Variations on Barbara Allen (1921), a Berceuse (1946), Festival March, Minuet in G, Miniature Symphony in D, Northern Song, Romance and Gavotte, Three Dances, a Sinfonia in D, Two Sketches (1923), a Suite in C (1925), Variations in F, the five movement Winton Suite and sundry settings of traditional and popular tunes of which I heard recently the Norwegian Folk Dances Tunes. For larger orchestral forces he composed a Norwegian Fantasia for violin and orchestra, Lullaby and Dance, Country Song and Dance, a late work, the brief Holiday Overture, the overture Happy Heart, the miniature suite Boulogne, A Romantic Legend (first performed in September1938 on the BBC), the Waltz Variations (played at a Patrons' Fund rehearsal in 1924), the suite The Merry Milkmaids and again aimed at children, the Dance Phantasy, The Nursery, comprising an introduction, six dances and a finale. Still other orchestral works were arrangements derived from his study of 18th Century music: The Old English Military Marches (ie those for the New Coldstream, the 35th Foot and the Duke of Gloster: at least seven others appeared in piano versions), the Georgian Tunes, which included pieces by Stanley and John Humphries and Town and Country Tunes. Compositions for brass band also claimed his attention as can be seen from the Three Characteristic Pieces, Three English Pictures and the overture Puffing Billy.

Carse's chamber compositions also included many which were suitable for young amateurs with such titles as Follow Your Leader, Rondino and Slow Waltz, all for piano trio; a Trio in D Minor for the unusual combination of two violins and viola; the Terzetto for violin, viola and cello; the Capricietto in A major (1920), Hours of Pleasure and Scenes Afloat, both in three movements, the very attractive Fiddle Fancies and many other instructional pieces, plus the Waltzes of 1917 and a Sonatina in D Major, all for violin and piano; and A Dance Measure for oboe and piano and Happy Tune for clarinet and piano, both published in 1931. More serious and ambitious were a Violin Sonata in C Minor, dating from 1922 and as Cobbett remarked: "touched only slightly with modern influences". A Suite in Old Style, also for violin and piano, showed, like some of the orchestral compositions noted above, his preoccupation with old music and his ability to write convincing pastiche. For piano solo he published besides the ten old military marches we have mentioned, twelve Norwegian Folk Tunes (1924), some Preludes, sixteen Scottish Tunes (1916), a Miniature Scherzo, Three Legends and much else. Again most if not all of this output was aimed at the young student.

Nor did he ignore vocal music. Apart from a large number of part songs including settings of nursery rhymes (some male voice choirs surely remember his setting of The Tide Rises, The Tide Falls), and solo songs, including a Jewel Cycle (comprising four songs: The Pearl, The Sapphire, The Opal and Amber and Amethyst), there were two larger pieces, The Lay of the Brown Rosary, a dramatic cantata for soloists, chorus and orchestra, produced as early as 1902, and Judas Iscariot's Paradise, a ballad for baritone solo, chorus and orchestra (1922).

Student orchestras still enjoy Carse's music like for example the Festival March. A world renowned violinist played in Doncaster recently one of the Fiddle Fancies as an encore mainly for sentimental reasons but it served its purpose as an encore well enough. Scholars still recall his writings. Some of these were technical treatises like Harmony Exercises, Summary of the Elements of Music, Practical Hints on Orchestration (1919, reprinted twice), The School Orchestra (1926), Orchestral Conducting (1929) and, perhaps also in this category, The Orchestra (1949). Others, like his articles for "Music and Letters" on Brass Instruments in the Orchestra and XVIIIth Century Orchestral Instruments and the books Musical Wind Instruments (1939) and The Adam Carse Collection of Old Musical Wind Instruments (1951) reflect his activities as a collector. Best of all perhaps, and certainly best remembered by me, are his historical studies: The History of Orchestration (1925), The Orchestra in the 18th Century (1951) and his The Life of Jullien (1957, his last major piece of writing). These are admirably written and highly readable yet well researched and are not wholly superseded even today. To these we must add his editions of symphonies by Abel, Arne, J C Bach, Dittersdorf, Friedrich Schwindl (almost unknown but played in Doncaster in 1972), Filtz, Gossec and the Stamitzes, which if they might be slightly short of present-day standards of scholarship, played their part in popularising the works of the lesser known 18th Century composers, British and foreign.

List of compositions including music for string players

Violin

Classic Carse edited by Mary Cohen for Violin and Piano.

Book 1 + 2

Fiddle Fancies
Violin and Piano
Fiddler's Nursery
Violin and Piano
First String Tunes
Violin and Piano
Follow my Leader. Violin, Cello and Piano
New School of Violin Studies
Book 1,2,3,4,5,
Preliminary Violin Exercises
Premiere Valse
Progressive Violin Studies

Book 1,2,3,4

Viola

A Breezy Story,  Viola and Piano
Viola School of Progressive Studies.
Book 1,2,3,4,5

Cello

Fiddle Fancies
Cello and Piano
Fiddler's Nursery
Cello and Piano
Merry Dance. Cello and Piano
Three Short Pieces Cello and Piano
Two Short Pieces Cello and Piano

Ensemble

Carriage and Pair (formerly Duetto) Violin, Cello and Piano
Minuet. Violin, Cello and Piano
Rondino. Violin, Cello and Piano
The Winton Suite For String Orchestra.

Two Sketches for String Orchestra. (1: A Northern Song; 2: A Northern Dance)

Esprit Philippe Chédeville (Parijs, 1696 - aldaar, 1762) was een Frans componist uit de Barok periode. Hij had een oudere broer Pierre (Parijs, 1694 - aldaar, 1725) en een jongere broer Nicholas (Parijs, 1705 - aldaar, 1782). Deze drie broers waren allen gevierde componisten in hun tijd.

Louis Adolphe Coerne (February 27, 1870 – September 11, 1922) was an American composer and music educator. He was born in Newark, New Jersey, and was educated at Harvard University, where he studied under John Knowles Paine and in Europe.

Coerne wrote a number of pedagogical pieces for piano, and also composed a number of orchestral works, one of which, the tone poem Excalibur (Op. 180), was recorded by Karl Krueger with the Royal Philharmonic Orchestra in the late 1960s, and reissued on CD in 2006 by Bridge Records. His cantata, Hiawatha (op. 18), was premiered in Munich in 1893 and performed by the Boston Symphony Orchestra in 1894.

Coerne's opera, Zenobia (op. 66), premiered in Bremen, Germany, in 1905, and was the first opera by an American composer to be performed in Germany. Earlier that year, Harvard had conferred on Coerne the degree of Ph.D., with the score of Zenobia and his book, The Evolution of Modern Orchestration (published in 1908), serving as his thesis.

Other operas composed by Coerne:

*A Woman of Marblehead (op. 40)
*Sakuntala (op. 67)
*The Maiden Queen (op. 69)
Coerne taught at Smith College, Harvard, and Connecticut College. He died in Boston, Massachusetts, on September 11, 1922.

ReferencesHoward, John Tasker (1939). Our American Music: Three Hundred Years of It. New York: Thomas Y. Crowell Company.
"Coerne and His New Opera," N.Y. Times, Dec. 17, 1905.
Coerne, Louis Adolphe. The Evolution of Modern Orchestration. New York: The Macmillan Company, 1908. Introductory Note by H.E. Krehbiel.
Sadie, Stanley (ed.). The New Grove Dictionary of Music and Musicians. Grove, 1980.
Who's Who in America (1912-13).
Free scores by Louis Coerne at the International Music Score Library Project

George Couts (1888-1962), Canadian organist, pianist, composer, conductor and teacher. Born in Aberdeen, Scotland on August 6, 1888. Moved to Toronto, Ontario, in 1911, where he taught at the Academy of Music and at Woodstock (Ontario) College. Head of the Regina Conservatory piano department, ca. 1921-1928; studied in England, 1928-1929; organist Chalmers United Church (Vancouver, British Columbia) and conductor of the Brahms Choir and the Little Symphony (later the Vancouver Junior Symphony), ca. 1931-1940; organist-choirmaster at various Toronto churches, 1940-1959. Adjudicated throughout Canada and taught at the Royal Conservatory of Music of Toronto and University of Toronto. Wrote for organ, piano, violin and piano, choir and solo voice. Died in Toronto on April 28, 1962. (Summary of Maud McLean's entry in the Encyclopedia of music in Canada. - Toronto : University of Toronto Press, 1981.) 
Fonds consists of correspondence; manuscript scores of compositions for organ, piano, violin and piano, chorus, and solo voice; programs for various recitals and concerts, some relating to Eunice M. Coutts.

Anatoli Sergejewitsch Komarowski (* 7. November 1909 in Moskau; † 23. Juni 1955 ebenda) war ein russischer Musiker.

1929 absolvierte er die Rachmaninow-Musikfachschule im Fach Violine. Von 1937 bis 1941 studierte er am Moskauer Konservatorium das Fach Komposition bei Wissarion Jakowlewitsch Schebalin. Von 1931 bis 1933 war er musikalischer Leiter, Komponist und Dirigent am 'Theater der Satire' und am Theater 'Rote Fackel' in Nowosibirsk, 1933 bis 1936 Erster Geiger und Konzertmeister im Moskauer Theater 'Romen' und von 1936 bis 1939 musikalischer Leiter am Dramatischen Theater in Tula.

In den Kriegsjahren zwischen 1941 und 1945 leitete er das Tanz- und Gesangsensemble der Kaliningrader Front. 1946 bis 1947 war Komarowski musikalischer Leiter am Moskauer Musikgastspieltheater, 1947 bis 1948 musikalischer Leiter am Moskauer Dramatischen Theater des Dzershinski-Raijons.

Werke [Bearbeiten]

• Musikalische Komödie Goldene Herzen (1940);
• Für Chor und Sinfonieorchester Überall Freude;
• Für Sinfonieorchester eine Sinfonie (1941), ein Marsch (1941) und drei Rumänische Tänze (1954);
• Für Violine und Sinfonieorchester Russische Variationen (1938), Konzert Nr.1 (1947) und Konzert Nr.2 (1950);
• Für Klarinette und Sinfonieorchester ein Konzert (1948);
• Für Waldhorn und Sinfonieorchester ein Konzert (1951, 2. Bearb. 1954);
• Für Kleines Sinfonieorchester Kolchos-Suite (1941) und Protjashnaja i Pljasowaja (1948);
• Für Streichorchester eine Hymne (1950);
• Für ein Russisches Volksinstrumentenorchester eine Fantasie über russische Themen (1940) und Variationen über ein russisches Thema (1949);
• Für Streichquartett I (1938) und II (1939);
• Für Violine, Violoncello und Klavier 8 Stücke über Volksthemen (1950);
• Für Violine, Kontrabass und Klavier Variationen (1951);
• Für 2 Violinen und Klavier 4 Duette über Udmurtische Themen (1954);
• Für Violine und Klavier ein Thema mit Variationen (1950), Weissrussische Rapsodie (1950), eine Sonate (1951), Russisches Lied und Volkstanz (1951), Ukrainisches Wiegenlied und Hirtenknabe (1951), Suite Kolchostag (1951), Am festlichen Feuer und Bei der Arbeit (1951),Kleiner Walzer (1951), Sammlung leichter Stücke (1953), 4 Konzerte (1954), ein Thema mit Variationen (1954);
• Für 2 Violinen Duette (2 Hefte 1952) und 43 Etüden (1952);
• Für Violoncello und Klavier ein Rondo (1936);
• Für Posaune und Klavier eine Serenade (1940);
• Für Klavier eine Suite Für Kleine (1934) und eine Sonatine (1935);
• Für Violine 38 Etüden (1950 –1951);
• Für eine Stimme und Klavier Romanzen;
• Für Chor eine Hymne an die Arbeit (1946), Lied der Starken (1946) und Ernte (1948);
• Für Unterhaltungsorchester eine Fantasie über Zigeunervolksthemen (1941);
• Musik für dramatische Aufführungen (ca. 40);
• Bearbeitung von Volksliedern.

Ignaz Joseph Pleyel (18 juni 1757 – 14 november 1831) was een Oostenrijkse componist uit de klassieke periode.

Leven

Pleyel werd geboren in Ruppersthal in Beneden-Oostenrijk. Hij was een leerling van Joseph Haydn met wie hij later bevriend zou blijven.

Aan het begin van de jaren 1780 reisde Pleyel door Italië waar hij onder andere zijn opera Ifigenia in Aulide componeerde.

In 1783 vestigde Pleyel zich in Straatsburg in Frankrijk en verfranste zijn naam, Ignaz Pleyl tot Ignace Pleyel. Hij werd assistent van Kapellmeister František Xaver Richter aan de kathedraal van Straatsburg. Na diens dood in 1789 volgde hij hem op als Kapellmeister.

In 1791 ging hij naar Londen en leidde er de "Professional Concerts" georganiseerd door Wilhelm Cramer. In deze hoedanigheid was hij de concurrent van zijn leraar Haydn die op dat moment een andere concertenreeks leidde die werd georganiseerd door Johann Peter Salomon.

In 1795 verhuisde Pleyel naar Parijs. Ignace Pleyel trok zich in 1824 terug in de buurt van Parijs, waar hij in 1831 stierf. Hij werd begraven op het kerkhof Père-Lachaise in Parijs.

Componist

Tijdens zijn leven was Pleyel een gevierd componist, het hoogtepunt van zijn faam viel zowat tussen die van Haydn en die van Beethoven. Later raakte hij wat in de vergetelheid en bleef vooral bekend voor zijn didactische werken waarmee vele generaties van beginnende musici werden geconfronteerd. Hij componeerde onder meer 41 symfonieën, 70 strijkkwartetten, strijkkwintetten en vele andere kamermuziekwerken. Zijn periode in Straatsburg was de meest vruchtbare.

Muziekuitgever

In 1797 richtte hij in Parijs een muziekuitgeverij op, "Maison Pleyel" en publiceerde onder meer een complete editie van de 83 strijkkwartetten van Haydn (1801), daarnaast vele werken van Beethoven, Boccherini, Kalkbrenner en anderen. Ook publiceerde hij de eerste populaire studieboeken in "zakformaat", als zakpartituren.

Pianobouwer

In 1807 begon Pleyel met de bouw van piano's. De firma "Pleyel et Cie" werd na zijn dood voortgezet door zijn oudste zoon Camille. Frédéric Chopin was in de wolken over het instrument, zozeer dat hij het liet verhuizen naar zijn tijdelijk verblijf op Mallorca. Later nam de firma andere Franse pianobouwers over zoals Erard en Gaveau. Sedert begin 2000 specialiseert men er zich in kwaliteitsinstrumenten en kopieën van historische instrumenten. In 1927 opende de firma ook een eigen concertzaal in Parijs, de "Salle Pleyel" in de rue du Faubourg Saint Honoré, die nog steeds in gebruik is.

Leo Portnoff (Kiev, Oekraïne, 1875 - Florida, USA, 8 november 1940) was violist, viooldocent en componist.Hj studeerde bij Wirth en Joachim in Berljn. Later werd hij directeur van de viool-afdeling van het Stern Conservatorium te Berlijn en vervulde hij daarna dezelfde functie aan het Klindworth-Scharwenka Conservatorium eveneens te Berlijn. Na de Eerste Wereldoorlog werd hij dirigent te Zweden waar hij ook vioolles gaf en de tijd vond voor talrijke vioolcomposities. Hij emigreerde naar de Venigde Staten waar hij eerst woonde en wewrkte als vioolleraar te New York. Daarna gaf hij vioolles aan de School of Music van de University of Miami, Florida.

Hij schreef verschillende stukken voor viool met pianobegeleiding waaronder:

Concertino in e op. 13, Concertino in a op. 14, Gazelle, Minuet in old style, Russian Fantasia's 1 t/m 4, Waving Fields en Slavonic cradle song.

Ook schreef hij veel etude-boeken voor viool waaronder:

Etudes mélodiques dans tout les positions op. 61

Etudes mélodiques dans le changement des positions pour violon op. 68

Konstantin Rodionov was een Russische violist en vioolleraar. Hij schreef stukjes begin vioolmethodes voor beginnende violisten. Hij arrangeerdfe ook bestaande muziekstukken zoals de Entr'acte uit Alexander Glazunov's ballet Raymonda, Op. 57

Louis Spohr werd geboren op 5 april 1784 in het Duitse Brunswick, maar verhuisde twee jaar later naar Seesen. Zijn ouders, beiden musici, ontdekten al vroeg de muzikale talenten die hij bezat. Toen hij amper vijf jaar was, begon hij vioollessen te volgen bij twee goede amateur-violisten. Een van hen, de Fransman Dufour, was onder de indruk van het spel van de kleine Louis en haalde zijn vader over om Louis naar Brunswick te sturen om er verder te studeren.

In Brunswick kreeg hij vioolonderricht en contrapunt, het enige theoretische vak dat hij ooit gevolgd heeft. Hij leerde zelf componeren door aandachtig de partituren van de grote componisten zoals Mozart te bestuderen. Zijn eerste optreden op een schoolconcert, waar hij een zelfgeschreven concerto speelde, was alvast een succes: hij werd uitgenodigd om te spelen voor de hertog.

In 1798 draaide zijn eerste tournee op een waar fiasco uit: hij moest zelfs helemaal te voet terug uit Hamburg naar Brunswick. Daarop moest hij bij de hertog aankloppen voor financiële steun. Na enig zoekwerk vond de hertog voor hem een nieuwe vioolleraar, Franz Eck, met wie hij in 1802 op tournee richting Rusland ging. Gedurende deze periode componeerde Louis Spohr een aantal werken. In Sint-Petersburg ontmoette hij John Field en Muzio Clementi.

Teruggekomen in Brunswick werd hij violist aan het hof. Zijn vorderingen werden meteen opgemerkt. Het succes groeide en hij gaf concerten in naburige steden. In Weimar leerde hij zijn vrouw, Dorette Scheilder, kennen. Na een aanbod van de hertog van Gotha begonnen ook zijn composities bekend te raken. Hij componeerde een aantal opera's, een symfonie en concerti. Daarna verbleef hij enkele jaren in Wenen waar hij Ludwig van Beethoven leerde kennen. Hoewel hij veel bewondering had voor Beethovens vroege werken, kon hij zijn latere oeuvre niet appreciëren.

In 1815 verliet hij Wenen om twee jaar lang te reizen door Bohemen, Duitsland en Italië. In 1817 vestigde hij zich enige tijd in Frankfurt, waar hij een aantal succesvolle opera's componeerde. Daarna verhuisde hij weer, deze keer naar Londen, waar hij een aanbod had gekregen van de Philharmonic Society. Hij schreef er zijn tweede symfonie, die met veel enthousiasme onthaald werd.

Na een kort verblijf in Parijs ging Spohr naar Dresden, waar hij Carl Maria von Weber leerde kennen. Hoewel beiden veel kritiek hadden op elkaars muzikale opvattingen, groeide er een sterke vriendschapsband tussen de twee componisten. Toen Von Weber een mooie post als hofcomponist in Kassel aangeboden kreeg, liet hij deze aan Spohr over. Spohr begon er in 1822 te werken en zou er tot aan het einde van zijn leven blijven. Hij schreef er zijn grootste werken. Hij onderhield zijn goede reputatie, eerder als componist dan als violist.

In 1833 stierf zijn vrouw, maar hij hertrouwde drie jaar later met de pianiste Marianne Pfeiffer. In de jaren daarop reisde Spohr dikwijls heen en weer tussen Engeland en Kassel. Merkwaardig is het feit dat Spohr zich in die periode ging interesseren voor de muziek van Wagner, terwijl hij helemaal niet (meer) hield van Beethovens werken.

De laatste tien jaar van zijn leven hield hij zich meer en meer bezig met politiek. Onder meer daardoor raakte hij in de problemen, waardoor er op den duur processen tegen hem liepen die hij verloor. Toen hij in 1857 ook nog zijn arm brak, was zijn carrière als violist definitief voorbij. Hij stierf twee jaar later, op 22 oktober 1859 in Kassel.

Spohr voerde twee belangrijke praktische vernieuwingen in: hij was de eerste dirigent die gebruik maakte van een dirigeerstok, en is tevens uitvinder van de kinhouder voor de viool.

Alexander Spendiaryan (20 october 1871 - 7 mei 1928) was an Armenian composer, conductor, pedagogue, founder of Armenian national symphonic music and one of the patriarchs of Armenian classical music.

He is a USSR People’s Artist.

He graduated from the Moscow State University Faculty of Law. He studied with the famous Russian composer Rimsky-Korsakov, who greatly admired his music and encouraged him to turn deeper into his people's folklore.

On December 10, 1924, Alexander Spendiaryan, newly arrived in Yerevan from Russia, conducted an 18-member orchestra consisting of conservatory professors and students. This inaugural concert proved that Armenia had the potential to sustain a symphony orchestra. His compositions include the opera Almast and the Yerevan Etudes among others. His “Crimean esquizes”, “Yerevan Etudes” and other works are the classic examples of the Armenian symphonic music.

Spendiaryan died in Yerevan in 1928.

In 1967, the Alexander Spendiaryan House Museum was established in the house where the composer lived during the last years of his life. The museum has recreated the genuine atmosphere of the composer's study and presents the composer's personal belongings, numerous documents and other belongings.

Joseph Strimer (1881-1962) was een Frans componist.

Hij schreef voor strijkers en piano o.a.

*Travers les steppes voor viool en piano

*Sonatine voor viool en piano

*Pliaska (uit 10 pieces faciles) voor cello en piano

*Poeme voor piano en strijkkwartet

*Pianotrio

Charlotte Ruegger (Luzern, 17 november 1876) was een Zwitserse violiste en componiste. Ze studeerde bij Florian Zajic aan het Stern Conservatorium te Berlijn en bij Jean-Baptiste Colyns en César Thomson aan het Conservatorium van Brussel waar zij bij het afstuderen de Prémier Prix behaalde. Ze trad op in België, Duitsland, Frankrijk en Zwitserland voordat zij zich definitief vestigde in de Verenigde Staten waar zij vioolles gaf aan het Oberlin Conservatory, Ohio en later aan het Meredith College te Raleigh, North Carolina. Zij componeerde onder meer een vioolconcert, sonates, etudes en stukjes voor viool en piano zoals Concertante, Hungarian caprice, Gavotte facile, Jumping Jack, Raindrops (een Perpetuum Mobile), Menuet gracieux, Sonata Miniature, An old Legend, Dance and Play (Bourrée), Pixie Frolic, Saltarello, Air Antique, Fiddle and Flute, Capriccio Brilliante voor drie violen en piano, Woodland Sprites (Petite caprice).

Friedrich (or Fritz for his friends) Seitz (12 June 1848, Günthersleben-Wechmar, Saxen-Coburg and Gotha – 22 May 1918) was a German Romantic Era composer. He was a violinist who served as a concertmaster, who wrote chamber music and eight student concertos for the violin.

Seitz studied violin first under Karl Wilhelm Uhlrich in Sondershausen, Germany. He later married Uhlrich's daughter. He became a student of Johann Christoph Lauterbach in 1874. He became music director at Sondershausen, and thereafter  concertmaster at Magdenburg. In 1884 he was the "Hofkonzertmeister" (conductor of the court orchestra) at Dessau. He also founded an institute for the education of violinists in Magdenburg, Germany.

Movements from Seitz' student concerti (No. 2 and No. 5) have become more widely known by virtue of their inclusion in the Suzuki violin method instructional material.

Selected compositions:

Schüler-Konzert Nr. 1 (Pupil's Concerto No. 1) in D major for violin and piano, Op. 7
Schüler-Konzert Nr. 2 (Pupil's Concerto No. 2) in G major for violin and piano, Op. 13
Schüler-Konzert Nr. 3 (Pupil's Concerto No. 3) in G minor for violin and piano, Op. 12
Schüler-Konzert Nr. 4 (Pupil's Concerto No. 4) in D major for violin and piano, Op. 15
Zigeuner kommen (Gipsies Are Coming) for violin and piano, Op. 16, No. 4
Schüler-Klaviertrio Nr. 1 (Pupil's Piano Trio No. 1) in C major for violin, cello and piano, Op. 18
Romanze und Intermezzo, Op. 21
Schüler-Konzert Nr. 5 (Pupil's Concerto No. 5) in D major for violin and piano, Op. 22
Konzert in einem Satz zum Studium und Konzertgebrauch (Concerto in One Movement for Study and Concert Use) in A minor for violin and piano or orchestra, Op. 25
Drei Grabgesänge für gefallene Krieger for mixed chorus, Op. 28; poetry by August Sieghardt
Schüler-Konzert Nr. 6 (Pupil's Concerto No. 6) in G major for violin and piano, Op. 31
Schüler-Konzert Nr. 7 (Pupil's Concerto No. 7) in D minor for violin and piano, Op. 32
Quartet in G Major for 2 violins (or violin and viola), cello and piano, Op. 35
Konzertstück (Concert Piece) in A major for violin and piano, Op. 36
Schüler-Konzert Nr. 8 (Pupil's Concerto No. 8) in G major for violin and piano, Op. 38
Ungarische Rhapsodie (Hungarian Rhapsody) for violin and piano, Op. 47
Schüler-Konzert Nr. 8 (Pupil's Concerto No. 8) in A major for violin and piano, Op. 51
Die Passion, Oratorio for soloists, chorus, orchestra and organ
Zwei neue Vortragsstücke for violin and piano
1. Andante espressivo
2. Allegro vivace
Schüler-Klaviertrio Nr. 2 (Pupil's Piano Trio No. 2) for violin, cello and piano
Schüler-Klaviertrio Nr. 3 (Pupil's Piano Trio No. 3) for violin, cello and piano
short works for violin and piano (Op. 41, 45, 46)

Some information about Seitz
Performance by adult of Allegro Moderato from Concerto No. 2 for violin and piano
Free scores by Friedrich (Fritz for his friends) Seitz at the International Music Score Library Project.

Edmund Severn (geboren te Nottingham, Engeland 10 december 1862 - gestorven te Melrose, Massachusetts, U.S.A.) kwam naar de Verenigde Staten toen hij vier jaar oud was waar hij opgroeide in Hartford, Connecticut. Hij was violist, viooldocent en componist. Hij begon zijn studies bij zijn vader, later studeerde hij o.a. bij Bernhard Listemann te Boston, bij Emanuel Wirth in Berlijn, daarna bij Philip Scharwenka en George W. Chadwick. Severn gaf vele concerten in de Verenigde Staten sinds 1888. Hij gaf vioolles in New York en was van 1907 tot 1914 'lecturer on music for the board of education of the City of New York'. Op de pagina Tijdschrift-artikelen/documenten van deze site staat een interview met Edmund Severn.

Een aantal composities van zijn hand zijn:

*Trio voor Piano, cello en viool

*Vioolconcert in d klein (1909)

*Polish dance voor viool en piano

*Suite voor 2 violen en piano in A groot

*Drie suites voor piano en viool: Oriental suite, Italian suite, New England suite

*Romance voor viool en piano

*La Brunette - Valse de Concert voor viool en piano

*La Brunette (voor 4 violen en piano)

*The Juggler - Second Valse de Concert

*Cradle song

*Perpetuum Mobile

*Gavotte Moderne

*Lullaby

*Farmland echo's

*In Picture land

*In Central Park (suite voor viool en piano)

*In Central Park (suite voor 4 violen en piano)

*Wings and motors march (suite voor 4 violen en piano)

*The gipsy prince (suite voor 4 violen en piano)

*A wild indian (suite voor 4 violen en piano)

*Captain Brown (Military march) (suite voor 4 violen en piano)

*Drie strijkkwartetten waaronder het bekende strijkkwartet in D Groot 

*Verder schreef Severn veel orkestwerken: Symphonische gedichten voor orkest en  koorwerken

*Liederen

Hans Sitt (Praag 21 september 1850 – Leipzig 10 maart 1922). Violist, componist en dirigent. Hij studeerde viool en compositie aan het Praagse conservatorium. Na zijn studies had hij een korte carriere als solist voordat hij op zeventienjarige leeftijd werd aangesteld als concertmeester van de opera van Breslau. Daarna volgden nog concertmeesterposities bij andere gezelschappen. Naast zijn activiteiten als concertmeester dirigeerde hij met veel succes in Frankrijk, Oostenrijk en Duitsland. Hij was vanaf 1883 verbonden als vioolleraar aan het conservatorium van Leipzig. Als componist schreef hij o.a. zes vioolconcertino's, in de categorie kamermuziek schreef hij o.a. twee pianotrio's en een aantal sonatines voor viool en piano. Verder schreef hij vele etuden- en oefenboeken voor de viool. Eveneens orkestreerde hij de Noorse Dansen van Edvard Grieg.

Berthold Tours Rotterdam 17 december 1838 - Fulham, London, 11 maart 1897 was een componist en muziekuitgever en -arrangeur. 

The Dutch-born English violinist, composer and music editor Bethold Tours had early instruction from his father, Bartholomeus Tours (1797-1864) who was organist of the St. Lawrence church in Rotterdam, then he had lessons with Johannes Verhulst. He afterwards studied at the Conservatoires of Brussels and Leipzig and then accompanied Prince George Galitzin's quartet in 1858 to St. Petersburg, then to Moscow and Katzlow. He remained in Russia for two years and in 1861 went to London, where he became Concertmaster at the Covent Garden Orchestra. He was appointed organist of the Swiss Church in Holborn in 1862 and in 1878 took over the position of editor for Messrs. Novello, Ewer and Company and in that capacity arranged several important works from the orchestral scores such as Beethoven's Mass in C, four of Schubert's Masses, Felix Mendelssohn's Elijah, Charles Gounod's Redemption, and other works besides writing the Primer of the Violin in the series of that firm. At that time he was as well composing, teaching and playing the violin in the orchestra of the Royal Italian Opera and other reputed ensembles.
Bethold Tours' compositions are numerous. He wrote for the piano and other instruments as well as a large number of songs, some of which were very popular. But his best work is to be found in his hymn tunes, anthems and services for the Anglican Church.

He was buried at Highgate cemetary, London, England