The Influence of The Franco-Belgian Violin School On Violin Didactics in Poland From The PDF

Societe Belge de Musicologie
The Influence of the Franco-Belgian Violin School on Violin Didactics in Poland from the
Mid- 19th to the Mid-20th Century
Author(s): Magdalena Rut
Source: Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 60,
Actes du colloque international: Les relations musicales entre Bruxelles et la Pologne 1800-
1950 (2006), pp. 131-140
Published by: Societe Belge de Musicologie
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The Influence ofthe Franco-Belgian Violin School
on Violin Didactics in Poland
from the mid-19th to the mid-20th Century
Magdalena Rut
(Krakow)
The Franco-Belgian
formance and pedagogy ?school
dominated of violin
the violin worldplaying
from the end?ofthe
encompassing
18th both virtuosic per
century through the beginning of the 20th. In Poland, the Franco-Belgian school
influenced concert repertoire as well as pedagogical programs of music schools.1 The
general popularity of the Franco-Belgian school was ensured by Rodolphe Kreutzer,
Pierre Rode and Pierre Baillot's Methode de violon, which was officially adopted as
the instruction book at the Warsaw Institute of Music.2 The course book by Charles
de Beriot was a compilation of his original Methode de violon? Between 1841 and
1948, some violin methods that were based on similar works by Baillot, de Beriot,
Delphin Alard, Dancla and Mazas were published in Poland; they prove the undi
minished popularity ofthe French pedagogical repertoire. Most of these publications
are collections of studies with a theoretical foreword. Polish pedagogues not only
introduced French didactics into the field of Polish violin teaching, but they also
incorporated principles of the French playing technique and aesthetic fundamentals.
This article surveys the violin pedagogy and methods written in Polish and published
in Poland between 1841 and 1948.
In Poland, Warsaw was the main center of professional musical education and
of the publication of violin methods in the 19th and early 20th centuries. It was in
this city that Apolinary K4tski, the famous virtuoso and composer, established his
Music Institute (1861), later renamed the National Conservatory (1919). He was a
1 Works by Henri Vieuxtemps, Charles de Beriot and Pierre Rode were present in the concert programs,
while in the music schools' didactic programs, collections of etudes by Charles Dancla, Rodolphe Kreutzer,
Jacques Fereol Mazas, Pierre Rode as well as concertos of Giovanni Battista Viotti, Rodolphe Kreutzer,
Pierre Rode and Charles de Beriot, were popular. See M. Wozna-Stankiewicz, "Compositions ofthe Franco
Belgian School of Violin Music in the Concert Repertoire of 19th Century Poland", in M. Jablonski and D.
Jasinska, Henryk Wieniawski, Composer and virtuoso in the Musical Culture ofthe XIX and XX Centuries
(Poznah, 2001), p. 216 218.
2 Kreutzer's, Rode's and Baillot's handbook has been published in Warsaw and in Vilnius in 1821 (see Appen
dix no. 12 a - b).
3 Appendix no. 15.
132 Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap
pupil of Paganini and was known for flamboyant performances. The characteristic
feature of his playing was a technique combining pizzicato and arco, called pizzi
arco. Some of K^tski's students, such as Wladyslaw Gorski, Stanislaw Barcewicz
and the composer Zygmunt Noskowski (see Table 1), later became professors at the
Warsaw school.
TABLE I. Warsaw Institute of Music
Apolinary K^tski (18264-1879) Izydor Lotto (1840-1927)
/ /\
W Gorski / Z. Noskowski
(1846-1915) / (1846-1909)
S. Barcewicz
1 X I
(1858-1929)
J. Jarz^bski M. Karlowicz B. Huber

(1878-1955) (1876-1909) (1882-
Y T T T '
E. Umihska G.
(1910-1980) (1
Almost all of the

books and small v
not have a signifi
of Barcewicz's stu
of famous Polish
Bacewicz, Waclaw
dents, Mieczyslaw
violin concerto to
Izydor Lotto was y
Institute in Warsa
4 The date of Katski's

(Apolinary)", MGG? Pe
5 For example, Deux M
Gorski or Melodie and
ancienne op. 24 no. 1 a
6 Appendix no. 11.
7 Barcewicz was also th
in Berlin in 1903 as par
The Influence ofthe Franco-Belgian Violin School on Violin Didactics in Poland 133
where he studied with Lambert Massart. Lotto did not establish his own school of
violin, although he is the author of a significant amount of violin literature, including
concertos, etudes and miniatures. He was one ofthe teachers ofthe famous violinist
Bronislaw Huberman.
The last three authors of violin methods published in Warsaw were Konstanty
Paschalski,8 Wladyslaw Trojanowski9 and Jan Czubski,10 a composer and pedagogue
who worked in Rzeszow. Their books, which contain mostly national folk songs, in
addition to practical exercises, are meant for beginners.
In Krakow, violin pedagogy never attained the level of that ofthe Warsaw schools.
Nevertheless, there were two main centres of violin education in Krakow: the
Music Society Conservatory and the Music Institute. Instructors such as Wladyslaw
Kozlowski, Karol Wierzchowski and Adolf Bobilewicz taught at the Conservatory,
established in 1888 by the composer Wladyslaw Zelehski. The renowned violin
ist, composer and conductor Artur Malawski and the touring virtuoso Stanislaw
Mikuszewski also taught at the Conservatory. One of the professors at the Krakow
Music Institute was Adolf Billig, the author of a detailed method for spiccato, which
was published in Warsaw.'l Among the other didactic works, which I discovered in
Krakow's libraries, two are by Antoni Langer.12 They were written for teachers and
contain the basics of violin playing.
Besides the above-mentioned methods by Rode, Baillot, Kreutzer and de Beriot,
those by C. W. Hening, revised by Wladyslaw Rzepko, a student of K^tski,13 and by
J. Hfimaly (1928), revised and supplemented by Jozef Jarz^bski14 are worth men
tioning.
Polish methods, regardless of differences in level of difficulty, content and choice
of exercises, are very similar to their French models (with regard to arrangement and
character of their didactic content). Students improve their skills mainly on the basis
of scales, technical passages, melodic and harmonic intervals, different hand posi
tions and various articulations (staccato, legato, mixed bowing and arpeggios).
Most of the Polish violin methods include, besides practical clues, a description
of the instrument and an explanation of the fundamentals of music. In some cases,
authors present information about the history ofthe violin and wider aesthetical con
siderations, such as performance practice. In some methods, the theoretical section
includes a classification of different articulations and ornaments. Niedzielski15 and
Noskowski16 were particularly successful with this kind of classification.
8 Appendix no. 6.
9 Appendix no. 7.
10 Appendix no. 4.
1 [ Appendix no. 9.
12 Appendix no. 5.
13 Appendix no. 13.
14 Appendix no. 14.
15 Appendix no. 1.
16 Appendix no. 3.
According to the level of difficulty of the exercises, violin methods can be clas
sified in two groups: those meant for less advanced students and those for more
advanced ones. The small, single-volume books by Czubski, Langer, Trojanowski
and the method written by Paschalski belong to the first group. They contain exer
cises for one or two violins, at a basic level, that focus on technical issues such as
first hand position, scales and passages in a key with up to five accidentals, and they
include the most popular Polish patriotic and religious songs as well as arias from
Moniuszko's operas ordered according their key. (Niedzielski and Trojanowski did
the same in their methods.)
To the second group belong the methods by Niedzielski, Gorski,17 Noskowski,
Jarz^bski and Barcewicz18. Those large books, in one or more volumes, contain
various studies borrowed from French (Baillot, Alard and Beriot), German (F. David
and L. Spohr) and Italian (B. Campagnoli) methods, as well as etude collections by
Dancla, Mazas, F. Wohlfart, J. Dont, H. Kayser and C. W Henning. They also con
tain fingering studies by Henri Schradieck and Otakar Sevcik. Their didactic content
is supplemented by pieces from different eras, by composers such as Tartini, Corelli,
Bach, Handel, Mozart, Schubert, Schumann, Mendelssohn, Moniuszko, Surzyhski
and Kurpihski. The student must be able to play scales and passages ranging two
octaves, as well as melodic and harmonic intervals up to and including a tenth in
the seven hand positions. The student learns more difficult kinds of articulation, like
spiccato (in the 3rd part of Gorski's course book), arpeggio (Niedzielski, Noskowski)
and playing chords and triple and quadruple stops (Noskowski, Gorski). Sometimes
these methods contain exercices on virtuosic techniques such as single-string tech
nique (single-string scales by Niedzielski and Gorski) and flageolets tones. In all of
these volumes we find basic comments regarding the mechanics of playing and hand
movements, proposed by French pedagogues. A violin should be held on the left
side of the tailpiece and the left-hand fingers ought to bounce on the strings inde
pendently of one another and perpendicular to the neck. The bow should be held by
the thumb and middle finger, while the other fingertips rest lightly on the bow. The
fingers of the right hand must be held close to one another to prevent the hand from
stiffening. All hand joints should be relaxed and, most important, all bow movements
ought to be made using only the wrist and the fingers. The elbow should be more or
less motionless and positioned close to the body.
As far as type and arrangement of content are concerned, Jakub Niedzielski's
method most resembles the French ones. As stated in the title (Appendix, no. 1),
the practical part of the book contains mostly studies by Baillot and Mazas. These
exercices are designed in a scale-passage structure and include different articulations
? mainly staccato, legato and their variations. The theoretical section includes a
significant part of the Methode by Baillot, Rode and Kreutzer. These chapters con
cern the history of the violin, characteristics of playing technique, specific features
17 Appendix no. 2.
18 Appendix no. 10.
of the instrument, body positioning and the mechanics of playing. The volume does
not contain purely aesthetic discussions. At the very end, the author describes musi
cal genres and tempos without mentioning the aesthetic characteristics included in
Baillot, Rode and Kreutzer's Methode.
Zygmunt Noskowski also refers to the work ofthe Franco-Belgian pedagogues. In
his book, he uses didactic material from the Ecole du violon by Alard.19 In the theo
retical section, Noskowski describes different articulations and ornaments, including
a very specific description of various executions of the trill that shows the similarity
between his work and the Methode by Baillot, Rode and Kreutzer.
The French pedagogic repertoire also influenced Jozef Jarz^bski, especially in the
second volume of his method, which deals with playing in various hand positions and
which contains several etudes from the de Beriot method, which is dedicated to that
technical problem. These etudes, which are based on the 3rd part ? by Barcewicz
? of The New Practical School of Violin, are mostly fingering exercises for quick
position changes. Jan Czubski, however, refers to the theoretical foundations of the
French school. He brings in detailed descriptions ofthe instrument and the mechan
ics of violin playing, focusing especially on the right hand. The author also proposes
a special set of bowing studies. In his opinion the "extraction of sounds from a
violin, their strength, accents and declamation depends on the right hand".20 That
opinion is based strongly upon Baillot's and de Beriot's fundamentals of violin play
ing as a form of expression through music. These studies feature staccato and legato
articulation and help the student to achieve bowing fluency in technical passages,
arpeggios and double stops.
Konstanty Paschalski also highlights the importance of proper body and hand
positioning, especially for young players: "Every teacher knows how much time it
takes for both hands to get used to a proper way of holding a violin and leading
a bow".21 For this reason, his book contains only those studies that teach how to
lead a bow in simple rhythms and articulations. As a result, the student concen
trates on both hands and avoids incorrect positioning. Trojanowski's method con
tains a special set of articulation studies as well.22 Although it is meant for begin
ners, the author includes, at the end, several studies related to articulation mainly
designed to practice legato and staccato in triplets by Gorski, de Beriot, Alard and
Henning.
Among strong propagators of the Franco-Belgian school in Poland, a special
place is occupied by Benedykt Tyszkiewicz whose ABC of Violin Playing23 is an
extremely interesting book, with regard not only to its aesthetic and didactic mate
rial, but also due to its wide range of contents. ABC is a rather unusual method, as it
does not contain pedagogical studies. The author does, however, describe the move
19 D. Alard, Ecole du violon. Methode complete et progressive a Vusage du Conservatoire (Paris, 1844).
20 Czubski, Szkola na skrzypce, p. 5. See Appendix no. 4.
21 Paschalski, Podrecznik, p. 3. See Appendix no. 6.
22 Appendix no. 7.
23 Appendix no. 8.
ments of the bow hand that he claims, was taught at the Brussels Conservatoire by
Wieniawski, Vieuxtemps and Ysaye, and by Marsick at the Paris Conservatoire. That
method has, according to Tyszkiewicz, "a great history and future ahead of it".24
Its most important element is a preparatory technique called "attaquez - partez".
This technique consists of the initial gripping and supporting of the bow on the
string, followed by the initial movement of the violinist. For Tyszkiewicz, "attaquez
- partez" is a very important psycho-physical element that makes possible coordi
nation of the player's body. In his opinion, various factors, including sound quality,
depend on this technique. If a violinist learns the technique, he will be able to use
alternate bowings. Other issues related to articulation described by Tyszkiewicz are
"serre" (close) legato and double-stops and chords, which he suggests incorporating
in the didactic program from the onset of musical education. Early introduction of
this technical issue helps a pupil to master the running of a bow onto two and four
strings. In the matter of fingerings, the author refers to Kreutzer, Rode and Fiorillo,
which he considers to be the best practice material.
Regarding aesthetics, Tyszkiewicz remains faithful to the Franco-Belgian school.
He compares playing an instrument to singing. A violinist should enchant his audi
ence through "beautiful phrasing of every musical thought and ennobling a melody
with wonderful nuances of sound".25 Some of the conditions of great playing are
prudence and common sense. A violinist must strike a balance between his use of
vibrato, virtuosity, style and technique. The performance of a particular composi
tion should be at the same time free and based firmly on sensible rules of playing.
Achieving satisfactory results depends also on the freedom of a violinist's move
ments. Unreserved playing is directly linked to the natural arrangement ofthe instru
ment and the body, as well as the mechanics of both hands suggested by French
pedagogues.
ABC also contains a significant section on the history ofthe violin, musical genres,
violin literature and the biographies of famous violinists. As a whole, Tyszkiewicz's
book can be recognized as the first genuine Polish violin method.
One particular aspect of violin technique was addressed by Adolf Billig in his
course book on spiccato. It is significant that it contains detailed descriptions of
spiccato technique and a wide variety of exercises devised by the author himself.
As a supplement to his book, Billig recommends Kreutzer's etudes, especially in
Lambert Massart's version, and more difficult studies by Josef Kotek from the set
of Etudes op. 8. The didactic value and reliability of Kreutzer's etudes is therefore
acknowledged in this volume.
The function of Polish method books as introductions to French ones was a token
of appreciation for the French didactic school. One example of homage paid to the
French school is The Basics of Violin Playing by Antoni Langer who recommends
24 Tyszkiewicz, ABC, p. 7. See Appendix no. 8.

25 Tyszkiewicz, ABC, p. 8. See Appendix no. 8.
methods by Mazas26 and Dancla27 as additional practice material. Similarly, the third
part of Gorski's method is meant to be preparative material for Kreutzer, Fiorillo and
Rode's etudes. The popularity of French didactic literature is interesting, considering
the fact that not many of the above mentioned Poles were students of French vio
lonists or their successors. For example, Niedzielski was a student of J. L. Massart
while Barcewicz was a student of Hfimaly and Laub - both pupils of M. Mildner.
That situation testifies not only to the unwavering position of the Franco-Belgian
didactic repertoire in Poland, but also to the fact that its tradition was brought into
the Polish territory by touring virtuosos, especially Wieniawski and Lotto.
We can conclude that there were three main influences on Polish didactic works.
First, the influence ofthe Franco-Belgian school is apparent in Polish methods whose
material is arranged according to the French model (Niedzielski, Tyszkiewicz). Most
of the Polish course books, however, depend on French didactics and instructions
regarding the mechanics of playing (a detailed description in the works by Niedzielski,
Noskowski, Jarzgbski, Czubski) and the aesthetics of violin playing (especially by
Tyszkiewicz). Second, we note influences ofthe German school. Etudes by Spohr,
David, Henning, Wohlfart and fingering exercises by Schradieck make up a sig
nificant part of the didactic material in Polish methods. For example, Niedzielski's
and Noskowski's methods were developed on the basis ofthe schools of Spohr and
David. Finally, the influence of Polish tradition is testified through the appearance of
Polish religious and patriotic songs in these books. Polish songs can be found in both
course books for teachers (Trojanowski, Czubski, Paschalski) and in practice books
meant for students (Noskowski). This kind of repertoire requires of students sensitiv
ity to the metro-rhythmical character of Polish dances such as mazurkas, polonaises
and kujawiaks. In that sense, Polish course books meet two postulates especially
vital at the time ofthe January Uprising (1863): to strengthen Polish national aware
ness through the cultivating of tradition (popular, secular, sacred and folk songs) and
to revive the Polish nation through education of the working classes.
Polish violin method books represent a wide spectrum of methods used by con
temporary violinists, and they document a social and cultural phenomenon of 19th
and early 20th-century Poland.
26 J. F. Mazas, Duos abecedaires op. 85 (Paris, n. d.)

27 Ch. Dancla, Petite ecole de la melodie op. 123 (n. p. n. d.)
APPENDIX
Polish Methods
1. J. Niedzielski, Szkola teoretyczno - praktyczna na skrzypce zastosowana podlug

najnowszych szkol Baillota, Spohra, Mazasa i innych oraz wlasnemi postrzezeniami
pomnozona do pojecia kazdego uczqcego sig [The Theoretical - Practical School for
Violin According to the Latest Violin Schools of Baillot, Spohr, Mazas and Others,
Enriched by Remarks for Every Student] (Warszawa, Sennewald. 1841)
2. Wl. Gorski, Praktyczna szkola na skrzypce zebrana z rozmaitych najcelniejszych
autorow, w pieciu czgsciach, wydana i wznawiana w Warszawie u Hoesicka w latach
1880 - 1897 [The Practical School for Violin, Collected from Various Excellent
Authors, in five volumes, published and reprinted in Warsaw between 1880 and 1897
by Hoesick].
cz. wstepna: Podrgcznik dia poczqtkowej gry na skrzypcach, oprac. Z. Noskowski
[The introductory part: A Course Book ofthe Basics of Violin Playing, compiled
by Z. Noskowski] (Warszawa, Hoesick, 1897)
cz. 1: Szkola dia poczqtkujqcych [1st part: The Violin School for Beginners]
(Warszawa, Hoesick, 1880; 2/1897; Warszawa, Gumihski, 14/1935)
cz. 2: Szkola pieciu pozycji [2nd part: The School of Five Positions] (Warszawa,
Hoesick, 1885, 2/1897)
cz. 3: Przygotowanie do etiud Kreutzer a, Fiorillego i Rodego [3rd part: Introduction to
the Etudes of Kreutzer, Fiorillo and Rode] (Warszawa, Hoesick, 1886, 2/1897)
cz. 4: Cwiczenia w gamach, zebral i opracowal St. Barcewicz [4th part: Studies in
Scales, compiled and arranged by St. Barcewicz] (Warszawa, Hoesick, 1897.
3. Z. Noskowski, Krotka i latwa szkolka na skrzypce dia dzieci i poczqtkujqcych wedlug
zasad Alarda, Davida i innych z uwzglednieniem melodii polskich. Ulozyl Zygmunt
Noskowski [The Short and Easy School of Violin for Children and Beginners
According to the Rules of Alard, David and Others Including Polish Melodies]
(Warszawa, Hoesick, 1886]
4. J. Czubski, Szkola na skrzypce [The Violin School] (Lwow - Warszawa, Poloniecki
[1890])
5. A. F. Langer, Poczqtki gry na skrzypcach, wyd. nowe poprawione [The Basics of
Violin Playing, a revised edition](Krakow, Gieszczykiewicz, 1912)
?, Praktyczna szkola na skrzypce dia seminariow nauczycielskich. Ulozyl Antoni
Langer, op. 248, cz. I i II, oprac. i rozszerzyl F. J. L. d'Arma Dietz; do programow
szkolnych zastosowal F. Konior [The Practical School of Violin for the Pedagogic
Colleges by A.F. Langer, op. 248, vol. I and II, Compiled and Complemented by
F. J. L. d'Arma Dietz; Adapted to the School Programs by F. Konior] (Krakow, A.
Piwarski i S-ka, 1912)
6. K. Paschalski, Podrecznik nauki gry na skrzypcach przyjety przez radg pedagogicznq
warszawskiego Instytutu Muzycznego, z. I [The Handbook of Violin Playing. Adopted
by the Pedagogical Council of the Music Institute in Wasaw, vol. I,] (Warszawa,
Gebethner i Wolff, 1915)
?, Podrgcznik do nauki poczatkowej, zasadniczej techniki skrzypcowej opartej na

akordzie a-f-d-h dla seminariow nauczycielskich [The Handbook of Elementary
Violin Technique Based on the a-f-d-h - Chord for the Pedagogic Colleges] (Lwow
- Warszawa, Ksi^znica Polska, 1921)
7. W. Trojanowski, Praktyczny podrgcznik nauki gry na skrzypcach zastosowany do
seminariow nauczycielskich. Ulozyl WI. Trojanowski, nauczyciel seminarium w Lesnej
[The Practical Handbook of Violin Playing for the Pedagogic Colleges, compiled
by WI Trojanowski, the Teacher of the Pedagogic College in Lesna] (Warszawa,
Gebethner i Wolff, [1922])
8. B. Tyszkiewicz, ABC Skrzypka poswiecone samoukom jako podrgcznik do nauki
fundamentalnych zasad gry na skrzypcach [The ABC of Violin Play for Self - Study.
The Handbook of the Fundamental Rules of Violin Playing] (n. p., Tyszkiewicz,
2/1930)
9. A. Billig, Jak uzyskac szybkie i dzwieczne spiccato. Wskazowki teoretyczne i
praktyczne [How to Get a Fast and Sonorous Spiccato. The Theoretical and Practical
Hints] (Warszawa, Piwarski, 1933)
10. J. Jarzebski, St. Barcewicz, Nowa praktyczna szkola na skrzypce ulozona przez
profesora Jozef a Jarzebskiego, przejrzana i uzupelniona przez profesora St.
Barcewicza, Wydanie Nowe [The New Practical School of Violin, Compiled by Prof.
J. Jarzgbski, Revised and Completed by Professor St. Barcewicz] (Warszawa, 1936)
11. J. Jarzebski, Szkola na skrzypce, cz. 1-2 [The School of Violin, 2 vol.] (Warszawa,
1947-48)28
Foreign Violin methods translated in Polish and published in Poland
12. a) R. Kreutzer, P. Rode, P. Baillot, Metoda na skrzypce Rodego, Baillota i Kreutzera

ulozona przez Baillota. Nowa edycja pomnozona wykladem teoretycznym iprzykladami
od Konserwatorium Warszawskiego do nauki w tym instytucie przyj?ta, wyd. kosztem
E Klukowskiego, staraniem J. Bielawskiego [thimacza] [The Violin Method of
Rode, Baillot and Kreutzer edited by Baillot. A Revised Edition Completed with
Theoretical Lecture and Examples, Used for the Courses In the Music Conservatory
in Warsaw, edited at the expense of F. Klukowski, thanks to the effort of J. Bielawski
(the translator)] (Warszawa, 1821)
b) ?, Metoda na skrzypce Rodego, Baillota i Kreutzera ulozona przez Baillota dla
Konserwatorium Paryskiego do nauki w tym Instytucie przyjeta [The Violin Method
of Rode, Baillot and Kreutzer edited by Baillot, Used for the Courses In the Music
Conservatory in Paris] (Wilno, J. Zawadzki, 1821)29
28 According to M. Lebioda, ? Jarzebski ?, in E. Dziebowska (ed.), Encyklopedia muzyczna PWM, cz.

biograficzna, vol. 4 (Krakow, 1993) p. 438, Jarzgbski's method was in three parts, but I have never seen the
third.
29 The Vilnius edition includes some passages dealing with the aesthetical problems of violin playing that are
discussed in detail in the French version. They are missing in the Warsaw edition.
13. C. W. Henning, Krotka i praktyczna szkola na skrzypce, wyd. 20 popr., cz. 1 [The
Short and Practical School Of Violin, 20th revised edition (Warsaw and Cracow,
[1912], Gebethner and Wolff, vol. 1)
14. J. Hrimaly, Cwiczenia w gamach. Opracowal i uzupelnil prof Jozef Jarzgbski [The
Exercises in Scales, Revised and Complemented by Prof. Jozef Jarzebski] (Warszawa,
F. Gr^ibczewski, [1928]
15. Ch. de Beriot, Najlatwiejsza szkola na skrzypce odpowiednia dla samoukow.
Opracowal i uzupelnil prof R. Aust [The Easiest School of Violin for a Self- Study,
Compiled and Complemented by Prof R. Aust] (Warszawa, Gumihski, [1935])

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Societe Belge de Musicologie

TABLE I. Warsaw Institute of Music

Apolinary K^tski (18264-1879) Izydor Lotto (1840-1927)

J. Jarz^bski M. Karlowicz B. Huber

Almost all of the

4 The date of Katski's

24 Tyszkiewicz, ABC, p. 7. See Appendix no. 8.

26 J. F. Mazas, Duos abecedaires op. 85 (Paris, n. d.)

1. J. Niedzielski, Szkola teoretyczno - praktyczna na skrzypce zastosowana podlug

?, Podrgcznik do nauki poczatkowej, zasadniczej techniki skrzypcowej opartej na

Foreign Violin methods translated in Polish and published in Poland

12. a) R. Kreutzer, P. Rode, P. Baillot, Metoda na skrzypce Rodego, Baillota i Kreutzera

28 According to M. Lebioda, ? Jarzebski ?, in E. Dziebowska (ed.), Encyklopedia muzyczna PWM, cz.

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