Schirmer’s Library of Musical Classics Vol. 225 HENRI VIEUXTEMPS Or. 37 > CONCERTO NO. V (NA MINOR VIOLIN WITH" ACCOMPANIMENT OF ORCHESTRA EOITED AND FINGERED | wevky sChRADIECK “Wi Beoceanscns SrETon oF tH AUTOR 8 RIGHARD ALDRICH NEW YORK: G. SCHIRMER Conran, 1901, eG. SenseHEnameof Mesa an ns stands among the fore- mont of thore who have Cconteibuted toward one of the most ehuracter- fetie"modera develop iments of musleal are Hes onc af those who inwve made the pro- whos the vite mighty and. influential 1e; Re belongs to the nt band whoy coming. into. the rich Inheritance handed down from the days of the old ian and French masters of the violin, have mule pled that inheritance and passed fe on as.a richer His artistic Tineage’ traces back through and Viotti, to Pugnant and Corel, and thus includes him in the great line of composer- Yiolinists whose work has had so lemportant an inc Tiuence in fixing the violin in its place as the chict of musical instruments, “Vieuxtemps, like most other great performers, vas. precocious. Born. in ‘Verviers, Belgium, in eso, of a musical family, his talent’ got the carly Fecognition that was due ft, and he was well trained Irom his very eradle—so weil that at the age of six he played ‘one of Rode’s concertos publicly with an orchestra, The next year his father took kim on’ four, in the course of which the great de Bériot heand him and claimed him for his pupily and within a year brought him before his own public, the Paris public, ashis pupil and protéxé. With such a brillant troduction this child of cight years was started on & Career destined to confirm all the hopes his preceelty fad raised. For five years he studied by himselt in his Beigian home." When he was thirteen his father took him on a long tows in Germany and. Austia— the beginning of «ltctime of traveling. There he met some of fie great violinists ofthe time—Spohr, Mogae, Maysederand won the admiraan of ‘musielansand public for his pre-eminent qualities a3 2S performer. "Schumann, the generous friend. of Youthful talent, welcomed him’ to Leipaig in the Nowe. Zeitschrift "far Musik with. a characteristic criticism, signed with Florestan’s inital" Before Hiensi you ean close your eyes and be comforted Hs playing has at once the perfume and the brilliant beauty ofa flower.” Wit he dacs is. perfect, masterly from beginning to end... When you speak of Vieustemps, you can think of Paganiai, From his fst tone to his last we stand within & magic circle drawn around us, to which we can find to beginning and no end.” Not long afterward we find him in Paris study- fing again, tis time composition with Reicha. Of tht tbor the uta were soon foroming for his rst compositions are dated immediately thereat In the next few years he rested his tireless fravel- ing, ad with ‘continually greasing ecces th pubite appearances," Hanslick notes that fa 1841 he End Servs the “celistslone succesded in Vienna in Achieving the ambition of every virtuoso of the period by arousing an enthusiasm as great as List and Thalberg and becoming the petted dartings and Soe the Ruston capa FH compotion became an increasingly important element i his Success. “His fist efforts of lasting value, the cone orto in Eand the Fantasie-Caprice, won prodigious Stdmiration in 1839 when he frst produced them, and thereafter he wrote and published at frequent fnter- ‘als, winning untinted applause with his concertos tnd concert pieces. His wanderings led hime n 1844 iotae Unita Staten the frat of tree vin ade to this country. He came apain in 1857 with Thal- beng, and once more in 1870" Coascleks travel and tielts aetiity In concert-gving make wp the record of the artist's life thereafter, secure in his place aaa ‘World-famous master, A few brief rests were vouch “fed hm, auch, for instance, au he had in St, Peter burg, wherelhe wae for six years slo violinist tothe Emperor of Russia" and professor in the Conserva. tory; and in Brussels, where in 1871 he was made feather at the Conservatory and drectorof the popu Kerconcerts, Here came the end of his long career; fern 7s he was acken with pray ani laying days were over. He lived till 881, an ine Extate traveller fo the end; he died in Algiers, in fhe isto Hoummeying.. ites ot euntemps’ playing. had the great qualities of techniquecharacterstico the modern French school. When he was at the height of his powers, his into- nation way pests his command of the Bow unr sed. All testimony agrees that he had a tone {reater in brenath and quality than most of his cone Femporatles, “Hanslicks writing of him in 1854, Called him a real man among the virtuosos of his me Strument, and expected. to, ear but few voices contest {in favor of Joachim) his ttle to be called the foremost violinist of the world. His technique svasss impeccable and finished ss his stylewas noble, Intellectual and fry. In quartet playing, according to the same ertic, the big, singing tone and the noble yle were never more irresistible. He was di Linguished among virtuosos forhis lack of affectation, and retained to his old age his childlike freshness and simplisty of sprit Vieuxtemps' compositions added to the dignity and importance of modern violin literature. While they are not to be mumbered among great master- ‘works like the concertos of Beethoven and. Men: dshoohn, they were and stil se valuable, to the rts and (o the public as expressions of the highest developments of violin technics in terms of real tusical significance, odlginal and individual in nce. Many of them are stil among the estecined numbers of the violinists repertory. Show, as a matter of course, consummate expere nese inthe idiom of the instrument and in the ex ploiteion ofall is resources. But, more than ti Brey are musically pleasing, some of them, indeed, containing fine ideas finely expressed. With all his fondness forthe piquant, and sometimes the bizarre, they are cast in rymmetrical and artistic form, and ate always skilfully scored for orchestra. The irae “of them are worthy objects of the highest echnical study; and no serious” violinist today Ieontouched by the influence and achievements of the great master whose work they represent. RICHARD ALDRICH.Concerto (NO V). Edited and fingered by Honry Sehradioch HENRI VIRUXTEMPS. 0.37. Allegro non troppo. 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