Early recorded violinists
The thesis 'Early Recorded Violinists' investigates 13 violinists, starting from Joseph Joachim as the earliest born violinist to have made gramophone recordings, to Mischa Elman. In the first chapter I examine and analyse the recordings of Joachim. In the next chapter I investigate Hugo Heermann's violin playing and technique. Heermann is a violinist with insufficient information published about him. In chapter 3, the work of Sarasate is illustrated with musical examples from his recordings and compositions, examining the combination of his musical and technical characteristics. Auer is examined as violinist and teacher in chapter 4. In the fifth chapter I intend to examine Eugene Ysaye who is one of the first exponents of the modern violin sound and continuous vibrato along with Kreisler. In chapter 6, we consider the founder of the Hungarian violin school JenO Hubay. His violin playing was influenced by national Hungarian music and my examples intend to give some information on that subject. Another 'national' violinist Maud Powell is investigated in chapter 7. She was influenced by her native American music and gave the first performances of many violin concertos in the United States. Another important teacher of the 20th century, Karl Flesch, is considered as a rival to Auer and is presented in chapter 8. Viennese violinist Fritz ICreisler is examined in chapter 9, his recordings and compositions give us important information on vibrato and portamento. Ysaye also influenced a younger generation of violinists, among them Jacques Thibaud whose recordings are examined in chapter 10. In chapters 11 and 12, two more 'national' violinists are examined with their recordings: Jan Kubelik and Georges Enescu. Auer's first internationally renowned pupil, Mischa Elman, is also examined in chapter 13.