Schools of Violin: Italian School

Corelli is the founder of the Italian Violin School. He confirmed that the violin is essentially a singing instrument. The sonatas he wrote abandoned those non-musical effects in the Allegro movement and focused on brilliant and energetic melody shaping. His slow movement is full of singing, thus forming a sharp contrast. His singing characteristics laid the foundation for the Italian school. A. Vivaldi is a representative figure of the Italian school of violin concertos. He was the first to use an orchestra to accompany the violin. This initiative of his gave the concerto a symphonic character and added drama. G. Tartini was the most famous violinist in Europe in the 18th century and a representative of the Italian school. He wrote 50 variations based on the themes of Corelli's works, which greatly developed the art of violin bowing. He established the form of an early violin sonata consisting of three movements. His masterpiece "The Devil's Trill" is the peak of violin performance art in the 18th century.

In the mid-18th century, the violin bow did not have this curvature, but arched outwards, which was suitable for playing the works of composers of the Baroque period, and more suitable for playing the polyphonic violin works of J.S. Bach. By the time of J. Haydn and W.A. Mozart, the melody lines of musical works had greater ups and downs, and the volume required more powerful accents. The violin playing skills also changed accordingly, resulting in the 1785 Frenchman Tourt's The creation of modern violin bows has developed and improved in bow handling. G.B. Viotti, known as the father of modern violin performance, is a representative figure who embodies the development level of violin art during the transition from the Baroque period to the Classical period. He combined the singing phrases and technical phrases of the violin and made full use of the range of the E string. Viotti's "Violin Concerto No. 22" (in A minor, 1797) is still appreciated by many composers. Paganini was a pioneer of the new Romanticism that emerged during the decline of the Italian school. His "24 Caprices" have always been a model for violin playing skills. The new melody techniques, bold modulations, rich chromatic progressions, sharp harmonic combinations, distinctive rhythmic patterns, and multiple speed changes he used had a great influence on future Romantic composers. His Caprices are known as "the encyclopedia of violin techniques". Paganini used many techniques in his playing, such as double overtones, continuous bowing, throwing bows, special tunings, left-hand picking techniques, double notes and complex chords, and long distances between left-hand fingers on the fretboard. Jumping, etc. are all secrets that violinists of his generation tried their best to explore. Schools of Violin: German School

Before 1650, the art of violin playing in Germany basically followed the path of the Italians. Around 1700, German composers wrote violin works that used more difficult techniques than Italians, especially in the use of chords, special tuning methods, and certain descriptive playing effects. The violin has developed into a highly technical instrument. J.S. Bach’s six unaccompanied violin sonatas and suites place extremely strict demands on performers. The "Violin Tutorial" written by L. Mozart (the father of W.A. Mozart) in 1756 is a summary of the development of the German violin. In 1831, the famous German violinist Spohr completed his "Violin Tutorial". F. David (1810~1873) was the head of the violin department when the Leipzig Conservatory of Music opened in 1843. He was a teacher who was good at inspiring and motivating students to make progress. With his efforts, the Leipzig Conservatory of Music became a 19th-century teacher. Mid-century violin learning center. David has edited many classical works and contributed to a rich repertoire.

The famous performer J. Joachim’s historical achievement lies in using his extraordinary performance skills to faithfully reproduce the musical connotation of the work. Bach's six unaccompanied sonatas and suites are recognized by modern violinists as the pinnacle of violin polyphonic music due to his performance. Another historical achievement of his is to cultivate a large number of outstanding students, among whom L. Orr, an outstanding violin educator in the early 20th century, was one of them. It is worth mentioning that Joachim’s last student, A. Weidenberg, fled to China when Nazi Germany persecuted the Jews, lived in Shanghai, and taught violin and chamber music at the National Shanghai Music College. Violin school: French-Belgian school

In 1782, Viotti came to France for the first time. Under his training and influence, French P. Bayeux, P. Rod and R. Crewe Together they founded the French Violin School. In 1795, the Paris Conservatory of Music was established, and it became a school that young violinists aspired to. Among them, Krutzer's "Forty-two Etudes" is recognized as an outstanding work. After the mid-19th century, the French violin playing school had a great influence on the world's violin playing art. H. Wieniawski, P.d. Sarasat, and F. Kreisler are representatives of this school of thought. Polish violinist Wieniawski graduated from the Paris Conservatoire.

He inherited the playing style of the French school and added a romantic touch. The French violin school emphasized the magnificence of the sound and involved many wrist bow movements, which made it difficult for him to play the continuous bow. Later, he finally found that he could successfully master this continuous bow method by using the movements of the entire arm. Wieniawski brought his performance skills to Russia in 1862, laying the foundation for the broad development of the Russian performance school that emerged later. Sarasate, who was born in Spain, is one of the outstanding performers trained by the French Conservatory of Music. His playing is known for its sweet and pure tone. The vibrato he uses is wider, his pitch is excellent, especially in the high register, and his technique is brilliant and smooth. The "Gypsy Song" and "Carmen Fantasia" he wrote are very creative and technically difficult. The Austrian Kreisler graduated from the Paris Conservatoire in 1887. He has a free and easy playing style, never showing off his skills, elegant bowing, very clever handling of phrases, and full of rhythmic vitality. Kreisler inherited and developed Wieniawski's vibrato skills, allowing him to achieve unparalleled timbral changes. His bowing techniques and fingering techniques are very unique.