When was the violin invented? Violin Message

It is generally accepted that the first bowed string instrument was invented by the Indian (according to another version - Ceylon) king Ravana, who lived about five thousand years ago. This is probably why the distant ancestor of the violin was called the ravanastron. It consisted of an empty cylinder made of mulberry wood, one side of which was covered with the skin of a broad-scaled water boa. The strings were made from the intestines of a gazelle, and the bow, curved in an arc, was made from bamboo wood. Ravanastron has been preserved to this day by wandering Buddhist monks.

The violin appeared on the professional stage at the end of the 15th century, and its “inventor” was the Italian from Bologna, Gaspard Duifopruggar. The oldest violin, made by him in 1510 for King Franz I, is kept in the Nidergey Collection in Aachen (Holland). The violin owes its present appearance and, of course, sound to the Italian violin makers Amati, Stradivari and Guarneri. The violins of the master Magini are also highly valued. Their violins, made of well dried and varnished maple and spruce plates, sang more beautifully than the most beautiful voices. The instruments made by these craftsmen are still played by the world's best violinists. Stradivari has designed a violin that is still unsurpassed, having the richest timbre and exceptional "range" - the ability to fill huge halls with sound. It had kinks and irregularities inside the body, thanks to which the sound was enriched due to the appearance of a large number of high overtones.

The violin is the highest-pitched instrument of the bow family. It consists of two main parts - the body and neck, between which four steel strings are stretched. The main advantage of the violin is the melodiousness of the timbre. It can play both lyrical melodies and dazzling fast passages. The violin is the most common solo instrument in the orchestra.

The Italian virtuoso and composer Niccolo Paganini greatly expanded the possibilities of the violin. Subsequently, many other violinists appeared, but no one could surpass him. Remarkable works for the violin were created by Vivaldi, Bach, Mozart, Beethoven, Brahms, Tchaikovsky and others.

Oistrakh, or, as he was called, "Tsar David", is considered an outstanding Russian violinist.

There is an instrument that looks very much like a violin, but is slightly larger. This is an alt.

MYSTERY

Carved in the forest, smoothly hewn,

Sings-poured, what's the name?

The violin is one of the most common stringed musical instruments. It has been popular since ancient times - since the 16th century. On it, violinists play solo, accompany in ensembles. Violin sounds can be found in many modern bands, as you can see by listening to the compositions of the weborama music portal, which specializes in this topic. It is not for nothing that this instrument is called the queen of the orchestra.

The exact place and time of origin of the violin could not be established. Much speculation has been made about what bowed stringed instruments were like before the modern violin. It is assumed that the ancestors of the violin and viola were rebab, company, fidel, which appeared in the XIII-XV centuries. The viola predates the violin. It varied in size. To perform any work on the viol, the musician had to stand. When performing, the viola was held on the knees, and later on the shoulders, which led to the emergence of the violin.

The violin solo was not originally played, because this instrument was reputed to be common folk. It was used only in the circles of itinerant musicians in beer establishments.

A significant transformation of the violin took place in the 16th century, thanks to Italian masters who made a musical instrument of ideal shape and from the best materials. The author of the first modern violin is Gasparo Bertolotti. A great contribution to the manufacture of violins in Italy was made by members of the Amati family, who worked on the timbre of the instrument. It was they who made it deep and voluminous. According to their idea, the violin should convey feelings and emotions, its sound should resemble a human voice. The idea succeeded.

The violin has a wide range, beautiful sound. This allows composers to create works of different genres for the violin. There are many masterpieces where the leading part belongs to the violin.

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Many nations have the prototype of the violin. And the violin acquired its modern shape and size by the sixteenth century. At the same time, the famous Italian violin maker Nicolo Amati, as well as his students Andrea Guarneri and Antonio Stradivari, also worked. Their violin is still considered the best in the world. It is believed that the great Stradivari created about one thousand one hundred and sixteen musical instruments and many of them were even given names. Names were given in honor of famous musicians who played one violin or another in their time. After all, the violin is an individual instrument and many great violinists preferred to have one single instrument that they knew thoroughly. Each musician put his soul into his violin, and she answered him the same, releasing unique melodies, incomparable in their beauty.

The violin stimulates the brain

The great scientist Albert Einstein was known as an excellent violinist, and as a child he even performed at concerts. When Einstein grew up, he still enjoyed playing the violin, claiming that it helped him think. And the well-known Conan Doyle, the brilliant detective Sherlock Holmes, played the violin, considering another case.

How are the violin and the mysterious smile of Mona Lisa connected? According to legend, Leonardo da Vinci invited violinists every time the Mona Lisa came to him to pose for a portrait. And the pleasure of music is forever imprinted in the smile of the Mona Lisa.

And the smallest violin was created by a violinist from the Chinese city of Guangzhou. Its length is only one centimeter, and it took seven years to create. Too bad it can't be played.

The violin is rightfully considered an instrument because the sound it makes is very expressive and beautiful. The tonality of the violin has a gentle sound that can fall in love with any person who has an ear for music.

The violin has its origins in India, where the first instruments with a bow appeared. Although in Europe in the Middle Ages the bow was in use, and they played it on a variety of musical instruments that had strings.

In any symphony orchestra, thirty percent of the musicians play violins.

The origin of bowed strings is unclear. According to K. Zaks, the bow was first mentioned in Persia and China in the 9th century, and fidels began to appear in Europe in the 10th century: one of the types of the instrument, apparently coming from Byzantium, appeared at that time in Spain. It was this type, usually pear-shaped and without a neck, with one to five strings, that became the main bowed instrument, which appeared under various names - fidel, viela or viola - in medieval Europe. The second type, long and narrow, called the rebec, probably of Arab origin, appeared in Europe in the 11th century. and was preserved in various forms for about six centuries. By the end of the 16th century two main families of stringed bowed instruments were clearly distinguished: viols and violins. The main differences between them related to the design of the instrument: the viols had a flat bottom soundboard, sloping shoulders, resonator holes in the shape of a letter s(esses), a wide neck, frets on the fingerboard and 6-7 thin strings, while the violins were characterized by a convex bottom soundboard, rounded shoulders, holes in the shape of a letter f(efs), narrow neck, no frets on the fretboard and 4 thick strings. Violas of all varieties were played by resting them on the knee or held between the knees, as were the larger varieties of the violin family; other varieties of violins were held on the shoulder, later under the chin. In addition to designating the instrument itself, the term "violin" also referred to a family that included viola, cello and some types of double bass.

The four strings of the violin are tuned in fifths: salt, re 1 , la 1 , mi 2. String salt entwined with a metal thread, a string mi usually made of metal. The technique of plucking the strings with your fingers is called pizzicato. Sometimes a small wooden device for muffling the sound, called a mute, is put on the strings, namely on the stand.

Unlike most modern instruments, which were perfected only after much development and experimentation, the violin entered its "golden age" at the beginning of its own career. The first violin makers worth mentioning were Gasparo Bertolotti (or "da Salo") (c. 1542–1609) and Giovanni Paolo Magini (c. 1580–1632), both from Brescia in northern Italy. However, already during their lifetime, Cremona, located nearby, began to gain fame as a world center for violin production. For more than a hundred years (c. 1575–1680), the main role in this process was played by the Amati family, especially Nicolo (1596–1684), who flattened the convex body of the ancient viola da braccio, narrowed its “waist”, sharpened the corners, improved the resonator holes and improved paintwork. N. Amati's most famous student was Antonio Stradivari (c. 1644–1737), whose more than 1,100 instruments (over 600 of which are known today) are considered the pinnacle of violin craftsmanship of all time. Third in the great triumvirate of the Cremonese is the Guarneri family, especially Giuseppe del Gesu (1698–1744), who made instruments with a strong personality and strong sound. By 1750 the glorious violin-making period was over, although Germany, France, England and other countries, as well as Italy, continued to make violins.

The modern violin differs from the examples made three hundred years ago, mainly in its more brilliant sonority, which it owes to thicker gut strings, an elongated neck and fingerboard, and higher bridges. Around 1820, the composer and violinist Ludwig Spohr invented the chin rest. Although many modern violins are mass-produced and intended for music students and amateur musicians, and many others are fakes or copies of well-known old instruments, some fine examples are made that bear comparison with the Cremonese ones.

Considered at first a young, loud-voiced upstart (and in France an instrument suitable only for dancing), the violin replaced the viola of the Renaissance only when, in the 18th century, music from living rooms moved to concert halls and to the big opera stage. In terms of sensitivity and expressiveness of sound, an endless variety of technical possibilities, from all kinds of bow playing techniques to plucked and percussion effects, the violin is an unsurpassed solo instrument - both for "singing" a simple melody, and for virtuoso performance. For three centuries she has played a leading role in orchestral and chamber music. In the 16th and 17th centuries, in addition to the viola and cello, several other varieties of the violin were known, now out of use. The small instrument, first mentioned in 1618, is used today as a three-quarter fiddle in teaching children.

"Family tree" of the origin of the modern violin. Encyclopædia Britannica, 11th ed.

The progenitors of the violin were the Armenian bambir, Arabic rebab, Spanish fidel, British crotta, the merger of which formed the viola. Violin forms were established by the 16th century; famous violin makers, the Amati family, date back to this century and the beginning of the 17th century. Their instruments are of excellent shape and excellent material. In general, Italy was famous for the production of violins, among which the Stradivari and Guarneri violins are currently highly valued.

The violin has been a solo instrument since the 17th century. The first works for violin are considered: "Romanesca per violino solo e basso" by Biagio Marini () and "Capriccio stravagante" by his contemporary Carlo Farin. Arcangelo Corelli is considered the founder of artistic violin playing; then follow Torelli, Tartini, Pietro Locatelli (-), a pupil of Corelli who developed the bravura violin playing technique.

Since the 2nd half of the 19th century, it has become widespread among the Tatars. Since the 20th century, it has been found in the musical life of the Bashkirs.

The structure of the violin

The violin consists of two main parts: the body and the neck, along which the strings are stretched.

Frame

The body of the violin has a specific rounded shape. In contrast to the classical form of the case, the shape of the trapezoidal parallelogram is mathematically optimal with rounded notches on the sides, forming a "waist". The roundness of the outer contours and the "waist" lines ensures the comfort of the game, in particular in high positions. The lower upper plane of the body - decks - are connected to each other by strips of wood - shells. They have a convex shape, forming "vaults". The geometry of the vaults, as well as their thickness, its distribution to one degree or another determine the strength and timbre of the sound. A darling is placed inside the body, transmitting vibrations from the stand - through the upper deck - to the lower deck. Without it, the timbre of the violin loses its liveliness and fullness.

The strength and timbre of the sound of the violin is greatly influenced by the material from which it is made, and, to a lesser extent, the composition of the varnish. There is an experiment with the complete chemical removal of varnish from a Stradivarius violin, after which its sound did not change. The lacquer protects the violin from changing the quality of the wood under the influence of the environment and stains the violin with a transparent color from light golden to dark red or brown.

The bottom soundboard (a musical term) is made from solid maple wood (other hardwoods), or from two symmetrical halves.

The top deck is made from resonant spruce. Has two resonator holes - efas(they resemble the Latin letter (f) in shape. A stand rests on the middle of the upper soundboard, on which the strings mounted on the string holder (sub-neck) rest. largely providing the strength of the top deck and its resonant properties.

The shells unite the lower and upper decks, forming the side surface of the violin body. Their height determines the volume and timbre of the violin, fundamentally influencing the quality of the sound: the higher the shells, the muffled and softer the sound, the lower, the more piercing and transparent the upper notes. The shells are made, like the decks, from maple wood.

The darling is a round (spruce wood] spacer that mechanically connects the soundboards and transmits the tension force of the strings and high-frequency vibrations to the lower deck. Its ideal location is experimentally found, as a rule, the end of the darling is located under the leg of the stand on the side of the E string, or next to it. is rearranged only by the master, since its slightest movement significantly affects the sound of the instrument.

The neck, or string holder, is used to fasten the strings. Previously made from hardwoods of ebony or mahogany (usually ebony or rosewood, respectively). Nowadays, it is often made of plastics or light alloys. On the one hand, the neck has a loop, on the other - four holes with slots for attaching strings. The end of the string with a button (mi and la) is threaded into a round hole, after which, by pulling the string towards the neck, it is pressed into the slot. The D and G strings are often fixed in the neck with a loop passing through the hole. Currently, lever-screw machines are often installed in the neck holes, which greatly facilitate tuning. Serially produced are light alloy necks with structurally integrated machines.

a loop of thick string or steel wire. When replacing a strand loop larger than 2.2 mm in diameter with a synthetic one (2.2 mm diameter), a wedge must be inserted and a hole with a diameter of 2.2 must be re-drilled, otherwise the point pressure of the synthetic string may damage the wooden sub-neck.

A button-head of a wooden peg inserted into a hole in the body, located on the opposite side of the neck, serves to fasten the neck. The wedge is inserted into the conical hole, corresponding to it in size and shape, completely and tightly, otherwise cracking of the shred and shell is possible. The load on the button is very high, about 24 kg

The stand affects the timbre of the instrument. It has been experimentally established that even a slight shift of the stand leads to a significant change in the instrument's tuning due to a change in the scale and to some change in timbre - when shifted to the neck, the sound is muffled, from it - brighter. The stand raises the strings above the top sounding board to different heights for the possibility of playing on each of them with a bow, distributes them at a greater distance from one another on an arc of a larger radius than the nut.

Vulture

Fretboard (detail of a musical instrument) of a violin - a long board made of solid hard wood (black ebony or rosewood), curved in cross section so that when playing on one string, the bow would not cling to adjacent strings. The lower part of the neck is glued to the neck, which passes into the head, consisting of a peg box and a curl.

The nut is an ebony plate located between the neck and the head, with slots for the strings. Slots in the nut distribute the strings at equal distances from each other.

The neck is a semicircular part that the performer covers with his hand during the game. Attached to the top of the neck vulture and nut.

Peg box - part of the neck, in which a slot is made frontally, two pairs are inserted from both sides pegs, which are used to tune the strings. The pegs are conical rods. The rod is inserted into the conical hole in the peg box and adjusted to it - failure to comply with this condition may lead to the destruction of the structure. For tighter or smoother rotation, the pegs are pressed in or pulled out of the box, respectively, while rotating, and for smooth rotation they must be lubricated with lapping paste (or chalk and soap). The pegs should not protrude much from the pegs box. The tuning pegs are usually made of ebony and are often decorated with mother-of-pearl or metal (silver, gold) inlays.

The curl has always served as something like a corporate brand - evidence of the taste and skill of the creator. Initially, the curl rather resembled a female foot in a shoe, over time, the similarity became less and less - only the “heel” is recognizable, the “toe” has changed beyond recognition. Some craftsmen replaced the curl with a sculpture, like a viol, with a carved lion's head, for example, as Giovanni Paolo Magini (1580-1632) did. Masters of the XIX century, lengthening the fretboard of ancient violins, sought to preserve the head and curl as a privileged "birth certificate".

strings

The strings run from the neck, through the bridge, over the surface of the neck, and through the nut to the pegs, which are wound around the headstock.

The violin has four strings:

• first("fifth") - upper, tuned to mi of the second octave. The metal solid string "mi" has a sonorous, brilliant timbre.
• second- tuned to la of the first octave. Veined (intestinal or from a special alloy) solid "A" has a soft, matte timbre.
• third- tuned to D of the first octave. The vein (intestinal or artificial fiber) "re", entwined with aluminum thread, has a soft, matte timbre.
• fourth("bass") - lower, tuned to the salt of a small octave. Vein (intestinal or artificial fiber) "salt", entwined with a silver thread, harsh and thick timbre.

Accessories and accessories

The bow is an accessory for continuous sound production. The basis of the bow is a wooden cane, passing from one side into the head, on the other, a block is attached. A ponytail hair is pulled between the head and the block. The hair has keratin scales, between which rosin is impregnated when rubbed, it allows the hair to cling to the string and produce sound.

Chinrest. Designed for the convenience of pressing the violin with the chin. Lateral, middle and intermediate positions are selected from the violinist's ergonomic preferences.

Bridge. Designed for the convenience of laying the violin on the collarbone. Mounted on the bottom deck. It is a plate, straight or curved, hard or covered with a soft material, wood, metal or plastic, with fasteners on both sides. In a metal structure, the necessary electronics are often hidden, for example, a microphone with an amplifier. The main brands of modern bridges are WOLF, KUN, etc.

Sound pickup devices. Required to convert the mechanical vibrations of the violin into electrical ones (for recording, for amplifying or converting the sound of the violin using special devices).

• If the sound of a violin is formed due to the acoustic properties of the elements of its body, the violin is acoustic.
• If the sound is formed by electronic and electromechanical components, it is an electric violin.
• If the sound is shaped by both components to a comparable degree, it is a semi-acoustic violin.

Case (or wardrobe trunk for violin and bow and additional accessories.

The mute is a small wooden or rubber "comb" with two or three teeth with a longitudinal slot. It is put on top of the stand and reduces its vibration, so that the sound becomes muffled, "socky". More often mute is used in orchestral and ensemble music.

"Jammer"- a heavy rubber or metal mute used for homework, as well as for classes in places that do not tolerate noise. When using a jammer, the instrument practically ceases to sound and emits barely distinguishable pitch tones, sufficient for perception and control by the performer.

typewriter- a metal device consisting of a screw inserted into the neck hole, and a lever with a hook used to fasten the string, located on the other side. The machine allows finer tuning, which is most critical for mono-metallic strings with low stretch. For each size of the violin, a certain size of the machine is intended, there are also universal ones. They usually come in black, gold, nickel or chrome, or a combination of finishes. Models are available specifically for gut strings, for the E string. The instrument may not have machines at all: in this case, the strings are inserted into the neck holes. Installation of machines not on all strings is possible. Usually in this case, the machine is placed on the first string.

Recording and performance

Recording

The violin part is written in the treble clef. The standard violin range is from the salt of the small octave to the fourth octave. Higher sounds are difficult to perform and are used, as a rule, only in solo virtuoso literature, but not in orchestral parts.

Hand position

"Franco-Belgian" way of holding the bow.

The strings are pressed with four fingers of the left hand to the fretboard (the thumb is excluded). The strings are led with a bow, located in the right hand of the player.

By pressing with a finger, the length of the oscillating region of the string decreases, due to which the frequency increases, that is, a higher sound is obtained. Strings not pressed with a finger are called open and are denoted by zero when specifying the fingering.

From touching the string with almost no pressure in certain places, harmonics are obtained. Some harmonic sounds go beyond the standard violin range in their pitch.

The location of the fingers of the left hand on the fretboard is called fingering(from the word applicate). The index finger of the hand is called the first, the middle - the second, the ring - the third, the little finger - the fourth. position called the fingering of four adjacent fingers, spaced from one another by a tone or semitone. Each string can have seven or more positions. The higher the position, the more difficult it is to play cleanly in it. On each string, excluding fifths, they go mainly only up to the fifth position inclusive; but on the fifth or the first string, and sometimes on the second, higher positions are used - up to the twelfth.

There are at least three ways to hold the bow:

• The old ("German") way, in which the index finger touches the bow stick with its lower surface, approximately against the fold between the nail phalanx and the middle one; fingers tightly closed; the thumb is opposite the middle; the hair of the bow is taut moderately.
• New ("Franco-Belgian") way, in which the index finger touches the cane at an angle with the end of its middle phalanx; there is a large gap between the index and middle fingers; the thumb is opposite the middle; tightly taut bow hair; inclined position of the cane.
• The newest ("Russian") way, in which the index finger touches the cane on the side with a fold between the middle phalanx and metacarpal; deeply covering the cane with the middle of the nail phalanx and forming an acute angle with it, it seems to direct the conduct of the bow; there is a large gap between the index and middle fingers; the thumb is opposite the middle; loosely taut bow hair; straight (not inclined) position of the cane. This way of holding the bow is the most appropriate for achieving the best sound results with the least expenditure of energy.

The violins also make up a significant part of the orchestra, in which the musicians are divided into two groups, known as the first and second violins. Most often, the melodic line is dedicated to the first violins, while a group of the second ones perform an accompanying or imitating function.

Sometimes the melody is entrusted not to the whole group of violins, but to the solo violin. Then the melody is played by the first violinist - accompanist. Most often, this is necessary to give the melody a special color, delicate and fragile. The solo violin is most often associated with the lyrical image.

The string quartet in its original form, consists of two violins (musicians playing the parts of the first and second violin), viola and cello. Like an orchestra, most often the first violin plays the leading role, but in general, each instrument can have solo moments.

Famous violinists

17th century

• Arcangelo Corelli (-) is an Italian violinist and composer, considered the creator of artistic violin playing. Contemporaries called him Columbus in music.
• Antonio Vivaldi (-) - Venetian abbot. Composer, violinist, teacher, conductor. Creator of the violin concerto as a musical form. One of the most famous works is a cycle of 4 concertos for violin and orchestra "The Seasons".
• Giuseppe Tartini (-) is an Italian violinist and composer. He improved the design of the bow, lengthening it, and developed the basic methods of conducting the bow, recognized by all contemporary violinists of Italy and France and included in general use.

18th century

• Ivan Khandoshkin (-) - Russian virtuoso violinist, composer and teacher. Founder of the Russian violin school. The first violin virtuoso in Russia. During his lifetime, he was popular in wide circles of Russian society.
• Giovanni Battista Viotti (-) is a famous Italian violinist of the generation that preceded Niccolò Paganini. Apart from the ten piano concertos, all of Viotti's works are written for string instruments, the most important of which are the 29 violin concertos.

19th century

• Niccolo Paganini (-) - Italian violinist and virtuoso guitarist, composer. One of the brightest personalities in the musical history of the XVIII-XIX centuries. Recognized genius of world musical art.
• Henri Vietain (-) - Belgian violinist and composer, one of the founders of the national violin school. Vieutan is the author of numerous works for violin, which are still very popular: seven concertos with orchestra, a number of fantasies, variations, concert etudes, etc.
• Henryk Wieniawski (-) is a Polish virtuoso violinist, composer and teacher.
• Leopold Auer (-) - Hungarian, Russian violinist, teacher, conductor and composer. He is the founder of the so-called Russian violin school.
• Eugène Ysaye (-) is a Belgian violinist, conductor and composer. He wrote 6 violin concertos, variations on a theme by Paganini and others.

20th century

• Jascha Heifetz (-) is an American violinist of Jewish origin. Considered one of the greatest violinists of the 20th century.
• David Oistrakh (-) - Soviet violinist, violist, conductor and teacher, professor at the Moscow Conservatory, People's Artist of the USSR.
• Leonid Kogan (-) - Soviet violinist, teacher, professor at the Moscow Conservatory, People's Artist of the USSR.
• Yehudi Menuhin (-) is an American violinist and conductor. He also left a mark in philately, one of the philatelic awards is named after him.

XXI Century

• Itzhak Perlman (August 31, 1945) is an American violinist, conductor and teacher.
• Vadim Repin (31 August 1971) is a Russian violinist.

Famous violin makers

• Giovanni Paolo Maggini (-) is an Italian violin maker. The instruments of his work are distinguished by a soft sound, similar to the viola, and are highly valued. His son, Pietro Santo Magini, also made excellent violins, violas and basses.
• Nicola Amati (Nicola Amati, -) is one of the most famous masters of the Amati family. Creator of many stringed instruments, including cellos. Teacher of renowned string makers such as Jacob Steiner, Antonio Stradivari and Andrea Guarneri.
• Jacob Steiner (c. -) - the first known Austrian master, the most famous representative of the so-called Tyrolean school.
• Andrea Guarneri (or -) is a famous manufacturer of bowed instruments. Andrea was a student of the famous master Amati and lived in Cremona in the 17th century.
• Antonio Stradivari (Antonio Stradivari, -) - the famous master of string instruments, a student of Amati. Completed the formation of the violin as a construction in detail. Any modern violin is essentially a Stradivarius violin. About 650 instruments of his work have been preserved.
• Giuseppe Guarneri del Gesù (Giuseppe Guarneri del Gesù, -) - the grandson of Andrea, gained the greatest fame. Giuseppe's instruments are valued on a par with those of Stradivarius. On Guarneri's violin "Il Cannone Guarnerius ( English)" was played by Niccolo Paganini.
• Ivan Andreevich Batov (-) - the first famous Russian master in the manufacture of musical instruments.
• Jean Baptiste Vuillaume (1798-1875) was a French violin maker. In 1828 he opened his own workshop in Paris. From 1835 he was engaged in imitation of ancient Italian instruments (mainly Stradivari and Guarneri). He made over 3000 instruments.

The most famous works for violin

• A. Vivaldi. Seasons for violin and orchestra
• J. S. Bach. 3 sonatas and 3 partitas for violin solo
• J. Tartini. Sonata "Devil's Trills" for violin and piano
• W. A. ​​Mozart. 5 concertos for violin and orchestra
• L. Beethoven
• L. Beethoven. 10 sonatas for violin and piano
• I. Brahms. Concerto in D major for violin and orchestra
• I. Brahms
• F. Mendelssohn. Concerto in E minor for violin and orchestra
• E. Grieg. 3 sonatas for violin and piano
• N. Paganini. 24 caprices for solo violin
• N. Paganini. Concerto in D major for violin and orchestra
• S. Frank. Sonata for Violin and Piano
• C. Saint-Saens. "Introduction and Rondo Capriccioso" for violin and orchestra
• G. Venyavsky. 2 polonaises for violin and orchestra
• P. Sarasate. Fantasy on the themes of the opera "Carmen" by G. Bizet
• I. Sibelius
• P. Tchaikovsky. Concerto for violin and orchestra
• E. Izai. 6 sonatas for solo violin
• S. Prokofiev
• D. Shostakovich. 2 concertos for violin and orchestra

Literature

• K. Flash, The Art of Violin Playing (vol. 1)- Music, M., 1964.
• K. Flash, The Art of Violin Playing (vol. 2)- Classics-XXI, M., 2007.
• L. Auer, Violin Playing as I Teach It(1920); in Russian per. - My violin school, L., 1933;
• V. Mazel, Violinist and his hands (right)- Composer, St. Petersburg, 2006.
• V. Mazel, Violinist and his hands (left)- Composer, St. Petersburg, 2008.

• A. Tsitsikyan "Armenian bow art", Yerevan, 2004

Links

• Violin alphabet, history of the violin, sheet music, books and films about the violin, violin in literature, painting, animation, etc.
• Microphone on a stand or on an instrument with piezo pickups. How to sound a violin. Nikolay Savinov. Violinist.ru

see also

• Violin in the traditions of the peoples of the world

Notes