The Italian Leone Sinigaglia became known to the world by his concerto for violin, opus 20, in A major, played in Berlin in 1901 by his countryman, Arrigo Serrato. Later works include a Rapsodia piemontese for violin and orchestra, and a Romance for the same combination, opus 29. The violin music of Emanuel Móor, including a concerto and a remarkably fine suite for violin unaccompanied, has yet to be better known. Georges Enescou first attracted attention by compositions for the violin. On the whole, however, it may be said that the violin is awaiting a new contribution to its literature. This contribution is doubtless delayed by the great attention given at the present day to the piano, the orchestra, or other combinations of instruments, by which the modern growth in harmony and the change in ideas of polyphony may be given a full expression. Until these various ideas have become firmly rooted and well-grown, the violin will profit but vicariously by them.
FOOTNOTES:
[51] This famous arrangement was published by the Maison Richault in Paris as Thème de Rode, chanté avec variations dans le Barbier de Séville en Italien par Mmes. Sontag, Alboni, Trebelli; en français par Mlle. Maria Bailly; paroles françaises d’Adolph Larmande, avec accompagnement de piano par L. Moreau. See Notice sur Rode, by F. A. A. Paroisse-Pougin (Paris, 1874).
[52] See Paul Bekker: ‘Beethoven.’ Berlin, 1913.
[53] Joachim had in his possession a concerto for violin by Schumann, written likewise near the end of his life.
[54] The theme of the last movement can be found in two songs, Regenlied and Nachklang, opus 59, published seven years earlier.
[55] ‘Chamber Music.’ London, 1913.
[56] See Song Journal, November 10, 1895.
[57] See Modest Tschaikowsky: ‘Life of Peter Ilyitch Tschaikowsky.’
[58] ‘Jean Sibelius, a Finnish Composer.’