Staccato Bowing on the Violin

Staccato, or “detached” in Italian, is a bowing technique where you stop the bow at each bow change to create separation

More generally, it is also a musical term that indicates short, separated notes. Basically any instrument can play staccato, but here we are concerned with what it means as a bowing technique.

How do you know where the staccato is in your sheet music?

The notes will have little dots above or below them. If you see staccato dots only at the beginning of a passage but then the word simile, it means the entire passage is staccato.

Regular staccato is done on separate bows. However, there is also such a thing as upbow staccato.

This is multiple staccato notes on one upbow, but the bow does not leave the string as it travels. Here is an example from Saint-Saëns’ Introduction and Rondo Capriccioso.

Staccato is much easier to play than most people think.

Common errors include trying to make an accent at the beginning of the note, really crunching the bow into the string, or changing the amount of pressure. Here’s the secret: the amount of pressure throughout the stroke remains the same. It is the same concept as detaché, but you stop the bow at the end of each stroke just before changing directions. It is not necessary to change anything else about the stroke.

Like all bowing techniques, staccato is best learned on open strings first, doing the technique described above. Once you can play one staccato note on each bow stroke, try doing to per bow, then three, etc. This will help you develop control and understanding of how much bow you should use per note.

Early Suzuki pieces are designed with staccato in mind, because learning staccato comes before learning beautiful smooth legato bowing. The Twinkle Variations, Lightly Row, and Song of the Wind all incorporate staccato. If you have never played staccato before I suggest starting with simple tunes like these.

Another very fun and easy staccato piece La Cumparsita Tango. It is full of repeated staccato passages in an engaging tango dance rhythm.

If you already know staccato but would like to refine it, or are just curious about how to identify it in pieces, here are some famous examples.

The Kabalevsky concerto is an energetic piece popular among advanced students. The frequent upbow staccatos add vitality to the melody.

Violin Concerto No. 3 in B Minor by Saint-Saëns is a major concerto and frequently performed. In the main theme of the third movement, there are sequential staccato triplets. They are very rapid so it is difficult to tell they are staccato by ear, but Saint-Saëns notated them that way to imply a little extra bite.

Samuel Barber’s violin concerto alternates between flowing legato melodies and dramatic staccato/spiccato passages. Notice the upbow staccato (four notes together) in the passage marked below. Some violinists choose to play this completely on the string (upbow staccato) while others do it slightly off the string (upbow spiccato). Either is fine so long as you have a clear concept of what effect you want.

Lastly, we have our “ultimate staccato challenge”: Hora Staccato by Grigoraş Dinicu. This was one of Jascha Heiftez’s famous encore pieces. It incorporates BOTH upbow and downbow staccato, which is even more challenging! If you are interested in learning this charming piece, now is the time to be dedicated about your staccato practice!

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Improve your violin bowing technique with these lessons and articles:

Do you want to know every possible bowing technique on the violin? Watch this video with 102 violin bowing techniques.

The basis for all bowing techniques is to bow smoothly. This video lesson will help you with that.

A proper and relaxed violin bow hold will help a lot improving your bowing technique and sound. Read this article.

Take bowing technique lessons with Zlata

Join my Violin Bowing Bootcamp to build a great basic technique, make a beautiful sound and learn the most common bow strokes.

Join Bow like a Pro for personal guidance by Zlata and her teacher team combined with an extensive curriculum all things bowing.

Detaché Bowing: Default Violin Bow Stroke

Even if you’ve just started playing violin, you’ve probably realized that every single technique has some fancy French or Italian name! Did you know this is even true for the most basic bowing technique? Detaché (which is literally just “detached” in French) is probably the first stroke you learned on violin, along with simple staccato. It sets the stage for future advanced techniques by developing control and smooth bow changes. It may have a complicated French name, but it is not that difficult to understand.

Detaché bow stroke in sheet music

Other bowing techniques have special notation in sheet music, but detaché does not. This makes things simple: if there are no slurs, no dots, no accents or dashes—it’s detaché!

Simple detaché is when there are no special markings in the sheet music, the notes are played to their full value, you make seamless bow changes, and you play one bow stroke per note.

How to practice detaché bowing on the violin

To practice detaché, place your bow at the middle on the D string. The point of contact (where your bow touches the string) your wrist, elbow, and shoulder should form a square that rests all in the same plane. Place your bow on other strings, and adjust your arm to maintain that square shape. Keeping everything in one plane is very important for minimizing tension. Once everything is aligned, being making very small up and down strokes, only a few inches. The most important thing is to keep the bow parallel to the bridge and the tilt of the bow hair even.

Types of detaché bowing

Besides the simple detaché there are other types of detaché as well, including accented detaché with or without bite, grand detaché, and finger detaché.

Accented detaché has accent marks over the notes. The accent is created by adding a little index finger pressure and bow speed at the beginning of the note. Accented detaché with a bite is a slightly stronger version of this and is very similar to martelé.

Grand detaché is also very similar. The bow strokes are very long (almost the entire bow) with a full-bodied solistic sound.

Finger detaché is ideal for very fast passages, and utilizes the fingers and wrist. These should be very flexible. A good way to practice finger detaché is to put your right elbow against a wall so that your arm cannot move. In this way you can only move the bow with your wrist and fingers. At first this will be easiest in the middle, but eventually you can do the same thing at the frog and at the tip.

There are even more types of detaché than these, but these are the most important ones to know in the beginning. If these five definitions are too overwhelming, then just focusing on the first one will get you very far. To help clarify how these are all different, below are examples of every detaché variation we just discussed.

#1 Simple Detaché: Paganini’s Caprice No. 16

#2 Accented Detaché: Saint-Saëns’ Violin Concerto No. 3 in B Minor

#3 Grand Detaché: Kreisler’s Praeludium and Allegro

#4 Finger Detaché: Saint-Saëns’ Introduction and Rondo Capriccioso

After watching these examples you probably notice that some techniques overlap. For example, fast simple detaché will require a lot of finger/wrist motion. Many detaché passages in violin music are much simpler than any of the above examples. It is the first bowing technique you will learn and the basis for all the others, so take your time and practice with confidence!

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

Improve your violin bowing technique with these lessons and articles:

Do you want to know every possible bowing technique on the violin? Watch this video with 102 violin bowing techniques.

The basis for all bowing techniques is to bow smoothly. This video lesson will help you with that.

A proper and relaxed violin bow hold will help a lot improving your bowing technique and sound. Read this article.

Take bowing technique lessons with Zlata

Join my Violin Bowing Bootcamp to build a great basic technique, make a beautiful sound and learn the most common bow strokes.

Join Bow like a Pro for personal guidance by Zlata and her teacher team combined with an extensive curriculum all things bowing.

How to Read Violin Sheet Music (easy guide for beginner violinists)

Beginner guide to reading sheet music for the violin

Learn how to read which note and finger to play and in which rhythm

Do you have a strong desire to learn the violin, but have never read music before in your life?

The prospect of learning music notation should not be a paralyzing fear that keeps you from following your musical dreams. By learning a few basics and practicing patience, you can learn to read music fluently while still enjoying your music-making.

The first step is making sure you understand what all the shapes and symbols on the page refer to. If the composer bothered putting it down, it’s probably important! To demonstrate this, let’s look at a simple example where I’ve highlighted all the different types of markings:

Orange: Composers often put a simple word or phrase in the top left-hand corner to describe the emotion feeling the piece should have, in this case “Lively”. Often there will also be a specific tempo marking in this corner.

Red: The treble clef sign appears at the beginning of every line of violin music. Treble clef tells you which line the note G is on. All violin music is written only in this clef (sorry violists!).

Blue: The key signature consists of either sharps or flats (never both). If the piece is in C Major or A Minor, there will be nothing marked in the key signature. Don’t worry, this will make more sense when we discuss keys and accidentals further down. Knowing your key signatures is very important for putting your fingers in the right place.

Pink: Measure lines divide music into equally-sized boxes, making it easier to read and count.
Green: The time signature shows how many beats are in each measure. The top number shows how many beats there are, and the bottom number shows what type of note (half, quarter, eighth, etc.) gets the beat. We will discuss this more in the section on rhythms. In more advanced sheet music, the time signature (and/or key signature) may change in the middle of the piece.

Yellow: A double bar line with two dots is a repeat sign, meaning to play the preceding section over again. In the second half of this piece, you can see repeat signs at the beginning of the third line and the end of the fourth line, indicating the exact section to be repeated.

Grey, Purple, Lime Green: Any other special markings you see on the page are technique markings. In this case, there are slurs, staccato marks, and accent marks. Advanced pieces, such as the Sibelius violin concerto, have tons of very specific technique marks! Always look up ones you aren’t familiar with.

Now that we’ve been through the basics of what you’ll see in music, let’s get to the fun part: reading notes!

Reading Notes in Violin Music

The first notes you will learn on violin are the open strings: G, D, A, E.

open violin strings sheet music

Below is how the open strings sound, so you can recognize them. Always make sure your violin is tuned. You can use my free online violin tuner with microphone and tuning notes for that.

Now before we jump in to reading all the notes in first position, let’s go over some key signatures. Sharps # raise the note a half step, flats b lower the note a half step. Every piece of classical music has a key signature, and every key signature goes with its own major and minor scales. The most common beginner violin scales are A Major, D Major, G Major, and C Major. If you want to get in some practice on these scales, check out the article Violin Scales: Learn the Most Common Scales on Violin.

If you have tapes on your violin, those tapes correspond to these notes (from low to high):
Open G A B C D
Open D E F# G A
Open A B C# D E
Open E F# G# A B

If your violin does not have tapes, watch this clip to see how the fingers are placed:

Every finger, but especially the second finger, can be placed on the fingerboard in “low” or “high” position. Just remember that this does NOT always correspond to sharp and flat. Playing a series of half steps is called chromaticism. Check out this clip to see how the fingers move from low to high and the corresponding notes:

Now that you are comfortable with reading the notes of first position (you’ve been practicing those scales, right?) It is time to see how they fit together in pieces. This is where rhythm becomes very important. Rhythm is how long or short notes are in relation to each other. So what does that mean?

How to Read Time Signatures

Measures of music are divided into beats. The beat stays steady, even if the rhythm is changing over it. Beat and rhythm are not the same thing! The beat of the music is more formally called the meter. There are two types: simple meter and compound meter. Simple meter is when the beats divide into twos, and compound meter is when the beats divide into threes. 2/4 and 4/4, and 3/4 are all examples of simple time, while 6/8 and 6/4 are examples of compound meter.

Let’s quickly review how to read time signatures

Time signatures are made up of two numbers. The top number indicates how many beats are in each measure and the bottom number indicates which note is equivalent to a beat. For example, in the time signature ¾, the top number 3 tells us there are 3 beats in the measure, and the bottom number 4 tells us the quarter note gets the beat. If you were to see a 2 on the bottom, that indicates the half note gets the beat, an 8 indicates that the eighth note gets the beat, and a 16 indicates that the sixteenth note gets the beat. You can think of the beat as one metronome click.

The standard rhythm is 4/4. If you see a big “C” in front of the music where the measure usually is, the measure is 4/4. A waltz is usually a 3/4 measure. A tango is often a 2/4 measure.

Rhythms let us know when a note should be played and how long a note should be held for. Here are some of the most common rhythms and how many beats they get in a 4/4 measure.
A whole note gets four beats
A half note gets two beats
A quarter note gets one beat
An eighth note gets half a beat (two eighth notes equal one beat)
A sixteenth note gets one-quarter of a beat (four sixteenth notes equal one beat)

rhythm notation music chart

Dotted Rhythms

Whenever you see a dot next to a note (directly next to it, not under or over it as that means something else entirely), it tells us to add half of that note’s value to that note. Let’s use a dotted half note as an example. A half note gets two beats- half of two is one, so I add one beat to the note getting a total duration of three beats.

dotted rhythm chart

Reading Rests in Violin Sheet Music

For every note value, there is also a rest of the same length. Rests can also be combined into different lengths by using dots. Here is a chart of all the symbols for notes and rests:

note value chart

How to know how fast you should play?

We’ve covered a lot around rhythm, but you might have noticed that this covers how fast the notes are in relation to another. We haven’t covered how to know in which tempo, how many beat per minute (BPM) a quarter note should be for example. That’s because there’s no fixed BPM for a quarter note or any other note value. It’s indicated by tempo markings. You can find a list of the most common tempo markings and their corresponding BPM right here.

Other symbols: Dynamics, Technique Markings, Etc.

We will talk a little bit about the other “stuff” you see on violin music, because when there’s a lot of it it can be overwhelming!

Dynamic Markings

Dynamic markings show how loud or soft to play a passage. Dynamics come from italian words: piano means “soft”, mezzo means “medium”, and forte means “strong”. To make something even softer or louder, you add more of the same letter. The dynamics in order of softest to loudest are ppp, pp, p, mp, mf, f, ff, fff, and (very occasionally) ffff. (Is it just me, or should there be an mmm dynamic?)
Composers also use words like crescendo or diminuendo to indicate changes in dynamic level. “Hairpins” like this are also used.

Technique Markings

Technique markings can be either symbols or words. They might also be in french, italian, or german! Symbols you’ll see include slurs, staccato dots (over or under the notes) accents, fermatas, trills, codas and repeat signs. I invite you to do a little more research into this as you feel moved. As for words, composers put all kinds of things in music these days! It is best to look it up on a case by case basis if you’ve never seen it before. It is tempting to ignore things written into the part, but that is what brings life to the notes.

Now that you have a basic idea of what everything on your sheet music means, don’t hesitate to open up your next piece! The only real way to learn music reading is by doing it consistently. Even if it is slow at first, through repetition and dedication you will grow more and more fluent.

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Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

BONUS: How to Read Violin Notes in High Positions

If you have already mastered reading notes in first position and want a challenge, it is time to move on to the higher positions! Shifting is an essay in itself, so here we will simply talk about how to read all those crazy leger lines that you see in super high violin melodies. For example, here’s an excerpt from the Tchaikovsky Concerto:

Aside from the fact these are all sixteenth notes, how do you even know what notes those are!? Advanced violin music frequently incorporates leger lines to play notes far above the staff. The challenge is remembering which note goes where! Just remember the pattern is the same. The very top line of the treble clef staff is an F, so the next note is a G and the first leger line is an A, etc.

Often you will have to quickly figure out what a note is by counting the leger lines. It is very important to memorize the notes on the leger lines in the right order. This is A, C, E, G, B, etc. Sometimes composers make this easier by using an 8va sign (see fourth line of Tchaikovsky). There’s fewer leger lines so it’s easier to read the note, but it’s actually an octave higher than that!

Learning to read music fluently takes time, but it is possible for everyone. If the sheet music looks overwhelming just take it slow, look up symbols, and learn one step at a time.

10 Most Famous Sad Violin Pieces

Sad violin music that will make you cry

Schindler’s List, Tschaikovsky concerto, Barber’s Adagio, Melodie from Orfeo and more

As the author Aldous Huxley once said, “After silence, that which comes closest to expressing the inexpressible is music.” Mankind has been expressing powerful emotions through music for thousands of years, and often the most emotional music is the most memorable. Violin music is no exception. These ten famous violin pieces have stood the test of time and helped countless people find meaning in grief, loss, and suffering. For most of them I have free sheet music downloads for you.

#1 Theme from Schindler’s List by John Williams

In less than four minutes, the theme from Schindler’s List encapsulates one of the greatest human tragedies of all time. Although John Williams did not experience the Holocaust, his music conveys bleak hopelessness, but also the inherent meaning and purpose of human life. Few of us face sorrows as painful as the Jews’ imprisonment, but his music helps all of us to find hope in our suffering.

Click here to download the free violin sheet music.

#2 Canzonetta from Tchaikovsky’s Violin Concerto

The two outer movements of this concerto are exceptionally famous and revered, but the middle movement shouldn’t be overlooked either. Compared to the other movements it is surprisingly simple on the surface but no less moving. “Canzonetta” means a short, light vocal piece. Tchaikovsky’s Canzonetta really does sound as though it was created for the human voice. The opening theme is hauntingly wistful, spilling over into a joyfully reminiscent melody. The climax of the short piece is dramatic but never quite comes to a final resolution, instead reverting to the sad opening melody.

Click here to download the free violin sheet music.

#3 Samuel Barber’s Adagio

Barber’s Adagio has taken many forms. Originally, it was the second movement of his String Quartet in B Minor. Shortly after he arranged it for string orchestra under its famous title, Adagio for Strings. Now versions exist for many combinations of instruments, including solo violin. The long sustained lines and extended phrases make this a beautiful piece for practicing legato.

Click here to buy the sheet music.

#4 Melodie from Orfeo et Euridice by Gluck/Kreisler

Orfeo ed Euridice is one of the saddest Greek tragedies, which Gluck turned into a very famous opera. The opera opens with Orfeo mourning the sudden death of his beautiful wife Euridice. The god of love takes pity on him and gives him permission to travel to Hades and bring her back to life, but on one condition: he cannot look at her face until they have reached the land of the living. As they ascend from the underworld, Euridice cannot understand why Orfeo will not look at her, and begs him to do so. Her pleas are too much for Orfeo, and just before they reach the top of the tunnel he turns around. Instantly Euridice is lost to him. In Gluck’s opera version (but not the original story), Cupid has pity on Orfeo and returns his wife to him as a reward for his love.

Click here to buy the sheet music.

#5 Adagio from Bach’s Solo Violin Sonata No. 1

Similarly to Orfeo, J.S. Bach also experienced great tragedy when his first wife, Maria Barbara, died unexpectedly in 1720. This is the same time Bach began writing his famous solo violin sonatas. Sonata No. 1 in G Minor is a beautiful expression of loss, reflection, and healing. The 1st movement, Adagio, is particularly moving and shows Bach’s introspective character.

Click here to download the free violin sheet music.

#6 Nocturne by Lili Boulanger

Composed in 1911 by an 18-year-old Lili Boulanger, this hidden gem is starting to be more widely appreciated. It exhibits very strong influences from French impressionists like Claude Debussy (see if you can catch a moment in the piano that sounds exactly like Afternoon of a Fawn). This piece is not tragic, but it is definitely nostalgic. It is perhaps foreshadowing also, when you learn that Lili died only six years later.

Click here to download the free violin sheet music.

#7 Romance No. 2 in F Major by Beethoven

One of Beethoven’s easier pieces for solo violin, it is nonetheless packed with emotion and drama. It begins simply with a pastoral theme. In the B section, conflict arises. Before it gets to intense, Beethoven deftly slides back into the original melody. Although there are definitely undertones of grief and difficulties, the music is ultimately hopeful.

Click here to download the free violin sheet music.

#8 Chaconne by J.S. Bach

It is difficult to describe this piece in only a paragraph. Some musical scholars view it as the revelation of Bach’s deepest emotions, sufferings and joys, and the most intentionally profound piece ever written. Others shun the idea that Bach could have been so romantic, countering that he composed it only out of a sense of religious and civil duty. However, this monumental work is so compelling an extraordinary that it is difficult to see it merely as one of Bach’s work requirements. He clearly poured everything he knew into this piece. Brahms described it well in a letter to Clara Schumann: “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.”

Click here to download the free violin sheet music.

#9 Méditation de Thaïs by Jules Massenet

This is the most memorable part of the otherwise little-known opera Thaȉs by Jules Massanet. Set during the rule of the Roman Empire over Egypt, the opera follows two seemingly opposite characters: the ravishingly beautiful pagan cortesan Thaȉs, and the Christian monk who seeks to convince her to reform her life. At first Thaȉs scoffs at him, but after awhile she begins to realize that her reckless life of pleasure is empty and unfulfilling. After a long moment of reflection (cue the violin soloist) she agrees to follow the monk into the desert despite anger and disdain from her former friends.
Meditation is one of the few moments in opera where the turning point of the story does not appear in a dramatic aria or action-packed scene, but in the eloquent reflections of a single instrument.

Click here to download the free violin sheet music.

Hi! I'm Zlata

Classical violinist helping you overcome technical struggles and play with feeling by improving your bow technique.

#10 Danny Boy

This beloved poem was one of the most popular folk songs of the early twentieth century. There are many different stories regarding is origins, but the lyrics were most likely written by the English lawyer Frederic Weatherly and set to the tune Londonderry Air. Danny Boy was popularized by the famous english soprano Elsie Griffin, who entertained troops during WWI. There are now arrangements of Danny Boy for many ensembles and instruments, including solo violin. The soulful melody and sincere lyrics preserve this folk song as one of the most enduring.

Click here to download the free violin sheet music.

30 Most Famous Violinists of Past and Present

Who is the most famous violinist in the world?

Top 30 greatest violinist of all time:

Paganini, Sarasate, Auer, Kreisler, Jascha Heifetz, Hilary Hahn and more

Violins have been around for over three hundred years. Thousands of people have learned to play this beautiful instrument, but very few achieve lasting fame. Even the greatest are often forgotten. In this list of 30 of the greatest violinists past and present, you’ll see some familiar names while also discovering new incredible artists.

Nicolo Paganini (1782-1840)

After reading the title of this article, Paganini is probably the first name that came to your mind. This Italian violinist and composer set Europe on fire with his talent and dramatic personality. He wrote and performed many pieces for violin, including six concertos. His most famous pieces are the 24 Caprices for Solo Violin, particularly the 24th caprice. Few people know that Paganini was also a virtuoso guitarist. Through his guitar technique, he revolutionized violin technique and greatly expanded the possibilities of the instrument. Although his flamboyant personality and lifestyle were controversial, he inspired many other composers including Rachmaninov, Brahms, and Liszt.

Karol Lipinski (1790-1861)

Raised in Poland by a musical father, Lipinski also had the benefit of some generous patrons, and became proficient at both violin and cello. He accredited his deep, singing tone on violin to the techniques he learned from playing cello. A contemporary of Paganini, the two met and played together on more than one occasion. Their relationship was in fact friendly, but the over-dramatic press would argue over who was the greater violinist. The Stradivarius violin Lipinski played on is named after him and still used today. His compositions are not as widely known as Paganini’s, his concertos and a few of his solo caprices have been recorded.

Joseph Joachim (1831-1907)

Non-violinists, even if they are music lovers, rarely know the name of Hungarian violinist Joseph Joachim. However, he moved in very famous musical circles (Brahms was one of his closest friends) and he was crucial to the reviving and developing some of the greatest violin repertoire. For example, he revived Beethoven’s violin concerto and Bach’s solo sonatas and partitas. He studied Mendelssohn’s violin concerto with the composer himself. Brahms, Bruch, and Dvořák wrote their concertos with him in mind. Joachim also wrote now-standard cadenzas for many concerots including Mozart’s, Brahms’s, and Beethoven’s. An accomplished teacher, he is part of the lineage of many of today’s greatest musicians.

Henryk Wieniawski (1835-1880)

His music is timeless, but the story of Polish native Henryk Wieniawski is brief and tragic. He entered the Paris Conservatoire at only eight years old. He began touring after graduation and became internationally famous, performing his own extensive compositions. Audiences loved his brilliant performances, but the stress of constant travel and work eventually wore him down. He died of a heart attack while touring Russia in 1880. 

Wieniawski wrote two violin concertos that are both standard repertoire. His Études-Caprices are incredibly difficult but still performed. Other famous works include Légende, Scherzo-Tarantelle, and Polonaise Brilliante. The Henryk Wieniawski Violin Competition, held every five years, is one of the preeminent violin competitions in the world. 

Pablo de Sarasate (1844-1908)

You may be noticing a pattern by this point: the great violinists of the 19th century not only performed but also wrote their own music. Born in Spain just four years after Paganini’s death, Sarasate followed his legacy. He was a prolific composer, especially of flashy encore pieces. Spanish-flavored classical music was all the rage at the time, so Sarasate had no shortage of admirers and collaborators. Like Wieniawski, he studied at the Paris Conservatoire before launching on international tours. His charming spanish encore pieces became very popular, along with his more extensive works such as Zigeunerweisen and Carmen Fantasy. He wrote over fifty pieces in all, all for violin, many of which still have a high place in the repertoire.

Leopold Auer (1845-1930)

Leopold Auer is perhaps better remembered for his teaching than his performing, but in his day he excelled at both. According to the Leopold Auer Society, his talent from a young age earned him a scholarship to study in Vienna. When he was thirteen the money ran out, and he began giving concerts so that he and his father could survive off the proceeds. Eventually he was able to to spend a few years studying with Joseph Joachim, who he hailed as “an inspiration”. In 1868 he moved to St. Petersburg where he served as concertmaster of numerous orchestras. He also wrote his own ten-book pedagogical method, which progresses from open strings to Paganini caprices. A gifted teacher, his influence extends well into the modern players of today.

Eugène Ysaÿe (1858-1931)

The composer of some of the most difficult violin music, Ysaÿe’s peers called him the “king” of the violin. Born in Belgium, he learned a good foundation of violin from his father before studying with Désiré Heynberg, Henryk Wieniawski, and Henri Vieuxtemps. He became concertmaster of “Bilse’s Band”, which eventually developed into the Berlin Philharmonic. At only twenty-eight years old, he became a teacher at the Brussels Conservatoire. His students included Joseph Gingold, William Primrose, Nathan Milstein, and Louis Persinger, all of whom became incredibly influential teachers in their own rights. One of the most beloved violin sonatas, Franck’s Violin Sonata in A Major, was written for Ysaÿe’s wedding. The solo violin sonatas Ysaÿe wrote are among the hardest pieces in the repertoire, and the Queen Elizabeth Violin Competition held in his honor is one of the most prestigious in the world.

Maud Powell (1867-1920)

Maud Powell was not only one of the very first famous women violinists, but she was also the first internationally successful American violinist. She was born in tiny Peru, Illinois and started her musical study in the Chicago suburbs. Her parents eventually sold their home so she could continue her studies. This enabled her to go to Europe, where she studied with Joseph Joachim and performed the Bruch concerto with the Berlin Philharmonic. She gave the American premiers of the Tchaikovsky, Sibelius, and Dvořák concertos, the latter with Dvořák present. She is partially responsible for making the Sibelius a valued part of the repertoire. In addition to promoting these major concertos, she also championed music by American composers. Her success is largely due to the advent of recording technology, as her records sold internationally. Sadly, she died of a heart attack while touring Pennsylvania in 1920. Many organizations since have sought to honor her valuable contributions to classical music, and she was posthumously given the GRAMMY Lifetime Achievement Award in 2014.

Fritz Kreisler (1875-1962)

 Maud Powell spread classical music across America, but Vienna was still its headquarters. Fritz Kreisler captured the spirit of Austria in his playing and compositions and carried that all across the world. He too greatly benefitted from recordings to the point that Fritz Kreisler was a household name. He studied at the Vienna Conservatory and the Paris Conservatoire. He toured extensively but settled permanently in the United States in the 1940s. He died of old age in New York City in 1962.

Kreisler is best-known for his delightful encore pieces. He is also known for writing pieces “in the style” of other composers and affirming that they were the ones who had actually written them. Some musicologists were actually fooled and became angry when they discovered that these pieces were Kreisler’s original works.

Jascha Heifetz (1901-1987)

Remember how we talked about Leopold Auer being an exceptional teacher? Jascha Heifetz was one of his students. Heifetz is known for setting the standard of 20th-century violin playing. He moved to America from Russia as a teenager and performed in Carnegie Hall to great enthusiasm. Fritz Kreisler apparently once said, “We might as well take our fiddles and break them across our knees.” He performances were rapturously received as being the best anyone had heard. Some critics certainly complained, claiming that his vibrato was too fast or his on-stage demeanor too reserved. However, his exceptionally clean technique and emotional sound never failed to wow audiences.

After having shoulder surgery, Heifetz focused on teaching. He taught at the University of California Los Angeles and the University of Southern California. His televised master classes are still available and provide great insight into his teaching style.

Erika Morini (1904-1995)

Born in Vienna, Erika Morini learned violin from her father and at the Vienna Conservatory. She debuted with the Berlin Philharmonic at age twelve and made her debut with the New York Philharmonic when she was seventeen. She was the first violinist and the first woman to record with the Chicago Symphony Orchestra. She had brilliant, clean technique and an incredibly successful career. She passed away at an old age in New York and her name is all but forgotten now, except for the tragic incident that occurred around her death. One of the violins she had owned, the Davidoff Strad, went missing from her apartment shortly after she had been taken to the hospital. The theft was discovered before her death, but she was never informed. An excellent 2021 documentary entitled “Stolen: The Unsolved Theft of a $3,000,000 Violin” seeks to shed light on the continued mystery.

David Oistrakh (1908-1974)

David Oistrakh was a violinist’s violinist who inspired many of the great soloists of the next generation. Shostakovich and Kachaturian dedicated their violin concertos to him. He was the preeminent violinist in Soviet Russia.The Soviet government closely supervised his entire career, so he was not allowed to star touring internationally until after WWII. He collaborated with other great violinists including Nathan Milstein and  Yehudi Menuhin. Later in life he also became a conductor. A few fun facts about Oistrakh’s life: he apparently ate ice cream after every concert, he played a public chess match against Sergei Prokofiev, and he and his son have an asteroid named after them.

Yehudi Menhuin (1916-1999)

Menuhin spent most of his career in Britain, but he was actually from America. By age twelve he had soloed with the Berlin Philharmonic. While a teenager his family moved to Paris, and he was able to study with George Ensescu, the greatest Romanian violinist. During WWII he performed for Allied soldiers and concentration camp survivors. As an act of reconciliation, he was the first Jew to solo with the Berlin Philharmonic after the Holocaust.

Dedicated to teaching, he founded the Yehudi Menuhin School in England, which still thrives today. He also founded the Yehudi Menuhin International Competition for Young Violinists. He received numerous honors for service and performance throughout his life, including twenty honorary doctorates.

Dorothy Delay (1917-2002)

Known as a pedagogue rather than as a performer, Dorothy Delay is perhaps the best-loved violin teacher of them all. A talented young woman from Kansas, she attended Juilliard as a grad student and founded a successful piano trio with her sister. However, she decided against a life-long performing career because she wanted to be present for her children. Instead, she began teaching beginners in New York and fell in love with it. Her ability grew rapidly, and she became Galamian’s assistant at Juilliard in 1948. This meant that she and Galamian shared the same students, but when the two had a disagreement and split studios in 1970, several students, including Itzhak Perlman, chose Delay. She continued to gain recognition and has the most star-studded roster of former students the violin world has ever seen. For an incredible glimpse into Delay’s daily life, studio, and personality, I highly recommend reading Teaching Genius: Dorothy Delay and the Making of a Musician.

Itzhak Perlman (1945-)

Itzhak Perlman’s inspiring story is one of tenacity and determination. As a toddler, he contracted polio which left him crippled. His parents did not believe him capable of learning the violin due to weakness, but he was so determined that he played on a toy violin for a year until they agreed to have him taught. He became a child prodigy in Israel and started winning competitions. In 1958, American television host Ed Sullivan came to Israel to recruit for a program featuring Israeli entertainers. The young violinist fascinated him, and so Itzhak was able to move to New York to study with Dorothy Delay. At age eighteen he won the Levintritt Prize, and with that recognition and monetary support he was able to launch his career. His warmth, gentleness, humanity, and captivating stage presence has made him the best-loved violinist still living. After Delay’s death Perlman inherited her teaching position at Juilliard.

Pinchas Zukerman (1948-)

Pinchas Zukerman is another Isreali violinist only three years younger than Perlman. Similarly, to Perlman, the violinist Isaac Stern discovered his talent while in Israel and brought him back to the United States. Zukerman studied at Juilliard with Stern, Galamian and Delay. He won the Levintritt Prize in 1967 and collaborated with many great musicians including Leonard Bernstein. He now teaches at the Manhattan School of Music and gives in-person and online masterclasses around the world. He is known for his love of storytelling and his strong sense of humor.

Anne-Sophie Mutter (1963-)

German violinist Anne-Sophie Mutter collaborated with John Williams to perform violin arrangements of some of his famous movie themes. She stopped attending school as a girl to focus on music, and her single-mindedness paid off when Herbert von Karajan, conductor of the Berlin Philharmonic, invited her to perform with the orchestra. In addition to collaborations with John Williams, she has also been awarded several Grammy’s. Mutter supports young musicians through her foundation and strives to remind them that they must be complete human beings in order to be complete musicians.

Joshua Bell (1967-)

Joshua Bell grew up in the small town of Bloomington, IN during a very eventful time. An exceptional violin teacher named Mimi Zweig had just opened a string academy for children as part of Indiana University’s music school, and little Joshua joined her first class. He learned quickly and eventually studied with Joseph Gingold, the famed violin professor there who had studied with Eugène Ysaÿe. He stayed at Indiana University to study violin and science. According to his website, he has now soloed with virtually every major orchestra in the world. He is known for his unique performance style of “dancing” with the flow of the music. This is particularly apparent when he is playing and conducting simultaneously.

Anne Akiko Meyers (1970-)

Anne Akiko Meyers is another shining example of the Dorothy Delay legacy. Anne grew up in southern California, where her mother would drive her 8 hours round trip to take lessons at the Colburn School. She then moved to Indiana to study with Joseph Gingold. At age 14 she was invited to join the Juilliard pre-college division to study with Delay. Today she is an active concert artist and collaborator. She has appeared on numerous television and news shows. Her warm, cheerful personality motivates young players to strive to be their best.

Gil Shaham (1971-)

Imagine you’re sitting in your high school classroom in New York, when suddenly someone comes in to tell you that you’ve been asked to fill in for an ailing Itzhak Perlman by playing the Bruch and Sibelius concertos with the London Symphony Orchestra. What would you say? Young Gil Shaham jumped at the chance, and it greatly furthered his career. 

He was born in Illinois, but his parents moved back to their native Israel when he was two. He began violin lessons at age 7 (late compared to some musicians on this list!) and eventually won a scholarship to come to the Juilliard School. His connection with Dorothy Delay is what gave him the opportunity to fill in for Perlman and launched an international career that led to multiple awards. He still lives in New York with his wife and children.

Midori (1971-)

Midori’s mother, a professional violinist in Osaka, would often take her along to rehearsals. At age three Midori received her own tiny violin for her third birthday, with her mother as her first teacher. When she was eleven she and her mother moved to New York to study with Delay. 

Midori has given many legendary performances, but one in particular made her famous. In 1986, she appeared at the Tanglewood Music Festival playing Leonard Bernstein’s Serenade with Bernstein conducting. Her violin’s E string broke mid-performance, so she switched to the concertmaster’s violin. That E string promptly broke also, so she finished on the associate concertmaster’s violin. The crowd went wild, and the New York Times featured it as a front-page story.

Rachel Barton Pine (1974-)

Rachel grew up in Chicago, and by age five determined that she would be a professional violinist. She practiced so much that her schoolteacher told her parents they should homeschool her. She practiced 8 hours a day, but explains that being homeschooled allowed her to still have time for other activities. She studied with Chicago’s foremost teachers, Roland and Almita Vamos, and debuted with the Chicago Symphony at age 10. At 14 she became concertmaster of the Civic Orchestra of Chicago, a premier pre-professional training orchestra usually only open to young adults. 

In 1995, she suffered a traumatic train accident and did not perform for two years. Remarkably, she recovered and continued her dedication to the violin, and today is still one of Chicago’s most beloved native musicians. Her unconquerable cheerfulness shows that optimism is possible in the face of everything.

Janine Jansen (1978-)

Janine Jansen is a Dutch violinist from a family of musicians. She competed in the Menuhin Junior Violin Competition and in 2005 had the honor of opening the BBC Proms. Cherished by audiences, her performances are frequently sold out. She starred in the 2021 documentary Falling for Stradivari, where she goes on a quest to record an album on twelve different Stradivari violins. If you would like to sample her recordings, I recommend checking out the Ravel sonata she recorded with pianist Itamar Golan.

Hilary Hahn (1979-)

Hilary Hahn is one of the most remarkable and sought-after soloists currently performing. She began her violin studies in the Suzuki program at the Peabody Conservatory. At ten years old she enrolled at the Curtis Institute of Music to study with Jascha Brodsky. By age fifteen she was already performing the most difficult violin repertoire, including Beethoven’s violin concerto. She says she has played Bach more than any other composer, playing his solo sonatas and partitas since she was eight. She has recorded the sonatas and partitas in two separate albums. Several of today’s most prominent composers wrote pieces for her, including Jennifer Higdon whose concerto won the Pulitzer Prize in Music. She commissioned 26 living composers to write short encores for her, which she performed and recorded. Her presence on stage is fiery and intensely focused, but her demeanor in person is gentle, supportive and humorous.

Sarah Chang (1980-)

Sarah Chang is a rare example of a blazing child prodigy who through careful mentoring managed to sustain her natural gifts through a professional career. Her parents, originally from Korea, moved to New Jersey so her father Min-Soo Chang, also an accomplished violinist, could study at Temple University. Min-Soo taught violin to his young daughter, but brought her to Juilliard when she was five to study with Hyo Kang and Delay. Both worked tirelessly with Sarah to make sure she learned what she needed but that she also had room to be a child. In 1988, Riccardo Muti and Zubin Mehta (the conductors of the Chicago Symphony and New York Philharmonic respectively) immediately offered her performances when they heard her play. This launched a meteoic rise to success, playing up to 150 concerts per year. Remarkably, she did not become exhausted and has maintained a steady solo presence ever since.

Augustin Hadelich (1984-)

Augustin grew up on a farm in Italy, where he and his brothers took music lessons from their father, an amateur cellist. His career as a violinist and pianist had already begun to take shape when, in 1999, a fire on his family’s farm left him severely injured. He did not play violin for a over a year, and credits the experience with helping him realize his true love for music. Augustin later earned a Graduate Diploma and an Artist’s Diploma from Juilliard. He won the International Violin Competition of Indianapolis in 2006 and since has appeared with many major orchestras.

Ray Chen (1989-)

If you’re into following classical violinists on social media, then you’ve heard of Ray Chen. He has a wonderful ability to relate to his audience and make jokes about the soloist life. During lockdowns, he created an online Discord community where thousands of music nerds shared stories, practice clips, and inspiration. He recorded his 2020 album Solace from his apartment. In 2019, he initiated the “Play with Ray” project, where he encouraged amateur violinists from around the world to submit videos of themselves playing Bach’s Concerto for Two Violins. The winner performed the piece with Ray and the Los Angeles Philharmonic at the Hollywood Bowl.

Raised in Australia, Ray Chen moved to Philadelphia in 2005 to study at the Curtis Institute. He won the Menuhin Competition and the Queen Elizabeth Competition. Today he continues to solo around the world while also making vlogs and comedic videos about his travels.

Roman Kim (1991-)

We have a new nationality on the list: Kazakhstan. Roman Kim began winning International Competitions after only two years of violin studies. He studied at the Central Music School in Moscow and the Cologne University of Music. He is best known for his incredible solo transcriptions of works for full orchestra including Beethoven’s Symphony No. 5, Eine Kleine Nachtmusik, and Air on the G String. His complex transcriptions involve using the thumb to stop the G string. He also plays his own original violin compositions.

Chloe Chua (2007-)

The young Singaporean violinist wins audiences with her talent and her charm. She came to international prominence after winning first prize in the 2018 Menuhin’s junior division. Her technique is fully fledged, and her extensive repertoire includes the most difficult pieces. She collaborates regularly with her native Singapore Symphony and ensembles around the world, performing classical and baroque concerts. She is also a regular guest on Two Set Violin’s channel. They filmed a video of her teaching them how to play Paganiniana. Her 2022-23 season features her playing Mozart and Bruch in Singapore.

 

Christian Li (2007-)

Just nine months younger than Chloe, Christian Li shared the 2018 Menuhin first prize with her, becoming the competition’s youngest ever first-prize winner. The young Australian violinist already has an impressive international following. Although still a student, he is the youngest artist ever on the roster of Decca Classics. He recently recorded Vivaldi’s Four Seasons with the Melbourne Symphony Orchestra. According to his website, he enjoys swimming, reading, and biking in his free time.

Obviously, this is not an exhaustive list of history’s greatest violinists. If your favorite artist is not on the list, mention who it is in the comments!