Jenö Hubay

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  • Друг-птицечеловек, сидящий в конце концов позволят возникнуть жизни и сулил ей необычайную судьбу.
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And when these people are linked by a genealogical relationship forming an outright dynasty', the discovery- becomes more than a surprise. The violinmaker's approach to his profession embraces creacivity and variety as well as an exceptional manual ability He is required home work cremona have a knowledge and respect for the material used, the wood which is shaped in order to produce the sound, as well as knowledge and reverence for his predecessors, technical and scientific knowledge, and research of eventual adaptations to make to the instrument according to the evohitinn of music, and finally an arristic sensitivity.

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The violinmaker is responsible tor every stage of the instrument's construction, work is not Jelefiated to others, The result is therefore totally personalised. In this manner the character of the violinmaker is never ephemeral hut rhe fruit of an intense personality which eives birth to instruments capable of transmitting cultured music.

Jenö Hubay Jenő Hubay portrait Jenő Hubay —the brilliant violinist, composer and educator was considered the most well-known and acknowledged musician of Hungary for half a century. His name remains connected to the establishing of the world famous Hungarian violin school. His father was Károly Huber, the conductor and concert master of the National Theatre. It was from him that he learned the basics of playing the violin, after which he went on to study from Josef Joachim in Berlin. On advice from Franz Liszt he travelled to Paris in and soon he won over audiences all over Western Europe.

It is this kind of violinmaker that the Konia family has produced and their force emerges when reading the biography of their Üves. They have overcome difficulti and hardships in the quest for freedom of mind and action, primary requisite in a creative profession. My memories begin with the founder tji the family, István Koma senior, who I met in the sixties when he was a student ui the school in Cremona.

Válogatott, minőségi képek több mint országból Változatosság Több mint 70 millió fénykép, vektorkép, illusztráció és sok más. Érték Egyszerű és átlátható képenkénti vagy havidíjas árazás Megbízhatóság Naponta több, mintletöltött kép. A licencet illető gyakori kérdések Többet kell-e fizetnem, hogy a teljes Shutterstock gyűjteményhez hozzáférjek?

His work was soon appreciated if one thinks that, even before finishing the four-year course ot formation, his violins presented to the National Biennial of Cremona were praLsed, and later won prizes in successive international competitions. My personal esteem and friendship undoubtedly lie with István Konia, the eldest home work cremona of the family founder The master's flourishing workshop in Cremona, situated in Corsi» Garibaldi, is well known and visited daily by musicians, young violinmakers and experts oi the field.

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After his marriage in Cremona and the birih oi his two children, he obtained his Italian citizenship and changed his name to Stefano Conia. My relationship with the violinmaker was consolidated in the beginning of the sixties.

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In this period, when I was the president of the hiterna- tional School of Violinmaking, I presented a curriculum to the ministry including two new disciplines ili addition to the normal hours dedicated to the workshop classes: varnish and restoration. I considered it advisable to assume master Conia for these classes as I was well aware of his experience, communication skills, dedication to teaching and technical and scientific rigor I was not disappointed, and with the years my opinion was confirmed.

The school entrusted him with the conservative restoration of the Stradivari Harp and the famous 1 Laura Haq? Countless expositions of violinmaking were organised in Italy and abroad with this master, Konia junior.

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The exposition in Peking along with the related conferences, meetings and practical demonstrations was a huge success. He has presently surpassed the transitional phase of working following his school years and his instruments have been presented in the national competition of Bagnacavallo and the international competition of Baveno, obtaining prises and honourable mentions.

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Although he is still maturing he has already established himself as an excellent violinmaker. I have not hogyan lehet pénzt keresni kézzel készített the opportunity of getting to know the othet two Konia violinmakers, Lajos Béla the father, and Lajos the.

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However 1 have met them during violinmaking expositions in Italy and Hungary and I have heard positive j udgements concerning their talent as makers oi musical instruments. Of course it could not he any other way il one only thinks of the spiritual values and passion passed on by István Koma whose life was so complex and difficult, but so full of ideals and force.

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Therefore five Konia violinmakers have entrusted their artistic exploits to the History of Violinmaking in the creation of musical instruments whose voice will continue it» play ior years to come, certainly outliving the makers themselves The legendary names of Stradivari, Guameri, and Amati are known worldwide, in every direction and hemisphere.

And yet, despite their fame, it appears that we actually know little about the men home work cremona. We admire their work, and our cars take delight in the sound their instruments produce.

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The magic of their beauty captures the attention of those who pursue the latter in it's every forni, graced as they are with unmarched unity between form and function. I say "unmatched", as to my knowlege these Inrhiers have conquered summits in their art unattained, and perhaps unattainable, by others, pastortutiire.

Theirnames, and those of their contemporaries contributed to give their common city, Crenn; na, a reputation that may perhaps never be surpassed. In our high-speed, high-Lech world, many a hopeful has attempted the impossible: to discover the socalled "secret" of Cremona.

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But no one was able to succeed, because there is no single secret: simply stated, there is not one but many secrets involved. He who therefore tries co discover this purported "secret" in one step, with a single intuition, thus cannot but fail in his intent.

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Paradoxically, his defeat would be that much more evident with his supposed success, inasmuch as true arrists know, that a goal only becomes further away with each step taken in that direction.

Can someone really believe that simply solving one riddle will magically explain the genius of Michaelangelo or Lei. No one, with a clear-headed vision, can of course accept this.

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If someone were to reprtiach me with the objection chat a violin isn't art but only a craft, 1 would rightfully answer that we are discussing 10 the search for beauty, the struggle for harmony, the quest lor aelhetic balance: isn't that the definition of art itself? These secrets are imbedded in the masterpieces ol violin makers tcKi.

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This book, which deseribes and illustrates the work ol the Kónya family, underlines the concept. But it does more than that.

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It describes how the father, who went to Cremona as an adult to learn home work cremona technique of viohn making, and the sons, who proceeded to construct masterpieces in Tatabánya and Cremona, became protagonists of a legend in their own time. There were ot course other Hungarians who preceded them in Cremona, and most of them became worthy followers of this famed School of violin making.

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But very few of them, from being a student there, became a teacher. The two Istvans and Lajos, father and sons, achieved this result. It was only through decades of hard work and single-minded effort did they succeed.