ABSTRACT
Unlike in the nineteenth century, when teaching styles largely evolved around a particular school and conservatory, at the turn of the twentieth century, they were defined by individuals. Czech Otakar Sevcik and Hungarian Carl Flesch led this new era of violin teaching. Among Sevcik’s most celebrated female students was Austrian violinist Erica Morini whose memorable interpretations of standard violin concertos, particularly Beethoven and Brahms, brought her international acclaim. One of her legacies is the revival of Spohr’s concertos, which were considered antiquity. Carl Flesch’s main goal as a teacher was to teach students the art of self-analysis and self-help. He discouraged practicing more than four hours a day, and he emphasized organizing practice around technique, repertoire, and interpretation. Pondering the most logical and musical fingerings in various pieces of music and organizing them into card files was one of Flesch’s special interests.
