Bram Eldering als Primarius, Carl Körner Vl. 2,
Emanuel Feuermann, Violoncello und Hermann Zitsmann, Viola
Bram Eldering was born on the 8th of July 1865 in Groningen, Netherlands.
He studied the violin with Jenö Hubay at the Royal Conservatorium of Music in Brussels whom he followed in 1886 when appointed Professor of Violin Studies at the Royal Hungarian Music Academy in Budapest. There he played with Victor von Herzfeld and David Popper in Hubay’s string quartet. He met Johannes Brahms and performed Brahms’ chamber music from the manuscript, among others the Piano Quintet with Brahms himself on the Piano at Schloss Hagerhof near Honnef, Germany.
In 1888 Eldering moved to Berlin and continued his studies with Joseph Joachim where he later became Concertmaster of the Berlin Philharmonic Orchestra under Hans von Bulow and Concertmaster of the Meininger Hofkaplle. In 1899 he was appointed Professor at the Conservatorium of Music Amsterdam. Since 1903 he taught in the same position at the Conservatorium of Music in Cologne and was one of the most formative Violin pedagogues of his time.
Bram Eldering was killed on the 17th of June 1943 in Cologne by a bomb which exploded in his home during an air-raid.
Theo Giesens reports, 13th April 1983:
‘…. but the master’s most fascinating quality was his musical interpretation. It became obvious that he was very close to the great composers and performers of his time, who were committed to their traditions…’
At Bram Eldering’s funeral, Max Strub found the following words in his eulogy:
‘… at a time which created vast libraries of violin methods and when playing was audible more in words than in sound, his method of teaching appears to be of a convincing and fruitful simplicity…. The philosophy – ‘the best teacher cannot transform oneself, but can free oneself, one has to develop oneself’ – finds its ultimate fulfillment in Bram Eldering’s pedagogical lifework…’
Bram Eldering wrote in a letter to Max Strub:
‘… The most important thing is to teach the student to produce a good sound, to have reliable intonation and musical taste, then he must not worry too much about the method. I practice diligently so that I can play better for my students…’