Wieniawski, Henryk (EN)

Wieniawski Henryk, *10 July 1835 Lublin, †31 March 1880 Moscow, Polish violinist and composer. He started learning to play the piano with S. Serwaczyński and J. Hornziel in Lublin. In 1843, he moved to Paris to study at the conservatory with L.J. Massart. In 1846, he was awarded the Premier Prix as the youngest in the violin class. He debuted as a virtuoso in Sax Hall on 30 January 1848; he was accompanied by his uncle E. Wolff. Soon he left to give concerts in St. Petersburg, he performed at the tsar’s court and aristocratic salons. He met H. Vieuxtemps, who spoke highly of his music. He also performed in Baltic cities (Helsinki, Tallinn, Dorpat, Riga, Mitau) and Vilnius, where he met S. Moniuszko. In 1849, he introduced himself in Germany (including Hamburg, Berlin, Leipzig and Weimar). In Dresden, he was a guest of K. Lipiński, whom he played with at chamber music evenings. After returning to Paris, Wieniawski took a one-year harmony course with H. Collet, receiving the main distinction in June 1850.

Soon he started performing with his brother Józef, who also studied at the Paris Conservatory. Their concerts were favourably reviewed by the critics like H. Berlioz and H.L. Blanchard. At the beginning of 1851, the Wieniawski brothers went on a tour of Russia that was preceded by performances in Warsaw and Lublin. They visited numerous Russian cities (including St. Petersburg, Tver, Moscow, Odesa, Kremenchuk, Poltava, Kharkiv, Kursk, Voronezh, Tambov, Simbirsk and Kazan), giving almost 200 concerts. In 1853–54, they performed in Germany, travelling from Munich to Kiel and from Frankfurt am Main to Berlin. They played in prestigious halls, including Gewandhaus in Leipzig and Konzerthaus in Berlin (Henryk was then awarded a gold medal “for his contributions to art” by the King of Prussia), as well as in smaller centres and health resorts (Ems, Wiesbaden, Kreuznach, Baden-Baden). In Weimar, they met F. Liszt, who noticed Józef’s talent. They were especially warmly welcomed in Bavaria (including Nuremberg, Ansbach, Würzburg and Augsburg). In total, they gave 122 concerts in Germany. Henryk also came into contact with publishers (including Kistner, Hofmeister and Senff), who accepted his compositions for printing. During their tour of Germany, they also visited Poznań, where they performed at the City Theater and the Bazaar Hall. The last stage of their tour together was concerts in Brussels in 1855. Later, they continued their career independently, meeting only occasionally on concert stages.

In 1856, Wieniawski started his tour of the Netherlands (including Amsterdam, Leiden, Utrecht, Delft, Rotterdam, Dordrecht, Breda and Arnhem). In Hague, there were biographical sketches on Wieniawski published by A. Desfossez, who called him “the second Paganini.” King of the Netherlands awarded Wieniawski the Knight Order of the Oak Crown. In 1857, Wieniawski made a short visit to Poland and performed in Krakow, Lviv, Poznań and Szczawina Zdrój. At the beginning of 1858, he came back to the Netherlands; in April and May, he gave concerts in Paris and spent the summer in German resorts. In the autumn of 1858, he came to London, invited by the conductor L.A. Jullien. He participated in a series of concerts in the Lyceum Theatre that became the highlight of the season. Wieniawski’s repertoire at that time included Carnaval in Venice and I palpiti by N. Paganini, Othello Fantasy by H. Ernst, Concerto in E minor by F. Mendelssohn, The Kreutzer Sonata by L. van Beethoven and his own Souvenir de Moscou. Then he started a tour of Great Britain with Jullien (among others, Birmingham, Liverpool, Manchester, Leeds, Edinburgh, Glasgow, Dover and Brighton). He stayed in London until July 1859 and came back there in the autumn season. He performed at the Crystal Palace, Saint James Hall, Drury Lane Theatre and at Philharmonic Concerts. He was famous also as a chamber musician, especially at Beethoven Quartet Society concerts that were incredibly popular. His partners in the ensemble were H. Ernst, J. Joachim and A. Piatti. What is more, he played at the inauguration of the new cycle of chamber music concerts called Monday Popular Concerts. In April 1859, he met Izabela Hampton whom he married on 8 August 1860 in Paris. Numerous concert tours in Europe in the 1850s brought Wieniawski fame and recognition. He achieved a leading position among virtuoso violinists and became known as a composer. The audience enthusiastically received his performances, and critics lavished praise. This is evidenced by numerous reviews in Revue et Gazette musicale de Paris, Signale für die Musikalische Welt, The Musical World and Le Guide Musical.

In 1860, Wieniawski got a permanent position at the tsar’s court in St. Petersburg. He became the first soloist in the opera orchestra, performed at court concerts and supervised several students at the theatre school. The contract limited his solo career significantly, allowing him to only a few performances a year. All others – except charity concerts – required special permission. However, the contract guaranteed many months of vacation in the summer, which Wieniawski used for concert tours around Europe. Wieniawski actively participated in the musical life of St. Petersburg. He would often play in chamber ensembles, among others, the quartet of the Russian Music Association that he managed. He was often a quest at the aristocratic salons, including at Count M. Wielhorski, pr. W. Odojewski and Baron B. Fitinhof-Schell and at chamber soirées in the homes of friendly musicians, especially An. Rubinstein, K. Levi and K. Lyadov. These meetings gathered many celebrities from the world of culture and art. In 1862, Wieniawski became a professor of a violin class at a new conservatory. It was An. Rubinstein’s initiative to invite many prominent artists to cooperate, including T. Leszetycki, K. Davydov, F. Homilius, A. Zabel and H. Nissen-Salomon. Wieniawski also taught a quartet class, with which he prepared the first performance of Quartet in B-flat major by P. Tchaikovsky, who was then a composition student. In 1865, the first graduates left his class – D. Panov, K. Puszyłow and W. Salin, who played an important role in musical life. In 1867, as a result of a conflict with the tsarist administration, An. Rubinstein resigned, along with Wieniawski and a large part of the teaching staff. Wieniawski’s successor was L. Auer.

Accepting the permanent position did not weaken Wieniawski’s status in the musical world. The 1860s were full of significant artistic events: in 1861, a trip to London with N. Rubinstein; in 1862, the first performance of Concerto No. 2 Op. 22 in St. Petersburg (conducted by An. Rubinstein); in 1863, performances in St. Petersburg and Moscow (conducted by R. Wagner) and in Western Europe (among others, in Liège, Utrecht, Amsterdam, Copenhagen and Stockholm); in 1864, again concerts in London (concerts with K. Davydov, A. Jaëll and A. Piatti) and in German resorts (Wiesbaden, Schlangenbad, Bad Homburg); in 1865, a trip to Baltic cities with A. Kleffel and a visit to London (Covent Garden, Promenade Concerts); in 1866, a concert in Bucharest and chamber performances in London (success of Fantasie Faust Op. 20); in 1867, concerts in Paris (Société des Concerts du Conservatoire, Théâtre Italien), Scandinavian tour (including Stockholm, Copenhagen and Oslo), performances in Belgium (Brussels and Ostend); in 1868–69, concerts in Russia (among others, in Voronezh, Kharkiv and Odesa) and at the Sultan’s court in Constantinople; in 1870, concerts in Warsaw (Teatr Wielki) and later in Scandinavia (among others, in Copenhagen, Gothenburg and Stockholm).

Combining concert activities with duties at the tsar’s court was becoming more and more difficult. Work at the theatre gave Wieniawski neither artistic satisfaction nor sufficient income. In 1872, Wieniawski resigned from the job and started a tour of the United States with An. Rubinstein. Wieniawski was a second soloist in the ensemble that included two singers: L. Ormeny and L. Liebhart. The tour led through the East Coast and Midwest to New Orleans. The artists also visited Canada (Montreal, Toronto, Hamilton). They travelled by rail, sometimes by a special train. They were obliged to give six concerts a week. From September 1872 to May 1873, they gave 215 concerts, visited 59 cities (among others, New York, Brooklyn, New Haven, Hartford, Springfield, Worcester, Providence, Boston, Portland, Albany, Troy, Utica, Syracuse, Rochester, Buffalo, Cleveland, Akron, Toledo, Detroit, Grand Rapids, Kalamazoo, Fort Wayne, Chicago, Milwaukee, Peoria, Bloomington, Indianapolis, Columbus, Cincinnati, Pittsburgh, Filadelfia, Baltimore, Washington, Lexington, Louisville, Saint Louis, Nashville, Memphis, Mobile, New Orleans). Their performances were carefully observed by the American press, both specialist magazines and daily newspapers like Dwight’s Journal of Music, Metronome, New York Musical Gazette, New York Tribune and Philadelphia Inquirer. After Rubinstein’s departure, Wieniawski stayed longer in America, performing, among others, in California (San Francisco, Sacramento, San Jose). He came back to Europe at the beginning of 1874. Then, he obtained a permanent position at the Brussels Conservatory. In December 1874, he was appointed professor of the violin class. He also started teaching quartet classes, created especially at his request. He worked there until September 1877. His students included, among others, L. Lichtenberg, E. Heimendhal, I. Schnitzler, A. Senkrach and M. Gałkin. E. Ysaÿe took private classes with Wieniawski and highly valued his advice on right-hand technique. Wieniawski was a well-known person in the musical environment in Brussels. He became famous as a soloist (Concerts Populaires, Concerts du Conservatoire, Palais Ducal) and a chamber musician (Cercle Artistique et Littéraire, Association des Artistes Musiciens, Grande Harmonie). Together with a pianist L. Brassin, they initiated a cycle of chamber soirées L’Union Instrumentale, which has become a permanent part of the city’s musical panorama. He also performed in Ghent, Mons, Liège, Spa and Ostend. In 1876, he was awarded the Order of Leopold for his services to the conservatory. He continued to give concerts around Europe. It was possible thanks to the support of the then director F.A. Gevaert, who permitted him to travel. However, Wieniawski’s absence at the conservatory was criticised by the press. He was also accused of neglecting Belgian students and only dealing with foreigners. These attacks were the main reason for Wieniawski’s resignation from working at the conservatory.

In the 1870s, Wieniawski was often invited to cooperate with famous performers and prestigious concert institutions: in 1875 London (Philharmonic Concerts, Promenade Concerts), Manchester (Gentlemen’s Concerts) and Paris (Concerts Populaires, Salle Erard, Salle Herz); in 1876 again Paris (Société des Concerts du Conservatoire, Théâtre Italien) and London (Crystal Palace), also Vienna, Graz, Prague, Budapest (together with a pianist A. Grünfeld); in 1877 tour of Scandinavian countries (in the ensemble with G. Bottesini, A. Jaëll, D. Artôt) and performance in Vienna and Germany with L. Brassin; in 1878 London (Popular Concerts, Crystal Palace, Philharmonic Concerts), tour of Germany with A. Jaëll and concerts at the World Exhibition in Paris.

At that time, Wieniawski suffered from increasing health problems. Attacks of rheumatism and shortness of breath often prevented him from playing. He even fainted on stage during a concert at Kroll’schen Königssaale in Berlin in 1878 (the concert was then continued by J. Joachim). Despite his poor health, he went on another tour of Russia. In 1879, he performed in Moscow and St. Petersburg, as well as other cities (Kyiv, Charkov, Saratov, Yalta, Odesa and Kishinev). In the autumn there was a sudden attack of the disease. In December, Wieniawski found himself in the Mariinsky Hospital in Moscow, and in February 1880 he was transferred to the house of Nadezhda von Meck, who took care of him. Wieniawski died in Moscow on 31 March 1880. Funeral ceremonies took place on 7 April in Warsaw in the church of St. Cross. He was buried at the Powązki Cemetery.

Wieniawski was the most outstanding Polish violinist of the 2^nd half of the 19^th century. He was one of the leading European virtuosos, alongside such performers as H. Vieuxtemps, J. Joachim and P. de Sarasate. He belongs to the French-Belgian school of violin playing. His creative legacy is relatively small (24 opuses) but significant. Some of Wieniawski’s works (concertos, polonaises, Legend, Scherzo-Tarantelle) have entered the canon of violin literature and have been recorded excellently (including J. Heifetz, I. Haendel, I. Perlman, R. Ricci, G. Shaham, J. Bell, M. Vengerov, K.A. Kulka and B. Nizioł).

Wieniawski’s work is deeply rooted in the virtuoso tradition. Performance practice had a decisive influence on the shape of his works and stimulated his sonic imagination. Wieniawski began composing while still at the conservatory. His first printed work, Grand caprice fantastique Op. 1 was dedicated to L.J. Massart, including many of the technical tricks he practised in his lessons. Allegro de sonate Op. 2 also comes from this period and was written together with his brother Józef for the Russian tour in 1848. These youthful works are characterised by a high concentration of virtuoso means, a transparent form and a simple harmonic plan. The piano part serves as an accompaniment and is sometimes treated virtuosically.

The greatest flowering of Wieniawski’s work was in the early 1850s, during a period of very intense concert tours around Europe. In 1853–54, he published over half of his works. The most famous were Concerto No. 1 Op. 14, Polonaise No. 1 Op. 4 and Souvenir de Moscou Op. 6. The collection of etudes for solo violin L’école moderne Op. 10, which Wieniawski considered his flagship work, also aroused great interest which Wieniawski considered his flagship work. The second culmination of his work occurred in the early 1960s. The famous Legend Op. 17, composed under the influence of his feelings for Isabella Hampton, and the Fantasia “Faust” Op. 20, were enthusiastically received by the audience. He also wrote Etudes-Caprices Op. 18 for 2 violins, written for teaching purposes. After a long break in composing, Wieniawski returned to the genres he had previously undertaken. In the late 1870s, he wrote Polonaise No. 2 and published the final version of Concerto No. 2 Op. 22. Both works were the culmination of his creative path. Latest compositions, Gigue Op. 23 and Fantaisie orientale Op. 24, were published posthumously.

Wieniawski played genres typical of the virtuoso movement: concertos, variations, fantasies, etudes and polonaises. The solo part plays a dominant role in these works, and the fascination with technique goes hand in hand with great expressive diversity. Brilliant virtuosity is often contrasted with a simple cantabile. However, Concerto No. 2, Polonaise in A major and small pieces inspired by Polish folk music go beyond the stereotype of virtuoso work. The second group are the so-called pièces de salon, instrumental miniatures with a lyrical character: elegy, romance, legend. They are characterised by lilting melody, subtle sound and poetic mood. This group also includes mazurkas kept in folk colours.

The central place in Wieniawski’s work is occupied by two concertos: in F-sharp minor and in D minor. They are part of the rich tradition of the 19^th-century violin concerto, alongside the works of N. Paganini, H. Ernst and H. Vieuxtemps. Their first parts have the structure of a sonata allegro, in which Wieniawski respects the traditional rules of shaping the form. Individual solutions are visible in terms of texture, especially through the skilful use of the violin technique for expressive purposes. The middle movements are modelled on vocal genres (Preghiera in Concerto No. 1, Romance in Concerto No. 2). The expressive aura changes and the texture and sound become simplified. The lilting melody and skilful use of the instrument’s timbre make the violin take on the characteristics of a human voice. In the finales of both concertos, the soloist’s part again comes to the fore, and the orchestra creates a discreet background. These movements are very impressive due to the abundance of virtuoso means, dizzying tempo and dance momentum. The rondo-like arrangement favours the juxtaposition of contrasting word categories, which greatly diversifies the form.

Both concertos present Wieniawski’s typical tendency to bravado, his preference for a wide cantilena and a light bow, as well as free “improvisation”, especially in figurative elements, coda and cadenza. At the same time, they show a certain evolution of the musical language. Concerto No. 1 is a testimony to Wieniawski’s fascination with the instrument’s technical possibilities. Concerto No. 2 is characterised by more symphonic thinking. The orchestra takes an active part in processing the thematic material, and the solo sometimes withdraws to the role of accompaniment. In the Allegro from Concerto No. 2, there is a strong modification of the sonata form, and the entire cycle, connected attacca, definitely fits the romantic line of the concerto, starting from Mendelssohn through Saint-Saëns, Bruch, Dvořák, to Karłowicz.

The genre of variations is the most numerous in Wieniawski’s work, both in the form of a theme with variations (Grand caprice fantastique Op. 1, Carnaval russe Op. 11, Thème original varié Op. 15) and free air varié (Souvenir de Moscou Op. 6). The variational technique also permeates other works (Allegro de sonate Op. 2, Scherzo-Tarantelle Op. 16). The composer did not go beyond a certain convention in them. The themes are simple, symmetrically constructed and clearly divided. During processing, they do not lose their clarity because the phrase structure and harmonic pattern are preserved. In his variations, Wieniawski did not limit himself to ornamental and figurative transformations. The study also covers the sonic (register changes, flageolets), textural (chords, double stops) and expressive (lyricism, pathos, grotesque) layers. In Carnaval russe, the composer used illustrative means (imitation of folk instruments, dance idiom) to emphasise the mood of carnival fun. This piece is a clear allusion to Paganini’s Carnival of Venice. However, this is not a simple imitation, but a subtle reference to a certain type of virtuosity symbolised by Paganini. In Thème original varié Op. 15, Wieniawski abandoned the programmatic content and concentrated on the sound matter itself. Two contrasting themes (singing and dancing) undergo different metamorphoses using sophisticated technical means. This applies to both the violin part (scale runs, sharp jumps, parallel octaves, daring staccato) and the piano part (extensive figurations, arpeggios, chords, wide register range). The harmonic layer is also more varied (more frequent use of seventh and third chords).

Fantasia “Faust” is a perfect example of the fantasy genre popular in the 19^th century, based on operatic themes. Various violinists also played Ch. Gounod’s Faust, including H. Vieuxtemps, D.J. Alard and P. de Sarasate. Wieniawski took the most famous fragments from the opera: Mephisto’s aria Le veau d’or, the love duet of Faust and Margarita, and the waltz Ainsi que la brise légère. He also introduced the themes of Siébel and Valentin, and in the introduction, the theme of Faust Rien en vain j’interroge. The form is composed of four strongly contrasted episodes, preceded by an introduction and ending with a virtuoso cadenza. They create a sequence of “images,” subordinated to a certain dramaturgy. Each of them is an instrumental equivalent of an opera number: an aria, a ballet, a duet, an orchestral part. The original material is treated literally or more freely (use of a characteristic phrase, reference to the sound aura of the scene). In developing themes, Wieniawski used the variation technique. He modified not only their melodic content but also their sound colour, e.g. by combining flageolets with scale runs in Ainsi que la brise légère. A large accumulation of virtuosic means occurs in the “devil” episode, which is the climax of the piece. Variations and fantasies reveal, to some extent, Wieniawski’s improvisational skill. They testify to his extraordinary finger skills (scales, arpeggios, jumps, arpeggios) and ability to use the bow (especially staccato, spiccato, sautillé). Wieniawski was adept at improvisation, an important element of performing art in the 19^th century.

Wieniawski’s polonaises are in the convention of a stylised dance, with a virtuoso violin part and simple accompaniment. They represent a type of concert polonaise that was very popular among violinist-composers (including K. Lipiński, H. Vieuxtemps, H. Ernst, F.A. Habeneck). There is a difference in the approach to virtuosity and compositional technique between the youthful Polonaise in D major and the much later Polonaise in A major. In the first of them, the emphasis is on the showmanship aspect (figurations, ornaments, chord playing, flageolets, quick changes of position). Virtuoso means are used to highlight the metrorhythmic features of the dance and emphasise its spontaneous character. In the second piece, the composer does not give up virtuosity, but it serves expressive purposes and is strongly integrated with the development work. In the harmonic layer, there is greater diversity (bolder modulations, more frequent progressions).

Wieniawski composed two sets of etudes: L’école moderne Op. 10 for solo violin and Etudes-Caprices Op. 18 for 2 violins. Their goal is to develop left-hand proficiency and bowing technique. L’école moderne consists of 8 etudes of a different nature, each of which is devoted to a different issue (including scale and arpeggio progressions, double stops, chords, arpeggios, and various types of articulation). They require not only great technical skill but also the ability to shape expression and sound (e.g. the beauty of the polyphonic texture in Prélude, the charm of Saltarella, the nobility of Cadenza, the coarse character of Le chant de bivouac). These etudes are not purely didactic works, but instrumental miniatures of high artistic value. In the second collection, Etudes-Caprices Op. 18, Wieniawski referred to the tradition of practising “in a duet,” which was a common practice used at the Paris conservatory (cf. duets by P. Rode, R. Kreutzer, Ch.-A. de Bériot, D.J. Alard, H. Léonard). In his works, he differentiated the parts of both instruments (one of them is virtuoso, the other is an accompaniment). In contemporary compositional practice, these are played solo (without the accompanying part) or in a version for two instruments treated equally (arranged by E. Umińska, I. Dubiska).

An important place in Wieniawski’s compositional legacy is occupied by the so-called pièces de salon. They are characterised by a tilting melody and sentimental tone, sometimes combined with brilliant virtuosity. Wieniawski referred to the best traditions of salon music. This is evidenced by the atmospheric Legend, the elegant Romance-Rondo and the airy Capriccio-Valse. All songs have an ABA form, a regular melody contour and a simple harmonic foundation. The composer’s attention was focused on differentiating their expressive side through textural, sonic and dynamic nuances. In mazurkas, the folk colour is achieved by emphasising dance features (rhythmic formulas, accentuation), type of melody (ornaments, chromaticism), performance manners (tempo rubato) and imitation of folk instruments (hurdy-gurdy, pipe). Some mazurkas (Sielanka, Obertas, Dudziarz, Pieśń polska) belong to the canon of Polish instrumental lyric poetry and are played successfully by both beginners and experienced violinists.

Wieniawski’s work constituted an important contribution to violin and string music of the 19^th century. It is also very popular among contemporary performers. The H. Wieniawski International Violin Competition is of great importance for promoting the composer’s legacy (initiated in 1935 in Warsaw); it has been held every 5 years in Poznań since 1952 (2^nd edition). Its winners were, among others: G. Neveu, D. Oistrakh, I. Haendel, W. Wiłkomirska, P. Janowski, K. Danczowska, W. Brodski, P. Pławner, B. Nizioł, R. Otani, A. Baeva and A. Szymczewska.

Literature: A. Jazdon Henryk Wieniawski. Katalog tematyczny dzieł, Poznań 2009; A. Desfossez Henri Wieniawski. Esquisse, Hague 1856; J. Reiss Henryk Wieniawski, Warsaw 1931, Kraków 1963, 4^th ed. 1985; T. Strumiłło Koncerty skrzypcowe Wieniawskiego, Kraków 1955; I. Jampolski Henryk Wieniawski, Moscow 1955; W. Grigoriev Henryk Wieniawski, Moscow 1966, Polish transl. I. Winiarska, Warsaw-Poznań 1986; Henryk Wieniawski, album, ed. W. Dulęba, Kraków 1967,  2^nd ed. 1974; E. Grabkowski Henryk Wieniawski, Warsaw 1985; E. Grabkowski Henryk Wieniawski 1835–1880. Kalendarium, Poznań 1986; E. Grabkowski, R. Połczyński 50 lat Międzynarodowych Konkursów im. Henryka Wieniawskiego 1935–1985, Poznań 1986; E. Grabkowski Henryk Wieniawski i jego muzyka, Warsaw 1990; E. Grabkowski Henryk Wieniawski. Kompozytor – wirtuoz – pedagog, Poznań 1996, also English ed., transl. K. Tylko-Hill (Henryk Wieniawski. Dzieła wszystkie, series B, 1^st vol.); Henryk Wieniawski – Composer and Virtuoso in the Musical Culture of the 19th and 20th Centuries, ed. M. Jabłoński and D. Jasińska, Poznań 2001 (in: Henryk Wieniawski. Dzieła wszystkie, series B); Les frères Wieniawski. Documents conservés dans les collections de la Bibliothèque Royale de Belgique, ed. M. Appelmans and Ch. Servais, introduction R. Suchowiejko, Brussels 2002; L. Gawroński Saga rodu Wieniawskich, Lublin 2003; R. Połczyński Da capo. 70 lat Międzynarodowych Konkursów im. Henryka Wieniawskiego, Poznań 2005; R. Suchowiejko Henryk Wieniawski. Kompozytor na tle wirtuozowskiej tradycji skrzypcowej XIX wieku, Poznań 2005 (in: Henryk Wieniawski. Dzieła wszystkie, series B); Henryk Wieniawski and the 19th Century Violin Schools, ed. M. Jabłoński and D. Jasińska, Poznań 2006 (in: Henryk Wieniawski. Dzieła wszystkie, series B); Henryk Wieniawski and the Bravura Tradition, ed. M. Jabłoński and D. Jasińska, Poznań 2010; J. Hubay “Moje wspomnienia o artystach polskich” Muzyka 1928 No. 1; W. Kochański “Henryk Wieniawski” Muzyka 1930 No. 4; A. Jampolski “Henryk Wieniawski” Muzyka 1950 Nos 7–8; E. Aleksiejewa, E. Bortnikowa, B. Fischman “Wieniawski w Rossii” Sowietskaja Muzyka 1953 No. 1; I. Lakatos “Wieniawski w Siedmiogrodzie” Ruch Muzyczny 1958 No. 16; A. Ysaÿe “Refleksje i wspomnienia” Ruch Muzyczny 1958 No. 11; L. Ginzburg “Wieniawski w Rosji” Ruch Muzyczny 1959 No. 9; L. Ginzburg H. “Wieniawski w Rossii i jego russkije swiazi” Russko-polskije muzykalnyje swiazi, ed. I. Bełza, Moscow 1963; E. Grabkowski, articles in Ruch Muzyczny: “Metryka Henryka Wieniawskiego,” 1968 No. 1, “W sprawie daty śmierci Henryka Wieniawskiego,” 1985 No. 17, “Henryka Wieniawskiego spotkanie z Franzem Lisztem,” 1986 No. 21, “Nad biografią Henryka Wieniawskiego. Rodowód artysty,” 1988 No. 3, “Henryk Wieniawski w Brukseli,” 1991 No. 7, “Na tropie manuskryptów Henryka Wieniawskiego,” 1994 No. 26, “Pamiątki po Wieniawskim w Poznaniu,” 1997 No. 6; L. Gawroński “Lubelski Paganini” Ruch Muzyczny 1985 No. 21; L. Gawroński “Jeszcze o rodowodzie artysty” Ruch Muzyczny 1988 No. 19; Z. Wiszniewski “Grigoriew o Wieniawskim Ruch Muzyczny 1986 No. 22; M. Jabłoński “Henryk Wieniawski. Dzieła Wszystkie” Ruch Muzyczny 1997 No. 6; J. Morawski “Dzieła Wszystkie Henryka Wieniawskiego,” Ruch Muzyczny 1999 No. 1; R. Suchowiejko “Henryk Wieniawski in America” Ad Parnassum III, 2005 No. 5; R. Suchowiejko “Henryk Wieniawski – Henri Vieuxtemps. Parcours croisés” Revue Belge de Musicologie 2007 No. 1.