Abstract

Australian violinist Cyril Monk (1882–1970) was described in the 25 July 1920 edition of Sydney’s Sun newspaper as ‘one of the best-known violinists in the Commonwealth’. Although he is an unfamiliar name today, Cyril Monk was a prolific recitalist, chamber musician, orchestral leader, and lecturer, as well as a pioneer in the presentation of Australian music. As Monk’s early musical training and most of his long professional career took place in Sydney, his individual playing style offers a perspective on the performing traditions of this time and place. Due to the scarcity of recordings of Australian artists before 1940, how Cyril Monk and violinists of his generation sounded is a mystery today. This article surveys Cyril Monk’s published editions as well as recently discovered annotated scores to document aspects of a string performance style which has been all but forgotten. Extant materials and a surviving recording from Cyril Monk’s musical life provide a snapshot of his individual playing style and of the performance culture in which he operated.

摘要

澳大利亚小提琴家 Cyril Monk (1882–1970) 在 1920 年 7 月 25 日的《悉尼太阳报》中被描述报纸被誉为“英联邦最著名的小提琴家之一”。虽然今天他是一个陌生的名字，但西里尔·蒙克（Cyril Monk）是一位多产的独奏家、室内乐演奏家、管弦乐队的领队和讲师，同时也是展示澳大利亚音乐的先驱。由于 Monk 早期的音乐训练和他漫长的职业生涯的大部分时间都在悉尼进行，他个人的演奏风格提供了一个关于这个时间和地方的表演传统的视角。由于 1940 年之前澳大利亚艺术家的唱片稀缺，Cyril Monk 和他这一代的小提琴家的声音在今天是一个谜。本文调查了 Cyril Monk 的出版版本以及最近发现的注释乐谱，以记录几乎被遗忘的弦乐演奏风格的各个方面。