众所周知,俄罗斯小提琴学派的开门宗师是匈牙利人奥波德·奥尔。自他于1868年接替维尼亚夫斯基主政圣彼得堡音乐学院的小提琴教学后,在长达半个世纪的岁月里亲手缔造出具有革命意义的小提琴演奏的崭新流派,门徒之众也可谓“三千弟子,贤者七十”,如雷贯耳者埃尔曼、海菲兹、赛德尔等均由其造就后在西方世界名噪一时。苏联十月革命后,促使奥尔“铁石心肠”地将妻女家庭以及地位无比崇高的音乐学院教职弃诸脑后的原因之一便是割舍不下那些已先他而离开俄国的弟子们。他先是借度假之名到挪威见当时在北欧很是风光的皮雅斯特罗(MishelPiastro,1892—1970);随后又以古稀之年坐了十天的海船去到美国,与他那几位已红透半边天的昔日弟子们会合。到美国后,除1918年在纽约举行了一场音乐会外,奥尔继续着他晚年的造星计划,先后任教于纽约的音乐艺术学院(今朱利亚音乐学院的前身)和费城的柯蒂斯音乐学院。当然,在他生命最后的十二年里,他所取得的教学成就远非俄罗斯时代所能比拟。假如要从他晚年的学生中找出一位堪与埃尔曼、赛德尔或波利亚金相媲美的学生的话,那么这个人无疑就是奥斯卡·舒姆斯基(OscarShumsky)。 As we all know, the Russian violin school opener is the Hungarian Oboid Orr. Since he took over Vigenavsky's violin teaching in St. Petersburg Conservatory of Music in 1868, he has personally created a brand-new genre of revolutionary violin playing for over half a century. The disciples can be described as “three Thousand disciples, Sage Seventy, ”such as thunderstorm Elman, Heifeizi, Seidel and other created by its reputation in the Western world. One of the reasons behind the Soviet Union's October revolution that prompted Orr to “go all out” was to abandon his wife and daughter's family and the highly respected Conservatory's faculties by abandoning the disciples who had left him before him. First, he went to Norway to visit Mishel Piastro (1892-1970), which was a spectacular scenery in northern Europe at that time. Later, he went to the United States in a seaport ten-day seagoing vessel, The old disciples who had gone through half the sky had joined together. After arriving to the United States, in addition to a concert in New York in 1918, Orr continued his later years in the star-making project. He taught at New York's School of Music and Art (now the predecessor of Giulia Conservatory) and Curtis music Academy. Of course, in the last twelve years of his life, his teaching achievements have been far from comparable in Russia. To find a student comparable to Elman, Seidel or Polygamy among his later years, Oskar Shumsky is undoubtedly the man.