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what is lacking in most players today: an instantly recognizable personal sound and style, and most significantly, an enthusiasm for embellishing music in ways that more contemporary period players seldom attempt, but their 18th-century forebears did without question; in that sense, he is more "historical" than they—and to some listeners, more exciting.
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Because he never adapted to methods that have been shown by scholars as more appropriate historically, his older recordings are generally dismissed and have not been reissued on CD. It is a pity because, despite his less "authentic" sound, the recordings of the 1965-1971 period reveal in his playing
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neck, bass-bar, and fingerboard, rather than requiring somewhat speculative retrofitting—which cannot be said for the Amati, and no Amatis survive in original state for restorer consultation. Melkus owns three other instruments by Nicolo Amati, comprising a complete string quartet by that unequalled
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of
Cremona, 1679; Amati ceased making instruments in 1670, dying in 1684, aged 87, so the instrument is the work of one of the makers he still supervised in his shop. Though perhaps richer-sounding, Melkus always sounded more daring and comfortable on the Kloz. Moreover, as Melkus always pointed out
71:. In his time, he tapped a worldwide audience before being replaced as a violin soloist by a new wave in the revival of historically informed baroque period performance. His style included many anachronistic elements: the use of modern wire and wire-covered strings rather than
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ca. 1760, while the rest of his ensemble, the
Cappella Academica Wien, played on far more expensive Italian instruments borrowed from the Vienna Akademie fur Musik and restored to resemble their original conditions. Melkus' later recordings of such works as Bach's
83:(not even invented until the 1820s), and continuous, rather distracting, vibrato. In these ways, he was on a different path from those better-known colleagues in Vienna with whom he began, the Harnoncourts.
60:. From September 1972 to January of 1975, he flew in to teach violin at the University of Georgia in Athens Georgia. In 1982 he became head of the Institute for Viennese Sound Style.
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He performed and recorded more than 200 works from the mid 17th through the late 18th centuries with his ensemble
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45:. He was a member of the 1949 Vienna viola da gamba quartet, a select group of musicians that included Alice and
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From 1958, Melkus was a professor of violin, baroque violin, viola, and historical performance practice at the
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with rare extant 18th-century embellishments, prepared in conjunction with musicologist
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Die
Violine. Eine Einführung in die Geschichte der Violine und des Violinspiels
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which includes the first period-instrument performances of the
Tomasso Vitali
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in liner notes, the Kloz is rare in that it survived with its
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Polish and
Hanakian Folk Music in the Work of G.P. Telemann
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were made on a retrofitted violin bearing the label of
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253:Bogensetzung und Stricharten im Werke Beethovens
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142:sonata, and an important LP entitled
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92:Corelli Violin Sonatas, Opus 5
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