• 1930 – 1931

    preparatory year at Music and Drama Academy in Bratislava (violin – Gustáv Náhlovský)

  • 1931 – 1938

    Music and Drama Academy in Bratislava (violin – Gustáv Náhlovský)

  • 1939 – 1943

    Master School of Prague Conservatory (violin – Jaroslav Kocian)

  • 1938 – 1939

    pedagogue at (private) music school in Trenčín

  • 1945 – 1947

    external pedagogue at Music School for Slovakia in Bratislava (todays Music School of Miloš Ruppeldt)

  • 1953 – 1984

    pedagogue at Conservatory in Bratislava

  • 1992 – 2002

    external pedagogue at Conservatory in Bratislava

  • 1940 – 1945

    principal player, member of Prague Symphony Orchestra (FOK, conductor Václav Smetáček)

  • 1945 – 1949

    member of the group of “Primals” of Bratislava Radio Symphony Orchestra

  • 1949 – 1978

    founder of Slovak Philharmonic, member of Chamber Orchestra (cond. Václav Talich), since 1953 deputy concert master of Slovak Philharmonic

As a soloist he cooperated with pianist Soňa Kresáková, with whom he performed also in radio broadcastings. He was a part of an untraditional chamber duo with flutist Zdeněk Vaníček, member of Czech Philharmonic. He was a member of a quartet with Tibor Gašparek, Viliam Kořínek, Alexander Farkaš, Albín Berky that recorded quartets of Tchaikovsky, Debussy and others. He was a member of Quarteto with Viliam Kořínek, Jozef Saller, Inge Skolaudová, Karol Filipovič which performed String Quartet No. 1 of Jozef Sixta in the Concert Hall of the Slovak Philharmonic.

In addition to his concert activity, Viliam Kořínek is a significant personality in the field of pedagogy and methodology of violin playing. He raised a number of orchestral players, soloists, pedagogues and musical personalities (e. g. conductor Oliver von Dohnányi, composer Juraj Tandler, Andrea Šestáková, Bohdan Warchal, jr., Rafael Hrdina, violist Juraj Petrovič and many others). His methodological principles had a good response in the Czech Republic, but because of the language barrier they did not get any further than beyond former Czechoslovakia (publisher did not indicate extensive texts in other language versions, e. g. see Štúdie pre rozcvičovanie huslistu and others).

In addition to the selection and revision of the world's core repertoire for violin, he enriched pedagogical literature with his own compositions and also arranged Slovak folk songs for beginning violinists with an accompaniment of second violin. He helped with the formation of original domestic instructive literature. Many composers devoted to him their opuses (Tibor Frešo, Tadeáš Salva, Juraj Tandler and others). Besides pedagogical textbooks for music school teachers he created also a methodology of violin teaching for the second level of music education. He regularly trained music school teachers from whole of Slovakia, and was member of juries of several competitions (among other things he was the head of jury for the competition of music school students Prešporský Paganini). In cooperation with the Linguistic Institute of Slovak Academy of Science he contributed to the terminology of naming parts of string instruments.

He is an author of a number of caricatures of Slovak and foreign musicians that are presented in numerous exhibitions (e. g. in foyer of Slovak Philharmonic, Mirbach Palace Bratislava, Art House Piešťany). Part of them were also published in a book (see bibliography).