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Read Ebook: Violin Mastery: Talks with Master Violinists and Teachers by Martens Frederick Herman
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Ebook has 445 lines and 65963 words, and 9 pages
PAGE FOREWORD v
EUG?NE YSAYE The Tools of Violin Mastery 1
LEOPOLD AUER A Method without Secrets 14
EDDY BROWN Hubay and Auer: Technic: Hints to the Student 25
MISCHA ELMAN Life and Color in Interpretation. Technical Phases 38
SAMUEL GARDNER Technic and Musicianship 54
ARTHUR HARTMANN The Problem of Technic 66
JASCHA HEIFETZ The Danger of Practicing Too Much. Technical Mastery and Temperament 78
DAVID HOCHSTEIN The Violin as a Means of Expression and Expressive Playing 91
FRITZ KREISLER Personality in Art 99
FRANZ KNEISEL The Perfect String Ensemble 110
ADOLFO BETTI The Technic of the Modern Quartet 127
HANS LETZ The Technic of Bowing 140
DAVID MANNES The Philosophy of Violin Teaching 146
TIVADAR NACH?Z Joachim and L?onard as Teachers 160
MAUD POWELL Technical Difficulties: Some Hints for the Concert Player 183
LEON SAMETINI Harmonics 198
ALEXANDER SASLAVSKY What the Teacher Can and Cannot Do 210
TOSCHA SEIDEL How to Study 219
EDMUND SEVERN The Joachim Bowing and Others: The Left Hand 227
ALBERT SPALDING The Most Important Factor in the Development of an Artist 240
THEODORE SPIERING The Application of Bow Exercises to the Study of Kreutzer 247
JACQUES THIBAUD The Ideal Program 259
GUSTAV SAENGER The Editor as a Factor in "Violin Mastery" 277
FACING PAGE Leopold Auer 14
Mischa Elman 38
Arthur Hartmann 66
Jascha Heifetz 78
Fritz Kreisler 100
Franz Kneisel 110
Adolfo Betti 128
David Mannes 146
Tivadar Nach?z 160
Maud Powell 184
Toscha Seidel 220
Albert Spalding 240
Theodore Spiering 248
Jacques Thibaud 260
Gustav Saenger 278
VIOLIN MASTERY
EUG?NE YSAYE
THE TOOLS OF VIOLIN MASTERY
What most impresses one who meets Ysaye and talks with him for the first time is the mental breadth and vision of the man; his kindness and amiability; his utter lack of small vanity. When the writer first called on him in New York with a note of introductio from his friend and admirer Adolfo Betti, and later at Scarsdale where, in company with his friend Thibaud, he was dividing his time between music and tennis, Ysaye made him entirely at home, and willingly talked of his art and its ideals. In reply to some questions anent his own study years, he said:
"Strange to say, my father was my very first teacher--it is not often the case. I studied with him until I went to the Li?ge Conservatory in 1867, where I won a second prize, sharing it with Ovide Musin, for playing Viotti's 22d Concerto. Then I had lessons from Wieniawski in Brussels and studied two years with Vieuxtemps in Paris. Vieuxtemps was a paralytic when I came to him; yet a wonderful teacher, though he could no longer play. And I was already a concertizing artist when I met him. He was a very great man, the grandeur of whose tradition lives in the whole 'romantic school' of violin playing. Look at his seven concertos--of course they are written with an eye to effect, from the virtuoso's standpoint, yet how firmly and solidly they are built up! How interesting is their working-out: and the orchestral score is far more than a mere accompaniment. As regards virtuose effect only Paganini's music compares with his, and Paganini, of course, did not play it as it is now played. In wealth of technical development, in true musical expressiveness Vieuxtemps is a master. A proof is the fact that his works have endured forty to fifty years, a long life for compositions.
YSAYE'S REPERTORY
Ysaye spoke of Vieuxtemps's repertory--only he did not call it that: he spoke of the Vieuxtemps compositions and of Vieuxtemps himself. "Vieuxtemps wrote in the grand style; his music is always rich and sonorous. If his violin is really to sound, the violinist must play Vieuxtemps, just as the 'cellist plays Servais. You know, in the Catholic Church, at Vespers, whenever God's name is spoken, we bow the head. And Wieniawski would always bow his head when he said: 'Vieuxtemps is the master of us all!'
Ysaye himself has an almost marvelous right-arm and fingerboard control, which enables him to produce at will the finest and most subtle tonal nuances in all bowings. Then, too, he overcomes the most intricate mechanical problems with seemingly effortless ease. And his tone has well been called "golden." His own definition of tone is worth recording. He says it should be "In music what the heart suggests, and the soul expresses!"
THE TOOLS OF VIOLIN MASTERY
"When I said that the string instruments, including the violin, subsist in a measure on the heritage transmitted by the masters of the past, I spoke with special regard to technic. Since Vieuxtemps there has been hardly one new passage written for the violin; and this has retarded the development of its technic. In the case of the piano, men like Godowsky have created a new technic for their instrument; but although Saint-Sa?ns, Bruch, Lalo and others have in their works endowed the violin with much beautiful music, music itself was their first concern, and not music for the violin. There are no more concertos written for the solo flute, trombone, etc.--as a result there is no new technical material added to the resources of these instruments.
"In the days of Viotti and Rode the harmonic possibilities were more limited--they had only a few chords, and hardly any chords of the ninth. But now harmonic material for the development of a new violin technic is there: I have some violin studies, in ms., which I may publish some day, devoted to that end. I am always somewhat hesitant about publishing--there are many things I might publish, but I have seen so much brought out that was banal, poor, unworthy, that I have always been inclined to mistrust the value of my own creations rather than fall into the same error. We have the scale of Debussy and his successors to draw upon, their new chords and successions of fourths and fifths--for new technical formulas are always evolved out of and follow after new harmonic discoveries--though there is as yet no violin method which gives a fingering for the whole-tone scale. Perhaps we will have to wait until Kreisler or I will have written one which makes plain the new flowering of technical beauty and esthetic development which it brings the violin.
"As to teaching violin, I have never taught violin in the generally accepted sense of the phrase. But at Godinne, where I usually spent my summers when in Europe, I gave a kind of traditional course in the works of Vieuxtemps, Wieniawski and other masters to some forty or fifty artist-students who would gather there--the same course I look forward to giving in Cincinnati, to a master class of very advanced pupils. This was and will be a labor of love, for the compositions of Vieuxtemps and Wieniawski especially are so inspiring and yet, as a rule, they are so badly played--without grandeur or beauty, with no thought of the traditional interpretation--that they seem the piecework of technic factories!
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