Violin Mastery: Talks with Master Violinists and Teachers, Comprising Interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and Others

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Frederick A. Stokes Company, 1919 - Violin - 292 pages
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Page 176 - I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus; but use all gently: for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. Oh, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags...
Page 176 - O ! it offends me to the soul to hear a robustious, periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings ; who, for the most part, arc capable of nothing but inexplicable dumb shows, and noise.
Page 164 - And there was not a trace of condescension in his attitude toward me; but always encouragement, a tender affectionate and paternal interest in a young boy, who at that moment was a brother artist. "Through Liszt I came to know the great men of Hungarian music of that time : Erkel, Hans Richter, Robert Volkmann...
Page 270 - There is nothing that is so enjoyable for the true artist as ensemble playing with his peers. Solo playing seems quite unimportant beside it. "I recall as the most perfect and beautiful of all my musical memories, a string quartet and quintet (with piano) session in Paris, in my own home, where we played four of the loveliest chamber music works ever written in the following combination: Beethoven's 7th quartet (Ysaye, Vo. I, myself, Vo. II, Kreisler...
Page 15 - I make a few magic passes with the bow by way of illustration and — presto — you have a Zimbalist or a Heifetz! But the truth is I have no method — unless you want to call purely natural lines of development, based on natural principles, a method — and so, of course, there is no secret about my teaching. The one great point I lay stress on in teaching is never to kill the individuality of my various pupils.
Page 225 - Professor Auer always taught us to play as individuals, and while he never allowed us to overstep the boundaries of the musically aesthetic, he gave our individuality free play within its limits. When playing for him, if once I came to a passage which demanded an especially beautiful legato rendering, he would say : 'Now show how you can sing...
Page 102 - ... more interested in playing in the park, where my chums waited for me, than in taking lessons on the violin. And yet some of the most lasting musical impressions of my life were received there. Some very great men played at the Conservatory when I was a pupil there.
Page 53 - Auer had arranged for me to play with his orchestra without telling him my age — I was eleven at the time. When Colonne saw me, violin in hand, ready to step on the stage, he drew himself. up and said with emphasis: 'I play with a prodigy! Never !' Nothing could move him, and I had to play to a piano accompaniment.
Page v - These artists and instructors discuss esthetic and technical phases of the art of violin-playing in detail, their concept of what violin mastery means and how it may be acquired.
Page 102 - Some very great men played at the Conservatory when I was a pupil. There were Joachim, Sarasate in his prime, Hellmesberger, and Rubinstein, whom I heard play the first time he came to Vienna. I really believe that hearing Joachim and Rubinstein play was a greater event in my life and did more for me than five years of study!

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