Books › An Encyclopedia of the Violin, 1925 › scan 183
Scan 183
An Encyclopedia of the Violin, 1925
6 lines. Read by computer on 28 September 2026. Printed page 157. See the scan on archive.org.
1War, there seems to be hardly any question that it was necessary for those who wished to be regarded as virtuosos and who proposed to undertake concert tours of this country, to finish their musical education under violin masters abroad, and to round off the edges of their musical education by plunging into the artistic atmosphere of old Europe.
3There is a question in the editor's mind, however, as to whether this is nearly as necessary to-day as it was ten or more years ago. We have among us in the United States, permanently settled and a part of our musical life, many great teachers of the violin, represented by Auer, Flesch, Thomson and many others who find the New World a more lucrative and perhaps a more pleasant place in which to pursue their artistic and pedagogic activities. In addition to these newly acquired masters we have many eminent artists and teachers who have been with us for a score or more of years, among whom Franz Kneisel is preëminent and representative.
5There is no doubt in the editor's mind that, so far as actually training in the art of violin playing is concerned, everything that ever could be done abroad in matters of instruction is now possible in this country, not only in the matter of individual instruction but also in the particular of concerts, recitals, operatic performances, lectures, musical club events and all other functions which tend to broaden the artistic instinct. There is one thing that perhaps it will be many years before the American born and American educated musician will find it difficult to overcome, and that is the lure which a name of foreign sound seems to exercise upon patrons of the box office in a concert hall. For some reason the music-loving layman who patronizes concerts appears to anticipate greater enjoyment of the playing of an artist whose name sounds foreign than some name which is the same as that of his next-door neighbor. Perhaps that is the reason why American singers, pianists and violinists are so successful in Europe—perhaps it is human nature to look down upon that which is a part of everyday life and to find greater pleasure in something which has in it the element of novelty or foreign association. Nevertheless, the time is coming—is almost upon us—when American born and American educated musicians will be as highly regarded in America as they are elsewhere—and this will be all the measure of success which an artist can desire.
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