Books › Musical Courier 1927-11-17: Vol 95 Iss 20, 1927 › scan 11
Scan 11
Musical Courier 1927-11-17: Vol 95 Iss 20, 1927
65 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1FUNDAMENTALS OF VIOLIN-PLAYING
2By George Lehmann
4For my first series of articles for the MUSICAL COURIER I can think of no group of subjects so seductive, so interesting and instructive, as the vital questions that may properly be placed under the general head of "Fundamentals." But let me at once make it perfectly clear that, by "Fundamentals," I do not mean the earliest problems of right and left-hand technic which the majority of violinists associate with the first stages of the player's development. The "Fundamentals" I have in mind concern not only the beginner; they also play an unsuspected part in the later and even the highest development of every violinist. They are questions of the most serious import in the art of violin-playing, and too often they prove a stumbling block to the artist of high ideals.
6An untold number of experienced players, and even an astonishingly large number of recognized artists, frequently find themselves hampered and perplexed in their efforts to master difficulties which, apparently, present nothing of a problematical nature. The actual cause of their prolonged and often disheartening struggle for mastery and artistic achievement is difficult, sometimes impossible, for them to trace. Then, too, being only human, they are prone to shun investigations which may lead to the humiliating revelation that, with all their artistry, they are peculiarly deficient in the fundamentals of their art. This frailty of human nature manifests itself in music just as it does, every day, in a thousand different ways. But all who persistently search for the truth are apt to find the secret of their technical troubles in what I am here assembling under the caption of "Fundamentals." Such a subject should therefore prove absorbingly interesting alike to all players and teachers of the violin.
8Let us here consider only the outstanding Fundamentals in violin-playing. These may be designated as—
10(1) The position of the left arm—
11(2) The position of the right arm—
12(3) The left thumb—
13(4) The right hand—
14(5) Articulation—
15(6) Finger retention—
16(7) The portamento—
17(8) The vibrato.
19THE POSITION OF THE LEFT ARM
21One of the most troublesome of these questions is that of the logical position of the left arm. In reality, this question is easily determined. But a wide misapprehension of some of its features has resulted in impediments that seem unaccountable—impediments that are never removed till their origin is discovered and the guilty arm is given the opportunity to function normally.
23I have found, in the majority of cases, that the germ of the trouble is traceable to the fact that the teacher has permitted the embryo violinist to make the effort of placing the instrument in its proper position instead of placing it there for him. Practically all beginners are exceedingly awkward in their earliest attempts to raise the violin to the shoulder, with the result, as a rule, that the left arm, in these first strenuous efforts, is brought far to the left of the instrument instead of assuming a position directly beneath it. And just at this interesting moment in the player's first experiments, the teacher blunders most seriously: for, attempting to remedy the trouble, he insists upon the arm being brought to the right to an extreme degree. In this position of the left arm, the chest and the whole upper body of the player are put under a severe strain and the resultant position of the hand and fingers is at variance with the requirements of violin technic.
25That this is inevitable will be clear to any intelligent player who will make the simple experiment of forcing the left elbow of a novice far to the right, carefully noting the resultant position of the fingers and the hand. The fingers necessarily point to the left, and are not in a position to function naturally.
27Such an experiment is of no value, and may fail to demonstrate the point I am trying to make, if a capable violinist, of set physical habits, tests the results in his own case; but the hand and fingers of the untrained player, whose left elbow has been forced to the right, will be found to be in a position unfavorable for the development of sound technic. Such a condition is by no means fatal to digital skill, but it increases unnecessarily the difficulties of technical precision and agility—in itself something to be shunned however great may be the natural endowments of a player.
29The simplest and surest way to avoid this pitfall is one which perhaps few teachers avail themselves of in teaching the beginner. Like most simple, commonplace methods, the one I recommend quickly yields good results, not only because it enables the player to cultivate a graceful and logically sound position, but also because it creates no barriers in the acquisition of left-hand technic, leaving the fingers free to perform the work required of them.
31I have referred to the beginner's clumsy attempts to lift the violin and place it between his shoulder and his chin, but how awkward these attempts often are, few who have never witnessed them would be inclined to believe. The novice squirms and strains as though he were called upon to lift a mountain, instead of a delicate instrument of insignificant weight. But the weight of the violin plays no part in the difficulties which the beginner encounters when he attempts to elevate the instrument and place it under his chin. His left elbow, in this struggle, turns almost invariably far to the left, just as his head turns to the right after the violin rests on his shoulder.
33The conscientious teacher immediately endeavors to rectify the faulty position of the left arm, and this he proceeds to do to the great discomfort of the pupil—by forcing the elbow as far to the right as possible without dislocating the offending member of the pupil's anatomy.
35Let us pass over the pupil's early sufferings and indignation. Be it observed parenthetically, however, that a "normal," rather than "correct," position should be the term employed in the discussion of such a question, inasmuch as the length of hand and arm often plays an important part in decisions appertaining to the holding of the violin and the bow. The well-known violinist, Szigetti, is a living proof of the truth of the foregoing statement. one of two readings
36Let us pass over the pupil's early sufferings and indignation. Be it observed parenthetically, however, that a "normal," rather than "correct," position should be the term employed in the discussion of such a question, inasmuch as the length of hand and arm often plays an important part in decisions appertaining to the holding of the violin and the bow. The well-known violinist, Szligetti, is a living proof of the truth of the foregoing statement. one of two readings
38The all-important question to decide is, how can the novice be best assisted to acquire a normal position for the left arm and fingers? By what simple procedure can the teacher accomplish his purpose both safely and quickly, and with the least possible physical effort on the part of the pupil? No mystery attaches to this or to any similar achievement. Intelligent observation and common sense are the chief ingredients of the pedagogical skill which such questions require.
40I repeat, the beginner should not, in the first place, be required to place the violin "in position" until a far more important question is definitely settled and understood, that is, the normal position of the elbow. Simple a process as the lifting of the violin may seem to the uninitiated, it is nevertheless physically difficult of accomplishment for the majority of children. Then, too, a certain degree of nervousness and embarrassment generally attends this early effort, with the result that the pupil actually creates for himself difficulties that are not naturally involved in the act of raising the violin to the shoulder.
42Logically it is the teacher who, in the earliest stages of violin work, should place the violin on the shoulder of the young player, assisting him, at the same time, to place his thumb lightly against the neck of the instrument. But before the pupil is given his first opportunity of experiencing the sensation of holding a violin in a playing position, he should be taught the simple act of extending the left arm, straight from the shoulder, fully turning the hand about so that the thumb is to the left and in a position to perform its duties.
44Every child—the least gifted and intelligent—can perform this simple act perfectly at the first or second attempt. What, then, remains to be accomplished? Nothing more nor less than the bending of the elbow to such an extent that, when the violin reposes on the shoulder of the player, his thumb can rest in its proper place and his fingers hover over the fingerboard.
46It will thus be found that, in reality, there is but little difficulty in "placing" the left elbow; that, located neither to the right nor the left of the shoulder, the hand and the fingers naturally assume the position which enables them to function correctly; and, what is extremely important, the physical strain of holding the violin is thus reduced to the minimum.
48[The forthcoming instalment of this series of articles will include the sub-headings "The position of the right arm" and "The left thumb."—The Editor.]
50Vatican Choirs to be Heard at Metropolitan
52An important event in the history of choral singing in this city will take place at the Metropolitan Opera House, Tuesday evening, November 22, when the Vatican Choirs will sing. This notable body of singers has been chosen from the choirs of the Sistine Chapel, the Basilicas of St. Peter's, St. Mary Maggiore and St. John Lateran and from the Pontifical Conservatory of Higher Sacred Music. These singers have come to America again with the apostolic benediction of Pope Pius XI and the approval and aid of the esteemed Father de Santi, president of the Pontifical Conservatory.
54The director of the Vatican Choirs is Maestro Raffaele Casimir, Canon of St. John Lateran and Head Master of Composition of the Schola Cantorum. He is recognized as one of the greatest directors of church music in Europe and as the foremost of the younger composers of that type of music. He sings bass, baritone, tenor, contralto and soprano, in addition to being a master of pitch, and directs simply by the voice and hand. There are eighteen boys in the choir, besides the adult choristers, the best known of whom is Luigi de Tommaso Pacchelli, who is said to be the finest soprano of the Sistine Chapel. He was also solo singer at the Augustinian Theater in Rome and took the leading part of Joan d'Arc in the oratorio of that name.
56The purpose of the visit of the Vatican Choirs to this country is to inculcate a deeper love for polyphonic choral music and to establish a more complete understanding of this ancient art which is being appreciated with renewed interest by the music-loving world. Works of Palestrina, the supreme master of choral polyphony; Vittoria, Marenzio, Viadana, Ingegneri, Perosi and Casimir will be included in the program.
58This American tour is an event, the importance and significance of which it is almost impossible to overestimate. For the first time in sixteen years the highly trained choirs of Rome will be heard outside the sacred precincts where the polyphonic art has for that long chain of centuries flourished and developed.
60The magnitude of the undertaking will be appreciated when it is considered that over sixty people have been brought from far-off Rome to this country for this series of concerts.
62Second Biltmore Musicale
64Anna Case, formerly of the Metropolitan Opera, will sing at the second of the series of morning musicales at the Hotel Biltmore, November 18. Miss Case will share the program with Alberto Salvi, Italian harpist, and Arthur Hackett-Granville, tenor.
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