Books › The violinist, 1900 › scan 34
Scan 34
The violinist, 1900
20 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1to do so, although a great virtuoso may at once be recognized by his playing of a scale.
3This general superficiality is due to the fact that the master violinists' interpretation of their studies and exercises is not sufficiently understood. This knowledge (together with that of the way the classical composers for violin, both ancient and modern, intended their works to be rendered) is too limited. It was handed down by these masters to their disciples and their pupils, who have respected the traditions and methods which form the standard by which an artist must be judged.
5The works of Corelli, Tartini, Vivaldi, Locatelli, Vitali, Campagnoli, Viotti, Paganini, Stamitz, Spohr, Kreutzer, Rode, Fiorillo, Baillot, De Beriot, Lambert, Massart, Leonard and others, master violinists together with those of the composers Bach, Beethoven, Mozart and Handel, which formed the basis of the studies and repertory of all of my pupils in Europe, and as far as possible in this country, are indispensable to the formation of technic, taste and style.
7One thing which should be avoided as far as possible is the custom of playing in public before one is properly prepared. The Royal and National Conservatories of Belgium and France prohibit all students who are not laureates from appearing in public, and from teaching without special permission from the director.
9A fever for technical display tends to turn violin playing from its true mission, namely, that of rendering in correct tempo and style the meaning and feeling of the composer. The desire to play rapidly, to make a lot of notes as quickly as possible, can but be detrimental to the composition as a whole. While too much attention cannot be given to the technic of the left hand (when this is the means to the end, i. e., interpretation, and not digital acrobatics), more attention should be given to the control and manner of using the bow. The left hand is only the workman, the mechanic; but the bow enables the artist to give polish to the technic, color to the interpretation and the inspiration of the moment to find expression. Progress should be uniform in technic, taste, style and musical comprehension, all of which should be kept in mind until mastered.
11The aim of every young aspiring violinist ought to be to excel by serious work, diligence and unflagging energy. Speaking of excelling reminds me of an ancient Arab fable, which may be applied to any profession, but more especially to the arts.
13A stork, strutting one day on the bank of a pool, said to himself: "How prodigal Nature has been to me! I can run, I can swim and I can fly; if I am tired of swimming I take a walk. If tired of walking or running I fly, just as my fancy directs." An old serpent who overheard him, said: "Don't boast so much, my friend. You cannot run like a stag, you cannot swim like a trout and you cannot fly like a hawk."
15The ideal and necessary point in order to shine is to excel in some one thing.
17Variations in Bridges
19Both violins and 'cellos are a different shape in the summer from what they are in winter. Oh, you would not notice it! But in summer the strings draw the violin so that it arches a little more; that makes it shorter; the neck is drawn down and the consequence is that a higher bridge has to be put under the strings to take up the "slack." Violinists have a summer bridge and a winter bridge, but 'cellists have three, one for summer, one for winter, and one for the seasons between. And the winter one is fully half an inch lower than the summer one.
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