Books › Violin Mastery, 1919 › scan 94
Scan 94
Violin Mastery, 1919
8 lines. Read by computer on 3 September 2026. Printed page 68. See the scan on archive.org.
1string, on the West by the string hand—and that's about as far as the comparison may be carried out. The point is, there are definite boundaries, whose technical and esthetic limits may be extended, and territorial annexations made through brain power, mental control. To me 'Violin Mastery' means taking this little fiddle-box in hand [and Mr. Hartmann suited action to word by raising the lid of his violin-case and drawing forth his beautiful 1711 Strad], and doing just what I want with it. And that means having the right finger on the right place at the right time—but don't forget that to be able to do this you must have forgotten to think of your fingers as fingers. They should be simply unconscious slaves of the artist's psychic expression, absolutely subservient to his ideal. Too many people reverse the process and become slaves to their fingers.
3THE PROBLEM OF TECHNIC
5"Technic, for instance, in its mechanical sense, is a much exaggerated microbe of Materia musica. All technic must conform to its instrument.* The violin was made to suit the
7* This is the idea which underlies my system for ear-training and absolute pitch, "Arthur Hartmann's System," as I call it, which I have published. A. H.
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