Books › Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others (1919)
Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others
Martens, Frederick Herman, 1874-1932. New York, Frederick A. Stokes company, 1919.
On archive.org as violinmasteryta01martgoog.
44 pages read (scans 1 to 68)0 makers on this site cite it
Pages
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| Scan | Page | Starts | |
|---|---|---|---|
| 1 | This is a digital copy of a book that wa… | Read | |
| 2 | Music Library | Read | |
| 11 | FOREWORD | Read | |
| 19 | VIOLIN MASTERY | Read | |
| 20 | and talks with him for the first time is… | Read | |
| 21 | standpoint, yet how firmly and solidly t… | Read | |
| 22 | formed and influenced by the former. Man… | Read | |
| 23 | violin virtuosity in the very best meani… | Read | |
| 24 | more than I can recall at the moment—vio… | Read | |
| 25 | His own definition of tone is worth reco… | Read | |
| 26 | rhythm and poetic action the artist desi… | Read | |
| 27 | "When I said that the string instruments… | Read | |
| 28 | in which I believe I have embodied new t… | Read | |
| 29 | violin in the generally accepted sense o… | Read | |
| 30 | meister. And, finally, what I might call… | Read | |
| 36 | have encouraged them to develop freely i… | Read | |
| 37 | alone. If I have a point to make I expla… | Read | |
| 38 | Questioned as to how his various pupils… | Read | |
| 39 | NATIONALITY VERSUS THE CONSERVATORY SYST… | Read | |
| 40 | be able to give scholarships to the dese… | Read | |
| 41 | but few great pupils, and composed but l… | Read | |
| 42 | gering, nuances of expression, are more… | Read | |
| 43 | nuance. You need only to take his quarte… | Read | |
| 44 | believe that a musical prodigy, instead… | Read | |
| 45 | III | Read | |
| 46 | National Academy of Music in Budapest, l… | Read | |
| 47 | other hand, Auer's most notable contribu… | Read | |
| 48 | help teach American students to approach… | Read | |
| 49 | of course, unmusicianly tendencies. When… | Read | |
| 50 | strength which is necessary for the fing… | Read | |
| 51 | branches of bow technic. There is a knac… | Read | |
| 52 | on without a sign of fatigue or uncertai… | Read | |
| 53 | Concerto, when they are used to obtain a… | Read | |
| 54 | timely application calls for good judgme… | Read | |
| 55 | valuable Simon bow, now his, which had o… | Read | |
| 57 | fined as follows: 'An individual tone pr… | Read | |
| 58 | IV | Read | |
| 62 | but any movements of the sort must be un… | Read | |
| 63 | ing. Don Manuel was a music-lover, and e… | Read | |
| 64 | once played privately for Joachim in Ber… | Read | |
| 65 | reach. Many a player has the facility; b… | Read | |
| 66 | before I played them with ease and facil… | Read | |
| 67 | and be entirely justified if he can thus… | Read | |
| 68 | PROPORTION IN PRACTICE | Read |