Books › Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others, 1919 › scan 30
Scan 30
Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others, 1919
4 lines. Read by computer on 29 August 2026. No printed page number was found. See the scan on archive.org.
1meister. And, finally, what I might call in the order of lyric expression, a quartet comprising Ysaye, Thibaud, Mischa Elman and Sametini of Chicago, the last-named a wonderfully fine artist of the lyric or singing type. Of course there are qualifications to be made. Locatelli was not altogether an exponent of technic. And many other fine artists besides those mentioned share the characteristics of those in the various groups. Yet, speaking in a general way, I believe that these groups of attainment might be said to sum up what 'Violin Mastery' really is. And a violin master? He must be a violinist, a thinker, a poet, a human being, he must have known hope, love, passion and despair, he must have run the gamut of the emotions in order to express them all in his playing. He must play his violin as Pan played his flute!"
3In conclusion Ysaye sounded a note of warning for the too ambitious young student and player. "If Art is to progress, the technical and mechanical element must not, of course, be neglected. But a boy of eighteen cannot expect to express that to which the serious student of thirty, the man who has actually lived, can give voice. If the violinist's art is truly a great art, it cannot come to fruition in the art-
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