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 43
Scan 43
Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others, 1919
6 lines. Read by computer on 29 August 2026. No printed page number was found. See the scan on archive.org.
1nuance. You need only to take his quartets or these same sonatas to convince yourself of the fact. In my Brahms revisions I have supplied really needed fingerings, bowings, and other indications! Important compositions on which I am now at work include Ernst's fine Concerto, Op. 23, the Mozart violin concertos, and Tartini's Trille du diable, with a special cadenza for my pupil, Toscha Seidel.
3'AS REGARDS "PRODIGIES"
5"Prodigies?" said Professor Auer. "The word 'prodigy' when applied to some youthful artist is always used with an accent of reproach. Public and critics are inclined to regard them with suspicion. Why? After all, the important thing is not their youth, but their artistry. Examine the history of music—you will discover that any number of great masters, great in the maturity of their genius, were great in its infancy as well. There are Mozart, Beethoven, Liszt, Rubinstein, d'Albert, Hofmann, Scriabine, Wieniawski—they were all 'infant prodigies,' and certainly not in any objectionable sense. Not that I wish to claim that every prodigy necessarily becomes a great master. That does not always follow. But I
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