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 53
Scan 53
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.
1Concerto, when they are used to obtain a certain weird effect, they sound well. But ordinarily, if cleanly played, they sound like one-note successions. In the examples mentioned, the so-called 'fingered octaves,' which are very difficult, are employed. Ordinary octaves are not so troublesome. After all, in octave playing we simply double the notes for the purpose of making them more powerful.
3"As regards the playing of tenths, it seems to me that the interval always sounds constrained, and hardly ever euphonious enough to justify its difficulty, especially in rapid passages. Yet Paganini used this awkward interval very freely in his compositions, and one of his 'Caprices' is a variation in tenths, which should be played more often than it is, as it is very effective. In this connection change of position, which I have already touched on with regard to scale playing, should be so smooth that it escapes notice. Among special effects the glissando is really beautiful when properly done. And this calls for judgment. It might be added, though, that the glissando is an effect which should not be overdone. The portamento—gliding from one note to another—is also a lovely effect. Its proper and
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