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 63
Scan 63
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.
1ing. Don Manuel was a music-lover, and especially fond of Bach. I had had long talks with the young king at various times, and my sympathies had been aroused in his behalf. On the evening of which I speak I played a Chopin Nocturne, and I know that into my playing there went some of my feeling for the pathos of the situation of this young stranger in a strange land, of my own age, eating the bitter bread of exile. When I had finished, the Marchioness of Ripon touched my arm: 'Look at the King!' she whispered. Don Manuel had been moved to tears.
3"Of course the purely mechanical must always be dominated by the artistic personality of the player. Yet technic is also an important part of interpretation: knowing exactly how long to hold a bow, the most delicate inflections of its pressure on the strings. There must be perfect sympathy also with the composer's thought; his spirit must stand behind the personality of the artist. In the case of certain famous compositions, like the Beethoven concerto, for instance, this is so well established that the artist, and never the composer, is held responsible if it is not well played. But too rigorous an adherence to 'tradition' in playing is also an extreme. I
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