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 188
Scan 188
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 3 September 2026. Printed page 154. See the scan on archive.org.
1player has a bad effect on violin teaching. Usually the soloist who has not made a success as a concert artist takes up teaching as a last resort, without enthusiasm or the true vocational instinct. The false standards he sets up for his pupils are a natural result of his own ineffectual worship of the fetish of virtuosity—those of the musical mountebank of a hundred years ago. Of course such false prophets of the virtuose have nothing in common with such high-priests of public utterance as Ysaye, Kreisler and others, whose virtuosity is a true means for the higher development of the musical. The encouragement of musicianship in general suffers for the stress laid on what is obviously technical impedimenta. But more and more, as time passes, the playing of such artists as those already mentioned, and others like them, shows that the real musician is the lover of beautiful sound, which technic merely develops in the highest degree.
3"To-day technic in a cumulative sense often is a confession of failure. For technic does not do what it so often claims to—produce the artist. Most professional teaching aims to prepare the student for professional life, the concert stage. Hence there is an intensive technical study of compositions that even if
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