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 215
Scan 215
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 3 September 2026. Printed page 179. See the scan on archive.org.
1the strings in a smooth, even way, but that is not enough. There must be an inner, emotional instinct, an electric spark within the player himself that sets the vibrato current in motion. It is an inner, psychic vibration which should be reflected by the intense, rapid vibration in the fingers of the left hand on the strings in order to give fluent expression to emotion. The vibrato can not be used, naturally, on the open strings, but otherwise it represents the true means for securing warmth of expression. Of course, some decry the vibrato—but the reason is often because the vibrato is too slow. One need only listen to Ysaye, Elman, Kreisler: artists such as these employ the quick, intense vibrato with ideal effect. An exaggerated vibrato is as bad as what I call 'the sentimental slide,' a common fault, which many violinists cultivate under the impression that they are playing expressively.
3VIOLIN MASTERY AND ITS ATTAINMENT
5"Violin mastery expresses more or less the aspiration to realize an ideal. It is a hope, a prayer, rather than an actual fact, since nothing human is absolutely perfect. Ysaye, perhaps, with his golden tone, comes nearest to
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