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 217
Scan 217
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 181. See the scan on archive.org.
1recollection of his patting me on the shoulder and saying: 'There is nothing for me to correct!' It is a work deliberately designed for technical display, and is tremendously difficult. But the wonderful Brahms concerto, those of Beethoven and Max Bruch; of Mozart and Mendelssohn—it is hard to express a preference for works so different in the quality of their beauty. The Russian Conus has a fine concerto in E, and Sinding a most effective one in A major. Edmund Severn, the American composer and violinist, has also written a notably fine violin concerto which I have played with the Philharmonic, one that ought to be heard oftener.
3PLAYING BACH
5"Bach is one of the most difficult of the great masters to interpret on the violin. His polyphonic style and interweaving themes demand close study in order to make the meaning clear. In the Bach Chaconne, for instance, some very great violinists do not pay enough attention to making a distinction between principal and secondary notes of a chord. Here [Mr. Pilzer took up a new Strad he has recently acquired and illustrated his meaning] in this four-note
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