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 27
Scan 27
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 9. See the scan on archive.org.
1"When I said that the string instruments, including the violin, subsist in a measure on the heritage transmitted by the masters of the past, I spoke with special regard to technic. Since Vieuxtemps there has been hardly one new passage written for the violin; and this has retarded the development of its technic. In the case of the piano, men like Godowsky have created a new technic for their instrument; but although Saint-Saëns, Bruch, Lalo and others have in their works endowed the violin with much beautiful music, music itself was their first concern, and not music for the violin. There are no more concertos written for the solo flute, trombone, etc.—as a result there is no new technical material added to the resources of these instruments.
3"In a way the same holds good of the violin—new works conceived only from the musical point of view bring about the stagnation of technical discovery, the invention of new passages, of novel harmonic wealth of combination is not encouraged. And a violinist owes it to himself to exploit the great possibilities of his own instrument. I have tried to find new technical ways and means of expression in my own compositions. For example, I have written a Divertiment for violin and orchestra
The computer misreads some letters and numbers. Where a name matters to you, read the scan.