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 321
Scan 321
Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others, 1919
8 lines. Read by computer on 3 September 2026. Printed page 275. See the scan on archive.org.
1friends, hence they are not nearly as well known as they should be.
3"I never play operatic transcriptions and never will. The music of the opera, no matter how fine, appears to me to have its proper place on the stage—it seems out of place on the violin recital program. The artist cannot be too careful in the choice of his shorter program pieces. And he can profit by the example set by some of the foremost violinists of the day. Ysaye, that great apostle of the truly musical, is a shining example. It is sad to see certain young artists of genuine talent disregard the remarkable work of their great contemporary, and secure easily gained triumphs with compositions whose musical value is nil.
5"Sometimes the wish to educate the public, to give it a high standard of appreciation, leads an artist astray. I heard a well-known German violinist play in Berlin five years ago, and what do you suppose he played? Beethoven's Trios transcribed for violin and piano! The last thing in the world to play! And there was, to my astonishment, no critical disapproval of what he did. I regard it as little less than a crime.
7"But this whole question of programs and
The computer misreads some letters and numbers. Where a name matters to you, read the scan.