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 331
Scan 331
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 283. See the scan on archive.org.
1THE MASTER VIOLINIST AS AN EDITOR
3"That the editorial revisions of a number of our greatest living violinists and teachers have passed through my editorial rooms, on their way to press, is a fact of which I am decidedly proud. Leopold Auer, for instance, is one of the most careful, exact and practical of editors, and the fact is worth dwelling on since sometimes the great artist or teacher quite naturally forgets that those for whom he is editing a composition have neither his knowledge nor resources. Auer never loses sight of the composer's own ideas.
5"And when I mention great violinists with whom I have been associated as an editor, Mischa Elman must not be forgotten. I found it at first a difficult matter to induce an artist like Elman, for whom no technical difficulties exist, to seriously consider the limitations of the average player in his fingerings and interpretative demands. Elman, like every great virtuoso of his caliber, is influenced in his revisions by the manner in which he himself does things. I remember in one instance I could see no reason why he should mark the third finger for a cantilena passage where a
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