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 83
Scan 83
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 61. See the scan on archive.org.
1by other bowings. To secure a good legato tone watch the singer. The singer can establish the perfect smoothness that legato calls for to perfection. To secure a like effect the violinist should convey the impression that there is no point, no frog, that the bow he uses is of indefinite length. And the violinist should never think: 'I must play this up-bow or down-bow.' Artists of the German school are more apt to begin a phrase with a down-bow; the French start playing a good deal at the point. Up or down, both are secondary to finding out, first of all, what quality, what balance of tone the phrase demands. The conductor of a symphonic orchestra does not care how, technically, certain effects are produced by the violins, whether they use an up-bow or a down-bow. He merely says: 'That's too heavy: give me less tone!' The result to be achieved is always more important than the manner of achievement.
3"All phases of technical accomplishment, if rightly acquired, tend to become second nature to the player in the course of time: staccato, a brilliant trick; spiccato, the reiteration of notes played from the wrist, etc. The martellato, a nuance of spiccato, should be played with a firm bowing at the point. In a very broad
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