Books › Voice and violin, 1898 › scan 143
Scan 143
Voice and violin, 1898
10 lines. Read by computer on 3 September 2026. Printed page 123. See the scan on archive.org.
1ment constantly in their hands, and who play always upon the same violin. With them the latter becomes, as it were, a part of themselves. Their fingers drop naturally upon the notes as the result of long familiarity—habit is second nature—and even when a string has sunk a little in pitch, an acute ear will still enable perfect intonation to be attained.
3A well-known orchestral conductor was once much annoyed by the constant tuning which continued long after the musicians were at their desks, and he remarked rather sharply to a novice—
5"My dear fellow, do please stop all that tuning! You ought to be able to play in tune when the strings are not exactly correct."
7A clever orchestral artist may, indeed, be able to do so; but with a solo-player it is different, or, at least, not so easy. De Bériot, who was well aware of the tendency of the strings to become flat, whilst the wood-wind becomes much too sharp, always paid the greatest attention to the tuning of his violin. Before performing a long piece with orchestral accompaniment, he invariably took his A about a quarter of a tone higher than that of the orchestra. With a piano accompaniment such a thing is not necessary.
9Of course, it is essential to use good strings, which yield perfect fifths; and I am glad to say that the manufacture of violin strings has improved
The computer misreads some letters and numbers. Where a name matters to you, read the scan.