Violin Mastery: Talks with Master Violinists and Teachers
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About This Book
Twenty-four famous violinists reveal the secrets to their success, discuss the aesthetic and technical aspects of playing, and define their personal conceptions of violin mastery. Advice from the masters includes tips on efficient practice, improving bow technique, and refining intonation. A rare find in the musical literature, this volume is essential reading for every serious violinist.
Chapters (232)
- VIOLIN MASTERY
- TALKS WITH MASTER VIOLINISTS AND TEACHERS
- COMPRISING INTERVIEWS WITH YSAYE, KREISLER, ELMAN, AUER, THIBAUD, HEIFETZ, HARTMANN, MAUD POWELL AND OTHERS
- FREDERICK H. MARTENS
- FOREWORD
- CONTENTS
- ILLUSTRATIONS
- VIOLIN MASTERY EUGÈNE YSAYE
- THE TOOLS OF VIOLIN MASTERY
- YSAYE'S REPERTORY
- THE TOOLS OF VIOLIN MASTERY
- VIOLIN MASTERY
- II
- LEOPOLD AUER
- A METHOD WITHOUT SECRETS
- A METHOD WITHOUT SECRETS
- HOURS OF PRACTICE
- NATIONALITY VERSUS THE CONSERVATORY SYSTEM
- VIOLIN MASTERY
- THE BACH VIOLIN SONATAS AND OTHER COMPOSITIONS
- AS REGARDS "PRODIGIES"
- III
- EDDY BROWN
- HUBAY AND AUER: TECHNIC: HINTS TO THE STUDENT
- HUBAY AND AUER: SOME COMPARISONS
- TECHNIC: SOME HINTS TO THE STUDENT
- A SPANISH VIOLIN
- PROGRAMS
- VIOLIN MASTERY
- IV
- MISCHA ELMAN
- LIFE AND COLOR IN INTERPRETATION. TECHNICAL PHASES
- MANNERISMS IN PLAYING
- LIFE AND COLOR IN INTERPRETATION
- ABSOLUTE PITCH THE FIRST ESSENTIAL OF A PERFECTED TECHNIC
- TECHNICAL PHASES
- PROPORTION IN PRACTICE
- AUER AS A TEACHER
- VIOLIN MASTERY
- WHAT TO STUDY AND HOW
- A REMINISCENCE OF COLONNE
- V
- SAMUEL GARDNER
- TECHNIC AND MUSICIANSHIP
- CHARLES MARTIN LOEFFLER AND FELIX WINTERNITZ AS TEACHERS
- KNEISEL'S TEACHING METHODS
- TECHNIC AND MUSICIANSHIP
- EDISON AND OCTAVES
- WIRE AND GUT STRINGS
- VIOLIN MASTERY
- VI
- ARTHUR HARTMANN
- THE PROBLEM OF TECHNIC
- WHAT VIOLIN PLAYING REALLY IS
- THE PROBLEM OF TECHNIC
- NINE BEATITUDES FOR VIOLINISTS
- ARRANGING VERSUS TRANSCRIBING
- DEBUSSY'S POÈME FOR VIOLIN
- VII
- JASCHA HEIFETZ
- THE DANGER OF PRACTICING TOO MUCH. TECHNICAL MASTERY AND TEMPERAMENT
- THE DANGER OF PRACTICING TOO MUCH
- THE DEVELOPMENT OF A VIRTUOSE TECHNIC
- PROFESSOR AUER AS A TEACHER
- A DIFFICULTY OVERCOME
- VIOLIN MASTERY
- TECHNICAL MASTERY AND TEMPERAMENT
- REPERTORY AND PROGRAMS
- VIII
- DAVID HOCHSTEIN
- THE VIOLIN AS A MEANS OF EXPRESSION AND EXPRESSIVE PLAYING
- SEVČIK AND AUER: A CONTRAST IN TEACHING
- THE VIOLIN AS A MEANS OF EXPRESSION
- VIOLIN MASTERY
- TONE PRODUCTION: RHYTHM
- IX
- FRITZ KREISLER
- PERSONALITY IN ART
- HOW KREISLER CAME TO COMPOSE AND ARRANGE
- AT THE VIENNA CONSERVATORY
- VIOLIN MASTERY
- TECHNIC VERSUS IMAGINATION
- MENTAL TECHNIC: ITS DRAWBACK AND ITS ADVANTAGE
- PRACTICE HOURS FOR THE ADVANCED STUDENT
- AN EXPLANATION BY MR. WINTERNITZ
- STYLE, INTERPRETATION AND THE ARTISTIC IDEAL
- X
- FRANZ KNEISEL
- THE PERFECT STRING ENSEMBLE
- "THE ARTIST RANKS THE VIRTUOSO IN CHAMBER MUSIC"
- VIOLIN MASTERY IN THE STRING QUARTET
- THE FIRST VIOLIN IN THE STRING QUARTET
- HELLMESBERGER QUARTET
- MESSRS. MATH. DURST, CARL HEISSLER, CARL SCHLESINGER
- "ENSEMBLE" REHEARSING
- THE FIRST VIOLIN IN CHAMBER MUSIC VERSUS THE ORCHESTRA CONDUCTOR
- HINTS TO THE SERIOUS VIOLIN STUDENT
- THE GENERAL FAULT
- THE ART OF THE BOW
- XI
- ADOLFO BETTI
- THE TECHNIC OF THE MODERN QUARTET
- THE MODERN QUARTET
- THE MODERN QUARTET AND AMATEUR PLAYERS
- THE TECHNIC OF QUARTET PLAYING
- REHEARSING
- INTONATION
- TEMPO
- DYNAMICS
- INTERPRETATION
- SOME IDEALS
- XII
- HANS LETZ
- THE TECHNIC OF BOWING
- VIOLIN MASTERY
- THE KEY TO INTERPRETATION
- THE TECHNIC OF BOWING
- RHYTHM AND COLOR
- SUGGESTIONS IN TEACHING
- THE ART AND THE SCHOOLS
- XIII
- DAVID MANNES
- THE PHILOSOPHY OF VIOLIN TEACHING
- STUDYING WITH YSAYE
- SOME INITIAL PRINCIPLES OF VIOLIN STUDY
- THE PHILOSOPHY OF VIOLIN TEACHING
- GUT VERSUS WIRE STRINGS
- CHIN RESTS
- VIOLIN MASTERY
- XIV
- TIVADAR NACHÉZ
- JOACHIM AND LÉONARD AS TEACHERS
- THE BEGINNING OF A VIOLINISTIC CAREER: PLAYING WITH LISZT
- JOACHIM AS A TEACHER AND INTERPRETER
- STUDYING WITH LÉONARD
- SIVORI
- GREAT MOMENTS IN AN ARTIST'S LIFE
- VIOLINS AND STRINGS: SARASATE
- THE NARDINI CONCERTO IN A
- VIOLIN MASTERY
- XV
- MAXIMILIAN PILZER
- THE SINGING TONE AND THE VIBRATO
- THE SINGING TONE
- THE VIBRATO
- VIOLIN MASTERY AND ITS ATTAINMENT
- THE SHINING GOAL
- PLAYING BACH
- XVI
- MAUD POWELL
- TECHNICAL DIFFICULTIES: SOME HINTS FOR THE CONCERT PLAYER
- THE DEVELOPMENT OF A CONCERT VIOLINIST
- THE INFLUENCE OF THE TEACHER
- TECHNICAL DIFFICULTIES
- THE AMERICAN WOMAN VIOLINIST AND AMERICAN MUSIC
- SOME HINTS FOR THE CONCERT PLAYER
- VIOLIN MASTERY
- XVII
- LEON SAMETINI
- HARMONICS
- REMINISCENCES OF SEVČIK
- A QUARTET OF GREAT TEACHERS WITH WHOM ALL MAY STUDY
- TEACHING PRINCIPLES
- DOUBLE HARMONICS
- VIOLIN MASTERY
- XVIII
- ALEXANDER SASLAVSKY
- WHAT THE TEACHER CAN AND CANNOT DO
- WHAT THE TEACHER CAN AND CANNOT DO
- A GREAT DEFECT
- TONE: PRACTICE TIME
- A NATIONAL CONSERVATORY
- SOME PERSONAL VIEWS AND REFLECTIONS
- VIOLIN MASTERY
- XIX
- TOSCHA SEIDEL
- HOW TO STUDY
- STUDYING WITH PROFESSOR AUER
- ARTIST PUPILS AND AMATEUR STUDENTS
- HOW TO STUDY
- FIDDLE AND STRINGS
- VIOLIN MASTERY
- XX
- EDMUND SEVERN
- THE JOACHIM BOWING AND OTHERS: THE LEFT HAND
- THE JOACHIM BOWING
- A PRE-TEACHING REQUISITE
- DRAWING A LONG BOW
- WRIST-BOWING
- STACCATO AND OTHER BOWINGS
- THE LEFT HAND
- VIOLIN MASTERY
- XXI
- ALBERT SPALDING
- THE MOST IMPORTANT FACTOR IN THE DEVELOPMENT OF AN ARTIST
- VIOLIN MASTERY
- THE MOST IMPORTANT FACTOR IN THE DEVELOPMENT OF AN ARTIST
- A LESS DEVELOPED PHASE OF VIOLIN TECHNIC
- GOOD AND BAD HANDS: MENTAL STUDY
- ADVANTAGE AND DISADVANTAGE OF CONCERT ATTENDANCE FOR THE STUDENT
- NATIONALITY AS A FORMATIVE INFLUENCE
- PLAYING WHILE IN SERVICE
- XXII
- THEODORE SPIERING
- THE APPLICATION OF BOW EXERCISES TO THE STUDY OF KREUTZER
- TWO TYPES OF STUDENTS
- MENTAL AND PHYSICAL PROCESSES COÖRDINATED
- THE TWO-FOLD VALUE OF CELEBRATED STUDY WORKS
- THE APPLICATION OF BOW EXERCISES TO THE STUDY OF KREUTZER
- SOME OF MR. SPIERING'S OWN STUDY SOUVENIRS
- VIOLIN MASTERY
- XXIII
- JACQUES THIBAUD
- THE IDEAL PROGRAM
- THE GREATEST DIFFICULTY TO OVERCOME
- MARSICK AS A TEACHER
- THE MECHANICAL VERSUS THE NATURAL IN VIOLIN PLAYING
- SARASATE
- STRADIVARIUS AND GUARNERIUS PLAYERS
- THE IDEAL PROGRAM
- Sonata in B flat . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mozart BAUER-THIBAUD Scenes from Childhood . . . . . . . . . . . . . . . . . . . Schumann H. BAUER Poème . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E. Chausson J. THIBAUD Sonata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . César Franck BAUER-THIBAUD
- Kreutzer Sonata . . . . . . . . . . . . . . . . . . . . . . . . .Beethoven BAUER-THIBAUD Sarabanda, Giga, Chaconne . . . . . . . . . . . . . . . .J.S. Bach J. THIBAUD Kreisleriana . . . . . . . . . . . . . . . . . . . . . . . . . . . . Schumann H. BAUER Sonata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . César Franck BAUER-THIBAUD
- XXIV
- GUSTAV SAENGER
- THE EDITOR AS A FACTOR IN "VIOLIN MASTERY"
- OLD WINE IN NEW BOTTLES
- AMERICAN EDITORIAL IDEALS
- THE MASTER VIOLINIST AS AN EDITOR
- EDITORIAL DIFFICULTIES
- A UNIQUE COLLECTION OF VIOLIN STUDIES
- A NEW CLASSIFICATION OF VIOLIN LITERATURE
- VIOLIN EDITIONS "MADE IN AMERICA"
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