Violin Mastery

About this eBook

Author

Martens, Frederick Herman, 1874-1932

Title

Violin Mastery: Talks with Master Violinists and Teachers

Credits

Produced by Juliet Sutherland, Peter Barozzi and the Online Distributed Proofreading Team.

Language

English

LoC Class

MT: Music: Musical instruction and study, Composition

Subject

Violinists

Category

Text

eBook-No.

15535

Project Gutenberg

https://www.gutenberg.org/ebooks/15535

Release Date

April 4, 2005

Copyright

Public domain in the USA.

Contents

1. 1.VIOLIN MASTERY — TALKS WITH MASTER VIOLINISTS AND TEACHERS — COMPRISING INTERVIEWS WITH YSAYE, KREISLER, ELMAN, AUER, THIBAUD, HEIFETZ, HARTMANN, MAUD POWELL AND OTHERS — BY
2. 2.FREDERICK H. MARTENS
3. 3.FOREWORD
4. 4.CONTENTS
5. 5.ILLUSTRATIONS
6. 6.EUGÈNE YSAYE — THE TOOLS OF VIOLIN MASTERY — YSAYE'S REPERTORY — THE TOOLS OF VIOLIN MASTERY — VIOLIN MASTERY — II
7. 7.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
8. 8.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
9. 9.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
10. 10.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
11. 11.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
12. 12.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
13. 13.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
14. 14.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
15. 15.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
16. 16.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
17. 17.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
18. 18.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
19. 19.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
20. 20.MAXIMILIAN PILZER — THE SINGING TONE AND THE VIBRATO — THE SINGING TONE — THE VIBRATO — VIOLIN MASTERY AND ITS ATTAINMENT — THE SHINING GOAL — PLAYING BACH — XVI
21. 21.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
22. 22.LEON SAMETINI — HARMONICS — REMINISCENCES OF SEVČIK — A QUARTET OF GREAT TEACHERS WITH WHOM ALL MAY STUDY — TEACHING PRINCIPLES — DOUBLE HARMONICS — VIOLIN MASTERY — XVIII
23. 23.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
24. 24.TOSCHA SEIDEL — HOW TO STUDY — STUDYING WITH PROFESSOR AUER — ARTIST PUPILS AND AMATEUR STUDENTS — HOW TO STUDY — FIDDLE AND STRINGS — VIOLIN MASTERY — XX
25. 25.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
26. 26.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
27. 27.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
28. 28.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
29. 29.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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