:: Historical Notes ::

A GREAT DEFECT

“Most pupils seem to lack an absolute sense of rhythm—a great defect. Yet where latent it may be developed. Here Kreutzer is invaluable, since he presents every form of rhythmic problem, scales in various rhythms and bowings. Kreutzer’s ‘Exercise No. 2,’ for example, may be studied with any number of bowings. To produce a broad tone the bow must move slowly, and in rapid passages should never seem to introduce technical exercises in a concert number. The student should memorize Kreutzer and Fiorillo. Flesch’s Urstudien offer the artist or professional musician who has time for little practice excellent material; but are not meant for the pupil, unless he be so far advanced that he may be trusted to use them alone.

Violin Mastery
Talks with Master Violinists and Teachers
by Frederick H. Martens
Published 1919

Click here to see Select Violins complete selection of violins.

WHAT THE TEACHER CAN AND CANNOT DO

“After all, the teacher can only supply the pupil with the violinistic equipment. The pupil must use it. There is tone, for instance. The teacher cannot make tone for the pupil—he can only show him how tone can be made. Sometimes a purely physiological reason makes it almost impossible for the pupil to produce a good natural tone. If the finger-tips are not adequately equipped with ‘cushions,’ and a pupil wishes to use the vibrato there is nothing with which he can vibrate. There is real meaning, speaking of the violinist’s tone, in the phrase ‘he has it at his fingers’ tips.’ Then there is the matter of slow practice. It rests with the pupil to carry out the teacher’s injunctions in this respect. The average pupil practices too fast, is too eager to develop his Art as a money maker. And too many really gifted students take up orchestra playing, which no one can do continuously and hope to be a solo player. Four hours of study work may be nullified by a single hour of orchestra playing. Musically it is broadening, of course, but I am speaking from the standpoint of the student who hopes to become a solo artist. An opera orchestra is especially bad in this way. In the symphonic ensemble more care is used; but in the opera orchestra they employ the right arm for tremolo! There is a good deal of camouflage as regards string playing in an opera orchestra, and much of the music—notably Wagner’s—is quite impracticable.

“And lessons are often made all too short. A teacher in common honesty cannot really give a pupil much in half-an-hour—it is not a real lesson. There is a good deal to be said for class teaching as it is practiced at the European conservatories, especially as regards interpretation. In my student days I learned much from listening to others play the concertos they had prepared, and from noting the teacher’s corrections. And this even in a purely technical way: I can recall Kubelik playing Paganini as a wonderful display of the technical points of violin playing.

Violin Mastery
Talks with Master Violinists and Teachers
by Frederick H. Martens
Published 1919

Click here to see Select Violins complete selection of violins.

Alexander Saslavsky is probably best known as a solo artist, as the concertmaster of a great symphonic orchestra, as the leader of the admirable quartet which bears his name. Yet, at the same time, few violinists can speak with more authority anent the instructive phases of their Art. Not only has he been active for years in the teaching field; but as a pedagog he rounds out the traditions of Ferdinand David, Massard, Auer, and Grün (Vienna Hochschule), acquired during his “study years,” with the result of his own long and varied experience.

Beginning at the beginning, I asked Mr. Saslavsky to tell me something about methods, his own in particular. “Method is a flexible term,” he answered. “What the word should mean is the cultivation of the pupil’s individuality along the lines best suited to it. Not that a guide which may be employed to develop common-sense principles is not valuable. But even here, the same guide (violin-method) will not answer for every pupil. Personally I find De Bériot’s ‘Violin School’ the most generally useful, and for advanced students, Ferdinand David’s second book. Then, for scales—I insist on my pupils being able to play, a perfect scale through three octaves—the Hrimaly book of scales. Many advanced violinists cannot play a good scale simply because of a lack of fundamental work.

“As soon as the pupil is able, he should take up Kreutzer and stick to him as the devotee does to his Bible. Any one who can play the ‘42 Exercises’ as they should be played may be called a well-balanced violinist. There are too many purely mechanical exercises—and the circumstance that we have Kreutzer, Rode, Fiorillo, Rovelli and Dont emphasizes the fact. And there are too many elaborate and complicated violin methods. Sev?ik, for instance, has devised a purely mechanical system of this kind, perfect from a purely mechanical standpoint, but one whose consistent use, in my opinion, kills initiative and individuality. I have had experience with Sevcik pupils in quartet playing, and have found that they have no expression.

Violin Mastery
Talks with Master Violinists and Teachers
by Frederick H. Martens
Published 1919

Click here to see Select Violins complete selection of violins.