Transcriber’s note:  Original text read “standad”.

“But this whole question of programs and repertory is one without end.  Which of the great concertos do I prefer?  That is a difficult question to answer off-hand.  But I can easily tell you which I like least.  It is the Tschaikovsky* violin concerto—­I would not exchange the first ten measures of Vieuxtemps’s Fourth concerto for the whole of Tschaikovsky’s, that is from the musical point of view.  I have heard the Tschaikovsky played magnificently by Auer and by Elman; but I consider it the worst thing the composer has written.”

Transcriber’s note:  Original text read “Tchaikovsky”.

XXIV

GUSTAV SAENGER

THE EDITOR AS A FACTOR IN “VIOLIN MASTERY”

The courts of editorial appeal presided over by such men as Wm. Arms Fisher, Dr. Theodore Baker, Gustav Saenger and others, have a direct relation to the establishment and maintenance of standards of musical mastery in general and, in the case of Gustav Saenger, with “Violin Mastery” in particular.  For this editor, composer and violinist is at home with every detail of the educational and artistic development of his instrument, and a considerable portion of the violin music published in the United States represents his final and authoritative revision.

“Has the work of the editor any influence on the development of ’Violin Mastery’?” was the first question put to Mr. Saenger when he found time to see the writer in his editorial rooms.  “In a larger sense I think it has,” was the reply.  “Mastery of any kind comes as a result of striving for a definite goal.  In the case of the violin student the road of progress is long, and if he is not to stray off into the numerous by-paths of error, it must be liberally provided with sign-posts.  These sign-posts, in the way of clear and exact indications with regard to bowing, fingering, interpretation, it is the editor’s duty to erect.  The student himself must provide mechanical ability and emotional instinct, the teacher must develop and perfect them, and the editor must neglect nothing in the way of explanation, illustration and example which will help both teacher and pupil to obtain more intimate insight into the musical and technical values.  Yes, I think the editor may claim to be a factor in the attainment of ‘Violin Mastery.’

OLD WINE IN NEW BOTTLES

“The work of the responsible editor of modern violin music must have constructive value, it must suggest and stimulate.  When Kreutzer, Gavinies and Rode first published their work, little stress was laid on editorial revision.  You will find little in the way of fingering indicated in the old editions of Kreutzer.  It was not till long after Kreutzer’s death that his pupil, Massart, published an excellent little book, which he called ‘The Art of Studying R. Kreutzer’s Etudes’ and which I have translated.  It contains no less than four hundred and twelve examples specially designed to aid the student to master the Etudes in the spirit of their composer.  Yet these studies, as difficult to-day as they were when first written, are old wine that need no bush, though they have gained by being decanted into new bottles of editorial revision.