by insisting in explanatory annotation on the correct presentation of authoritative teaching ideas and principles.  In a broader sense ‘Violin Mastery’ knows no nationality; but yet we associate the famous artists of the day with individual and distinctively national trends of development and ‘schools.’  In this connection I am convinced that one result of this great war of world liberation we have waged, one by-product of the triumph of the democratic truth, will be a notably ‘American’ ideal of ‘Violin Mastery,’ in the musical as well as the technical sense.  And in the development of this ideal I do not think it is too much to claim that American editions of violin music, and those who are responsible for them, will have done their part.”