“Yet despite all this there has been a notable development of violin study in the direction of ensemble work with, as a result, an attitude on the part of the violinists cultivating it, of greater humility as regards music in general, a greater appreciation of the charm of artistic collaboration:  and—­I insist—­a technic both finer and more flexible.  Chamber music—­originally music written for the intimate surroundings of the home, for a small circle of listeners—­carries out in its informal way many of the ideals of the larger orchestral ensemble.  And, as regards the violinist, he is not dependent only on the literature of the string quartet; there are piano quintets and quartets, piano trios, and the duos for violin and piano.  Some of the most beautiful instrumental thoughts of the classic and modern composers are to be found in the duo for violin and piano, mainly in the sonata form.  Amateurs—­violinists who love music for its own sake, and have sufficient facility to perform such works creditably—­do not do nearly enough ensemble playing with a pianist.  It is not always possible to get together the four players needed for the string quartet, but a pianist is apt to be more readily found.

“The combination of violin and piano is as a rule obtainable and the literature is particularly rich.  Aside from sonatas by Corelli, Locatelli, Tartini, Bach, Mozart, Beethoven, Haendel, Brahms and Schumann, nearly all the romantic and modern composers have contributed to it.  And this music has all been written so as to show the character of each instrument at its best—­the piano, harmonic in its nature; the violin, a natural melodic voice, capable of every shade of nuance.”  That Mr. Mannes, as an artist, has made a point of “practicing what he preaches” to the student as regards the ensemble of violin and piano will be recalled by all who have enjoyed the ‘Sonata Recitals’ he has given together with Mrs. Mannes.  And as an interpreting solo artist his views regarding the moot question of gut versus wire strings are of interest.

GUT VERSUS WIRE STRINGS

“My own violin, a Maggini of more than the usual size, dates from the year 1600.  It formerly belonged to Dr. Leopold Damrosch.  Which strings do I use on it?  The whole question as to whether gut or wire strings are to be preferred may, in my opinion, be referred to the violin itself for decision.  What I mean is that if Stradivarius, Guarnerius, Amati, Maggini and others of the old-master builders of violins had ever had wire strings in view, they would have built their fiddles in accordance, and they would not be the same we now possess.  First of all there are scientific reasons against using the wire strings.  They change the tone of the instrument.  The rigidity of tension of the wire E string where it crosses the bridge tightens up the sound of the lower strings.  Their advantages are:  reliability under adverse climatic conditions and the incontestable fact that they make things easier technically.  They facilitate purity of intonation.  Yet I am willing to forgo these advantages when I consider the wonderful pliability of the gut strings for which Stradivarius built his violins.  I can see the artistic retrogression of those who are using the wire E, for when materially things are made easier, spiritually there is a loss.