“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.  Sevcik, 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.

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.

A GREAT DEFECT