“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.

TONE:  PRACTICE TIME

“Broad playing gives the singing tone—­the true violin tone—­a long bow drawn its full length.  Like every general rule though, this one must be modified by the judgment of the individual player.  Violin playing is an art of many mysteries.  Some pupils grasp a point at once; others have to have it explained seven or eight different ways before grasping it.  The serious student should practice not less than four hours, preferably in twenty minute intervals.  After some twenty minutes the brain is apt to tire.  And since the fingers are controlled by the brain, it is best to relax for a short time before going on.  Mental and physical control must always go hand in hand.  Four hours of intelligent, consistent practice work are far better than eight or ten of fatigued effort.

A NATIONAL CONSERVATORY

“Some five years ago too many teachers gave their pupils the Mendelssohn and Paganini concertos to play before they knew their Kreutzer.  But there has been a change for the better during recent years.  Kneisel was one of the first to produce pupils here who played legitimately, according to standard violinistic ideals.  One reason why Auer has had such brilliant pupils is that poor students were received at the Petrograd Conservatory free of charge.  All they had to supply was talent; and I look forward to the time when we will have a National conservatory in this country, supported by the Government.  Then the poor, but musically gifted, pupil will have the same opportunities that his brother, who is well-to-do, now has.

SOME PERSONAL VIEWS AND REFLECTIONS

“You ask me to tell you something of my own musical preferences.  Well, take the concertos.  I have reached a point where the Mendelssohn, Mozart, Beethoven, Bach and Brahms concertos seen to sum up what is truly worth while.  The others begin to bore me; even Bruch!  Paganini, Wieniawski, etc., are mainly mediums of display.  Most of the great violinists, Ysaye, Thibaud, etc., during recent years are reverting to the violin sonatas.  Ysaye, for instance, has recently been playing the Lazzari sonata, a very powerful and beautiful work.