Violin Mastery

The following are a collection of interviews with famous violinists, including Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others. The interviews were originally published as part of a book called, "Violin Mastery: Talks with Master Violinists and Teachers" by Fredrick H. Martens.

Interviews with Violinists - Main Menu

• Eugene Ysaye - The Tools of Violin Mastery
• Leopold Auer - A Method without Secrets
• Eddy Brown - Hubay and Auer: Technic: Hints to the Student
• Mischa Elman - Life and Color in Interpretation. Technical Phases
• Samuel Gardner - Technic and Musicianship
• ARTHUR HARTMANN The Problem of Technic
• JASCHA HEIFETZ The Danger of Practicing Too Much. Technical Mastery and Temperament
• DAVID HOCHSTEIN The Violin as a Means of Expression and Expressive Playing
• FRITZ KREISLER Personality in Art
• FRANZ KNEISEL The Perfect String Ensemble
• ADOLFO BETTI The Technic of the Modern Quartet
• HANS LETZ The Technic of Bowing
• DAVID MANNES The Philosophy of Violin Teaching
• TIVADAR NACHeZ Joachim and LÈonard as Teachers
• MAXIMILIAN PILZER The Singing Tone and the Vibrato
• MAUD POWELL Technical Difficulties: Some Hints for the Concert Player
• LEON SAMETINI Harmonics
• ALEXANDER SASLAVSKY What the Teacher Can and Cannot Do
• TOSCHA SEIDEL How to Study
• EDMUND SEVERN The Joachim Bowing and Others: The Left Hand
• ALBERT SPALDING The Most Important Factor in the Development of an Artist
• THEODORE SPIERING The Application of Bow Exercises to the Study of Kreutzer
• JACQUES THIBAUD The Ideal Program
• GUSTAV SAENGER The Editor as a Factor in "Violin Mastery"

 

 

Produced by Juliet Sutherland, Peter Barozzi and the Online Distributed Proofreading Team.
© 1919 FREDERICK A. STOKES COMPANY PUBLISHERS, New York

The appreciation accorded Miss Harriette Brower's admirable books on PIANO MASTERY has prompted the present volume of intimate Talks with Master Violinists and Teachers, in which a number of famous artists and instructors discuss esthetic and technical phases of the art of violin playing in detail, their concept of what Violin Mastery means, and how it may be acquired. Only limitation of space has prevented the inclusion of numerous other deserving artists and teachers, yet practically all of the greatest masters of the violin now in this country are represented. That the lessons of their artistry and experience will be of direct benefit and value to every violin student and every lover of violin music may be accepted as a foregone conclusion.

FREDERICK H. MARTENS