THE TOOLS OF VIOLIN MASTERY
"With regard to mechanism," Ysaye continued, "at the present day the tools of violin
mastery, of expression, technic, mechanism, are far more necessary than in days gone by.
In fact they are indispensable, if the spirit is to express itself without restraint. And the
greater mechanical command one has the less noticeable it becomes. All that suggests
effort, awkwardness, difficulty, repels the listener, who more than anything else delights
in a singing violin tone. Vieuxtemps often said: Pas de trait pour le trait—chantez,
chantez! (Not runs for the sake of runs—sing, sing!)
"Too many of the technicians of the present day no longer sing. Their difficulties—they
surmount them more or less happily; but the effect is too apparent, and though, at times,
the listener may be astonished, he can never be charmed. Agile fingers, sure of
themselves, and a perfect bow stroke are essentials; and they must be supremely able to
carry along the rhythm and poetic action the artist desires. Mechanism becomes, if
anything, more accessible in proportion as its domain is enriched by new formulas. The
violinist of to-day commands far greater technical resources than did his predecessors.
Paganini is accessible to nearly all players: Vieuxtemps no longer offers the difficulties he
did thirty years ago. Yet the wood-wind, brass and even the string instruments subsist in a
measure on the heritage transmitted by the masters of the past. I often feel that violin
teaching to-day endeavors to develop the esthetic sense at too early a stage. And in
devoting itself to the head it forgets the hands, with the result that the young soldiers of
the violinistic army, full of ardor and courage, are ill equipped for the great battle of art.
"In this connection there exists an excellent set of Études-Caprices by E. Chaumont,
which offer the advanced student new elements and formulas of development. Though in
some of them 'the frame is too large for the picture,' and though difficult from a violinistic
point of view, 'they lie admirably well up the neck,' to use one of Vieuxtemps's
expressions, and I take pleasure in calling attention to them.
"When I said that the string instruments, including the violin, subsist in a measure on the
heritage transmitted by the masters of the past, I spoke with special regard to technic.
Since Vieuxtemps there has been hardly one new passage written for the violin; and this
has retarded the development of its technic. In the case of the piano, men like Godowsky
have created a new technic for their instrument; but although Saint-Saëns, Bruch, Lalo
and others have in their works endowed the violin with much beautiful music, music itself
was their first concern, and not music for the violin. There are no more concertos written
for the solo flute, trombone, etc.—as a result there is no new technical material added to
the resources of these instruments.
"In a way the same holds good of the violin—new works conceived only from the
musical point of view bring about the stagnation of technical discovery, the invention of new passages, of novel harmonic wealth of combination is not encouraged. And a
violinist owes it to himself to exploit the great possibilities of his own instrument. I have
tried to find new technical ways and means of expression in my own compositions. For
example, I have written a Divertiment for violin and orchestra in which I believe I have
embodied new thoughts and ideas, and have attempted to give violin technic a broader
scope of life and vigor.
"In the days of Viotti and Rode the harmonic possibilities were more limited—they had
only a few chords, and hardly any chords of the ninth. But now harmonic material for the
development of a new violin technic is there: I have some violin studies, in ms., which I
may publish some day, devoted to that end. I am always somewhat hesitant about
publishing—there are many things I might publish, but I have seen so much brought out
that was banal, poor, unworthy, that I have always been inclined to mistrust the value of
my own creations rather than fall into the same error. We have the scale of Debussy and
his successors to draw upon, their new chords and successions of fourths and fifths—for
new technical formulas are always evolved out of and follow after new harmonic
discoveries—though there is as yet no violin method which gives a fingering for the
whole-tone scale. Perhaps we will have to wait until Kreisler or I will have written one
which makes plain the new flowering of technical beauty and esthetic development which
it brings the violin.
"As to teaching violin, I have never taught violin in the generally accepted sense of the
phrase. But at Godinne, where I usually spent my summers when in Europe, I gave a kind
of traditional course in the works of Vieuxtemps, Wieniawski and other masters to some
forty or fifty artist-students who would gather there—the same course I look forward to
giving in Cincinnati, to a master class of very advanced pupils. This was and will be a
labor of love, for the compositions of Vieuxtemps and Wieniawski especially are so
inspiring and yet, as a rule, they are so badly played—without grandeur or beauty, with
no thought of the traditional interpretation—that they seem the piecework of technic
factories!
Tuesday, December 1, 2009
Thursday, November 26, 2009
Talks With Master Violinists And Teachers
VIOLIN MASTERY Talks With Master Violinists And Teachers
EUGÈNE YSAYE
THE TOOLS OF VIOLIN MASTERY
Who is there among contemporary masters of the violin whose name stands for more at
the present time than that of the great Belgian artist, his "extraordinary temperamental power as an interpreter" enhanced by a hundred and one special gifts of tone and technique, gifts often alluded to by his admiring colleagues? For Ysaye is the greatest exponent of that wonderful Belgian school of violin playing which is rooted in his teachers Vieuxtemps and Wieniawski, and which as Ysaye himself says, "during a period covering seventy years reigned supreme at the Conservatoire in Paris in the persons of Massart, Remi, Marsick, and others of its great interpreters."
What most impresses one who meets Ysaye and talks with him for the first time is the
mental breadth and vision of the man; his kindness and amiability; his utter lack of small vanity. When the writer first called on him in New York with a note of introduction from his friend and admirer Adolfo Betti, and later at Scarsdale where, in company with his friend Thibaud, he was dividing his time between music and tennis, Ysaye made himself entirely at home, and willingly talked of his art and its ideals.
In reply to some questions about his own study years, he said:
"Strange to say, my father was my very first teacher—it is not often the case. I studied with him until I went to the Liège Conservatory in 1867, where I won a second prize, sharing it with Ovide Musin, for playing Viotti's 22d Concerto. Then I had lessons from Wieniawski in Brussels and studied two years with Vieuxtemps in Paris.
Vieuxtemps was a paralytic when I came to him; yet a wonderful teacher, though he could no longer play.
And I was already a concertizing artist when I met him. He was a very great man, the
grandeur of whose tradition lives in the whole 'romantic school' of violin playing. Look at his seven concertos—of course they are written with an eye to effect, from the virtuoso's standpoint, yet how firmly and solidly they are built up! How interesting is their working-out: and the orchestral score is far more than a mere accompaniment. As regards virtuose effect only Paganini's music compares with his, and Paganini, of course, did not play it as it is now played. In wealth of technical development, in true musical expressiveness Vieuxtemps is a master. A proof is the fact that his works have endured forty to fifty years, a long life for compositions.
"Joachim, Léonard, Sivori, Wieniawski—all admired Vieuxtemps. In Paganini's and
Locatelli's works the effect, comparatively speaking, lies in the mechanics; but
Vieuxtemps is the great artist who made the instrument take the road of romanticism
which Hugo, Balzac and Gauthier trod in literature. And before all the violin was made to charm, to move, and Vieuxtemps knew it. Like Rubinstein, he held that the artist must first of all have ideas, emotional power—his technic must be so perfected that he does not have to think of it! Incidentally, speaking of schools of violin playing, I find that there is a great tendency to confuse the Belgian and French.
This should not be. They are distinct, though the latter has undoubtedly been formed and influenced by the former. Many of the great violin names, in fact,—Vieuxtemps, Léonard, Marsick, Remi, Parent, de Broux, Musin, Thomson,—are all Belgian."
YSAYE'S REPERTORY Ysaye spoke of Vieuxtemps's repertory—only he did not call it that: he spoke of the Vieuxtemps compositions and of Vieuxtemps himself. "Vieuxtemps wrote in the grand style; his music is always rich and sonorous. If his violin is really to sound, the violinist must play Vieuxtemps, just as the 'cellist plays Servais. You know, in the Catholic Church, at Vespers, whenever God's name is spoken, we bow the head. And Wieniawski would always bow his head when he said: 'Vieuxtemps is the master of us all!'
"I have often played his Fifth Concerto, so warm, brilliant and replete with temperament, always full-sounding, rich in an almost unbounded strength. Of course, since Vieuxtemps wrote his concertos, a great variety of fine modern works has appeared, the appreciation of chamber-music has grown and developed, and with it that of the sonata. And the modern violin sonata is also a vehicle for violin virtuosity in the very best meaning of the word. The sonatas of César Franck, d'Indy, Théodore Dubois, Lekeu, Vierne, Ropartz, Lazarri—they are all highly expressive, yet at the same time virtuose. The violin parts develop a lovely song line, yet their technic is far from simple. Take Lekeu's splendid Sonata in G major; rugged and massive, making decided technical demands—it yet has a wonderful breadth of melody, a great expressive quality of song."
These works—those who have heard the Master play the beautiful Lazarri sonata this
season will not soon forget it—are all dedicated to Ysaye. And this holds good, too, of the César Franck sonata. As Ysaye says: "Performances of these great sonatas call for two artists—for their piano parts are sometimes very elaborate. César Franck sent me his sonata on September 26, 1886, my wedding day—it was his wedding present! I cannot complain as regards the number of works, really important works, inscribed to me. There are so many—by Chausson (his symphony), Ropartz, Dubois (his sonata—one of the best after Franck), d'Indy (the Istar variations and other works), Gabriel Fauré (the Quintet), Debussy (the Quartet)! There are more than I can recall at the moment—violin sonatas, symphonic music, chamber-music, choral works, compositions of every kind!
"Debussy, as you know, wrote practically nothing originally for the violin and
piano—with the exception, perhaps, of a work published by Durand during his last
illness. Yet he came very near writing something for me. Fifteen years ago he told me he was composing a 'Nocturne' for me. I went off on a concert tour and was away a long time. When I returned to Paris I wrote to Debussy to find out what had become of my 'Nocturne.' And he replied that, somehow, it had shaped itself up for orchestra instead of a violin solo. It is one of the Trois Nocturnes for orchestra. Perhaps one reason why so much has been inscribed to me is the fact that as an interpreting artist, I have never cultivated a 'specialty.' I have played everything from Bach to Debussy, for real art should be international!"
Ysaye himself has an almost marvelous right-arm and fingerboard control, which enables him to produce at will the finest and most subtle tonal nuances in all bowings. Then, too, he overcomes the most intricate mechanical problems with seemingly effortless ease. And his tone has well been called "golden." His own definition of tone is worth recording. He says it should be "In music what the heart suggests, and the soul expresses!"
EUGÈNE YSAYE
THE TOOLS OF VIOLIN MASTERY
Who is there among contemporary masters of the violin whose name stands for more at
the present time than that of the great Belgian artist, his "extraordinary temperamental power as an interpreter" enhanced by a hundred and one special gifts of tone and technique, gifts often alluded to by his admiring colleagues? For Ysaye is the greatest exponent of that wonderful Belgian school of violin playing which is rooted in his teachers Vieuxtemps and Wieniawski, and which as Ysaye himself says, "during a period covering seventy years reigned supreme at the Conservatoire in Paris in the persons of Massart, Remi, Marsick, and others of its great interpreters."
What most impresses one who meets Ysaye and talks with him for the first time is the
mental breadth and vision of the man; his kindness and amiability; his utter lack of small vanity. When the writer first called on him in New York with a note of introduction from his friend and admirer Adolfo Betti, and later at Scarsdale where, in company with his friend Thibaud, he was dividing his time between music and tennis, Ysaye made himself entirely at home, and willingly talked of his art and its ideals.
In reply to some questions about his own study years, he said:
"Strange to say, my father was my very first teacher—it is not often the case. I studied with him until I went to the Liège Conservatory in 1867, where I won a second prize, sharing it with Ovide Musin, for playing Viotti's 22d Concerto. Then I had lessons from Wieniawski in Brussels and studied two years with Vieuxtemps in Paris.
Vieuxtemps was a paralytic when I came to him; yet a wonderful teacher, though he could no longer play.
And I was already a concertizing artist when I met him. He was a very great man, the
grandeur of whose tradition lives in the whole 'romantic school' of violin playing. Look at his seven concertos—of course they are written with an eye to effect, from the virtuoso's standpoint, yet how firmly and solidly they are built up! How interesting is their working-out: and the orchestral score is far more than a mere accompaniment. As regards virtuose effect only Paganini's music compares with his, and Paganini, of course, did not play it as it is now played. In wealth of technical development, in true musical expressiveness Vieuxtemps is a master. A proof is the fact that his works have endured forty to fifty years, a long life for compositions.
"Joachim, Léonard, Sivori, Wieniawski—all admired Vieuxtemps. In Paganini's and
Locatelli's works the effect, comparatively speaking, lies in the mechanics; but
Vieuxtemps is the great artist who made the instrument take the road of romanticism
which Hugo, Balzac and Gauthier trod in literature. And before all the violin was made to charm, to move, and Vieuxtemps knew it. Like Rubinstein, he held that the artist must first of all have ideas, emotional power—his technic must be so perfected that he does not have to think of it! Incidentally, speaking of schools of violin playing, I find that there is a great tendency to confuse the Belgian and French.
This should not be. They are distinct, though the latter has undoubtedly been formed and influenced by the former. Many of the great violin names, in fact,—Vieuxtemps, Léonard, Marsick, Remi, Parent, de Broux, Musin, Thomson,—are all Belgian."
YSAYE'S REPERTORY Ysaye spoke of Vieuxtemps's repertory—only he did not call it that: he spoke of the Vieuxtemps compositions and of Vieuxtemps himself. "Vieuxtemps wrote in the grand style; his music is always rich and sonorous. If his violin is really to sound, the violinist must play Vieuxtemps, just as the 'cellist plays Servais. You know, in the Catholic Church, at Vespers, whenever God's name is spoken, we bow the head. And Wieniawski would always bow his head when he said: 'Vieuxtemps is the master of us all!'
"I have often played his Fifth Concerto, so warm, brilliant and replete with temperament, always full-sounding, rich in an almost unbounded strength. Of course, since Vieuxtemps wrote his concertos, a great variety of fine modern works has appeared, the appreciation of chamber-music has grown and developed, and with it that of the sonata. And the modern violin sonata is also a vehicle for violin virtuosity in the very best meaning of the word. The sonatas of César Franck, d'Indy, Théodore Dubois, Lekeu, Vierne, Ropartz, Lazarri—they are all highly expressive, yet at the same time virtuose. The violin parts develop a lovely song line, yet their technic is far from simple. Take Lekeu's splendid Sonata in G major; rugged and massive, making decided technical demands—it yet has a wonderful breadth of melody, a great expressive quality of song."
These works—those who have heard the Master play the beautiful Lazarri sonata this
season will not soon forget it—are all dedicated to Ysaye. And this holds good, too, of the César Franck sonata. As Ysaye says: "Performances of these great sonatas call for two artists—for their piano parts are sometimes very elaborate. César Franck sent me his sonata on September 26, 1886, my wedding day—it was his wedding present! I cannot complain as regards the number of works, really important works, inscribed to me. There are so many—by Chausson (his symphony), Ropartz, Dubois (his sonata—one of the best after Franck), d'Indy (the Istar variations and other works), Gabriel Fauré (the Quintet), Debussy (the Quartet)! There are more than I can recall at the moment—violin sonatas, symphonic music, chamber-music, choral works, compositions of every kind!
"Debussy, as you know, wrote practically nothing originally for the violin and
piano—with the exception, perhaps, of a work published by Durand during his last
illness. Yet he came very near writing something for me. Fifteen years ago he told me he was composing a 'Nocturne' for me. I went off on a concert tour and was away a long time. When I returned to Paris I wrote to Debussy to find out what had become of my 'Nocturne.' And he replied that, somehow, it had shaped itself up for orchestra instead of a violin solo. It is one of the Trois Nocturnes for orchestra. Perhaps one reason why so much has been inscribed to me is the fact that as an interpreting artist, I have never cultivated a 'specialty.' I have played everything from Bach to Debussy, for real art should be international!"
Ysaye himself has an almost marvelous right-arm and fingerboard control, which enables him to produce at will the finest and most subtle tonal nuances in all bowings. Then, too, he overcomes the most intricate mechanical problems with seemingly effortless ease. And his tone has well been called "golden." His own definition of tone is worth recording. He says it should be "In music what the heart suggests, and the soul expresses!"
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