DELIVERY--STYLE--"FORM" VERSUS "FEELING"--CONCEPTION--ESSENTIALS OF A
"FINE" DELIVERY--ORCHESTRAL PLAYING.
DELIVERY, STYLE, ETC.
Up to the present chapter the student has been instructed how to
interpret and perform that which he sees on the music sheet before him;
to give a soulful and intelligent reading of any composition, he must
look beyond the mere written notes, and see if it is not possible to
discover some _meaning_, some effect which the composer has been unable
to express in musical notation.
True music is conceived in the mind of the composer, in some more or
less perfected form, before any attempt is made to transfer the ideas
to paper. Of course each composer has his individual way of working,
thus Beethoven never was without a note book in which he jotted down any
bits of melody or any musical thought which occurred to his mind during
his perambulations. Among these ideas may be found the leading themes
from which some of his greatest compositions were afterwards developed.
Mozart gives us an instance in the extreme opposite direction; it is
stated that this wonderful composer carried the whole of a sonata
for violin and pianoforte in his mind without a single note being
transferred to paper, the composer taking part in a public performance
of the same with only a duplicate of the violin copy at the pianoforte.
The student must keep in mind that the composer writes his thoughts;
perhaps the reader is unable to conceive the difficulty of transferring
to paper the musical thoughts which come unbidden to the mind; to write
the notes is simplicity itself, but how impossible to write a melody so
that every inflection of tone power, every slight change in tempo, and
more than this the exact sentiment which the music should convey. To
some people--perhaps to some players--music is merely the sounding of
a variety of combinations of sounds, in various rhythms; it expresses
nothing more than that. Emotion, sentiment, must not be given a place in
the musician's vocabulary, anything which does not appeal solely to the
intellect we are told to consider vulgar and sensual. Luckily for the
string player these superior people are in a minority, the multitude are
yet swayed, and to the end will continue to be moved by a melody sung or
played from the heart.
Perhaps it is possible to find a parallel in art; one contemplates a
beautiful geometrical design; clever, intricate, graceful, but how much
better are we for its contemplation? Has it conveyed any truth? Is it
possible to move a crowd either to tears or laughter? Is it possible
to awaken either warlike or peaceful feelings in the breasts of the
observers? How much greater to portray feelings than forms, thus a
picture which depicts love, hatred, happiness, misery or gratitude, must
be considered greater than a mere figure study. In landscape painting it
is greater to reproduce _living_ nature than mere studies of trees, sky,
etc.; thus the painter who makes us see the driving snow, the rushing
torrent, the beating rain, the fitful gleam of sunlight or even the
passive stillness of the wood, conveys impressions to our minds, not
only impressions of nature, but of certain states or moods of nature.
Compare some of the music by such as Romberg to that of Beethoven or
Schumann; the first merely studies in sound, the latter brimful of
thoughts, impressions, which appeal to the intellect of the performer,
and test his musicianship by the manner in which they are expressed or
overlooked.
The student should remember that all good music is composed with a
strict observance of its effect on the listener; this does not mean that
Beethoven wrote a scherzo for the sole purpose of causing people to
feel jolly, any more than he wrote a funeral march or an adagio solely
to make people sad. In all Beethoven's music, as in that of other great
masters, the listener is purposely compelled to pass through various
states of mind; where necessary the addition of a movement or section
in quite a contrasting mood is purposely made, so that the mind of the
listener is prepared for the ensuing movement. The composer writes what
inspires him at the moment, but his greatness is shown in the manner
in which these themes are contrasted and varied, so that the interest
of the listener is sustained throughout the whole performance. This
must be considered in the delivery of a musical composition. "It is
the effect on the listener which one must constantly have in mind," no
matter how turbulent are the feelings of the player, if the passion
does not find its way into the delivery, the audience will be quite
unaware of the fact. How is this to be accomplished? In reading aloud
or reciting, if one only observes the ordinary rising and falling of
the voice at the division of the periods, marks of interrogation, etc.,
it would be hardly possible to say that one read with expression. There
is something more than this school boy elocution required; does not an
orator hurry an impassioned passage, and drag a doleful one, does he
not shout a command and whisper a tender sentence. So if the musician
merely observes the rhythmical and dynamic effects, the performance may
be correct, yet it will be void of soul, and of that force which carries
along the hearer.
Exactly as in elocution, the performer must first grasp the intention
of the composer before a soulful interpretation is possible; it is
just this "conception," this grasp of the composer's meaning, this
transforming of the groups of sound into a real living performance,
which at once reveals the real genius. It is quite true that genius must
be trained or it will fall into many errors and exaggerations, there are
many who, guided by feeling alone, put such an amount of individuality
and what is commonly termed expression into their performances, that the
listener, led away by the rush of passion, overlooks the many errors
with which the performance abounds. It is for the student to cultivate
a style which shall satisfy the most refined tastes, at the same time
infusing as much of his own personality and feeling into the delivery
as the nature of the composition will admit. It is a difficult matter
to give any absolute rules for the guidance of young players, let us,
however, consider what constitutes a fine delivery.
The first essential is beauty of tone; it is recorded of Jenny Lind--an
artist with a reputation more unique it would be difficult to find--that
the quality of her voice was of such beauty that even the ordinary
diatonic scale sung slowly, was enough to create the utmost enthusiasm.
One writer describes the pleasure experienced from hearing the _tone_
of her voice only, as that obtained by the sight of pure, brilliant
colour; thousands who heard this great singer were melted to tears, even
when the work was quite unintelligible to the majority of them; this
was occasioned chiefly by the natural pathos in the tone of her voice,
added to a personality as simple as sincere. The performer should always
consider that "tone" is the fundamental matter with which he works; as
a rule "tone" is generally thought to mean "big" tone, but this is not
necessarily so; beautiful, sweet, brilliant tone should be the aim,
big tone if possible, but never at the expense of quality, variety and
phrasing.
The next matter of importance is a correct conception of tempo; as some
writer has remarked, "it is possible to transform a scherzo into a
funeral march by a wrong conception of tempo." This is a matter of great
importance, but also a matter in which some of our finest players and
conductors differ to an alarming extent. In the case of solo players
this may be excused, as the tempo which may suit the characteristics
of one player would perhaps be quite dull if adopted by a soloist with
quite a different style. In the case of conductors, however, it is to be
feared that much of this difference arises from a desire to be thought
original, even at the expense of all tradition. In determining the tempo
of a composition the character and general build of the work itself is
the only guide.
The third essential is a faithful reproduction of all the dynamic
effects marked by the composer, as well as all the varieties in tempo
such as ritards, calando passages, accelerandos, etc., etc.; beyond this
may be again mentioned the different varieties of tone, the playing of
certain passages on one string in preference to another, artificial
shifting for the purpose of a correct phrasing, the increasing or
retarding of the tempo other than marked by the composer; these latter
liberties are only applicable to compositions of the lyric or romantic
type, in the delivery of which it is needful to introduce the emotional
element, and are not intended to be introduced in compositions which
depend solely or chiefly on rhythm for their effect. Under the latter
head may be classed mazurkas, tarantelles, etc., and nearly all dance
movements, except those of the sentimental type.
The fugue also comes under the same head, it is possible to express
rhythm in musical notation but not emotion, and it must be remembered
that the fugue is the outcome of a highly trained intellect, and not
the outcome of inspiration in its independent sense. The fugue is
really "paper" music, it is possible to write more than could possibly
be imagined, this also applies in some degree to pieces of a highly
contrapuntal nature. In concluding this part of our subject it may be
recommended to the player to learn to anticipate effects--to hear in
advance that which he is about to play. "Expression is the manifestation
of impression," if the performer is not sensitive to the generating
causes of expression--if these make no impression on him, it will be
impossible for him to feel what he is playing, this system of reading in
advance allows the performer to thoroughly grasp the musical phrase, and
to give it a sensible intelligent treatment. In playing at sight, or in
the performance of concerted music, this is of great importance.
The foregoing remarks on individuality of interpretation do not apply
to the performance of concerted music; in playing trios, quartets,
and especially in orchestral work the performers must sink their own
individuality, for the sake of the general effect: in orchestral
playing, purity of intonation, a strict and decided division of the
notes, and especially in large orchestras, what may be termed an
exaggerated interpretation of the dynamics, must form the basis. All
artificial shifting must be dispensed with, gliding along the strings
must also not be indulged in, except in some unison passages where
all the players can decide to finger the passage in the same manner;
passages marked "piano" must be played throughout "piano," and not as
in solo work, be varied by slight crescendos, etc., according as the
passage rises or falls, etc. The reader will readily understand that a
theme played pianissimo by a half-dozen 'cellos will have an entirely
different effect than the same theme played by one instrument, even if
the same body of tone is produced. A number of instruments playing in
unison impart a grandeur to a passage which is quite characteristic; it
must be remembered that composers have this effect in their minds when
writing for strings in the orchestra. The conception of the work and its
manner of delivery rests entirely with the conductor, each player for
the time being must accept his reading, and be as subservient to the
will of the conductor as are the keys of a pianoforte to the fingers of
the musician.
In concluding it is as well to remember that we are not all constituted
alike; some are born to be leaders, they have will, individuality,
originality; others are more fit to be lead, they can accomplish much
under the guidance of some master mind, but if left to themselves are
utterly useless.
To place a fine solo player in an orchestra would be equal to compelling
the general of an army to serve in the line. The reverse is not always
the case, there are many who although brilliant and successful in the
orchestra are useless for any other branch of playing. Let each one
perfect himself in the branch of art for which he is most suited;
exactly as it is impossible for a musician to be "master" of more than
one instrument, so it is impossible to arrive at perfection in every
branch of music. There are many fine solo players who have had long
experience with the orchestra, but they have been soloists in spite of
this.
THE END.
TENTH YEAR OF ISSUE.
_The Largest Circulation in the World of any paper amongst Violinists_
THE STRAD
_A Monthly Journal for Professionals and Amateurs of all
Stringed Instruments played with the Bow._
Published on the First of every Month. Price 2d.,
Annual Subscription, Post Free, 2s. 6d.
THE STRAD is the only recognised organ of the string family and has
subscribers in every country of the civilised world. Our circulation
has increased to so great an extent that we are enabled to engage as
contributors
THE LEADING WRITERS in the VIOLIN WORLD.
_The following eminent Authors, Critics and Players are writing for
the paper_: JOHN DUNN, ESQ., GERARD E. HODGKIN, ESQ., B.A., DR.
CHURCHILL SIBLEY, HORACE PETHERICK, ESQ., DR. T. L. PHIPSON, ARTHUR
BROADLEY, ESQ., E. VAN DER STRAETEN, ESQ., JOHN DAY, ESQ., REV. H.
PALMER, B.A., LANCASTRIAN, ANDRE LA TARCHE, ESQ., E. POLONASKI, ESQ.,
ROBIN H. LEGGE, ESQ., BASIL ALTHAUS, ESQ., &c., &c.
THE STRAD gives every month a beautifully executed portrait on fine art
paper, of some leading celebrity in the violin world, together with
a biographical sketch; and also smaller portraits of people in whom
the violin world takes an interest. Thus, among others, portraits and
notices of the following have appeared: Dr. Joachim, F. Louis Schneider,
Lady Hallé, L. J. Massart, Emile Sauret, Pietro Nardini, Ludwig Straus,
Marie Soldat, George Craske, Carl Courvoisier, Robert Lindley, Henri
Marteau, Gabriele Wietrowetz, J. T. Carrodus, Paganini, Louis Ries,
Leo Stern, Piatti, C. Dancla, Sarasate, Johannes Wolff, Guido Papini,
Nettie Carpenter, E. F. Arbos, Joseph Hollman, Andre La Tarche, J. B.
Vuillaume, John Dunn, Rosa Hochman, Joseph Ludwig, Willy Burmester,
Alfred Gibson, Alfred Burnett, Henry Saint-George, Achille Rivarde, N.
R. Scalero, Richard Gompertz, Felice de Giardini, Frye Parker, Marie
Soldat-Röger, David Popper, Franz Ondricek, Irma Seth, Louis Pecskai,
Jan Van Oordt, I. B. Poznanski, Eugene Ysaye, Henry Such, W. H. Squire,
Leonora Jackson, etc.
* * * * *
LONDON:
"STRAD OFFICE," 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
"THE STRAD" LIBRARY, No. I.
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_
Technics of Violin Playing
ON
JOACHIM'S METHOD
BY
CARL COURVOISIER.
With Folding Plates, Containing Fifteen Illustrations.
LETTER FROM DR. JOACHIM
[COPY].
MY DEAR MR. COURVOISIER: I have read the book on Violin Playing
you have sent me, and have to congratulate you sincerely on the manner
in which you have performed a most difficult task, _i.e._, to describe
the best way of arriving at a correct manner of playing the violin.
It cannot but be welcome to thoughtful teachers, who reflect on the
method of our art, and I hope that your work will prove useful to many
students.
Believe me, my dear Mr. Courvoisier, to be most faithfully yours,
JOSEPH JOACHIM.
Berlin, November 3rd, 1894.
The New and Revised Edition of "Technics of Violin Playing" issued by
The Strad is the only authorised edition of my work. The several English
editions which have all appeared without my knowledge are _incomplete_
and _faulty_.
CARL COURVOISIER.
* * * * *
LONDON:
"STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
"THE STRAD" LIBRARY, No. II.
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
HOW TO STUDY THE VIOLIN
By J. T. CARRODUS
CONTENTS.
Strings and Tuning. The Bow and Bowing. Faults and their Correction.
Scales and their Importance. Course of Study. Advice on Elementary
Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing.
Some Experiences as a Soloist. With full page portraits of Carrodus,
Molique, Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a
photo-reproduction of Dr. Spohr's testimonial to Carrodus.
* * * * *
"An interesting series of articles 'How to Study the Violin,' which
Carrodus contributed to THE STRAD, and completed only a week or
two before his death, have now been collected in cheap book form. The
technical hints to violin students, which are practical, plainly worded,
and from such a pen most valuable."--_Daily News._
"But a few weeks before his sudden death the most distinguished of
native violinists completed in THE STRAD a series of chats to
students of the instrument associated with his name. These chats are
now re-issued, with a sympathetic preface and instructive annotations.
All who care to listen to what were virtually the last words of such
a conscientious teacher will recognise the pains taken by Carrodus to
render every detail as clear to the novice as to the advanced pupil.
Pleasant gossip concerning provincial festivals at which Carrodus was
for many years 'leader' of the orchestra, ends a little volume worthy a
place in musical libraries both for its practical value and as a memento
of the life-work of an artist universally esteemed."--_Daily Chronicle._
"It is surely, hardly necessary to direct the attention of students
to the unique value of the hints and advice given by so experienced
and accomplished a virtuoso as the late Mr. Carrodus, so that it only
remains to state that the 'Recollections' make delightful reading, and
that the book, as a whole, is as entertaining as it is instructive.
The value of the _brochure_ is enhanced by an excellent portrait of
Mr. Carrodus, as well as of a number of other violin worthies, and
the printing, paper, and get up generally are good as could possibly
be."--_Musical Answers._
* * * * *
LONDON:
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"THE STRAD" LIBRARY, No. III.
_Crown 8vo., Cloth 2/6, Post Free 2/9._
THE BOW
Its History, Manufacture and Use
BY
HENRY SAINT-GEORGE.
With Full Page Illustrations (exact size) by Photo Process.
* * * * *
MONS. EMILE SAURET writes--"I have read it with great interest, and
think that it supplies a real want in giving musicians such an excellent
description of all matters referring to this important instrument."
SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and
interesting book. You are quite successful and all the artists and
amateurs are indebted to you for a so exact and correct '_Texte_' on the
subject."
ADOLF BRODSKY writes--"I am delighted with the book and find it very
instructive, even for those who think to know everything about the bow.
It is very original and at times very amusing. No violinist should miss
the opportunity to buy it."
THE TIMES.--"A useful treatise on the Bow, in which the history,
manufacture and use of the bow are discussed with considerable technical
knowledge."
DAILY TELEGRAPH.--"To the student there is much of interest in the work,
which has the advantage of being copiously illustrated."
DAILY NEWS.--"This book seems practically to exhaust its subject."
* * * * *
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"THE STRAD" LIBRARY, No. IV.
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CELEBRATED VIOLINISTS,
PAST AND PRESENT
_Translated from the German of_
A. EHRLICH.
_And Edited with Notes and Additions by_
ROBIN H. LEGGE.
_WITH EIGHTY-NINE PORTRAITS._
PRESS NOTICES.
"Those who love their fiddles better than their fellows, and who
treasure up every detail that can be found and recorded about their
favourite and cherished players will not fail to provide themselves with
a copy of this book."--_Musical Opinion._
"This book of 280 pages is a most interesting and valuable addition
to the violinist's library. It contains 89 biographical sketches of
well-known artists, ancient and modern, of all nations. This is not
intended to be a perfect dictionary of violinists; the aim of the Editor
of the present volume being merely to give a few more up-to-date details
concerning some of the greatest of stringed instrument players, and we
must concede that no name of the first importance has been omitted.
Germany is represented by 21 names, Italy by 13, France by 10, England
by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known
ladies, such as Teresina Tua, Therèse and Marie Milanollo, Lady Hallé,
Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this
is most agreeable reading to the numerous array of violinists, both
professionals and amateurs, and after careful examination we can
find nothing but praise for this translation into English of a book
well-known on the Continent."--_The Piano, Organ and Music Trades
Journal._
* * * * *
LONDON:
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"THE STRAD" LIBRARY, No. V.
_Crown 8vo., Cloth 2/6, Post Free 2/9._
TECHNICS OF VIOLONCELLO PLAYING
BY
E. VAN DER STRAETEN.
COPIOUSLY ILLUSTRATED.
_Copy of Letter received by the Author from the great 'cellist,
SIGNOR ALFRED PIATTI._
Cadenabbia, Lake of Como, March 9th, 1898.
DEAR SIR,--I received the book you kindly sent me on "The Technics of
Violoncello Playing," which I found excellent, particularly for
beginners, which naturally was your scope. With many thanks for kindly
remembering an old ex-violoncello player.
Believe me, yours sincerely,
ALFRED PIATTI.
_Copy of Letter received by the Author from the eminent 'cellist,
HERR DAVID POPPER._
Budapest, February 22nd, 1898.
DEAR SIR,--In sending me your book on "The Technics of Violoncello
Playing" you have given me a real and true pleasure. I know of no work,
tutors and studies not excepted, which presents so much valuable
material, so much that is absolutely to the point, avoiding--I might
say, on principle--all that is superfluous and dispensable. Every
earnest thinking violoncello student will in future make your book his
own and thereby receive hints which will further and complete the
instructions of his master.
I congratulate you and ourselves most heartily on the new violoncello
book. With kind regards, Yours most sincerely,
DAVID POPPER.
* * * * *
LONDON:
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"THE STRAD LIBRARY," No. VI.
_Crown 8vo., Cloth, 2/6, Post Free 2/9._
VIOLIN PLAYING
BY
JOHN DUNN
CONTENTS
INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on
the Choice of a Teacher--Some Tricks of pretending professors exposed.
ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment
and repairs.
ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs
in Order.
ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as
accepted by the leading artists of the day.
ON FINGERING GENERALLY--The various positions--Scales recommended--The
Modern Orchestral "Principal" or (so-called) Leader.
ON GLIDING--Special Characteristics of some of the most Eminent Players.
DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain
independence of Finger.
BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed
Bowings.
TONE PRODUCTION--Character of Tone--Rules and Condition necessary to
produce a good tone--Style and Expression.
* * * * *
LONDON:
"STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
THE OLD "STRAD."
By LIONEL J. COWEN.
Prints from this celebrated Picture, exhibited at the Royal Academy in
1886, engraved in the most admirable manner, in Photogravure.
The size of the engraved surface is 19 by 14 inches.
Artist's Proofs, limited to 100 £4 4 0
Prints on Indian Paper, limited to 250 2 2 0
Prints 1 1 0
PRESS NOTICES.
"Among the recent art publications, of which the increasing number gives
the measure of popular appreciation, may be mentioned the production of
L. J. Cowen's 'The Old Strad.' The picture was exhibited at the Royal
Academy as far back as 1886, and attracted considerable attention on
account of the thoroughly Dutch feeling and humour the artist had thrown
into his work. It has now been reproduced by the Swan Electric Engraving
Company, of which the methods are probably unsurpassed by any other
process in this country. How far it can compete with other processes in
the matter of cost is another matter."--_Illustrated London News._
"Under the title, 'The Old Strad,' is published a reproduction of
Mr. Lionel J. Cowen's picture, which represents a mender of violins
carefully surveying a famous old fiddle. The subject is very well
suited to reproduction in black and white, it is of special interest
to those who watch the reproductive arts grouped under the term of
Photogravure."--_Art Journal._
"Mr. Lionel Cowen's 'Old Strad.' The softness and tone of the plate is
remarkable."--_Daily Chronicle._
"The Old 'Strad.' An important print from the celebrated picture of
a connoisseur inspecting a genuine Stradivarius, by Lionel J. Cowen,
exhibited at the Royal Academy in 1886. The picture has been reproduced
in a most admirable manner, in photogravure, by the Swan Electric
Engraving Company, of London, and cannot fail to have a ready sale
amongst violinists, musical instrument makers, and all who take an
interest in thoroughly genuine works of art."--_Morning Advertiser._
"Of the illustrations, incomparably the best is 'The Old Strad,' a
photogravure of a painting by Mr. Lionel Cowen. As a realisation of
quiet ecstacy, it is almost perfect."--_The Spectator._
"'The Old Strad.' We know of no picture in recent years that could give
such keen pleasure to the fiddle-lover and confidently recommend our
readers to become possessors of the _early_ prints."--_Violin Times._
* * * * *
LONDON:
"STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
Transcriber's Note:
Every effort has been made to replicate this text as faithfully as
possible.
Italic text has been marked with _underscores_.
Musical symbols which are not available as Unicode characters are
represented by [symbol].
The following is a list of changes made to the original.
The first line is the original line, the second the corrected one.
action of the wrist, form-arm, and upper arm during
action of the wrist, fore-arm, and upper arm during
the above passage at sight, without the slighest difficulty,
the above passage at sight, without the slightest difficulty,
its relation to the five open strings, the hand of the
its relation to the four open strings, the hand of the
the larnyx. The 'cellist has sometimes to make a sweep
the larynx. The 'cellist has sometimes to make a sweep
as perfect fifths, fourths, major and minor sixth, thirds,
as perfect fifths, fourths, major and minor sixths, thirds,
of these are the trill, or shake (tr), the praltriller,
of these are the trill, or shake (tr), the pralltriller,
former is met with in Popper's well-known "Elfantanz."
former is met with in Popper's well-known "Elfentanz."
Paganini the wierd, fiery Italian, astonishing the world
Paganini the weird, fiery Italian, astonishing the world
accellerandos, etc., etc.; beyond this may be again
accelerandos, etc., etc.; beyond this may be again
End of Project Gutenberg's Chats to 'Cello Students, by Arthur Broadley