"In one sense true violin mastery is a question of tone production and
rhythm. And I believe that tone production depends principally upon the
imaginative ear of the player. This statement may seem somewhat
ambiguous, and one might ask, 'What is an imaginative ear?' My ear, for
instance, demands of my violin a certain quality of tone, which varies
according to the music I am playing. But before I think of playing the
music, I already know from reading it what I want it to sound like: that
is to say, the quality of the tone I wish to secure in each principal
phrase. Rhythm is perhaps the greatest factor in interpretation. Every
good musician has a 'good sense of rhythm' (that much abused phrase).
But it is only the _great_ musician who makes so striking and
individual an application of rhythm that his playing may be easily
distinguished by his use of it.
"There is not much to tell you as regards my method of work. I usually
work directly upon a program which has been previously mapped out. If I
have been away from my violin for more than a week or two I begin by
practicing scales, but ordinarily I find my technical work in the
programs I am preparing."
Asked about his band experiences at Camp Upton, Sergeant Hochstein was
enthusiastic. "No violinist could help but gain much from work with a
military band at one of the camps," he said. "For instance, I had a more
or less theoretical knowledge of wind instruments before I went to Camp
Upton. Now I have a practical working knowledge of them. I have already
scored a little violin composition of mine, a 'Minuet in Olden Style'
for full band, and have found it possible by the right manipulation to
preserve its original dainty and graceful character, in spite of the
fact that it is played by more than forty military bandsmen.
"Then, too," he said in conclusion, "I have organized a real orchestra
of twenty-one players, strings, brass, wood-wind, etc., which I hope is
going to be of real use on the other side during our training period in
France. You see, 'over there' the soldier boys' chances for leave are
limited and we will have to depend a good deal on our own selves for
amusement and recreation. I hope and believe my orchestra is not only
going to take its place as one of the most enjoyable features of our
army life; but also that it will make propaganda of the right sort for
the best music in a broad, catholic sense of the word!"
It is interesting to know that this patriotic young officer found
opportunities in camp and in the towns of France of carrying out his
wish to "make propaganda of the right sort for the best music" before he
gave his life to further the greater purpose which had called him
overseas.