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.

"My experiences as a 'concertmaster'? I have played with Weingartner;

Saint-Saëns (whose amiability to me, when he first visited this country,

I recall with pleasure); Gustav Mahler, Tschaikovsky, Safonoff, Seidel,

Bauer, and Walter Damrosch, whose friend and associate I have been for

the last twenty-two years. He is a wonderful man, many-sided and

versatile; a notably fine pianist; and playing chamber music with him

during successive summers is numbered among my pleasantest

recollections.

"In speaking of concertos some time ago, I forgot to mention one work

well worth studying. This is the Russian Mlynarski's concerto in D,

which I played with the Russian Symphony Orchestra some eight years ago

for the first time in this country, as well as a fine 'Romance and

Caprice' by Rubinstein.

"Is the music a concertmaster is called upon to play always violinistic?

Far from it. Symphonic music--in as much as the concertmaster is

concerned, is usually not idiomatic violin music. Richard Strauss's

violin concerto can really be played by the violinist. The _obbligatos_

in his symphonies are a very different matter; they go beyond accepted

technical boundaries. With Stravinsky it is the same. The violin

_obbligato_ in Rimsky-Korsakov's _Schéhérazade_, though, is real violin

music. Debussy and Ravel are most subtle; they call for a particularly

good ear, since the harmonic balance of their music is very delicate.

The concertmaster has to develop his own interpretations, subject, of

course, to the conductor's ideas.

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