"In order to give this phrase its proper rhythmic value, to express it clearly, plastically, there must be a very slight separation between the sixteenths and the eighth-note following them. This—the bow picked up a trifle from the strings—throws the sixteenths into relief. As I have already said, tone color is for the main part controlled by the bow. If I draw the bow above the fingerboard instead of keeping it near the bridge, I have a decided contrast in color. This color contrast may always be established: playing near the bridge results in a clear and sharp tone, playing near the fingerboard in a veiled and velvety one.
SUGGESTIONS IN TEACHING
"I find that, aside from the personal illustration absolutely necessary when teaching, that an appeal to the pupil's imagination usually bears fruit. In developing tone-quality, let us say, I tell the pupil his phrases should have a golden, mellow color, the tonal equivalent of the hues of the sunrise. I vary my pictures according to the circumstances and the pupil, in most cases, reacts to them. In fast bowings, for instance, I make three color distinctions or rather sound distinctions. There is the 'color of rain,' when a fast bow is pushed gently over the strings, while not allowed to jump; the 'color of snowflakes' produced when the hairs of the bow always touch the strings, and the wood dances; and 'the color of hail' (which seldom occurs in the classics), when in the real characteristic spiccato the whole bow leaves the string."
THE ART AND THE SCHOOLS
In reply to another question, Mr. Letz added: "Great violin playing is great violin playing, irrespective of school or nationality. Of course the Belgians and French have notable elegance, polish, finish in detail. The French lay stress on sensuous beauty of tone. The German temperament is perhaps broader, neglecting sensuous beauty for beauty of idea, developing the scholarly side. Sarasate, the Spaniard, is a unique national figure. The Slavs seem to have a natural gift for the violin—perhaps because of centuries of repression—and are passionately temperamental. In their playing we find that melancholy, combined with an intense craving for joy, which runs through all Slavonic music and literature. Yet, all said and done, Art is and remains first of all international, and the great violinist is a great artist, no matter what his native land."