FIDDLE AND STRINGS

"I do not see how any artist can use an instrument which is quite new to him in concert. I never play any but my own Guadagnini, which is a fine fiddle, with a big, sonorous tone. As to wire strings, I hate them! In the first place, a wire E sounds distinctly different to the artist than does a gut E. And it is a difference which any violinist will notice. Then, too, the wire E is so thin that the fingers have nothing to take hold of, to touch firmly. And to me the metallic vibrations, especially on the open strings, are most disagreeable. Of course, from a purely practical standpoint there is much to be said for the wire E.

VIOLIN MASTERY

"What is violin mastery as I understand it? First of all it means talent, secondly technic, and in the third place, tone. And then one must be musical in an all-embracing sense to attain it. One must have musical breadth and understanding in general, and not only in a narrowly violinistic sense. And, finally, the good God must give the artist who aspires to be a master good hands, and direct him to a good teacher!"

[TABLE OF CONTENTS]

XX

EDMUND SEVERN

THE JOACHIM BOWING AND OTHERS:
THE LEFT HAND

Edmund Severn's activity in the field of violin music is a three-fold one: he is a composer, an interpreting artist and a teacher, and his fortuitous control of the three vital phases of his Art make his views as regards its study of very real value. The lover of string music in general would naturally attach more importance to his string quartet in D major, his trio for violin, 'cello and piano, his violin concerto in D minor, the sonata, the "Oriental," "Italian," "New England" suites for violin, and the fine suite in A major, for two violins and piano, than to his symphonic poems for orchestra, his choral works and his songs. And those in search of hints to aid them to master the violin would be most interested in having the benefit of his opinions as a teacher, founded on long experience and keen observation. Since Mr. Severn is one of those teachers who are born, not made, and is interested heart and soul in this phase of his musical work, it was not difficult to draw him out.