To give expression to an ideal tone one must possess a tone ideal. If not a natural gift, it may, under favourable circumstances, be acquired. It is not given to all to appreciate art in its higher forms, and the purely technical side of violin playing may be cultivated to such an extent as to appeal, finally, only to the few; whilst tone, no matter to what extent it is cultivated, appeals invariably to the many. It is that quality in violin playing which holds the attention of the major portion of the audience, and, whilst a sound technical training is a necessary part of every player’s equipment, it is the fault of some amateurs that they rely too much upon it. So frequently is the “show piece” offered, full of fiery technical gymnastics, that violin playing has been looked upon (by more people than is generally supposed) as a sort of exercise in string-plucking and bow-jumping. It is said of Dr. Johnson that he once complained of this very thing, and was told that the piece was extremely difficult, to which he replied that he wished it was impossible!
The cultivation and building up of a tone ideal is divided into two parts. First, the development of tone-sense; the ability to appreciate what is meant by purity, delicacy, grace, tenderness, appeal, depth, and power in tone—not only from the violin, but from every source. As the student cannot see his model it must, perforce, be carried as a memory and the mind trained to recall, and remember with as much accuracy as possible, the exact impression and “aspect” of such tone as may be the subject of study; for it is necessary to study, not merely to hear, all tone.
The best subjects for tone-study are these: A really fine organ—not one of the “brassy” instruments now so frequently erected. The human voice, particularly the singers of operatic music, and most particularly the soprano singers in grand opera, this being preferable to hearing the same singers on the concert platform, where, it has always appeared to me, the singing loses much of its purpose, and consequently something in richness and colour. On the other hand, the concert should be visited when violinists of renown appear on the programme, for then will be heard tone to its greatest advantage. The novice should, as far as possible, avoid hearing the violin except when played by the famous artists. Later he will become immune, and the sounds produced by the most tone-deaf of fiddle players will leave his ideals unsullied—may, indeed, become useful lessons in what to avoid. Confine attention to tone, and not the method of its production. Do not allow the mind to be diverted from its object. Much advantage may accrue by not looking at the player at all. Everything in the nature of tone should be carefully studied; not only the tone of instruments, but the sounds heard in field and forest.
Now, it must not be supposed the pupil should attempt to reproduce, parrot-like, anything he may have heard—least of all the tone of the great players. The purpose of tone-study is to create original ideals, and not to imitate the ideals of others. What he should try to produce from the violin is simply the best tone he is capable of demanding from it. This will be his ideal—when he begins to possess one. It need hardly be said that practice should be continued, for, without ability to play the fiddle, even the highest ideals could not be expressed; but, until these ideals of tone begin to take form, it is as well to confine the practice solely to technic, under a good teacher. Why? Let us endeavour to explain.
There is a difference between the kind of tone which the violin will yield to technic alone and the kind it will yield to technic and ideals combined. The first may be likened to an outline drawing, and the last to the same filled in with colour. However perfect the former, its appeal is small and its influence evanescent, and it is a mistake to give such tone any consideration apart from that technic to which it owes its existence, especially whilst engaged upon the spade work preparatory to the expression of something higher. As the student progresses this technical tone naturally improves. The “drawing,” so to speak, becomes more forceful and accurate. To the enthusiastic novice it appears, in time, almost virtuosic, or at least pointing the road to supreme artistry. Herein is found the reason for that absence of really great tone which characterises so many players who, otherwise, are excellent and accurate performers on the fiddle. Such tone as they possess is solely and purely technical in character, good enough, or even perfect, as a succession of correctly phrased sounds, but so far removed from the tonal requirements of solo playing as to make efforts in that direction almost a travesty.
For these reasons it is advisable that the beginner should, when practising the violin, confine his whole attention to technic. When not thus engaged, and when opportunity offers, let him hear and carefully study the tone-picture presented to him by music from one or another of the sources I have indicated. In due time he may begin to wed his ideals to his technical abilities, selecting a simple aria, and I venture the assertion that both he and those who hear him play will be highly gratified with the result.
CHAPTER XIX
TWO STYLES OF TONE PRODUCTION
The player of the violin is an artist in tone no less than his confrère of the brush is an artist in colour, and each has his methods of conveying the impressions which he desires to produce. He of the brush may paint an exquisite picture, fine of line and detail; delicate in colouring, as in a miniature, a picture capable of bearing the closest scrutiny. Again he may pile the pigment upon his canvas as with a trowel, and those who view such work at close quarters will marvel how so much seeming roughness, lack of detail and carelessness can mean anything. But when this picture is viewed at a little distance, order comes forth from chaos; there is unfolded a landscape of surpassing loveliness.
It is the same with the artist in tone. The violinist, for instance, may produce his tone-picture as the painter does the miniature, by the most painstaking attention to every detail of shading and expression, giving to each individual note his idea of colouring. The effect of such a tone-picture is, like the miniature, best appreciated at close quarters, and, like most delicate things, is easily marred, the dividing line between the tender and the “finniky” being very narrow. It takes an artist of rare talent and sound ideals to achieve the one and avoid the other. There are more failures than successes in this style, and it is perhaps for this reason that the majority of players affect what may be called the robust style—and seldom get further than the robust; producing a great deal of sound and very little music. It takes much experience, and judgment of a high order, to weave a coarse fabric of tone which, at a distance, develops the infinite possibilities of the graceful and beautiful in music. The player of the violin is always handicapped by inability to get away from his tone. He cannot, so to speak, hear himself. In the delicate style he may, indeed, have some excuse for thinking he is able to do so, but in the robust style he has none. He cannot, like the painter, step back a few paces and criticise his work. He must possess the ability to know how this bold and vigorous treatment of tone will sound at, say twenty paces, the while he produces it at arm’s length—indeed, at a distance measured by inches! A difficult thing it is to acquire, but worthy of every effort towards attainment, and every earnest student of the violin should make the attempt. It is the only means by which, like the plastic style in painting, effects of the noblest and most impressive character are attained.