. La padronanza del violino; colloqui con i violinisti e gli insegnanti principali, che comprendono interviste con Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell e altri . ha mantenuto la linea di demarcazione melodica, buteterealizzata, spiritualizzata, data loro contorni nuovi ritmici, un significato più profondo e più esprensivo. E la sua ricca e sottile har-monizzazione gli aveva prestato una qualità di distinzione che giustificava un confronto tra la grubie la farfalla. In un piccolo senso era intravedere anilluminante di come la personalità di un vero artista può metamorphose che a prima vista potrebbe sembrare qualcosa di abbastanza trascurabile,a.

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. Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others . kept the melodic dutline, butetherealized, spiritualized it, given it newrhythmic contours, a deeper and more expres-sive meaning. And his rich and subtle har-monization had lent it a quality of distinctionthat justified a comparison between the gruband the butterfly. In a small way it was anilluminating glimpse of how the personality ofa true artist can metamorphose what at firstglance might seem something quite negligible, and create beauty where its possibilities alonehad existed before. It is this personal, this individual, note inall that Fritz Kreisler does—when he plays, when he composes, when he transcribes—thatgives his art-effort so great and unique aquality of appeal. Talking to him in his comfortable sitting-room in the Hotel Wellington—Homer and^Juvenal (in the original) ranked on the piano-top beside De Vere Stackpole novels and othercontemporary literature called to mind thatthough Brahms and Beethoven violin concertosare among his favorites, he does not disdain to. Fritz Kreisler Fritz Kreisler 101 play a Granados Spanish Dance—it seemednatural to ask him how he came to make thoseadaptations and transcripts which have been sonotable a feature of his programs, and whichhave given such pleasure to thousands. HOW KREISLER CAME TO COMPOSE AND ARRANGE He said: I began to compose and arrangeas a young man. I wanted to create a reper-tory for myself, to be able to express throughmy medium, the violin, a great deal of beautifulmusic that had first to be adapted for the in-strument. What I composed and arrangedwas for my own use, reflected my own musicaltastes and preferences. In fact, it was nottill years after that I even thought of publish-ing the pieces I had composed and arranged.For I was very diffident as to the outcome ofsuch a step. I have never written anythingwith the commer

Parole chiave associate all'immagine

• bookcentury1900
• bookdecade1910
• bookidviolinmaster
• bookyear1919