Violin Mastery Part 15

[Ill.u.s.tration: _Copyright by Matzene, Chicago_. ALBERT SPALDING]

Yet Lieutenant Spalding, despite the arduous demands of his patriotic duties, found time to answer some questions of the writer in the interests of "Violin Mastery" which, representing the views and opinions of so eminent and distinctively American a violinist, cannot fail to interest every lover of the Art. Writing from Rome (Sept. 9, 1918), Lieutenant Spalding modestly said that his answers to the questions asked "will have to be simple and short, because my time is very limited, and then, too, having been out of music for more than a year, I feel it difficult to deal in more than a general way with some of the questions asked."

VIOLIN MASTERY

"As to 'Violin Mastery'? To me it means effortless mastery of details; the correlating of them into a perfect whole; the subjecting of them to the expression of an architecture which is music. 'Violin Mastery' means technical mastery in every sense of the word. It means a facility which will enable the interpreter to forget difficulties, and to express at once in a language that will seem clear, simple and eloquent, that which in the hands of others appears difficult, obtuse and dull.

THE MOST IMPORTANT FACTOR IN THE DEVELOPMENT OF AN ARTIST

"As to the processes, mental and technical, which make an artist? These different processes, mental and technical, are too many, too varied and involved to invite an answer in a short s.p.a.ce of time. Suffice it to say that the most _important_ mental process, to my mind, is the development of a perception of beauty. All the perseverance in the study of music, all the application devoted to it, is not worth a tinker's dam, unless accompanied by this awakening to the perception of beauty. And with regard to the influence of teachers? Since all teachers vary greatly, the student should not limit himself to his own personal masters. The true student of Art should be able to derive benefit and instruction from every beautiful work of Art that he hears or sees; otherwise he will be limited by the technical and mental limitations of his own prejudices and jealousies. One's greatest difficulties may turn out to be one's greatest aids in striving toward artistic results. By this I mean that nothing is more fatally pernicious for the true artist than the precocious facility which invites cheap success. Therefore I make the statement that one's greatest difficulties are one's greatest facilities.

A LESS DEVELOPED PHASE OF VIOLIN TECHNIC

"In the technical field, the phase of violin technic which is less developed, it seems to me is, in most cases, bowing. One often notes a highly developed left hand technic coupled with a monotonous and oftentimes faulty bowing. The _color_ and _variety_ of a violinist's art must come largely from his intimate acquaintance with all that can be accomplished by the bow arm. The break or change from a down-bow to an up-bow, or _vice versa_, should be under such control as to make it perceptible only when it may be desirable to use it for color or accentuation.

GOOD AND BAD HANDS: MENTAL STUDY

"The influence of the physical conformation of bow hand and string hand on actual playing? There are no 'good' or 'bad' bow hands or string hands (unless they be deformed); there are only 'good' and 'bad' heads.

By this I mean that the finest development of technic comes from the head, not from the hand. Quickness of thought and action is what distinguishes the easy player from the clumsy player. Students should develop mental study even of technical details--this, of course, in addition to the physical practice; for this mental study is of the highest importance in developing the student so that he can gain that effortless mastery of detail of which I have already spoken.

ADVANTAGE AND DISADVANTAGE OF CONCERT ATTENDANCE FOR THE STUDENT

"Concerts undoubtedly have great value in developing the student technically and mentally; but too often they have a directly contrary effect. I think there is a very doubtful benefit to be derived from the present habit, as ill.u.s.trated in New York, London, or other centers, of the student attending concerts, sometimes as many as two or three a day.

This habit dwarfs the development of real appreciation, as the student, under these conditions, can little appreciate true works of art when he has crammed his head so full of truck, and worn out his faculties of concentration until listening to music becomes a mechanical mental process. The _indiscriminate_ attending of concerts, to my mind, has an absolutely pernicious effect on the student.

NATIONALITY AS A FORMATIVE INFLUENCE

"Nationality and national feeling have a very real influence in the development of an artist; but this influence is felt subconsciously more than consciously, and it reacts more on the creative than on the interpretative artist. By this I mean that the interpretative artist, while reserving the right to his individual expression, should subject himself to what he considers to have been the artistic impulse, the artistic intentions of the composer. As to type music to whose appeal I as an American am susceptible, I confess to a very sympathetic reaction to the syncopated rhythms known as 'rag-time,' and which appear to be especially American in character." For the benefit of those readers who may not chance to know it, Lieutenant Spalding's "Alabama," a Southern melody and dance in plantation style, for violin and piano, represents a very delightful creative exploitation of these rhythms. The writer makes mention of the fact since with regard to this and other of his own compositions Lieutenant Spalding would only state: "I felt that I had something to say and, therefore, tried to say it. Whether what I have to say is of any interest to others is not for me to judge.

PLAYING WHILE IN SERVICE

"Do I play at all while in Service? I gave up all playing in public when entering the Army a year ago, and to a great extent all private playing as well. I have on one or two occasions played at charity concerts during the past year, once in Rome, and once in the little town in Italy near the aviation camp at which I was stationed at the time. I have purposely refused all other requests to play because one cannot do two things at once, and do them properly. My time now belongs to my country: When we have peace again I shall hope once more to devote it to Art."

XXII

THEODORE SPIERING

THE APPLICATION OF BOW EXERCISES TO THE STUDY OF KREUTZER

A. Walter Kramer has said: "Mr. Spiering knows how serious a study can be made of the violin, because he has made it. He has investigated the 'how' and 'why' of every detail, and what he has to say about the violin is the utterance of a big musician, one who has mastered the instrument." And Theodore Spiering, solo artist and conductor, as a teacher has that wider horizon which has justified the statement made that "he is animated by the thoughts and ideals which stimulate a G.o.dowsky or Busoni." Such being the case, it was with unmixed satisfaction that the writer found Mr. Spiering willing to give him the benefit of some of those constructive ideas of his as regards violin study which have established his reputation so prominently in that field.

TWO TYPES OF STUDENTS

"There are certain underlying principles which govern every detail of the violinist's Art," said Mr. Spiering, "and unless the violinist fully appreciates their significance, and has the intelligence and patience to apply them in everything he does, he will never achieve that absolute command over his instrument which mastery implies.

"It is a peculiar fact that a large percentage of students--probably believing that they can reach their goal by a short cut--resent the mental effort required to master these principles, the pa.s.sive resistance, evident in their work, preventing them from deriving true benefit from their studies. They form that large cla.s.s which learns merely by imitation, and invariably retrograde the moment they are no longer under the teacher's supervision.

"The smaller group, with an a.n.a.lytical bent of mind, largely subject themselves to the needed mental drill and thus provide for themselves that inestimable basic quality that makes them independent and capable of developing their talent to its full fruition.

[Ill.u.s.tration: THEODORE SPIERING, with hand-written note]

MENTAL AND PHYSICAL PROCESSES COoRDINATED

"The conventional manner of teaching provided an inordinate number of mechanical exercises in order to overcome so called 'technical difficulties.' Only the _prima facie_ disturbance, however, was thus taken into consideration--not its actual cause. The result was, that notwithstanding the great amount of labor thus expended, the effort had to be repeated each time the problem was confronted. Aside from the obviously uncertain results secured in this manner, it meant deadening of the imagination and cramping of interpretative possibilities. It is only possible to reduce to a minimum the element of chance by scrupulously carrying out the dictates of the laws governing vital principles. a.n.a.lysis and the severest self-criticism are the means of determination as to whether theory and practice conform with one another.

"_Mental preparedness_ (Marcus Aurelius calls it 'the good ordering of the mind') is the keynote of technical control. Together with the principle of _relaxation_ it provides the player with the most effective means of establishing precise and sensitive cooperation between mental and physical processes. Muscular relaxation at will is one of the results of this cooperation. It makes sustained effort possible (counteracting the contraction ordinarily resulting therefrom), and it is freedom of movement more than anything else that tends to establish confidence.

THE TWO-FOLD VALUE OF CELEBRATED STUDY WORKS

"The study period of the average American is limited. It has been growing less year by year. Hence the teacher has had to redouble his efforts. The desire to give my pupils the essentials of technical control in their most concentrated and immediately applicable form, have led me to evolve a series of 'bow exercises,' which, however, do not merely pursue a mechanical purpose. Primarily enforcing the carrying out of basic principles as pertaining to the bow--and establishing or correcting (as the case may be) arm and hand (right arm) positions, they supply the means of creating a larger interpretative style.

"I use the Kreutzer studies as the medium of these bow-exercises, since the application of new technical ideas is easier when the music itself is familiar to the student. I have a two-fold object in mind when I review these studies in my particular manner, technic and appreciation.

I might add that not only Kreutzer, but Fiorillo and Rode--in fact all the celebrated 'Caprices,' with the possible exception of those of Paganini--are viewed almost entirely from the purely technical side, as belonging to the cla.s.sroom, because their musical qualities have not been sufficiently pointed out. Rode, in particular, is a veritable musical treasure trove.

THE APPLICATION OF BOW EXERCISES TO THE STUDY OF KREUTZER

"How do I use the Kreutzer studies to develop style and technic? By making the student study them in such wise that the following principles are emphasized in his work: _control before action_ (mental direction at all times); _relaxation_; and _observance of string levels_; for unimpeded movement is more important than pressure as regards the carrying tone. These principles are among the most important pertaining to right arm technic.

"In Study No. 2 (version 1, up-strokes only, version 2, down-strokes only), I have my pupils use the full arm stroke (_grand detache_). In version 1, the bow is taken from the string after completion of stroke--but in such a way that the vibrations of the string are not interfered with. Complete relaxation is insured by release of the thumb--the bow being caught in a casual manner, third and fourth fingers slipping from their normal position on stick--and holding, but not tightly clasping, the bow.

"Version 2 calls for a _return down-stroke_, the return part of the stroke being accomplished over the string, but making no division in stroke, no hesitating before the return. Relaxation is secured as before. Rapidity of stroke, elimination of impediment (faulty hand or arm position and unnecessary upper arm action), is the aim of this exercise. The pause between each stroke--caused by relinquishing the hold on the bow--reminds the student that mental control should at all times be paramount: that a.n.a.lysis of technical detail is of vital importance.

"In Study No. 7 I employ the same vigorous full arm strokes as in No. 2: the up and down bows as indicated in the original version. The bow is raised from the strings after each note, by means of hand (little finger, first and thumb) not by arm action. Normal hand position is retained: thumb not released.

"The _observance of string levels_ is very essential. While the stroke is in progress the arm must not leave its level in an antic.i.p.atory movement to reach the next level. Especially after the down-stroke is it advisable to verify the arm position with regard to this feature.

"No. 8 affords opportunity for a _resume_ of the work done in Nos. 2 and 7:

[Ill.u.s.tration: Musical Notation]

"It is evident that the tempo of this study must be very much reduced in speed. The _return_ down-stroke as in No. 2: the _second_ down-stroke as in No. 7: the up-strokes as in No. 2.

"In Study No. 5 I use the hand-stroke only--at the frog--arm absolutely immobile, with no attempt at tone. This exercise represents the first attempt at dissecting the _martele_ idea: precise timing of pressure, movement (stroke), and relaxation. The pause between the strokes is utilized to learn the value of left hand preparedness, with the fingers in place before bow action.