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The vibrato can not be used, naturally, on the open strings, but otherwise it represents the true means for securing warmth of expression. Of course, some decry the vibrato but the reason is often because the vibrato is too slow. One need only listen to Ysaye, Elman, Kreisler: artists such as these employ the quick, intense vibrato with ideal effect.
The influence of the artist's personality in his art finds a most striking exemplification in the case of Fritz Kreisler. Some time before the writer called on the famous violinist to get at first hand some of his opinions with regard to his art, he had already met him under particularly interesting circumstances.
The rangers dropped in every evening with offerings. Ranger Winess brought us love songs. He doted on John McCormack's ballads, and I secretly applauded his choice. Of course I had to praise the Harry Lauder selections that Ranger Fisk toted in. White Mountain favored Elman and Kreisler. The violin held him spellbound.
All his admirers in the Quarter stuck to it that he was in the rank of Kreisler and Ysaye; at the same time they were annoyed with him inasmuch as he did not force the world to acknowledge the prophetic good taste of the Quarter. And Musa made mistakes.
I was struck by the entire absence of books of travel and scientific works. I spent part of the afternoon in the drawing-room playing a large instrument of the gramophone type. There were several hundred records from grand opera, violin solos by Kreisler, and the Gilbert and Sullivan operas, to rag-time and the latest comic songs.
Then study music; do something worthy of the art, and dedicate your whole soul to the beloved saint. If without this you have a fancy for quavers and demi-semi-quavers, practise for yourself and by yourself, and torment not therewith the Capellmeister Kreisler and others.
The second group begins with a taking Kreisler novelty, which is succeeded by another slow number; but one very effective in its working-up; and I end my program with a brilliant virtuoso number. "My own personal conception of violin mastery," concluded Mr.
Winternitz added: "You must not take Mr. Kreisler too seriously when he lays no stress on his own practicing. During the concert season he has his violin in hand for an hour or so nearly every day. He does not call it practicing, and you and I would consider it playing and great playing at that.
When I play a violin concerto it seems fair enough to give the public three or four nice little things, but always pieces which are truly musical, not such as are only 'ear-ticklers. Kreisler he has a great talent for transcription has made charming arrangements. So has Tivadar Nachéz, of older things, and Arthur Hartmann.
It is this personal, this individual, note in all that Fritz Kreisler does when he plays, when he composes, when he transcribes that gives his art-effort so great and unique a quality of appeal. He said: "I began to compose and arrange as a young man.
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