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Absolute accuracy of intonation and a singing legato is the result. These guiding notes indicated are merely a test to prove the scientific spacing of the violin; they are not sounded once control of the hand has been obtained. They serve only to accustom the fingers to keep moving in the direction in which they are going.
The warmth of the sunlight, the open city windows and beginning sounds of summer, had enveloped her in a mood in which the jangling sentimentality of a street organ was more potent than the legato of banked violins. She was relieved when the concert was over, but lingered at her seat until the crowd had surged by; it made Linda furious to be shoved or indiscriminately touched.
It will be well to remember in this connection that consonants are not to be sung. They are points of interference and must be distinct but short. The principle of freedom applies to consonants no less than to vowels. =Second,= consonants must not be allowed to interrupt the continuity of the pitch produced by the vocal cords. This is necessary to preserve legato.
They were dancing to the music of the WIENER BLUT, most melancholy gay of waltzes, in which the long, legato, upward sweep of the violins says as plainly as in words that all is vanity. But with the passing of the players to the second theme, the melody made a more direct appeal: there was a passionate unrest in it, which disquieted all who heard it.
Nevertheless, the trick of perpetual legato becomes exceedingly monotonous and takes away all character from the pianoforte classics. But it is insisted on everywhere in the modern German editions.
The sensation in legato playing is that of pulling back rather than striking the keys. In passages where force is required the sensation is that of pushing. "Much might be said of the sensibility of the finger tips as they come in contact with the ivory and ebony keys.
It is much easier to teach pupils to raise their fingers high, than it is to teach them the acquisition of the legato touch at the piano, which is only to be attained by playing close to the keys, without raising the fingers.
But legato does not bring the best results in rapid passages, for it does not impart sufficient clarity. In the modern idea something more crisp, scintillating and brilliant is needed. So we use a half staccato touch. The tones, when separated a hair's breadth from each other, take on a lighter, more vibrant, radiant quality; they are really like strings of pearls.
In his preface, Signor Tamburini declares that in the first division of the poem he has kept his translation close to the original, while in the two later divisions he had been meno legato, "less exact," in his rendering. This acknowledgment, however unsatisfactory to the reader, presented at least an appearance of fairness.
They smash it, they bang it, and, adding insult to cruelty, they finish it with three chords, mounting an octave each time, thus giving a conventional character to the close the very thing the composer avoids. Much distorted phrasing is also indulged in. Mikuli, Von Bulow and Kullak place the legato bow over the first three notes of the group.
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