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Updated: May 2, 2025
Kneisel has never toured the country as a virtuoso, but has been heard in many of the great cities of America, as solo violinist with the Symphony Orchestra, and as first violin of the Kneisel Quartet.
But in this matter I encountered exceptional difficulties, which in the course of eventful years grew in chronic fashion into the strangest of ailments. Even at Lauchstadt I had discovered that there was only one man who drew his salary in full, namely the bass Kneisel, whom I had seen smoking his pipe beside the couch of the director's lame wife.
The first thing he gave me to study was, not a brilliant virtuoso piece, but the Bach concerto in E major, and then the Viotti concerto. In the beginning, until Kneisel showed me, I did not know what to do with them. This was music whose notes in themselves were easy, and whose difficulties were all of an individual order. But intellectual analysis, interpretation, are Kneisel's great points.
And the many excellent professional chamber music organizations, trios, quartets and ensembles of various kinds which have come to the fore since they began to play offer eloquent testimony with regard to the cultural work of Kneisel and his fellow artists.
The Joachim Quartet and the Bohemian Quartet gave concerts the same season, but the unanimous verdict was to the effect that none could equal the Kneisel Quartet in absolute ensemble and perfection of detail.
I instinctively phrased whatever the music itself made clear to me, and what I did not understand I merely played. "But when I came to Franz Kneisel, my last teacher, I began to work with my mind. Kneisel showed me that I had to think when I played.
It is an art of a peculiarly intimate character. Just as some prefer the exquisite tonal purity and finished performances of the Kneisel String Quartet to the blare and thunder of the Philharmonic Society; just as some enjoy in silence beautiful prose more than our crude drama, so the lovers of black and white may feel themselves a distinctive class.
Louis Adolphe Coerne, who wrote the music for this opera, was born in Newark, N.J., in 1870, and spent the years from six to ten in music study abroad, at Stuttgart and Paris. Returning to America, he entered Harvard College and studied harmony and composition under John Knowles Paine. He studied the violin under Kneisel.
"Nikisch once said to me, after he had heard us play the Schumann A minor quartet in Boston: 'Kneisel, it was beautiful, and I felt that you had more difficulty in developing it than I have with an orchestral score! And I think he was right. First of all the symphonic conductor is an autocrat. There is no appeal from the commands of his baton.
A strict teacher, I worked with him for five years, the most remarkable years of all my violin study. "Kneisel knows how to develop technical perfection without using technical exercises. I had already played the Mendelssohn, Bruch and Lalo concertos with Winternitz, and these I now restudied with Kneisel.
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