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Updated: May 11, 2025
Were I a teacher I should not say: 'You must bow as I do'; but rather: 'Find the way of bowing most convenient and natural to you and use it! Bowing is largely a physical and individual matter. I am slender but have long, large fingers; Kreisler is a larger man than I am but his fingers are small. It stands to reason that there must be a difference in the way in which we hold and use the bow.
So is Kreisler, one of the greatest artists, who studied in Vienna and Paris. Eddy Brown, the brilliant American violinist, finished at the Budapest Conservatory. In the Paris Conservatory the number of pupils in a class is strictly limited; and from these pupils each professor chooses the very best who may not be able to pay for their course for free instruction.
"Blessed are they who unflinchingly serve their Art, for thus only is their happiness to be gained. "Blessed are they who have many enemies, for square pegs will never fit into round holes." Arthur Hartmann, like Kreisler, Elman, Maud Powell and others of his colleagues, has enriched the literature of the violin with some notably fine transcriptions.
As she flitted up Sixteenth Street after a Kreisler recital, given late in the afternoon for the government clerks, as the lamps kindled in spheres of soft fire, as the breeze flowed into the street, fresh as prairie winds and kindlier, as she glanced up the elm alley of Massachusetts Avenue, as she was rested by the integrity of the Scottish Rite Temple, she loved the city as she loved no one save Hugh.
"What would I do with a fiddle, Aaron?" Nathan Schenkman, the shipping clerk, asked. "You I ain't saying at all," Aaron said; "but you got a little boy Nathan." "He ain't a year old yet," Nathan interrupted. "Sure, I know," Shellak went on; "but now is the time, Nathan. You couldn't begin too early. Look at Kubelik and Kreisler and all them fellers.
The Ritter Gluck; or the Musical Sufferings of John Kreisler; or that very exquisite story of the Golden Jar, wherein is depicted the life of Poesy, in this common-place world of ours?" "Read the shortest. Read Kreisler. That will amuse me. It is a picture of his own sufferings at the esthetic Teas in Berlin, supposed to be written in pencil on the blank leaves of a music-book."
I should like to hear Paderewski and Ysaye, Bauer and Casals, Kreisler and Hofmann all playing at the same recital. What a variety, what a wealth of contrasting artistic enjoyment such a concert would afford. There is nothing that is so enjoyable for the true artist as ensemble playing with his peers. Solo playing seems quite unimportant beside it. I, myself, Vo. I, Ysaye, Vo. I, Kreisler, Vo.
But it is a genuine illustration of what I meant when I said that one who knew how could cover the work of weeks in an hour's time." I tried to draw from the famous violinist some hint as to the secret of the abiding popularity of his own compositions and transcripts but as those who know him are aware Kreisler has all the modesty of the truly great.
The Leclair sonata in D minor we have played some three hundred times; and its slow movement is one of the most beautiful largos I know of in all chamber music. The same thing could be done in the way of transcription for chamber music which Kreisler has already done so charmingly for the solo violin. And I would dearly love to do it!
Stanzaic law must follow emotional law, just as Kreisler's accompanist must keep time with Kreisler. All the rich devices of rhyme and tone-color must heighten and not cloy the singing quality. But why lengthen this list of truisms? The combination of genuine lyric emotion with expertness of technical expression is in reality very rare.
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