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I will ask him: "How does it happen, sir, that a man who can fiddle like you, a man who could play a duet with Kreisler how does it happen you're fiddling in a neighborhood movie and vaudeville house?" And he will unfold a story. Yes, there's a story there. Something happened to this nobleman of the soiled white vest and the marvelous fingers.
Each of these artists is so different that no one seems altogether to replace the other. Ysaye with his unique personality, the immense breadth and sweep of his interpretation, his dramatic strength, stands alone. Kreisler has a certain sparkling scintillance in his playing that is his only.
"Oh, nothing," the professor replied; "only my brother Aaron sold to a feller by the name Potash the other day a fiddle which I myself bought from old Hubai a couple years ago for fifteen dollars yet; and if that's the one you are talking about, Emil, you should quick go up to the theayter and forget about it. Because, Emil, if that fiddle is an Amati, you are a Kubelik and I am a Kreisler."
Kreisler gives no lessons and hence referred this question in the most amiable manner to his boyhood friend and fellow-student Felix Winternitz, the well-known Boston violin teacher, one of the faculty of the New England Conservatory of Music, who had come in while we were talking. Mr.
Those who at this day pack Carnegie Lyceum to hear him play the violin, and who listen, laughing and crying, and comparing him to the incomparable Kreisler, perceive no disgrace in that youthful episode, rather they see in it an early indication of the divine temperament trying to shake off its fetters and be free.
"Still, all said and done, it was after I had finished with all my teachers that I really began to learn to play violin: above all from Ysaye, whom I went to hear play wherever and whenever I could. I think that the most valuable lessons I have ever had are those unconsciously given me by four of the greatest violinists I know: Ysaye, Kreisler, Elman and Thibaud.
The other pilots were gathering in the messroom, where a fire was going. Some one started the phonograph. Fritz Kreisler was playing the "Chansons sans Paroles." This was followed by a song, "Oh, movin' man, don't take ma baby grand."
As he himself has remarked: 'I could play the violin just as well with three as with four fingers. Kreisler is fond of 'fingered' octaves, and these, because of his abnormal hand, he plays with the first and third fingers, where virtuose players, as a rule, are only too happy if they can play them with the first and fourth.
All the eminent musicians such as Kreisler, Misha Elman, the Boston Symphony Orchestra, and others, stop here on their Western tour, and their concerts are always well attended and tremendously appreciated. Tonight we will hear the Boston Symphony....
Take Sarasate, when he lived, Elman, myself we all have the habit of the Stradivarius: on the other hand Ysaye and Kreisler are Guarnerius players par excellence!
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