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Updated: May 22, 2025
"And while we are discussing the physical aspects of the instrument there is the 'chin rest. None of the great violin makers ever made a 'chin rest. Increasing technical demands, sudden pyrotechnical flights into the higher octaves brought the 'chin rest' into being. The 'chin rest' was meant to give the player a better grasp of his instrument.
Added to that, he sings very deep; two octaves and a half, a clear, ringing tone, the two registers are well united. He would make an admirable 'primo musico'. And the little fellow has a pretty face, too. After supper I will make him wash his face, and I will sketch it. I am sure that in less than a year's study, he could make his debut with the greatest success. By Jove! I have an idea!
She ran to the door and listened. Presently there arose a prolonged wail, slurring up through two octaves, and subsiding again. It was a true feline screech, impossible to localize; but it was interrupted by a sob, a snarl, a fierce spitting, and a scuffling, coming unmistakably from a room on the floor beneath, in which, at that hour, the older girls assembled for study.
And farther on, in the part of the polonaise where the ostinato semiquaver figure in octaves for the left hand begins, do we not hear the trampling of horses, the clatter of arms and spurs, and the sound of trumpets? Do we not hear yea, and see too a high-spirited chivalry approaching and passing?
He was restless, vain, and conceited, and addicted to gambling. He is said to have played the most difficult double-stops, octaves, tenths, double-shakes in thirds and sixths, harmonics, etc., with the greatest ease and certainty. At one time he appeared as a rival of Nardini, with whom he is said to have had a contest, and whom he is supposed to have defeated.
Raisa: "If I have developed perfect control throughout the two and a half octaves of my voice, can make each tone with pure quality and perfect evenness in the different degrees of loud and soft, and if I have perfect breath control as well, I then have an equipment that may serve all purposes of interpretation.
My first eight weeks in Vienna were spent in learning, first, to control position and condition of hands and arms according to the law of balance; secondly, to direct each motion with the utmost accuracy and speed. To accomplish this I began with the most elementary exercises in five-finger position, using one finger at a time. Then came the principles of the scale, arpeggios, chords and octaves.
I have used them in certain passages of my arrangement of 'Deep River, but when I heard them played, promised myself I would never repeat the experiment. Wilhelmj has committed even a worse crime in taste by putting six long bars of Schubert's lovely Ave Maria in octaves. Of course they represent skill; but I think they are only justified in show pieces.
On Christmas Day, Easter Day, and Whitsun Day there were very commonly two celebrations of the Holy Communion in the London churches. In a few cases, especially during the earlier years of the century, there was a daily celebration during the octaves of these great festivals.
This should be played lightly and delicately, the left hand giving the rhythm. The presto demands great power and dash. Let the wrist be low when beginning the chords, raise it after the first and let it fall after the second. Always accent the second chord. Begin the final double runs slowly and increase in speed and tone. So, too, with the octaves, begin slowly and increase in power and fire."
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