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Updated: May 23, 2025
There is a happy medium of tempo, rather faster than slower, which gives the best results. Carl Flesch has some interesting theories about vibration which are worth investigating. A slow and a moderately rapid vibrato, from the wrist, is best for practice, and the underlying idea while working must be tone, and not fingerwork. Staccato is one of the less important branches of bow technic.
Ghirlandajo and Marlowe and Cervantes were men of genius; but their technic is seen to-day to be as primitive as their native talent is indisputable.
He would play violently, feverishly, with a wild passionateness of gesture which robbed him of all ability to control his own technic. "Oh, Harold!" Rita used to exclaim at first, ecstatically. Later she was not so sure. Life and character must really get somewhere to be admirable, and Harold, really and truly, did not seem to be getting anywhere.
Another composer whose studies in technic have left him only a little inclination for creation is Albert Ross Parsons, who was born at Sandusky, O., September 16, 1847. He studied in Buffalo, and in New York under Ritter. Then he went to Germany, where he had a remarkably thorough schooling under Moscheles, Reinecke, Richter, Paul, Taussig, Kullak, and others.
Toscha Seidel, though one of the more recent of the young Russian violinists who represent the fruition of Professor Auer's formative gifts, has, to quote H.F. Peyser, "the transcendental technic observed in the greatest pupils of his master, a command of mechanism which makes the rough places so plain that the traces of their roughness are hidden to the unpracticed eye."
Altho his mind is as powerful as ever up to the last years of his stay in London, 'Cymbeline' and 'A Winter's Tale' are far inferior to 'Hamlet' and to 'Macbeth'; and the cause is apparently little more than a carelessness of technic, an unwillingness to take the trouble needful to master his material and to present it in due proportion.
He is closer to Watteau than to any other painter but his firmer technic and more patient temperament give him an advantage over the feverish master of eighteenth-century idyls. His art throbs with a fuller life and in his airiest dreams his world is made of a more solid substance. For melancholy he offers serenity, for daintiness he offers delicacy.
With girls, literature and language take precedence over science; expression stands higher than action; the scholarship may be superior, but is not effective; the educated woman "is likely to master technic rather than art; method, rather than substance. She may know a good deal, but she can do nothing."
Don't you understand it now?" he demanded. Miss Warriner raised her head and frowned. She stared at Edouard with a pained expression of perplexity and doubt. "He shows no lack of feeling," she said, critically, "but his technic is not equal to Ysaye's." "Good God!" Corbin gasped. He sank away from Miss Warriner and stared at her with incredulous eyes.
It's a lonesome life for a woman; and if a little music can make it any better, why not have it? That's the way I look at it." "A wise and generous theory," I assented. "And Mrs. Kinney plays well. I am not learned in the science of music, but I should call her an uncommonly good performer. She has technic and more than ordinary power."
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