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Kneisel insists on what he calls a 'musical trill, of which Kreisler's beautiful trill is a perfect example. The trill of some violinists is invariably brilliant, whether brilliancy is appropriate or not. Brilliant trills in Bach always seem out of place to me; while in Paganini and in Wieniawski's Carnaval de Venise a high brilliant trill is very effective.
Spontini, one of the most successful composers of the time, held him in affectionate admiration, and always bade him be of good cheer. Paganini, the greatest of violinists, had hailed him as equal to Beethoven.
Yet, at the same time, few violinists can speak with more authority anent the instructive phases of their Art. Beginning at the beginning, I asked Mr. Saslavsky to tell me something about methods, his own in particular. "Method is a flexible term," he answered. "What the word should mean is the cultivation of the pupil's individuality along the lines best suited to it.
"Perhaps you can make it out, son," he laughed. "None of the rest of us can, though I haven't shown it to anybody now for a long time. I got discouraged long ago of anybody's ever making it out." "Make it out make it out!" cried John Holly excitedly; "I should say I could! It's a name known the world over. It's the name of one of the greatest violinists that ever lived."
He became a pupil of Molique, and eventually one of the best known violinists of England, where his character as a man was always highly respected. Alfred Holmes was born in 1837 and his brother Henry in 1839. They appeared together at the Haymarket Theatre in 1847, but immediately withdrew from public life and continued their studies for six more years.
Jupe's to fetch me, and and here I am in a dainty little dimity room, whose walls are covered with portraits of well-known singers, violinists, pianists, and composers, with their affectionate inscriptions underneath. "But you want to learn why I am here. Well, you must know that Mr.
Habeneck died in 1849. He published only a few of his compositions. One of the most eminent violinists of the French school, who flourished during the early part of the nineteenth century, was Charles Philippe Lafont. Besides brilliant technical capabilities he had a sympathetic tone and a most elegant style, and these qualities gave him a very high position in the ranks of performers.
Yet, I cannot help entertaining some little doubt, when I see Herr Joachim all alone and solitary sitting on high in the curule chair of the Academy with nothing in his hand but a violin; for towards violinists generally I have always felt as Mephistopheles feels towards "the fair," whom he affects "once for all in the plural."
"He's polite to everybody," said Lee; "that's why I don't like him. He's not a real artist. He's a courtier. God gave him a talent, and he makes a mean use of it. Uses it to flatter people. He's like these long-haired violinists who play anything you ask them to in the lobster palaces." Miss Gardner looked away from him. Her color was high and her eyes very bright.
He owned his first violin when he was four years of age, and it came to him from a Christmas tree. This served to show the talent which he possessed, and the next year he received a better violin, and began to study in earnest. When he was eight years old his father took him to Berlin to consult Joachim, who was, and is, regarded as the oracle for violinists.
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