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Updated: May 31, 2025
As he passed the drawing-room, loud music reached his ear; chromatic fireworks, scales running with the rapidity of the cataract of Niagara, extraordinary arpeggios, hammering in the bass with a petulance and frenzy which proved that the 'furie francaise' is not the exclusive right of the stronger sex.
This tin-pan alley ballad throbbing liquidly from the strings of your fiddle "When you're flirt-ing with another do you ever think of me?" Of the twenty years, the twenty well-spent years? Of the soul that your fingers captured? Of the dream that took form in your firm wrist? And now the chorus once more. In double stops. In harmonics. With arpeggios thrown in. And once more, largo. Sure and full.
His early playing was molded entirely in this style, but the dazzling example of Paganini, in course of time, had its effect on him, as he soon adopted the captivating effects of harmonics, arpeggios, pizzicatos, etc., which the Genoese had introduced, though he stopped short of sacrificing his breadth and richness of tone.
He spoke of larynxes, of chest notes, of phrasing, arpeggios, and other strange paraphernalia of the throaty art. He admitted, as though driven to a corner, that Jenny Lind had a note or two in the high register that Miss Hinkle had not yet acquired but "!!!" that was a mere matter of practice and training.
The piece now going on was one of those romantic, wholly lyric poems in which the actors are everything. The environment about them, the sense of objectivity, played no rôle. The 'cellos, sighing with lassitude and pity, lamented in gentle accord; the violins cut through the harmony with sharp cries of rebellion and gay arpeggios.
In a few months his playing degenerates so it is hardly fit to listen to. This is the result of constant fast playing." How do you keep technic up to the standard? "If one is far advanced a few arpeggios and scales, or a brilliant étude will put the hand in condition.
"Voci di giubilo, D' in'orno eccheggino, Di pace l' Iride Per noi spunto." "How ingeniously the composer has constructed this passage!" she went on, after waiting for a reply. "He begins with a solo on the horn, of divine sweetness, supported by arpeggios on the harps; for the first voices to be heard in this grand concerted piece are those of Moses and Aaron returning thanks to the true God.
Thus, while the student is studying technic, he is acquiring much beautiful material." Oscar Saenger: "We begin by uniting two tones smoothly and evenly, then three in the same way; afterwards four and five. Then the scale of one octave. Arpeggios are also most important. The trill is the most difficult of all vocal exercises. We begin with quarter notes, then eighths and sixteenths.
One thought only was occupying his mind. . . . That man that he had supposed just, that sentimentalist so affected by his own singing, had, between two arpeggios, coldly given the order for death! . . . The Count made a gesture of impatience. He might retire now, and he counselled him to be more discreet in the future, avoiding mixing himself up in the affairs of the service.
He wound me up and I began singing; but everything went wrong. I sang snatches of well-known songs, cadences, trills, arpeggios, all pele- mele, until my exhibitors were in despair. "Mais, c'est terrible," cried Voguee. "Ne pouvez-vous pas l'arreter? Est-ce qu'il n'y a pas de vis?" "Il n'y a pas le moindre vice, Monsieur," shaking his head in despair. Then I stopped short.
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