rs ago he told me he was composing a 'Nocturne' for
me. I went off on a concert tour and was away a long time. When I
returned to Paris I wrote to Debussy to find out what had become of my
'Nocturne.' And he replied that, somehow, it had shaped itself up for
orchestra instead of a violin solo. It is one of the _Trois Nocturnes_
for orchestra. Perhaps one reason why so much has been inscribed to me
is the fact that as an interpreting artist, I have never cultivated a
'specialty.' I have played everything from Bach to Debussy, for real art
should be international!"

Ysaye himself has an almost marvelous right-arm and fingerboard control,
which enables him to produce at will the finest and most subtle tonal
nuances in all bowings. Then, too, he overcomes the most intricate
mechanical problems with seemingly effortless ease. And his tone has
well been called "golden." His own definition of tone is worth
recording. He says it should be "In music what the heart suggests, and
the soul expresses!"

THE TOOLS OF VIOLIN MASTERY

"With regard to mechanism," Ysaye continued, "at the present day the
tools of violin mastery, of expression, technic, mechanism, are far more
necessary than in days gone by. In fact they are indispensable, if the
spirit is to express itself without restraint. And the greater
mechanical command one has the less noticeable it becomes. All that
suggests effort, awkwardness, difficulty, repels the listener, who more
than anything else delights in a singing violin tone. Vieuxtemps often
said: _Pas de trait pour le trait--chantez, chantez_! (Not runs for the
sake of runs--sing, sing!)

"Too many of the technicians of the present day no longer sing. Their
difficulties--they surmount them more or less happily; but the effect is
too apparent, and though, at times, the listener may be astonished, he
can never be charmed. Agile fingers, sure of themselves, and a perfect
bow stroke are essentials; and they must be supremely able to carry
along the rhythm and poetic action the artist desires. Mechanism
becomes, if anything, more accessible in proportion as its domain is
enriched by new formulas. The violinist of to-day commands far greater
technical resources than did his predecessors. Paganini is accessible to
nearly all players: Vieuxtemps no longer offers the difficulties he did
thirty years ago. Yet the wood-wind, brass and even the string
instruments subsist in a measure on the heritag