that 'lie well' are often not
the more important. This is hard for the player--what is easy for him
he unconsciously is inclined to stress, and he must be on his guard
against it. This is another strong argument in favor of a thorough
preliminary study on the part of the leading violin of the construction
of the work."

THE FIRST VIOLIN IN CHAMBER MUSIC VERSUS
THE ORCHESTRA CONDUCTOR

The comparison which I asked Mr. Kneisel to make is one which he could
establish with authority. Aside from his experience as director of his
quartet, he has been the _concert-meister_ of such famous foreign
orchestras as Bilse's and that of the _Hofburg Theater_ in Vienna and,
for eighteen years, of the Boston Symphony Orchestra in this country. He
has also conducted over one hundred concerts of the Boston Symphony, and
was director of the Worcester Music Festivals.

"Nikisch once said to me, after he had heard us play the Schumann A
minor quartet in Boston: 'Kneisel, it was beautiful, and I felt that you
had more difficulty in developing it than I have with an orchestral
score!' And I think he was right. First of all the symphonic conductor
is an autocrat. There is no appeal from the commands of his baton. But
the first violin of a quartet is, in a sense, only the 'first among
peers.' The velvet glove is an absolute necessity in his case. He must
gain his art ends by diplomacy and tact, he must always remember that
his fellow artists are solo players. If he is arbitrary, no matter how
right he may be, he disturbs that fine feeling of artistic fellowship,
that delicate balance of individual temperaments harmonized for and by a
single purpose. In this connection I do not mind confessing that though
I enjoy a good game of cards, I made it a rule never to play cards with
my colleagues during the hours of railroad traveling involved in keeping
our concert engagements. I played chess. In chess the element of luck
does not enter. Each player is responsible for what he does or leaves
undone. And defeat leaves no such sting as it does when all may be
blamed on chance. In an _ensemble_ that strives for perfection there
must be no undercurrents of regret, of dissatisfaction--nothing that
interferes with the sympathy and good will which makes each individual
artist do his best. And so I have never regretted giving cards the
go-by!"

HINTS TO THE SERIOUS VIOLIN STUDENT

Of late years