ce quite
cold; it must be rendered temperamentally, the big climaxing effects
built up, its Northern spirit brought out, though I admit that even then
it is not altogether easy to grasp.

VIOLIN MASTERY

"Violin mastery or mastery of any instrument, for that matter, is the
technical power to say exactly what you want to say in exactly the way
you want to say it. It is technical equipment that stands at the service
of your musical will--a faithful and competent servant that comes at
your musical bidding. If your spirit soars 'to parts unknown,' your well
trained servant 'technic' is ever at your elbow to prevent irksome
details from hampering your progress. Mastery of your instrument makes
mastery of your Art a joy instead of a burden. Technic should always be
the hand-maid of the spirit.

"And I believe that one result of the war will be to bring us a greater
self-knowledge, to the violinist as well as to every other artist, a
broader appreciation of what he can do to increase and elevate
appreciation for music in general and his Art in particular. And with
these I am sure a new impetus will be given to the development of a
musical culture truly American in thought and expression."

XVII

LEON SAMETINI

HARMONICS

Leon Sametini, at present director of the violin department of the
Chicago Music College, where Sauret, Heermann and Sebald preceded him,
is one of the most successful teachers of his instrument in this
country. It is to be regretted that he has not played in public in the
United States as often as in Europe, where his extensive _tournees_ in
Holland--Leon Sametini is a Hollander by birth--Belgium, England and
Austria have established his reputation as a virtuoso, and the quality
of his playing led Ysaye to include him in a quartet of artists "in
order of lyric expression" with himself and Thibaud. Yet, the fact
remains that this erstwhile _protege_ of Queen Wilhelmina--she gave him
his beautiful Santo Serafin (1730) violin, whose golden varnish back "is
a genuine picture,"--to quote its owner--is a distinguished interpreting
artist besides having a real teaching gift, which lends additional
weight to his educational views.

REMINISCENCES OF SEVCIK

"I began to study violin at the age of six, with my uncle. From him I
went to Eldering in A