or hair in the pupil's
consciousness. One must not play violin, one must sing violin!'

*Transcriber's note: Original text read "Dvorak".

FIDDLE AND STRINGS

"I do not see how any artist can use an instrument which is quite new to
him in concert. I never play any but my own Guadagnini, which is a fine
fiddle, with a big, sonorous tone. As to wire strings, I hate them! In
the first place, a wire E sounds distinctly different to the artist
than does a gut E. And it is a difference which any violinist will
notice. Then, too, the wire E is so thin that the fingers have nothing
to take hold of, to touch firmly. And to me the metallic vibrations,
especially on the open strings, are most disagreeable. Of course, from a
purely practical standpoint there is much to be said for the wire E.

VIOLIN MASTERY

"What is violin mastery as I understand it? First of all it means
talent, secondly technic, and in the third place, tone. And then one
must be musical in an all-embracing sense to attain it. One must have
musical breadth and understanding in general, and not only in a narrowly
violinistic sense. And, finally, the good God must give the artist who
aspires to be a master good hands, and direct him to a good teacher!"

XX

EDMUND SEVERN

THE JOACHIM BOWING AND OTHERS:
THE LEFT HAND

Edmund Severn's activity in the field of violin music is a three-fold
one: he is a composer, an interpreting artist and a teacher, and his
fortuitous control of the three vital phases of his Art make his views
as regards its study of very real value. The lover of string music in
general would naturally attach more importance to his string quartet in
D major, his trio for violin, 'cello and piano, his violin concerto in D
minor, the sonata, the "Oriental," "Italian," "New England" suites for
violin, and the fine suite in A major, for two violins and piano, than
to his symphonic poems for orchestra, his choral works and his songs.
And those in search of hints to aid them to master the violin would be
most interested in having the benefit of his opinions as a teacher,
founded on long experience and keen observation. Since Mr. Severn is
one of those teachers who are born, not made, and is interested heart
and soul in this phase of his musical work, it was not