the Beethoven concerto--(and Mr. Gardner jotted it down)

[Illustration: Musical Notation]

Kneisel kept me at during the entire lesson, till I was able to adjust
its tone-color and _nuances_ to the accompanying harmony. Then, though
many teachers do not know it, it is a tradition in the orchestra to make
a _diminuendo_ in the sixth measure, before the change of key to C
major, and this _diminuendo_ should, of course, be observed by the solo
instrument as well. Yet you will hear well-known artists play the trill
throughout with a loud, brilliant tone and no dynamic change!

"Kneisel makes it a point to have all his pupils play chamber music
because of its truly broadening influence. And he is unexcelled in
taking apart structurally the Beethoven, Brahms, Tschaikovsky and other
quartets, in analyzing and explaining the wonderful planning and
building up of each movement. I had the honor of playing second violin
in the Kneisel Quartet from September to February (1914-1915), at the
outbreak of the war, a most interesting experience. The musicianship
Kneisel had given me; I was used to his style and at home with his
ideas, and am happy to think that he was satisfied. A year later as
assistant concertmaster in the Chicago Symphony Orchestra, I had a
chance to become practically acquainted with the orchestral works of
Strauss, d'Indy and other moderns, and enjoy the Beethoven, Brahms and
Tschaikovsky symphonies as a performer.

TECHNIC AND MUSICIANSHIP

"How do I regard technic now? I think of it in the terms of the music
itself. Music should dictate the technical means to be used. The
composition and its phrases should determine bowing and the tone quality
employed. One should not think of down-bows or up-bows. In the Brahms
concerto you can find many long phrases: they cannot be played with one
bow; yet there must be no apparent change of bow. If the player does not
know what the phrase means; how to interpret it, how will he be able to
bow it correctly?

"And there are so many different _nuances_, especially in _legato_. It
is as a rule produced by a slurred bow; yet it may also be produced by
other bowings. To secure a good _legato_ tone watch the singer. The
singer can establish the perfect smoothness that _legato_ calls for to
perfection. To secure a like effect the violinist should convey the
impression that there is no point, no frog, that the bow he uses is of
indef