. Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others . intellectualeffort, and finally the power to express thatwhich is dictated by ones imagination andemotion, with the same natural simplicity andspontaneity with which the thought of a reallygreat orator is expressed in the easy, uncon-strained flow of his language. IVMISCHA ELMAN LIFE AND COLOR IN PHASES To hear Mischa Elman on the concert plat-form, to listen to him play, with all thatwealth of tone,
. Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others . intellectualeffort, and finally the power to express thatwhich is dictated by ones imagination andemotion, with the same natural simplicity andspontaneity with which the thought of a reallygreat orator is expressed in the easy, uncon-strained flow of his language. IVMISCHA ELMAN LIFE AND COLOR IN PHASES To hear Mischa Elman on the concert plat-form, to listen to him play, with all thatwealth of tone, emotion and impulse whichplaces him in the very foremost rank of liv-ing violinists, should be joy enough for anymusic lover. To talk with him in his ownhome, however, gives one a deeper insight intohis art as an interpreter; and in the pleasantintimacy of familiar conversation the writerlearned much that the serious student of theviolin will be interested in knowing. MANNERISMS IN PLAYING We all know that Elman, when he plays inpublic, moves his head, moves his body, swaysin time to the music; in a word there are cer-tain mannerisms associated with his playing 38. Mischa Elman 39 which critics have on occasion mentioned withgrave suspicion, as evidences of fearing to insult him by asking whetherhe was sincere, or whether his motions werestage business carefully rehearsed, as hadbeen implied, I still ventured the laughed boyishly and was evidently muchamused. No, no, he said. I do not study up anystage business to help out my playing! I donot know whether I ought to compare myselfto a dancer, but the appeal of the dance is inall musical movement. Certain rhythms andmusical combinations affect me subcon-sciously. I suppose the direct influence of themusic on me is such that there is a sort of emo-tional reflex: I move with the music in an un-conscious translation of it into gesture. It isall so individual. The French violinists as arule play very
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