. Analysis and interpretation of eighteen violin compositions . rtette. His compositions are full of originality, particularly the two , and master works in every sense^ are the 24 Capriccios for are short and concise in form, but possess such a pronounced character,and document a source of such inexhaustible technical possibilities, that allthat has been written since on the high-grade technique plan simply palesbefore this work. Genius is here, pure nd simple. None of Paganinis concert pieces indicate the interpretation they re-ceived by the composer. Although, not
. Analysis and interpretation of eighteen violin compositions . rtette. His compositions are full of originality, particularly the two , and master works in every sense^ are the 24 Capriccios for are short and concise in form, but possess such a pronounced character,and document a source of such inexhaustible technical possibilities, that allthat has been written since on the high-grade technique plan simply palesbefore this work. Genius is here, pure nd simple. None of Paganinis concert pieces indicate the interpretation they re-ceived by the composer. Although, not, in a certain sense, allowing us thefull benefit, they have opened to us an infinitely great horizon in the masteryof mechanical matters and requirements, which are as indispensable to amodern violinist of talent and ambition as the Wagnerian orchestra is to anambitious composer. Paganinis virtuosity will remain the center around which the violinworld moves. Great violinists were before him, but none has climbed theliciqlit on which Paganinis genius Franz C. Bomschein The Early Training of the Analytical and InterpretiveAbility, and Studies Adopted to This Line by Franz C. Bornschein To the average violin teacher and student the art of interpretationhas but vague meaning, and because of the lack of general musicalknowledge aside from the requirements of mere violin-playing neededfor a perfect understanding thereof, this part of their teaching, orstudy, is usually neglected. Most students are allowed to regardinterpretative ability as some mystical power that will come to themonly after having tasted of lifes joys and miseries. The public alsohas erroneously accepted this idea, for the great artist is supposedto infuse his soul into a composition because he has suffered. Thisperhaps might have some bearing on the emotions of the artist andeftect his playing, but physical pain and mental anguish are not thecause of his ability to portray the composers intentions. What,
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