. Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others . ling to talkabout the modern quartet and its ideals, idealswhich he personally has done so much to real-ize. THE MODERN QUARTET You ask me how the modern quartet dif-fers from its predecessors? said Mr. differs in many ways. For one thing themodern quartet has developed in a way thatmakes its inner voices—second violin and viola—much more important than they used to , as in Haydns early quartets, wehave
. Violin mastery; talks with master violinists and teachers, comprising interviews with Ysaye, Kreisler, Elman, Auer, Thibaud, Heifetz, Hartmann, Maud Powell and others . ling to talkabout the modern quartet and its ideals, idealswhich he personally has done so much to real-ize. THE MODERN QUARTET You ask me how the modern quartet dif-fers from its predecessors? said Mr. differs in many ways. For one thing themodern quartet has developed in a way thatmakes its inner voices—second violin and viola—much more important than they used to , as in Haydns early quartets, wehave a violin solo with three accompanying in-struments. In Beethovens last quartets theintermediate voices have already gained afreedom and individuality which before himhad not even been suspected. In these lastquartets Beethoven has already set forth theprinciple which was to become the basis ofmodern polyphony: first of all to allow eachvoice to express itself freely and fully, andafterward to see what the relations were of oneto the other. In fact, no one has exercised amore revolutionary effect on the quartet thanBeethoven—no one has made it attain so great. -/I PEP A i - If- J AduliO Betti
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