Yet the entire _Hochschule_ contingent unanimouslyД¬ondemned his bowing as being 'stiff'-merely because it did not conform Public, with the most natural and unhampered grace and freedom in the While I was studying in Berlin, Sarasate played there in 'And this applies to every student of the instrument, whether or no he Nature and playing is natural and unconstrained. Greatest economy of motion, there is no contravention of the laws of

It is not hard to understand that if the bow be drawn parallel with theД«ridge, allowing for the least possible movement of hands and wrist, the The Joachim bowing demands a high wrist but in the case of theД«elgian school an easy position at the point is assumed naturally. Less constrained bowing for myself, working along perfectly natural Noticed how greatly his bowing differed from that of Joachim, the pointД«eing that his first finger was always in a position to press 'Then, when he first came here, I heard and saw Ysaye play, and I That after my return to the United States I taught the Joachim bowing Having a medium long arm, byДint of hard work I managed to get my bowing to suit Wirth yet I alwaysДЇelt at a disadvantage at the point of the bow, in spite of the fact Girls whose arms chanced to be long enough could acquire it, but big men Tried to teach, all who came there to use it without exception boys or ButДЄt the _Hochschule_ the Joachim bowing was compulsory: they taught, or His arm position was approximately the same as that of the average 'Joachim had a very long arm and when he played at the point of the bow Impossible to make a general application of it. And that is the real trouble with the 'Joachim' bowing. To teach it-as far as it could be taught, for it could not be taughtД®very one. _Hochschule_ he taught the regular 'Joachim' bowing-they were obliged Teaching was a cult with him, a religion and I think he believed God Quartet, and probably a better teacher than was Joachim himself. Wilhelmj as saying that Emanuel Wirth, Joachim's first assistant at theД«erlin _Hochschule_, 'was the best teacher of his generation.' This wasД®nough for me: feeling that the best could be none too good, I made up Reprinted in the _Metronome_ from some European source, which quoted But one day I happened to read a few lines Studied with Franz Milcke and Bernard Listemann, concertmaster of theД«oston Symphony Orchestra. Teacher of Hartford, Conn., where my boyhood was passed, and then I 'My first instructor in the violin was my father, the pioneer violin One of those teachers who are born, not made, and is interested heartДЄnd soul in this phase of his musical work, it was not difficult to draw Most interested in having the benefit of his opinions as a teacher,ДЇounded on long experience and keen observation. To his symphonic poems for orchestra, his choral works and his songs.ДЄnd those in search of hints to aid them to master the violin would be Violin, and the fine suite in A major, for two violins and piano, than Minor, the sonata, the 'Oriental,' 'Italian,' 'New England' suites for The lover of string music in general would naturally attach more importance to his string quartet inД major, his trio for violin, 'cello and piano, his violin concerto in D 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.

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