roduce his _Rapsodia
Piedmontese_ for violin and orchestra in London. To return to
Sevcik--with all the deficiencies of his teaching methods, he had one
great gift. He taught his pupils _how to practice_! And--aside from
bowing--he made all mechanical problems, especially finger problems,
absolutely clear and lucid.

A QUARTET OF GREAT TEACHERS WITH WHOM
ALL MAY STUDY

"Still, all said and done, it was after I had finished with all my
teachers that I really began to learn to play violin: above all from
Ysaye, whom I went to hear play wherever and whenever I could. I think
that the most valuable lessons I have ever had are those unconsciously
given me by four of the greatest violinists I know: Ysaye, Kreisler,
Elman and Thibaud. Each of these artists is so different that no one
seems altogether to replace the other. Ysaye with his unique
personality, the immense breadth and sweep of his interpretation, his
dramatic strength, stands alone. Kreisler has a certain sparkling
scintillance in his playing that is his only. Elman might be called the
Caruso among violinists, with the perfected sensuous beauty of his tone;
while Thibaud stands for supreme elegance and distinction. I have
learned much from each member of this great quartet. And if the artist
can profit from hearing and seeing them play, why not the student? Every
recital given by such masters offers the earnest violin student
priceless opportunities for study and comparison. My special leaning
toward Ysaye is due, aside from his wonderful personality, to the fact
that I feel music in the same way that he does.

TEACHING PRINCIPLES

'My teaching principles are the results of my own training period, my
own experience as a concert artist and teacher--before I came to America
I taught in London, where Isolde Menges, among others, studied with
me--and what either directly or indirectly I have learned from my great
colleagues. In the Music College I give the advanced pupils their
individual lessons; but once a week the whole class assembles--as in
the European conservatories--and those whose turn it is to play do so
while the others listen. This is of value to every student, since it
gives him an opportunity of 'hearing himself as others hear him.' Then,
to stimulate appreciation and musical development there are _ensemble_
and string quartet classes. I believe that every violinist should