t is
the Tschaikovsky* violin concerto--I would not exchange the first ten
measures of Vieuxtemps's Fourth concerto for the whole of
Tschaikovsky's, that is from the musical point of view. I have heard the
Tschaikovsky played magnificently by Auer and by Elman; but I consider
it the worst thing the composer has written."

*Transcriber's note: Original text read "Tchaikovsky".

XXIV

GUSTAV SAENGER

THE EDITOR AS A FACTOR IN "VIOLIN MASTERY"

The courts of editorial appeal presided over by such men as Wm. Arms
Fisher, Dr. Theodore Baker, Gustav Saenger and others, have a direct
relation to the establishment and maintenance of standards of musical
mastery in general and, in the case of Gustav Saenger, with "Violin
Mastery" in particular. For this editor, composer and violinist is at
home with every detail of the educational and artistic development of
his instrument, and a considerable portion of the violin music published
in the United States represents his final and authoritative revision.

"Has the work of the editor any influence on the development of 'Violin
Mastery'?" was the first question put to Mr. Saenger when he found time
to see the writer in his editorial rooms. "In a larger sense I think it
has," was the reply. "Mastery of any kind comes as a result of striving
for a definite goal. In the case of the violin student the road of
progress is long, and if he is not to stray off into the numerous
by-paths of error, it must be liberally provided with sign-posts. These
sign-posts, in the way of clear and exact indications with regard to
bowing, fingering, interpretation, it is the editor's duty to erect. The
student himself must provide mechanical ability and emotional instinct,
the teacher must develop and perfect them, and the editor must neglect
nothing in the way of explanation, illustration and example which will
help both teacher and pupil to obtain more intimate insight into the
musical and technical values. Yes, I think the editor may claim to be a
factor in the attainment of 'Violin Mastery.'

OLD WINE IN NEW BOTTLES

"The work of the responsible editor of modern violin music must have
constructive value, it must suggest and stimulate. When Kreutzer,
Gavinies and Rode first published their work, little stress was laid on
editorial revision. You will find little in the way of finge