mous
compositions, like the Beethoven concerto, for instance, this is so well
established that the artist, and never the composer, is held responsible
if it is not well played. But too rigorous an adherence to 'tradition'
in playing is also an extreme. I once played privately for Joachim in
Berlin: it was the Bach _Chaconne_. Now the edition I used was a
standard one: and Joachim was extremely reverential as regards
traditions. Yet he did not hesitate to indicate some changes which he
thought should be made in the version of an authoritative edition,
because 'they sounded better.' And 'How does it sound?' is really the
true test of all interpretation."

ABSOLUTE PITCH THE FIRST ESSENTIAL OF A
PERFECTED TECHNIC

"What is the fundamental of a perfected violin technic?" was a natural
question at this point. "Absolute pitch, first of all," replied Elman
promptly. "Many a violinist plays a difficult passage, sounding every
note; and yet it sounds out of tune. The first and second movements of
the Beethoven concerto have no double-stops; yet they are extremely
difficult to play. Why? Because they call for absolute pitch: they must
be played in perfect tune so that each tone stands out in all its
fullness and clarity like a rock in the sea. And without a fundamental
control of pitch such a master work will always be beyond the
violinist's reach. Many a player has the facility; but without perfect
intonation he can never attain the highest perfection. On the other
hand, any one who can play a single phrase in absolute pitch has the
first and great essential. Few artists, not barring some of the
greatest, play with perfect intonation. Its control depends first of all
on the ear. And a sensitive ear finds differences and shading; it bids
the violinist play a trifle sharper, a trifle flatter, according to the
general harmonic color of the accompaniment; it leads him to observe a
difference, when the harmonic atmosphere demands it, between a C sharp
in the key of E major and a D flat in the same key.

TECHNICAL PHASES

"Every player finds some phases of technic easy and others difficult.
For instance, I have never had to work hard for quality of tone--when I
wish to get certain color effects they come: I have no difficulty in
expressing my feelings, my emotions in tone. And in a technical way
_spiccato_ bowing, which many find so hard, has always been eas