of violin mastery represents a combination of 90 per cent. of toil and
10 per cent. of talent or inspiration. Goetschius, with whom I studied
composition, once said to me: 'I do not congratulate you on having
talent. That is a gift. But I do congratulate you on being able to work
hard!' The same thing applies to the fiddle. It seems to me that only by
keeping everlastingly at it can one become a master of the instrument."

VI

ARTHUR HARTMANN

THE PROBLEM OF TECHNIC

Arthur Hartmann is distinctly and unmistakably a personality. He stands
out even in that circle of distinguished contemporary violinists which
is so largely made up of personalities. He is a composer--not only of
violin pieces, but of symphonic and choral works, chamber music, songs
and piano numbers. His critical analysis of Bach's _Chaconne_,
translated into well-nigh every tongue, is probably the most complete
and exhaustive study of "that triumph of genius over matter" written.
And besides being a master of his own instrument he plays the _viola
d'amore_, that sweet-toned survival, with sympathetic strings, of the
17th century viol family, and the Hungarian _czimbalom_. Nor is his
mastery of the last-named instrument "out of drawing," for we must
remember that Mr. Hartmann was born in Mate Szalka, in Southern Hungary.
Then, too, Mr. Hartmann is a genial and original thinker, a
_litterateur_ of no mean ability, a bibliophile, the intimate of the
late Claude Debussy, and of many of the great men of musical Europe. Yet
from the reader's standpoint the interest he inspires is, no doubt,
mainly due to the fact that not only is he a great interpreting
artist--but a great artist doubled by a great teacher, an unusual
combination.

[Illustration: _Photo by E.F. Foley, N.Y._ ARTHUR HARTMANN,
with hand-written note]

Characteristic of Mr. Hartmann's hospitality (the writer had passed a
pleasant hour with him some years before, but had not seen him since),
was the fact that he insisted in brewing Turkish coffee, and making his
caller feel quite at home before even allowing him to broach the subject
of his visit. And when he learned that its purpose was to draw on his
knowledge and experience for information which would be of value to the
serious student and lover of his art, he did not refuse to respond.

WHAT