literature is particularly rich. Aside from sonatas by Corelli,
Locatelli, Tartini, Bach, Mozart, Beethoven, Haendel, Brahms and
Schumann, nearly all the romantic and modern composers have contributed
to it. And this music has all been written so as to show the character
of each instrument at its best--the piano, harmonic in its nature; the
violin, a natural melodic voice, capable of every shade of _nuance_."
That Mr. Mannes, as an artist, has made a point of "practicing what he
preaches" to the student as regards the _ensemble_ of violin and piano
will be recalled by all who have enjoyed the 'Sonata Recitals' he has
given together with Mrs. Mannes. And as an interpreting solo artist his
views regarding the moot question of gut _versus_ wire strings are of
interest.


GUT VERSUS WIRE STRINGS

"My own violin, a Maggini of more than the usual size, dates from the
year 1600. It formerly belonged to Dr. Leopold Damrosch. Which strings
do I use on it? The whole question as to whether gut or wire strings are
to be preferred may, in my opinion, be referred to the violin itself for
decision. What I mean is that if Stradivarius, Guarnerius, Amati,
Maggini and others of the old-master builders of violins had ever had
wire strings in view, they would have built their fiddles in accordance,
and they would not be the same we now possess. First of all there are
scientific reasons against using the wire strings. They change the tone
of the instrument. The rigidity of tension of the wire E string where it
crosses the bridge tightens up the sound of the lower strings. Their
advantages are: reliability under adverse climatic conditions and the
incontestable fact that they make things easier technically. They
facilitate purity of intonation. Yet I am willing to forgo these