that the artist who can present anything he plays as a distinct
picture, in every detail, framing the composer's idea in the perfect
beauty of his plastic rendering, with absolute truth of color and
proportion--he is the artist who deserves to be called a master!

"Of course, the instrument the artist uses is an important factor in
making it possible for him to do his best. My violin? It is an authentic
Strad--dated 1722. I bought it of Willy Burmester in London. You see he
did not care much for it. The German style of playing is not calculated
to bring out the tone beauty, the quality of the old Italian fiddles. I
think Burmester had forced the tone, and it took me some time to make it
mellow and truly responsive again, but now...." Mr. Elman beamed. It was
evident he was satisfied with his instrument. "As to strings," he
continued, "I never use wire strings--they have no color, no quality!


WHAT TO STUDY AND HOW

"For the advanced student there is a wealth of study material. No one
ever wrote more beautiful violin music than Haendel, so rich in
invention, in harmonic fullness. In Beethoven there are more ideas than
tone--but such ideas! Schubert--all genuine, spontaneous! Bach is so
gigantic that the violin often seems inadequate to express him. That is
one reason why I do not play more Bach in public.

"The study of a sonata or concerto should entirely absorb the attention
of the student to such a degree that, as he is able to play it, it has
become a part of him. He should be able to play it as though it were an
improvisation--of course without doing violence to the composer's idea.
If he masters the composition in the way it should be mastered it