movement of the Beethoven concerto--(and Mr. Gardner jotted it down)

[Illustration: Musical Notation]

Kneisel kept me at during the entire lesson, till I was able to adjust
its tone-color and _nuances_ to the accompanying harmony. Then, though
many teachers do not know it, it is a tradition in the orchestra to make
a _diminuendo_ in the sixth measure, before the change of key to C
major, and this _diminuendo_ should, of course, be observed by the solo
instrument as well. Yet you will hear well-known artists play the trill
throughout with a loud, brilliant tone and no dynamic change!

"Kneisel makes it a point to have all his pupils play chamber music
because of its truly broadening influence. And he is unexcelled in
taking apart structurally the Beethoven, Brahms, Tschaikovsky and other
quartets, in analyzing and explaining the wonderful planning and
building up of each movement. I had the honor of playing second violin
in the Kneisel Quartet from September to February (1914-1915), at the
outbreak of the war, a most interesting experience. The musicianship
Kneisel had given me; I was used to his style and at home with his
ideas, and am happy to think that he was satisfied. A year later as
assistant concertmaster in the Chicago Symphony Orchestra, I had a
chance to become practically acquainted with the orchestral works of
Strauss, d'Indy and other moderns, and enjoy the Beethoven, Brahms and
Tschaikovsky symphonies as a performer.


TECHNIC AND MUSICIANSHIP

"How do I regard technic now? I think of it in the terms of the music