for the instrument. "I had an idea that a set of studies, in which each
single study presented a variety of technical figures might be a relief
from the exercises in so many excellent methods, where pages of scales
are followed by pages of arpeggios, pages of double-notes and so forth.
It is very monotonous to practice pages and pages of a single technical
figure," he added. "Most pupils simply will not do it!" He brought out a
copy of his "Exercises" and showed me their plan. "Here, for instance, I
have scales, trills, arpeggios--all in the same study, and the study is
conceived as a musical composition instead of a technical formula. This
is a study in finger position, with all possible bowings. My aim has
been to concentrate the technical material of a whole violin school in
a set of _études_ with musical interest."

And he showed me the second book of the studies, in ms., containing
exercises in every variety of scale, and trill, bowing, _nuance_, etc.,
combined in a single musical movement. This volume also contains his own
cadenza to the Beethoven violin concerto. In conclusion Mr. Kneisel laid
stress on the importance of the student's hearing the best music at
concert and recital as often as possible, and on the value and incentive
supplied by a musical atmosphere in the home and, on leaving him, I
could not help but feel that what he had said in our interview, his
reflections and observations based on an artistry beyond cavil, and an
authoritative experience, would be well worth pondering by every serious
student of the instrument. For Franz Kneisel speaks of what he knows.




XI