special one, to produce an effect of a bag-pipe sounding at a distance.
I had to try again and again till I found the right technical means to
produce the effect desired. Then, the 'cello is used to imitate the
drum; there are special technical problems for the second violin--a
single sustained D, with an accompanying _pizzicato_ on the open
strings--while the viola is required to suggest the tramp of marching
feet. And, again, in other modern quartets we find special technical
devices undreamt of in earlier days. Borodine, for instance, is the
first to systematically employ successions of harmonics. In the trio of
his first quartet the melody is successively introduced by the 'cello
and the first violin, altogether in harmonics.


THE MODERN QUARTET AND AMATEUR PLAYERS

"You ask me whether the average quartet of amateurs, of lovers of string
music, can get much out of the more modern quartets. I would say yes,
but with some serious reservations. There has been much beautiful music
written, but most of it is complicated. In the case of the older
quartets, Haydn, Mozart, etc., even if they are not played well, the
performers can still obtain an idea of the music, of its thought
content. But in the modern quartets, unless each individual player has
mastered every technical difficulty, the musical idea does not pierce
through, there is no effect.

"I remember when we rehearsed the first Schönberg quartet. It was in
1913, at a Chicago hotel, and we had no score, but only the separate
parts. The results, at our first attempt, were so dreadful that we
stopped after a few pages. It was not till I had secured a score,
studied it and again tried it that we began to see a light. Finally