there was not one measure which we did not understand. But Schönberg,
Reger, Ravel quartets make too great a demand on the technical ability
of the average quartet amateur.


THE TECHNIC OF QUARTET PLAYING

"Naturally, the first violin is the leader, the Conductor of the
quartet, as in its early days, although the 'star' system, with one
virtuose player and three satellites, has disappeared. Now the quartet
as a whole has established itself in the _virtuoso_ field--using the
word _virtuoso_ in its best sense. The Müller quartet (Hanover),
1845-1850, was the first to travel as a chamber music organization, and
the famous _Florentiner_ Quartet the first to realize what could be
done in the way of finish in playing. As _premier violiniste_ of the
Flonzaley's I study and prepare the interpretation of the works we are
to play before any rehearsing is done.

"While the first violin still holds first place in the modern quartet,
the second violin has become much more important than formerly; it has
gained in individuality. In many of the newer quartets it is quite as
important as the first. In Hugo Wolf's quartet, for example, first and
second violins are employed as though in a concerto for two violins.

"The viola, especially in modern French works--Ravel, Debussy,
Samazeuil--has a prominent part. In the older quartets one reason the
viola parts are simple is because the alto players as a rule were
technically less skillful. As a general thing they were violinists who
had failed--'the refugees of the G clef,' as Edouard Colonne, the
eminent conductor, once wittily said. But the reason modern French