note should be 'sung' with a single bowing. The change from up-bow to down-bow and vice versa should be made without a break, exclusively through skillful manipulation of the wrist. To accomplish this unbroken change of bow one should cultivate a loose wrist, and do special work at the extreme ends, nut and tip.

"The vibrato is a great tone beautifier. Too rapid or too slow a vibrato defeats the object desired. There is a happy medium of tempo, rather faster than slower, which gives the best results. Carl Flesch has some interesting theories about vibration which are worth investigating. A slow and a moderately rapid vibrato, from the wrist, is best for practice, and the underlying idea while working must be tone, and not fingerwork.

Staccato is one of the less important branches of bow technic. There is a knack in doing it, and it is purely pyrotechnical. Staccato passages in quantity are only to be found in solos of the virtuoso type. One never meets with extended staccato passages in Beethoven, Brahms, Bruch or Lalo. And the Saint-Saëns's violin concerto, if I remember rightly, contains but a single staccato passage.

"Spiccato is a very different matter from staccato: violinists as a rule use the middle of the bow for spiccato: I use the upper third of the bow, and thus get most satisfactory results, in no matter what tempo. This question as to what portion of the bow to use for spiccato each violinist must decide for himself, however, through experiment. I have tried both ways and find that by the last mentioned use of the bow I secure quicker, cleaner results. Students while practicing this bowing should take care that the wrist, and never the arm, be used. Hubay has written some very excellent studies for this form of 'springing bow.'

"The trill, when it rolls quickly and evenly, is a trill indeed! I never had any difficulty in acquiring it, and can keep on trilling indefinitely without the slightest unevenness or slackening of speed. Auer himself has assured me that I have a trill that runs on and on without a sign of fatigue or uncertainty. The trill has to be practiced very slowly at first, later with increasing rapidity, and always with a firm pressure of the fingers. It is a very beautiful embellishment, and one much used; one finds it in Beethoven, Mendelssohn, Brahms, etc.

"Double notes never seemed hard to me, but harmonics are not as easily acquired as some of the other violin effects. I advise pressing down the first finger on the strings inordinately, especially in the higher positions, when playing artificial harmonics. The higher the fingers ascend on the strings, the more firmly they should press them, otherwise the harmonics are apt to grow shrill and lose in clearness. The majority of students have trouble with their harmonics, because they do not practice them in this way. Of course the quality of the harmonics produced varies with the quality of the strings that produce them. First class strings are an absolute necessity for the production of pure harmonics. Yet in the case of the artist, he himself is held responsible, and not his strings.

"Octaves? Occasionally, as in Auer's transcript of Beethoven's Dance of the Dervishes, or in the closing section of the Ernst Concerto, when they are used to obtain a certain weird effect, they sound well. But ordinarily, if cleanly played, they sound like one-note successions. In the examples mentioned, the so-called 'fingered octaves,' which are very difficult, are employed. Ordinary octaves are not so troublesome. After all, in octave playing we simply double the notes for the purpose of making them more powerful.

"As regards the playing of tenths, it seems to me that the interval always sounds constrained, and hardly ever euphonious enough to justify its difficulty, especially in rapid passages. Yet Paganini used this awkward interval very freely in his compositions, and one of his 'Caprices' is a variation in tenths, which should be played more often than it is, as it is very effective. In this connection change of position, which I have already touched on with regard to scale playing, should be so smooth that it escapes notice. Among special effects the glissando is really beautiful when properly done. And this calls for judgment. It might be added, though, that the glissando is an effect which should not be overdone. The portamento—gliding from one note to another—is also a lovely effect. Its proper and timely application calls for good judgment and sound musical taste.

A SPANISH VIOLIN

"I usually play a 'Strad,' but very often turn to my beautiful 'Guillami,'" said Mr. Brown when asked about his violins. "It is an old Spanish violin, made in Barcelona, in 1728, with a tone that has a distinct Stradivarius character. In appearance it closely resembles a Guadagnini, and has often been taken for one. When the dealer of whom I bought it first showed it to me it was complete—but in four distinct pieces! Kubelik, who was in Budapest at the time, heard of it and wanted to buy it; but the dealer, as was only right, did not forget that my offer represented a prior claim, and so I secured it. The Guadagnini, which I have played in all my concerts here, I am very fond of—it has a Stradivarius tone rather than the one we usually associate with the make." Mr. Brown showed the writer his Grancino, a beautiful little instrument about to be sent to the repair shop, since exposure to the damp atmosphere of the sea-shore had opened its seams—and the rare and valuable Simon bow, now his, which had once been the property of Sivori. Mr. Brown has used a wire E ever since he broke six gut strings in one hour while at Seal Harbor, Maine. "A wire string, I find, is not only easier to play, but it has a more brilliant quality of tone than a gut string; and I am now so accustomed to using a wire E, that I would feel ill at ease if I did not have one on my instrument. Contrary to general belief, it does not sound 'metallic,' unless the string itself is of very poor quality.

PROGRAMS

"In making up a recital program I try to arrange it so that the first half, approximately, may appeal to the more specifically musical part of my audience, and to the critics. In the second half I endeavor to remember the general public; at the same time being careful to include nothing which is not really musical. This (Mr. Brown found one of his recent programs on his desk and handed it to me) represents a logical compromise between the strictly artistic and the more general taste:"

PROGRAM

I. Beethoven . . . . . . . . . . . . . . . . . . Sonata Op. 47 (dedicated to Kreutzer)
II. Bruch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Concerto (G minor)
III. (a) Beethoven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Romance (in G major)
(b) Beethoven-Auer . . . . . . . . . . . . . . . . . . . . Chorus of the Dervishes
(c) Brown. . . . . . . . . . . . . . . . . . . . . . . . . Rondino (on a Cramer theme)
(d) Arbos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tango
IV. (a) Kreisler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . La Gitana
(Arabo-Spanish Gipsy Dance of the 18th Century)
(b) Cui. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Orientale
(c) Bazzini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . La Ronde des Lutins

"As you see there are two extended serious works, followed by two smaller 'groups' of pieces. And these have also been chosen with a view to contrast. The finale of the Bruch concerto is an allegro energico: I follow it with a Beethoven Romance, a slow movement. The second group begins with a taking Kreisler novelty, which is succeeded by another