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    The Violin and Its Technique - As a Means to the Interpretation of Music
    The Violin and Its Technique - As a Means to the Interpretation of Music
    The Violin and Its Technique - As a Means to the Interpretation of Music
    Ebook57 pages43 minutes

    The Violin and Its Technique - As a Means to the Interpretation of Music

    By Achille Rivarde

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    "My object in writing this book is to encourage and help those students of the violin who are sufficiently intelligent to wish to advance with the times and who realise that in order to free violin playing from the rut of tradition in which it has complacently remained for so long, it is necessary to bring greater insistence to bear on the imaginative and poetical side of violin playing than has been done up to the present" Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents Include: The Bow Technique Vibrato Practice Interpretation, To What Extent it Can Be Taught
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateMay 31, 2013
    ISBN9781473388468
    The Violin and Its Technique - As a Means to the Interpretation of Music

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      The Violin and Its Technique - As a Means to the Interpretation of Music - Achille Rivarde

      THE VIOLIN AND ITS TECHNIQUE

      I

      THE BOW

      WHEN Joachim was questioned as to the proportion of time that should be given to the practice of the bow and to technique, he said:

      For an inch of technique practice an arm-length of bow.

      He often insisted that far too much time was spent on acquiring technique of the left hand and not enough on gaining a mastery of the bow.

      It is impossible to over-estimate the importance of good bowing, since it is the principal means of expression, a fact which is generally overlooked or neglected by most modern violinists, however great their repute.

      There are two forms of bowing: that of the virtuoso and that of the quartet player. The former is outwardly brilliant and showy in character and correspondingly superficial. There is little or no variety in this form of bowing, and its chief concern is to show off the technical brilliancy and possibilities of the instrument. It has a distinct tendency to throw dust in people’s eyes by creating a false outward impression of temperament. Its main attributes are freedom, fluency, and attack; but it does not go further than the outward presentation of violinistic qualities. For this reason it is suitable only in music that might perhaps be described as violin music—in such concertos for example as those of Vieuxtemps and Wieniawski.

      Quartet playing demands a mastery of far greater variety and subtlety of bowing than is needed for virtuosity.

      That is where Joachim proved himself so immeasurably superior to other violinists; his bowing had the subtlety and power of expression that is necessary for the interpretation of great music. Unlike present-day violinists, Joachim regarded his bow as the means through which his imagination could find expression. The possibility of developing command of the bow is dependent upon the acquirement and control of certain movements, but before the student can begin to study the different movements he must first learn to hold the bow correctly, so that he starts from a perfect position. Realising that difficulties may be experienced in following written instructions accurately, I intend later to publish a book of my exercises in which the different positions of the bow arm will be illustrated by means of photographs, with which the student can compare his results; but without the guidance of a master he will run the risk of entertaining unwittingly many defects which will not be made clear to him by the study of photographed positions.

      The bow should be held with the thumb near, but not touching, the nut; the middle finger opposite but not touching the thumb; and the little finger placed on its tip close behind the third on the inner edge of the stick, to balance the bow. The first finger should be so placed that the bow lies between the first and second joint, counting from the finger tip, and care should be taken that the first finger never leaves this position on the bow. The hand when turned round should present a nicely rounded appearance, the fingers lying well together, showing no gaps, and the thumb leaning a little towards the first finger, with the joint bent slightly outwards. The thumb joint must never be bent inwards, as that is an invariable sign of stiffness, and it is of the greatest importance that there should be no stiffening of the hand. The bow must not be gripped at all; the hand, wrist and thumb must all remain completely pliable. The balance of the bow is maintained by the little finger; if this is lifted from the stick when the bow is held over the string, the point of the bow will fall immediately.

      A perfect position at the half bow must be acquired as the starting point from which the different movements of the bow can be studied. When the bow is placed on the string at the half-bow, it will be found, if the elbow is held in line with the wrist and hand, that the upper part of the arm and the fore-arm together form a right angle. The student must be guided as to the half-bow position by the accuracy of this right angle and not by the actual half of the bow, which will vary a little according to the arm length of

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