Give my regards to kreisler

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Give My Regards to Kreisler

Thirty years of zen meditation on toneGive My Regards to Kreisler

Please give my regards to Kreisler! Shinichi SuzukiQuote from: Philosophy of Tone Production: Thirty Years of Zen Meditation on ToneBy Shinichi Suzuki, copyright 1960, soon to be translated into English 2Presentation OverviewFritz KreislerImportant moments in his lifeColleagues recollectionsToneIn regards to Suzukis TONE conceptsRecorded examples of KreislerThe Results of Dr. Suzukis Study of Fritz Kreislers TONEIntegrating these concepts into our teachingPic?3

Born February 2, 1875

Enrolled in the Vienna Conservatory at the age of seven

Studied under Hellmesberger

Met Brahms during this time

In Vienna there was in the conservatory itself a little restaurant, which was a musicians club, and Brahms was the president. There was music every week, mostly chamber music. And the works of Brahms were very often played there particularly when he had just composed them and wanted to hear them. Fritz Kreisler, 1955Quote from: WQXR Radio Interview, 1955To talk to an Olympian like that, to actually be present at the creation of superb music, was priceless and a lasting possession which does not fade or suffer from comparisons made with the perspective of time. Fritz Kreisler, 1942Olin Downes Quotes Kreisler

At the age of ten, won the Gold Medal for violinists

Enrolled in the Paris Conservatoire where he studied with Massart

Massart was his LAST violin teacher

Concludes study at the age of 12, winning the Premier Prize from the Conservatoire

The next year he toured the U.S. with pianist, Moriz Rosenthal, finishing the tour in the spring of 1889

Concerning Kreislers performance on the tour, critical reviews were mixed. The Boston Globe critic wrote:

He plays like a nice studious boy who has a rather musical naturebut cannot be ranked among prodigies or geniuses.Fritz Kreisler: Child Performer To Concert Artist

Yehudi MenuhinFritz Kreislers playing was unique and markedly characteristic. His tone production, incision, lilt, phrasing, rhythmic inflection and accentuation belonged to a born violinistHis music was always vivacious, provocative and unfailingly fascinating.

Josef GingoldKreislers playing was always vibrant and alive and his sense of rhythm was outstanding(his) way of interpreting his own charming pieces is unforgettable he combined a tone of ravishing beauty with a highly individualistic artistic sense and fantasy plus a dazzling technical finishWhat we consider modern today might be old fashioned in the future. Genius, however, is never old fashioned, and Fritz Kreisler will remain the modern violinist and one who can never be replaced.When he made his stage entrance his majestic bearing demanded attention even before he played a single note. However, once he put his violin under his chin he was completely transformed. A certain modesty and humility were evidenced as he seemed to say I would love to play for you. I felt that Kreisler played personally for each listener in the audience, so personable was his magnetism.Musical Example:Tambourin Chinois, Op. 3 From album Kreisler Plays KreislerViolin: Fritz KreislerPiano: Carl Lamson

Suzukis Reaction to Hearing Kreisler in Berlin

They (meaning Kreisler and Casals) have always been my teachers. Thanks to them, I have become able to listen to tone as a result, and counting backwards, to think in my mind and see in my minds eye the situation and form which are its cause.

14I trace those masters (Kreislers) tone back to how they must have produced it, think about their bowing, technique, grasp in concrete terms as much as possible that would contribute to such tone, and give them to my students as a method. Shinichi SuzukiAfter researching Kreislers tone, Suzuki produced the music bookTonalization (1955) and Philosophy of Tone Production (1960).

15Suzukis Method of teaching ToneNatural ToneTonalizationFirst VariationSecond VariationThird VariationSuzukis early attempts were not at all successful

The tone I aimed at was the brilliant rich tone, beautiful tone, or tender tone of the masters; yet, not knowing how to produce such a magnificent tone, I was sawing away with force, pressing the strings that could otherwise have rung beautifully Shinichi Suzuki

Suzukis Method of teaching ToneNatural ToneNatural ring of the string when pluckedThe string continues to ring after it is pluckedBowed notes should resemble plucked notesThe tone is beautiful, the resonance lingersSuzukis Method of teaching ToneTonalizationSingers practice vocalization, string players practice TONALIZATIONTen resonant tones out of a total of thirteen pitchesTo focus on tone helps to develop other aspects such as intonation and musicianshipFocusing on TONE really helps us to LISTEN

Suzukis Method of teaching ToneFirst VariationChanging BOW SPEED to create dynamics in NATURAL TONEThe changes in sound are created by changes in motions, or in other words, changes in the physical movement are translated into sound and musical expressionI teach different bow speeds and dynamics using the easiest of pieces. Shinichi Suzuki

Musical Example:Liebesfreud From album Kreisler Plays KreislerViolin: Fritz KreislerPiano: Carl Lamson

Suzukis Method of teaching ToneSecond VariationAffects the tone by changing the amount of PRESSURE on the string or WEIGHT

Change in the weight of the bow on the string creates change in the amount of sound and tone color. This should be practiced, however, with attention to the beautiful, ringing sound of the string. Avoid crushing the tone by skillfully controlling the right hand. I think it is necessary to guide the student gradually so that he will comprehend through experience how control can be achieved when the fingers, wrist and entire right arm are supple, all weight comfortably placed on the resiliency of the horsehair. Shinichi SuzukiExcerpt from Tonalization by Shinichi Suzuki, copyright 1955

This ability is required for expressing necessary dynamics within a slur. When we attentively observe how beautifully Kreisler, Casals and other masters sing slurred phrases, we realize that this is one of the crucial bowing abilities for music expression. Therefore, I think it is indispensable to train students, even if just for five minutes per lesson, in various tone exercises so as to heighten this basic skill in tone production, and help them develop more and more beautiful tone according to their different levels of abilityThis bow study will become the basis of bowing. Good training in this second variation will develop the ability to express dynamics from pp to f. Shinichi SuzukiMusical Example:Liebesleid From album Kreisler Plays KreislerViolin: Fritz KreislerPiano: Carl Lamson

Suzukis Method of teaching ToneThird VariationBy changing the CONTACT POINT of the bow on the string, it affects TONE COLOR and the AMOUNT OF SOUNDWhen asked to play near the bridge for the first time, many students fail to produce fine tone. That is because the bow does not skillfully allow the string to ring. This is due to a poorly balanced bow the bow fails to muster a Scotch-tape-like power of suction where the horsehair touches the string; it fails to achieve perfect contact that is necessary for making the string ringWhen trying to produce f or ff sound, suppleness of the right hand and skillful control of the fingers are all the more essential. Hence a student with a stiff right hand either encounters heavy resistance or produces an unpleasant squashed tone the moment he attempts to play f or ff. - Shinichi Suzuki

Musical Example:The Old Refrain From album Kreisler Plays KreislerViolin: Fritz KreislerPiano: Carl Lamson

Listen to Kreislers tone, I always tell my students, encouraging them to become disciples of these teachers. Since naturally it is impossible to receive instruction directly from them, I have my students study with them through records, as I myself did. Shinichi Suzuki

Listen to Kreislers tone, I always tell my students, encouraging them tobecome disciples of these teachers. Since naturally it is impossible to receiveinstruction directly from them, I have my students study with them through records, as I myself did. Shinichi SuzukiQuote from the biography called Fritz Kreisler by Louis LocknerGeneral RemarksOur challenge is to help our students to perform with a beautiful tone.We must study to demonstrate a wonderful resonant tone for our students.Encourage each student to invite a wonderful artist player into their home, so that they might listen to them everyday.Kreisler was quoted in Lochners biography as saying:

The technical talent of the youth of today is almost unbelievablebut they are all technical wonder childrenThis can never remain the object of music.

If we are to continue the legacy of Shinichi Suzuki, we need the fine artist player, with a wonderful heart, to inspire the students of our movement!Some Final thoughts on kreisler and suzukiMargaret Campbell in her wonderful book The Great Violinists says of Kreisler,

In the entire history of violin playing there is probably no performer who was more universally loved and admired than Fritz Kreisler. He was the first of the 20th Century violinists to anticipate by instinct the growing need for emotional expression in playing. He appealed to the heart of his audience, not only by his virtuosity but by a quality that exuded a subtle vitality, humor, sweetness and pathos in an interfusion of tone, technique, and communication.The Three pillars of dr. suzukis teachingsPlay with Kreisler's beautiful TONELearn the correct TECHNIQUEPlay from your HEART, not your liver

Musical Example:Schn Rosmarin From album Kreisler P