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T H I R T Y Y E A R S O F Z E N M E D I T A T I O N O N T O N E

GIVE MY REGARDS TO KREISLER

“Please give my regards to Kreisler!” – Shinichi Suzuki

Quote from: Philosophy of Tone Production: Thirty Years of Zen Meditation on ToneBy Shinichi Suzuki, copyright 1960, soon to be translated into English

PRESENTATION OVERVIEW

• Fritz Kreisler

• Important moments in his life

• Colleagues‟ recollections

• Tone

• In regards to Suzuki‟s TONE concepts

• Recorded examples of Kreisler

• The Results of Dr. Suzuki‟s Study of Fritz Kreisler‟s TONE

• Integrating these concepts into our teaching

• 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 musician‟s 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, 1955

Quote from: WQXR Radio Interview, 1955

“To 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, 1942

Olin 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 Kreisler‟s 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

nature…but cannot be ranked among prodigies or

geniuses.”

Fritz Kreisler:

Child Performer

To Concert Artist

YEHUDI MENUHIN

“Fritz Kreisler‟s playing was unique and markedly characteristic. His

tone production, incision, lilt, phrasing, rhythmic inflection and

accentuation belonged to a born violinist…His music was always

vivacious, provocative and unfailingly fascinating.”

JOSEF GINGOLD

“Kreisler‟s 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 finish…What

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 Kreisler

Piano: Carl Lamson

SUZUKI’S 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 mind‟s eye

the situation and form which are its

cause.”

“I trace those masters‟ (Kreisler‟s) 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 Suzuki

After researching Kreisler‟s tone, Suzuki produced the music book

Tonalization (1955) and Philosophy of Tone Production (1960).

SUZUKI’S METHOD OF TEACHING TONE

1. Natural Tone

2. Tonalization

3. First Variation

4. Second Variation

5. Third Variation

Suzuki‟s 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


1) Natural Tone

a. Natural ring of the string when plucked

b. The string continues to ring after it is plucked

c. Bowed notes should resemble plucked notes

d. The tone is beautiful, the resonance lingers


2. Tonalization

a. Singers practice vocalization, string players practice TONALIZATION

b. Ten resonant tones out of a total of thirteen pitches

c. To focus on tone helps to develop other aspects such as

intonation and musicianship

d. Focusing on TONE really helps us to LISTEN


3. First Variation

a. Changing BOW SPEED to create dynamics in NATURAL TONE

“The changes in sound are created by changes in motions, or in

other words, changes in the physical movement are translated into

sound and musical expression…I teach different bow speeds and

dynamics using the easiest of pieces.” – Shinichi Suzuki

Musical Example:

“Liebesfreud”


Piano: Carl Lamson


4. Second Variation

a. Affects 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 Suzuki

Excerpt 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

ability…This 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 Suzuki

Musical Example:

“Liebesleid”


Piano: Carl Lamson


5. Third Variation

a. By changing the CONTACT POINT of the bow on the string, it affects TONE COLOR and the AMOUNT OF SOUND

“When 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 ring…When 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”


Piano: Carl Lamson

“Listen to Kreisler‟s 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 Kreisler‟s 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 SuzukiQuote from the biography called Fritz Kreisler by Louis Lockner

GENERAL REMARKS

Our challenge is to help our students to perform with a

beautiful tone.

1. We must study to demonstrate a wonderful resonant tone for our

students.

2. Encourage each student to invite a wonderful artist player into

their home, so that they might listen to them everyday.

Kreisler was quoted in Lochner‟s biography as saying:

“The technical talent of the youth of today is almost

unbelievable…but they are all technical „wonder

children‟…This 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 SUZUKI

Margaret 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. SUZUKI’S TEACHINGS

1. Play with Kreisler's beautiful TONE

2. Learn the correct TECHNIQUE

3. Play from your HEART, not your liver

Musical Example:

“Schön Rosmarin”


Piano: Carl Lamson

PARALLELS BETWEEN SUZUKI AND KREISLER

SOME TECHNICAL IDEAS OF SUZUKI’S REGARDING TONE INSTRUCTION

(FROM PHILOSOPHY OF TONE PRODUCTION)

1. Hold the bow with the thumb on the mother-of-

pearl of the frog, place the bow lightly on the

string and play.

1. Finger before bow!

1. Practice producing a ringing natural tone in piano

at the bottom of the bow near the winding,

suggesting a bow length no longer than your

finger. (Not for beginners!)

2. Control of tip of the bow is central.

IN CONCLUSION:

“When teachers consider instruction of fine tone to be crucial side of violin instruction, constantly study it themselves, and give

ever better instruction, they thereby produce students who play

with fine tone.” – Shinichi Suzuki

Musical Example:

“Caprice Viennois, Op. 2”


Piano: Carl Lamson

The beautiful tone of maestros

is not produced under a pressing bow.

Rather, the resilience of the horsehair turns into cellophane tape

that creates perfect bow contact with the string

though the bow is only placed on the string, lightly as a bird.

It must be because the heart acts on tone.

With a bow that is alive,

gently a powerful tone is produced.

On that single point,

on that single contact point

where the horsehair touches the string

By the deftness of maintaining that single point

one may produce natural tone.

Bow-hold, finger manipulation,

supple right hand

control of weight for beautiful ringing tone -

For every sound, how it starts

is its life.

It is so even with pianissimo.

A clumsy player holds the bow too firmly,

and this makes the tone scratchy.

It is the sound of ego, not of nature.

You should always

use your heart for tone,

Think of the resilience of the horsehair and its contact point

as cellophane tape.

Keep the horsehair

in light, perfect contact with the string,

and listen to your own tone as it rings beautifully.

Just place the bow lightly on the string,

so its single point will adhere to the string,

neither floating

nor detaching itself.

Lightly let the string ring

with strong adhesion at that single point.

That tone of maestros

is indeed a gift of such training.

Let us then listen to that tone again today.