This book helps us better to understand the many facets of our art and points the way towards achieving professionalism, musicianship and artistry.įleschs awareness of the importance of the flow of history and the evolution of musical taste and style is extremely insightful. This book contains so many profound thoughts about artistry, aesthetics and humanity in general that it is easily seen to be of great significance to all musicians, not only string players. Some additional remarks in connection with Book II are of great importance. I therefore took the liberty frequently to put things in my own words, while scrupulously endeavoring to render precisely his meanings and thoughts. I also tried to follow Carl Fleschs wish, expressed in one of his letters regarding an earlier English version, not to attempt a word-by-word translation. The greatest value of this book lies after all in fostering the practical application of these principles and insights. For readers who are especially fascinated by these historic elements, going back to the original German version is recommended.įor me, the editor, readability and accessibility to English speakers as well as violinists for whom English is a second language was of paramount importance, so even though I attempted to preserve some of Fleschs flavorful wit and descriptive language, I tried to avoid any distraction from the presentation of the core of his pedagogic, artistic and philosophical thoughts. In keeping with Carl Fleschs original clear intent of producing a practical, though also philosophical, book, I decided to omit certain sections because, however interesting they might be as a document of their time, they would not be central to the basic thrust of the work. Use of the masculine gender in this way was obviously just a convention. For example, the reader will find that almost all references mentioning violinists appear in the masculine gender, despite the fact that a vast number of his own students and colleagues were women. While carrying out this task, it became clear that in the course of time the general frame of reference and overall cultural environment have indeed undergone significant changes since the original German publication. In order to accomplish that goal, this new translation aims at making this work more accessible by using a more contemporary idiom and by a general updating. It therefore seemed imperative to further increase their relevance for English-speaking musicians. The basic thoughts contained in it have lost none of their validity. Newly engraved and freshly typeset, Fleschs magnum opus remains the most significant and trailblazing work ever written for violinists. This new translation makes the work more accessible utilizing a contemporary idiom and having received a general updating. This monumental, epoch-making work by Carl Flesch is the most comprehensive and thorough treatise dealing with practically everything that is of concern to the violinistmusician. This monumental, epoch-making work by Carl Flesch is, in the opinion of many, certainly still the most comprehensive and thorough treatise dealing with practically everything that is of concern to the violinistmusician. He said his favorite pupil was the Australian Alma Moodie, who achieved great fame in the s and s but made no recordings and is little known today.Ĭomposed by Carl Flesch. He also taught in Bucharest, Amsterdam, Philadelphia and Berlin Hochschule fuer Musik, He published a number of instructional books, including Die Kunst des Violin-Spiels The Art of Violin Playing, in which he advocated for the violinist as artist rather than merely virtuoso. He was known for his solo performances in a very wide range of repertoire from Baroque music to contemporary, gaining fame as a chamber music performer. He began playing the violin at seven years of age.
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