He began playing the violin at seven years of age. He settled in Berlin , and in in London. 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 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.
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Composed by Carl Flesch. Edited by Eric Rosenblith. Perfect Bind - A Hinge". Back To School. 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. The basic thoughts contained in it. With Standard notation. Carl Fischer Music BF Item Number: CF. BF20 9 x 12 inches. 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 new translation makes the work more accessible utilizing a contemporary idiom and having received a general updating. Newly engraved and freshly typeset, Fleschs magnum opus remains the most significant and trailblazing work ever written for violinists. The basic thoughts contained in it have lost none of their validity.
It therefore seemed imperative to further increase their relevance for English-speaking musicians. 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.
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.
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. Use of the masculine gender in this way was obviously just a convention. 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.
For readers who are especially fascinated by these historic elements, going back to the original German version is recommended. For 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.
The greatest value of this book lies after all in fostering the practical application of these principles and insights. 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. I therefore took the liberty frequently to put things in my own words, while scrupulously endeavoring to render precisely his meanings and thoughts. Some additional remarks in connection with Book II are of great importance.
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. This book helps us better to understand the many facets of our art and points the way towards achieving professionalism, musicianship and artistry.
Fleschs awareness of the importance of the flow of history and the evolution of musical taste and style is extremely insightful. It is quite obvious that we, as human beings, need to be very aware of permanent values as well as of the ever-changing cultural and artistic scene. Flesch himself was not only imbued with the former, but also very sensitive to the latter. In the spirit of this awareness, I permitted myself to abbreviate certain passages which are particularly connected with a certain era, and also to paraphrase some of the material.
These latter paragraphs are clearly indicated, printed in italics and preceded by the comment Editors Remarks. As far as the musical examples both in the text and in the Appendix are concerned, we must be fully aware that Flesch was always imbued with the greatest respect and even reverence for the musical creatorthe composerand therefore sought to find the best texts available to him. The determined pursuit of Urtext editions in our day to which I most heartily subscribe was not yet so prevalent at the time of the original publication of The Art of Violin Playing in the s.
Therefore, some edited versions of a few compositions found their way into this book. It is also of great interest that Flesch, who espoused the idea that there is more than one interpretation possible, so refreshingly and clearly states his own well-grounded and ardent beliefs about music-making.
At this time I wish to thank Carl Flesch Jr. Buy Together.
The Art of Violin Playing