UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE

THE SYSTEM OF EFFECTIVE VIOLIN PRACTICE ACCORDING TO KONSTANTIN MOSTRAS

A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of Doctor of Musical Arts

By DIANA I. SEITZ Norman. Oklahoma 2008

UMI Number: 3304217

UMI Microform 3304217 Copyright 2008 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.

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THE SYSTEM OF EFFECTIVE VIOLIN PRACTICE ACCORDING TO KONSTANTIN MOSTRAS

A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC

BY

Dr. Eugene Enrico, Chair

Dr. Kenneth Stephenson

Dr. Gregory Lee

Dr. Anthony Stoops

Dr. Rozmeri Basic

 Copyright by DIANA I. SEITZ 2008 All Rights Reserved.

ACKNOWLEDGEMENTS

I would like to offer my sincere gratitude to Dr. Gary Koslosky for bringing to my attention the need for the research into the life and works of Konstantin Mostras. Dr. Kosloskys expertise and guidance were crucial to the successful outcome of this study. Special thanks to my wonderful friend and revered colleague, Ms. Dora Ostromenskyone of Konstantin Mostrass favorite students. Our conversations about her great teacher inspired me immensely as I was working on this document. I am deeply grateful to Ms. Lora Usiatinsky without whose help this study would be inconceivable. Her invaluable assistance at the different stages of this project was a great blessing to me. I also would like to thank Mr. Dan Younger and his sweet family for their help and support of this endeavor. I am so grateful for Mr. Youngers priceless advice, valuable time, and his willingness to help. I extend my gratitude to the members of my committee, Dr. Eugene Enrico, Dr. Kenneth Stephenson, Dr. Gregory Lee, Dr. Anthony Stoops, and Dr. Rozmeri Basic, for their expertise, pursuit of excellence, support and guidance not only during the process of writing this document, but also during my studies at The University of Oklahoma. I must also thank Dr. Clark Kelly for his time and advice which greatly expedited my completion of this project.

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Next, I would like to thank my friends for their prayers and support which kept me going during this challenging time of my life. Last, but not least, I would like to express my deepest gratitude to my family for their most selfless love, understanding, and support during the years of my studies. It is their sacrificial attitude that propelled me toward the completion of this project.

CONTENTS ACKNOWLEDGEMENTS LIST OF ILLUSTRATIONS.. ABSTRACT INTRODUCTION.. Chapter 1. 2. KONSTANTIN MOSTRAS.... THE MAIN CHARACTERISTICS OF EFFECTIVE VIOLIN PRACTICE ACCORDING TO KONSTANTIN MOSTRAS. HOME PRACTICE REGIMEN.. METHODS FOR CORRECTION OF COMMON TECHNICAL PROBLEMS..... RECOMMENDED TECHNICAL MATERIALS... 4 iv vii ix 1

11 18

3. 4.

27 38 53 55

5.

SUMMARY.... SELECTED BIBLIOGRAPHY......

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ILLUSTRATIONS

Figure 1. 2. 3. 4. 5. 6. 7. 8. 9. Violin exercise for introduction of the various divisions of the beat... The use of metro-rhythmic variation principle in scales...... Beethoven. Concerto for Violin and Orchestra, Movement I, mm. 166-73 J. S. Bach. Sonata for Violin Solo in G Minor, Movement II, mm. 44-45. F. Kreisler. Praeludium and Allegro in the Style of Pugnani, mm. 1-13. The spacing of accents in various tempos H. Ernst. The Last Rose of Summer, Variation 3, mm. 1-3.. K. Mostras. Exercise no.35 in EtudesDuets for Two Violins.. J. S. Bach. Partita for Violin Solo in E Major, Movement I, 17-22.

Page 14 14 29 30 30 31 32 33 34 35

10. G. Tartini. Sonata Trillo del Diavolo, Movement II, mm. 9-18.. 11. L. van Beethoven. Concerto for Violin and Orchestra, Movement I, mm. 88-103.. 12. M. Bostanjoglo. Two-Octave Scales and Arpeggios for Violin Based on the Principle of Related Finger Patterns, p. 33.. 13. P. Tchaikovsky. Concerto for Violin and Orchestra, Movement I, mm. 97-98 14. K. Mostras. Coordination of fingerings and rhythm in fast passages in Sistema Domashnich Zaniatii Skripacha, p. 44. 15. K. Mostras. Exercise no.31 in EtudesDuets for Two Violins. 16. K. Mostras. Exercise no.29 in EtudesDuets for Two Violins 17. K. Mostras. Exercise no.38 in EtudesDuets for Two Violins..

39

41 41

42 43 43 44

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18. K. Mostras Caprice no.1, mm. 20-29... 19. K. Mostras. Caprice no.2, mm. 1-6.. 20. K. Mostras. Caprice no.2, mm. 6-19 21. K. Mostras. Caprice no.5, mm. 186-94...

49 49 50 51

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ABSTRACT

This study is a survey of the life and work of Ivan Galamians teacher Konstantin Georgiyevich Mostras, who was one of the leading violin professors of the Tchaikovsky Moscow Conservatory in the former USSR. Mostras taught Galamian at the Moscow Philharmonic School of Music for six years: from 1916 to 1922. The fact that Galamians studies with Lucien Capet in Paris lasted only one year (1922-23) illustrates the critical importance of Mostrass influence upon Galamians pedagogy. The document is divided into five chapters with the introduction and the summary. Chapter One is a biographical sketch on Konstantin Mostras. It also provides the information about some of his prominent students and a brief description of Mostrass writings on the subject of violin pedagogy. The following three chapters are centered upon, but not limited to, a comprehensive analysis of Mostrass book Sistema Domashnich Zaniaty Skripacha (The System of Home Studies for the Violinist: Methodology Essay). Such an analysis allowed the author to introduce the main characteristics of Mostrass pedagogy to the world of English-speaking violinists. Until now, this group did not have the opportunity to study the works of this eminent pedagogue because none of his books has been translated into English language. Chapter Five contains a description of technical materials recommended by Mostras as a part of the violinists daily practice routine. These include exercises and etudes composed by Konstantin Georgiyevich

ix

himself. The authors analysis of these compositions demonstrates the consistency of Mostrass theories with his practical pedagogy, revealing the essence of this pedagogues method: the subordination of technique to the artistic aspects of violin performance which can be achieved only through the mental control over the physical processes involved in violin playing.

INTRODUCTION

The teaching legacy of Konstantin Mostras represents the best traditions of the modern Russian violin school, playing a very important role in its development in the USSR. Dr. Mostras made a decisive contribution to violin pedagogy which sprang from his founding of and many years of teaching a class in violin pedagogy at the Moscow Conservatory. A great pedagogue, as well as a prolific writer, Konstantin Mostras produced an impressive body of works, many of which were sufficiently seminal to warrant their translation into German, Polish, and Chinese. This fact demonstrates how well deserved is the international respect and appreciation for the achievements in modern (post-Auer) Russian violin pedagogy. David Montagu of Cornell University stated in 1969: We are aware of the enormous importance of the Russian violin school; in our century many of the greatest virtuosos are products of that training. It is strange, however, that we in the western world are not really well informed about the basic tradition that has produced Heifetz, Elman, Milstein, Oistrakh, and Kogan, to name just a few. We do know some of this tradition through the teaching of Leopold Auer, but few of us are acquainted with the names of Professors I.M. Zeitlin, A.I. Yampolsky, and K.G. Mostras.1 In his review of I.M. Yampolskys The Principles of Violin Fingering, translated by Alan Lumsden, Montagu regrets, Since this work has been in existence for so long, it is a pity that we in the West have had to wait thirty-five
1

David Montagu, review of The Principles of Violin Fingering, by I.M. Yampolsky, trans. Alan Lumsden, Notes 25, no. 3 (March 1969): 500.

years for an English translation of such a valuable addition to our knowledge of violin technique.2 Mentioning Mostrass Intonazia na Skripke among other books, Montagu concludes, These are just a few of the fascinating titles referred to in footnotes by Yampolsky, and I for one await with impatience the opportunity to study these and others mentioned in the book.3 Today, almost forty years after the publication of this review, not one of Mostrass works is translated into English, with the result that he and his techniques remain among the best kept secrets in the world of English-speaking violinists. As regrettable as this situation is, it is compounded when it is noted that Mostras taught Ivan Galamian, already acknowledged as a leading figure in American violin pedagogy. The goal of this study is to introduce Konstanitn Georgievich Mostras and his writing to English-speaking violinists. It includes pertinent facts from his biography. By doing so, the author hopes to create enough interest in Mostrass life and works to start the process of bringing this pedagogues phenomenal expertise into the light of international recognition it deserves. This study does not contain a complete literal translation of any of the works by K. Mostras. Passages quoted are the authors own literal translations. This study does not attempt to create a new violin method based on the works of Mostras, nor does it contrast or compare the works of Mostras to other violin treatises or methods.
2 3

David Montagu, review of The Principles. Ibid

The chief focus of the paper is a comprehensive analysis of Sistema Domashnich Zaniatij Skripacha: Metodicheskij Ocherk (A system of home studies for the violinist: Methodology Essay) by Dr. Mostras. It also includes a biographical sketch demonstrating Mostrass experiences that helped develop his musical talent and pedagogical theories, plus a brief description of his major violin method books.

Chapter One

Konstantin Mostras

Some People find their calling in life after long and arduous searching, fateful mistakes and disappointments. In 1913 when Konstantin Georgievich Mostras graduated from my class in Conservatory [sic], he performed with inimitable brilliance and technical perfection Glazunovs Concerto on his final exam. A career of a prominent musician was opening up before him alluringly. But without any hesitation, Konstantin Georgievich devoted his life to violin pedagogy and never betrayed this important work. Neither artistic laurels, nor tangible benefits of a performing career distracted him from the profession which he chose with such resolution and conviction.4

These words from Professor Boris Sibor describe the man who was almost certainly his most prominent studentRussian violinist, teacher and composer, Konstantin Georgievich Mostras (b. 16 April 1886; d. 6 September 1965) who became one of the leading violin pedagogues of the Moscow Conservatory during the Soviet era. His contribution to the field of violin pedagogy includes such pivotal books as Intonazia na Skripke: Metodichesky Ocherk; Materialy po Voprosu Skripichnoi Intonazii (Intonation on the Violin: Methodology Essay; Materials on the Subject of Violin Intonation), Ritmicheskaya Disciplina Skripacha: Metodichesky Ocherk (Violinists Rhythmic Discipline: Methodology Essay), Sistema Domashnich Zaniaty Skripacha: Metodichesky Ocherk (A system of home studies for the violinist: Methodology Essay), Dinamika v Skripichnom Iskusstve (Dynamics in the Art of Violin Playing), and 24 Kaprisa dla Skripki Solo
4

Boris Sibor, Nashi Slavnye Ubilary, Sovetskoye Iskusstvo, 30 May 1938.

N. Paganini: Metodicheskie Kommentarii (24 Caprices for Violin Solo by N. Paganini: Methodological Commentaries). Dr. Mostras is the author of numerous compositions, instructional works and transcriptions for violin and wind instruments, including 8 Etudov for violin, Tatarskaya Suita for violin and piano and Etud na Temu N.A. RimskogoKorsakova: dla Klarneta i Fortepiano (Etude on a Theme by N.A. RimskyKorsakov: for Clarinet and Piano). He edited many violin compositions, among which are such staples of the modern violin repertoire as Tchaikovskys Concerto for Violin and Orchestra and J. S. Bachs Sonatas and Partitas for Violin Solo. Konstantin Mostras was born in Arzhanka (now Tambov County). His father, G. K. Mostras, organized and conducted the Cossack symphony orchestra. Young Kostias love for music and his music talents became evident early in his childhood filled with music atmosphere and interests. The violin was chosen as Kostias major instrument, and he began studying it at the age of six with F. A. Stadgi. G. K. Mostras paid close attention to the music studies of his son.5 Stadgi was not the kind of pedagogue to limit his students development to mere technical facility. He taught his students to appreciate many different styles of music and to develop a distinctive singing quality in their sound. Stadgi also emphasized the importance of quartet and other ensemble playing. In 1897, without interrupting his violin studies, Mostras entered gymnasia, a secondary school of highest grade preparing for universities in pre-revolutionary
5

Pavel Nazarevsky, Konstantin Georgievich Mostras, Znama Kommuny, 6 March 1939.

Russia.6 During the years spent in gymnasia, Mostras often performed in the student concerts and recitals. He also participated in the gymnasia orchestra under F. I. Popov, one of the gymnasias teachers who greatly encouraged Mostrass love for music. Pianist L. V. Klitina studied with Mostras in the same gymnasia. She shares her memories about the student recital in March of 1904. Konstantin Georgievich performed the first movement of Concerto no.7 by Beriot and Gerbers Variations on the Russian song Krasny Sarafan. I accompanied him in that recital. He also performed the leading violin part in Brags Serenade. Already then, the violin playing of Kostia Mostras and his serious . . . commitment to work made us think that he will become a great musician.7 Mostras childhood and teenage experiences resulted in his decision to continue his education at the Moscow Philharmonic School of Music in the class of Professor Boris Sibor. In the pre-revolutionary years, a musicians path was very difficult,K .G. recalls,and I had to overcome many hardships in order to complete my musical education.8 Mostras graduated from Moscow Philharmonic School of Music with honors in 1913. He started his pedagogy career at his alma mater, where he taught from 1913 until 1922, when he joined the faculty of the Moscow Conservatory.

A. I. Smirnitsky and O.S. Akhmanova, eds., Russian-English Dictionary, 16th ed. (Moscow: Russky Yazyk, 1992), 122. 7 Nazarevsky, Konstantin Georgievich. 8 Nazarevsky, Konstantin Georgievich.

Konstantin Mostras was a prominent chamber musician. He performed in one of the first Soviet QuartetsThe V. I. Lenin Quartet. Konstantin Georgievich was also one of the leaders of the Persimfans orchestra, the symphony orchestra performing without a conductor. During his years of teaching at the Moscow Conservatory, Mostras worked alongside such prominent music educators as A. I. Yampolsky, G. M. Kogan, G. G. Neigauz, A. F. Gedike, and S. N. Vasilenko, nurturing many generations of talented musicians in the USSR. He taught violin performance and pedagogy at the conservatory during the periods 1922-41 and 1943-65. In 1927, Mostras received the rank of professor, and after 1936, served as the head of the violin department.9 Among his students were Ivan Galamian, Marina Kozolupova, B. E. Kuznetzov, M. L. Yashvili, Dora Ostromensky and others. Marina Kozolupova was one of five Soviet violinists who shook the musical world in 1937 with their sweeping victory at the Queen Elizabeth International Music Competition in Brussels. Marina had studied with Mostras since the age of eight. . . . She participated in the All State Music Competition and was awarded second place. She received fifth place at the International Competition in Brussels.10 This is how Mostras characterized the artistic achievements of his talented student: The great and brilliant talent of my student Marina Kozolupova was noticed at the Second All State Competition in 1935. During the past two

Muzykalnaya Encyclopedia (Moscow:Sovetskaya Encyclopedia, 1976), s. v. Konstantin Mostras. 10 Pobediteli, Sovetskaya Kultura, 2 April 1937.

years of unremitting work, she became a noteworthy performer of a world class. The specific qualities of her playing are strong will, cheerfulness, extreme expressivity, depth and directness of interpretation.11 Konstantin Mostras was one of the pedagogues who taught the renowned Ivan Galamian. Galamian studied with Mostras at the Moscow Philharmonic School of Music for six years: from 1916 to 1922. The fact that Galamians studies with Lucien Capet in Paris lasted only one year (1922-23) illustrates the critical importance of Mostrass influence upon Galamians pedagogy. For his outstanding contribution to the Soviet violin pedagogy, K. Mostras was awarded the title Distinguished Artist of Russia, in 1937. He was revered by his compatriots and regarded as the most distinguished methodologist in the art of violin performance.12 In 1939, Mostras wrote: Starting this school year, the Moscow Conservatory curriculum will include two new subjects for the third year students: string pedagogy and history of string performance. . . . The Conservatory departments are launching programs of pedagogical education . . . they are requesting pedagogical literature from Muzgiz.13 Mostrass pedagogical writings provided the new generation of violin teachers in Soviet Russia with much-needed literature on the subject of violin pedagogy. These works include numerous articles, essays, teaching curriculums for childrens music schools, technical materials (scales, etudes, etc.), violin
11 12

Konstantin Mostras, Nasha Piaterka, Izvestia, 2 April 1937. Nashi Slavnye Yubilary, Sovetskoye Iskusstvo, 30 May 1938. Konstantin Mostras, Kurs Metodiki u Strunnikov, Sovetsky Muzykant, 25 November 1939.

13

compositions, unpublished notes from his course on violin pedagogy at the Moscow Conservatory, as well as five books. Mostras wrote three of the five to serve as textbooks for classes in violin method at the Moscow Conservatory. The book Intonazia na Skripke: Metodichesky Ocherk. Materily po Voprosu o Skripichnoi Intonazii (Intonation on the Violin: Methodology Essay. Materials on the Subject of Violin Intonation) is divided into two parts and four chapters. The first part of the book contains the authors personal observations and pedagogical experiences in dealing with the most frequently encountered instances of unsatisfactory intonation and the ways of correcting this problem. Mostras also analyzes the works of such prominent violin pedagogues as L. Mozart, O. Schevchik, and L. Auer on the same subject in order to provide violin teachers with a variety of efficient ways of dealing with unsatisfactory intonation in violin playing. In the second part of the book, Mostras discusses the physics of sound production, musical pitch, bow arm technique and other matters that affect the quality of violin intonation. The book Ritmicheskaya Disciplina Skripacha: Metodichesky Ocherk (Violinists Rhythmic Discipline: Method Essay) focuses on the process of nurturing the young musicians sense of musical rhythm. Mostras states: Rhythm is considered to be one of the essential elements of musical language, therefore mastery over rhythm . . . plays an important role in authentic realization of musical

content.14 This book consists of 34 chapters dealing with a broad range of pedagogical tasks associated with rhythm in violin performance, from the very first stages of the learning process to the questions arising at the highest levels of musicianship. Though written primarily for violin teachers, this book contains information that can benefit many musicians regardless of their instrument of choice. Dinamika v Skripichnom Iskusstve (Dynamics in the Art of Violin Playing) is based on the teachings of K. Mostras and other professors of the Moscow Conservatory, such as L.M. Zeitlin, D.F Oistrakh, and N.A. Garbunov. The book is divided into two chapters discussing musical and technical aspects of dynamics in violin playing. Mostras writes about the use of dynamics in different styles of music, the effect of bowings on dynamics, the connection between dynamics and expressivity of playing, the means of correcting common defects and exercises for improving the quality of sound. This work concludes the set of three books focused on the essential means of expressivity common to all bowed instrumentsintonation, rhythm and dynamics.15 In his book 24 Kaprisa dla Skripki Solo N. Paganini. Metodicheskie Kommentarii (24 Caprices for Violin Solo by N. Paganini. Didactic Commentary) Mostras uses a different approach. Here, he devotes a chapter to every one of Paganinis Twenty Four Caprices, suggesting solutions for very specific technical

Konstantin Mostras, Ritmicheskaya Disciplina Skripacha: Metodichesky Ocherk (Moscow, Leningrad: Muzgiz, 1951), 3. 15 Mostras, Ritmicheskaya Disciplina.

14

10

and musical tasks which arise in the process of learning each particular caprice. Reading this book comes very close to getting private lessons from Mostras himself. The preface to the book contains a very informative historical essay by I. Yampolsky 24 Kaprisa dla Skripki Solo N. Paganini (24 Caprices for Violin Solo by N. Paganini). The book Sisitema Domashnich Zaniatii Skripacha: Metodichesky Ocherk (A System of Home Studies for the Violinist: Methodology Essay) will be the main focus of this study and will be analyzed in the following chapters.

11

CHAPTER TWO

The Main Characteristics of Effective Violin Practice According to Konstantin Mostras

The pedagogues task is not only to teach a student to play an instrument, but also to help the pupils acquire the skills necessary to creatively work on their own, [this task includes] constant direction and control of the organization and quality of the students practice at home. Therefore, this essay is equally addressed to the advanced students (mostly at the college level) and their teachers. . . . As a methodological guide, this essay is aimed at giving the right direction to the creative thoughts of pedagogues and violin students, who will be able to make the best use of the ideas expressed in the Sistema by applying them to their own performing and teaching experience.16

Rabeys words very clearly define Mostrass motivation for writing his Sistema Domashnich Zaniaty Skripacha. As a pedagogue, Mostras is concerned with students and often teachers inability to possess a clear understanding of the proper goals and methods in home practice; this lack of understanding results in a great waste of time, to say nothing of slow progress. Mostrass system of home practicing centers on the proper definition of practice itself. He defines it as the system of organization and methodology which aims at the most productive use of the students time outside the lessons with the teacher.17

V. Rabey, foreword to Sistema Domashnich Zaniaty Skripacha by Konstantin Mostras (Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1956), 4; 5. Konstantin Mostras, Sistema Domashnich Zaniaty Skripacha: Metodichesky Ocherk (Moscow: Gosudarstvennoye Musykalnoye Izdatelstvo, 1956), 7.
17

16

12

Mostrass system of effective practice has two major components: accurate distribution of time and didactic materials; and appropriate methodology in learning new material, as well as in handling the technical and musical difficulties of this process. In order to guide teachers in creating a properly-structured system of practice for their students, Mostras describes the essential elements of the instrumental performance process: In order to create a rational system of practice, it is first of all necessary to have a correct scientific definition of the kind of activity which is the subject of this study. Performance on a musical instrument, looked upon at this angle, is now seen as a manifestation of activity of the moving apparatus of hands and fingers, directed by the central nervous system and, first of all, the cerebral cortex. Therefore, the work aimed at the mastering of performance skills can not be considered as mere training of a moving apparatus. Finger gymnastics is undoubtedly a constituent component in working on certain technical aspects; but even in those aspects, it is not the chief, determinative component. Perfecting of performance skills means, first of all, development of perceptive, controlling and directive activity of the nerve-centers, in relation to which, the moving apparatus is an executant; the latter is also developing, but its progress is happening in an absolute unity with the development of the directive functions of the nervous system.18

Such a scientific approach in treating the matters of violin performance is characteristic of Konstantin Mostras. In his book Dinamika v Skripichnom Iskusstve, Mostras expresses his gratitude for the opportunity to consult Professor Nikolai Garbuzov an outstanding Russian scientist, who spent more than thirty years of his life in thorough experimenting trying to prove that any side of musical perception implies the appropriate zone structure, including the perception of

18

Mostras, 8.

13

loudness, tempo, note duration, and musical timbre.19 Garbuzovs ideas play a very important role in another book by Mostras Intonazia na Skripke. Here, Mostras uses the scientists hypothesis of the zone nature of musical pitch in order to explain the differences in intonation of individual players. Mostrass scientific view of violin performance results in a system of practice that is designed to engage the students will, memory, emotions, and imagination and is intended to improve their concentration during practice. The students ability to focus is a very important factor in Mostrass practice system. Increased attention span is one of the important signs of the students progress. Another important mental skill is the ability to distribute attention between several tasks performed simultaneously. The successful learning process is impossible without development of memory. Though Mostras agrees with the axiom repetition is the mother of learning, he underscores the fact that the improvement of a students ability to remember the necessary information greatly depends on his (her) understanding of the final goal of his (her) efforts. Mostras points out the difference between the musical memory and the ability of students to recall the psycho-physical sensations occurring during the process of performance. In the Ritmicheskaya Disciplina Skripacha (Violinists Rhythmic Discipline), Mostras uses exercises that brilliantly illustrate the important role of psycho-physical memory in violin practice. This

Pavel B. Ivanov, Zone Scales as Universal Language of Design http://www.geocities.com/unihl/texts/ld96/ld96.htm (Accessed 6 March

19

2008).

14

memory is employed to reinforce the feeling of a steady beat as it is subdivided in various ways. Mostras uses uniform movements of the bow arm corresponding to the movement of quarter values which become the measurement of time distance (space) . . . on one hand, the basis of measure for any rhythmic group equal to quarter value, and on the other hand . . . initial measurement for the division of each quarter into . . . smaller values.20 The following example was created by the author to demonstrate this technique:

Figure 1. Violin exercise for introduction of the various divisions of the beat.

This approach is very helpful to beginners who are being introduced to the new divisions of the beat, and to the advanced violinists who are working on improving rhythmic stability in their passage playing. The idea can be easily adapted by teachers to their own exercises and also to scales:

20

Konstantin Mostras, Ritmicheskaya Disciplina Skripacha (Moscow, Leningrad: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1951), 27.

15

Figue 2. The use of metro-rhythmic variation principle in scales.

Development of memory and concentration as well as the presence of the willpower necessary for students improvement, are closely related to the teachers ability to ignite a young musicians interest in the artistic goals of music performance. The achievement of these goals depends greatly on the students ability to evaluate their own progress. One of the most important tools in such evaluation according to Mostras is musical pitch. This term in Mostrass writings means more than just the ability to carry a tune. It also refers to musicians ability to hear their own playing with a critical ear, which must be sensitive enough to notice in ones own performance any deviation from the desired standard. Development of such an acute musical ear will prevent the violinist from purely mechanical appropriation of music literature and should become one of the most important goals in the musical development of the students. In order to help the students hear themselves better, Mostras recommends the use of a recording device.

16

He defines this practicing technique as the ideal form of self-control. . . . The systematic use of students recordings during the learning process (in the college environment), has to be looked at as an exceptionally valuable practice that can noticeably affect the whole pedagogical process.21 Development of a sensitive musical ear helps in achieving the ultimate goal of the musicians practice subordination of technical aspects of performance to the artistic goals thereof. Mostras urges violin teachers to convey that to their students from the very start of their musical journey. He suggests engaging childrens imagination in the process by associating the music they are learning with different feelings or thoughts. Mostras insists on the importance of using dynamics at the earliest stages of studying the instrument. Mostras was convinced that the ability to feel the emotional side of music and the desire to express those feelings during performance greatly helps to accelerate the process of learning the material, even from a purely technical standpoint. He believed that emotionally charged playing activates the will of the performer and gives the musician a greater degree of confidence, leading to positive results. Confident playing is also a consequence of proper practice techniques: Such confidence can not be achieved by endless mechanical repetitions and mere memorization, but it is a result of careful selection and perfection of efficient movements.22

21 22

Mostras, Sistema, 12. Mostras, SIstema, 13.

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According to Mostras, a students confidence in his (her) performance skills is directly proportional to the regularity of practice. An effective practice regimen will help the student successfully master both technical and artistic aspects of performance. This regimen should include a sufficient amount of didactic material dealing with different elements of violin technique, raising performance up to a high artistic level of brilliance and perfection.23 In studying musical compositions, the student will have a chance to use the acquired technical skills and subordinate them to the higher goals of musical expressivity. Working on musical compositions will also aid the development of the violinists musical pitch, sense of rhythm and musical sensitivity. Mostras constantly underlines the importance of a clearly structured practice routine. However, he adamantly stresses the fact that no practice system can be efficient unless it is designed to be flexible enough to adjust to the changing process of the students development. As a students musical maturity increases, his (her) participation in the structuring of the practice regiment should become more and more active, eventually becoming his (her) responsibility.

23

Mostras, Sistema, 13.

18

CHAPTER THREE

Home Practice Regimen

When it comes to creating an efficient daily practice schedule for a student, Mostrass first advice is to consider the average or more or less consistent amount of time that the student will be able to devote daily to practicing at home. It is important to schedule time for breaks. These are vital for the development of the underlying musculature and reinforcement of new neural pathways. As a result, to practice three hours a day, the student should have somewhere from three and a half to four hours of time. D. F. Oistrakh recommends to practice twice a day. Y. I. Rabinovich suggests practicing three times a day.24 This distribution of practice into more than one segment yields much better results as it also shortens the length of the break between the practice sessions. Mostras believed that morning practice was the most effective. The practice sessions should be arranged in such a way that they will allow the student to alternate between work on the left hand and on bow arm technique.25 Mostras states that most of the time, the left hand is overworked and becomes tense, whereas the bow arm technique is paid too little attention. Mostras accentuates the importance of the bow arm technique, since it performs the most

24

Mostras, Sistema, 15.

25

Mostras, Konspekty po Kursu Metodiki Obuchenia Igry na Skripke, 1949, Tchaikovsky Moscow ConservatoryLibray, 144.

19

important function of bringing out the sound of the instrument and revealing the efficient work of the left hand.26 Although Mostras insists on the consistency of daily practice, he agrees with David Oistrakh, who considers it permissible to let the intensity of practice decline on a certain day of the week. According to Oistrakh, a day like that can be used for reading solo and chamber music literature. Mostras also points out that after productive and intense work during the school year, it is very important for students to have an opportunity to take a break from violin playing for a month during the summer. Mostras insisted on creating a very specific practice plan for each student. It is important that the plan allows the student an opportunity to work on all the major technical and artistic areas of violin playing daily. For example: I. II. III. IV. Scales and arpeggios Etudes A concert piece A movement from J. S. Bachs Sonatas and Partitas for Violin Solo (or any other polyphonic composition) V. VI. A piece that has been already mastered by the student Material for sight reading Mostras recommends that the students spend from forty minutes to one hour every day working on the first section of this plan. It should include
26

Mostras, Sistema, 16.

20

practicing three-octave scales and arpeggios, double stops (such as thirds, sixths and octaves), as well as spiccato, staccato, detach, legato, martell, and other strokes. Each of those techniques should receive between five and seven minutes of work. Mostras considers it very important for every violinist to work a few minutes on the basic technical skills every day rather than excluding any of those techniques from the practice regimen for a long period. He is convinced that such exclusion will result in diminishing of the violinists technical skills. Such meticulous timing of practice sessions has an important goal: it mobilizes students attention and helps them to be more time-conscious during their practice. If the student is not satisfied with the results of practice in any particular section, he (she) must still go on to the next segment, knowing that there will be another chance to work on that next time. All in all, such a method helps to achieve focus, concentration in practice and the ability to use time wisely.27 It is, of course, understood that the time schedule does not include the time necessary for tuning, rosining the bow, etc. All of that should not be considered as practice, but as preparation for it. Mostras points out the instructional violin literature that can be used in this segment of practice schedule. He highly recommends Carl Fleschs Urstudien (basic studies) for violin. This book is perfectly consistent with Mostrass practice system due to the nature of exercises and the time frame suggested by Flesch.28 In

27

Mostras, Sistema, 17. Mostras, Konspekty, 59.

28

21

order to engage the process of involving the students in organization of their practice at home, Mostras recommends letting them find some of the instructional materials on their own. Helping students to get accustomed to a properly structured practice schedule is a very important task for the teacher. However, as soon as it becomes a habit, such a strictly scheduled practice system can easily lead to purely mechanical, and therefore meaningless, practice. This should be avoided by stressing the importance of setting and achieving specific daily goals. Each days practice should be a logical continuation and development of previous work. At this stage, it becomes imperative to introduce occasional changes in the practice schedule discussed above. Mostras agrees with David Oistrakhs suggestion to deviate occasionally from the customary order of practice by starting it with something other than technical material. Apart from making daily work more exciting, this will prepare the violinist for situations in performance practice when the musician has no time to warm up before playing. However, Mostras stresses the fact that such changes in the order of practice should not become habitual. In the case of a time deficit, Mostras suggests a proportional reduction of the time allowed for every segment in the practice schedule. In this case it is possible to omit the really simple passages. In order to use the available time more efficiently, it is permissible to use the concert repertoire to work on certain techniques, for example to use Motto Perpetuo for working on spiccato, or the thirds in the Paganini Concerto instead of scales.

22

Often the students ask this questionis it necessary to practice every day? To overcome any difficulty, we are aiming in our practice for the most effective adjustability allowing us to overcome this difficulty using the least amount of energy. The search is often long, confusing, arduous, and sometimes leading us away from the desired goal. And possibly that one day of practice we skipped would have been the decisive day of finding the most suitable technique. . . . It is an old and well proven rule of pedagogy: better to practice less but evenly and systematically than try to make up for the missed time.29

The word practice should never be associated with mere playing through the repertoire which makes it more of a game than serious work.30 It is important to prove to the student that the opportunity to play through the entire piece should come after hours, days and in some cases months of serious work. A chance to perform a composition in its entirety becomes a reward for such hard labor. There is a place for playing through a composition during practice, but it must be carefully planned. Teachers who can help their students understand this rule of practice will save their pupils from many serious errors which come as the result of meaningless playing in fast tempos, which many students erroneously believe to be practice. Choosing the right tempo during practice plays a very important role in the learning process. The answer is not as simple as many teachers are making it out to be by simply telling their students to practice slowly when dealing with technically difficult passages. Although slow practice is very helpful, it is not a panacea for

29

Mostras, Sistema,18. Mostras, Konspekty, 145.

30

23

every technical problem. Abram Yampolsky agrees with the usefulness of slow tempo practice, but also explains the necessity of teaching the students the right methods of using slow tempos in practicing: The work in slow or slower tempo is very useful but it should not become mere formality. . . . Practicing in slow tempos should incorporate not only work on intonation and technique, but also on the composition as a whole, including sound, dynamics, style, artistic details.31 Yampolsky stresses the importance of preserving the original rhythm structure of the composition when using slower tempos for practicing as well as incorporating the character of the piece into the process. He also recommends using the technique of gradual acceleration. Acknowledging the necessity of slow practice at the beginning stages of learning a composition, he warns against the use of slow tempos for long periods. This can lead to unnecessary heaviness and noticeably awkward performance in such passages. L. M. Zeitlin, however, finds it necessary to use slow tempo practice not only in learning faster, technically difficult passages, but also with slow works in order to improve the bow arm technique.32 Both of these methods find their place in the practice system of Konstantin Mostras, who considered diversity of practice techniques an important part of violin training. Mostras was aware of the fact that many college level students are very restricted in the amount of time they can devote to practice. He shares some ways

31

Mostras, SIstema, 21. Mostras, Sistema, 22.

32

24

of coping with this common problem, describing the method as practice without the instrument.33 This practice can include studying facts of music history related to the repertoire, score analysis, and conversations with friends who have already studied the piece. It is also very helpful to think through the dynamic plan of performance, tempos, phrasing of the piece, etc. Dealing with all the different issues discussed above, Mostras constantly brings up one factor which, according to him, will be the most decisive in the learning process. This factor is the students self-control, without which even the best system of practice will not provide the desired progress. In fact, its absence often results in the cultivation of such bad habits as lowering of the violin, sliding the bow across the fingerboard, uncontrolled walking during practice, etc. Another habit that interferes with progress is the students familiarity with the teacher. Mostras explains that as the student gets more and more familiar with the teacher, his (her) level of comfort grows: thus the students feeling of responsibility during the lessons loses its edge and can diminish the efficiency of instruction. The pedagogues oft-repeated remarks can become so familiar to the student that they have practically no effect. Here, it is up to the teachers talent and expertise to find imaginative, memorable, and convincing ways to keep the students attention focused on the important tasks of the process. The teachers authority helps to establish an appropriate atmosphere in the classroom when the lesson is perceived by students as preparation for the stage.
33

Mostras, Konspekty, 145.

25

Mostras gives some suggestions that will help the teacher with this task. His advice to the teachers is to let the student perform the piece at the start of the lesson and then let the student discuss the positive and negative aspects of that performance. Only after that should the teacher start commenting on the students playing, bringing to the surface the shortcomings which escaped the students notice. Such an approach to the lesson raises the self-control and responsibility of students, preventing needless talking in the classroom. The teacher should offer the student the opportunity to play through the material at home immediately after each lesson in order to reinforce the received instruction. The pedagogues authority is a very important tool in the education process. However, Mostras warns the teachers against controlling the students to such an extent that they lose their own musical initiative. Any system or method that has such consequences is defective and should be abandoned. By encouraging students musical initiative, the teacher insures their future artistic maturity. This, according to Mostras, is the ultimate goal of music pedagogy. The practice regimen discussed above is tailored to the needs of students at the college level, and differs greatly from Mostrass system designed for beginners. At the very start, he recommends daily practice of thirty minutes with a break after first ten or fifteen minutes. This time should increase to 40-45 minutes, divided into three 15-minute sessions by the third or fourth months of study. In the second year of violin instruction, the student should increase home practice time up to one

26

hour or one hour and thirty minutes. At this point, the home practice should include: I. II. III. IV. V. Scales and arpeggios (15 20 min.) Special exercises for the development of the bow arm (5-10 min.) Exercises for the left hand, such as Schradiek (10 min.) Etudes (15 20 min.) A variety of pieces (20 30 min.)34

Mostras stresses the fact that such a schedule is a suggestion, and should be adjusted according to the specific needs of each student and the experience of the teacher.

34

Mostras, Sistema, 28.

27

CHAPTER FOUR

Methods for Correction of Common Technical Problems

Perfecting of technical skills undoubtedly takes up most of the time devoted to practicing at home; however, this does not imply focusing exclusively on . . . technical tasks. . . . Professional technique only exists for realization of artistic ideas . . . therefore, any technical work should be grounded in the desire to reach the ultimate artistic goal.35 This subordination of violin technique to musical aspects of performance is clearly seen in Mostrass methodology. Mostras constantly reminds the reader that perfect execution of technical tasks is meaningless when it is isolated from the artistic and ideological content of musical composition. In order to keep this idea in perspective during practice time, Mostras recommends that students prepare themselves intellectually before every practice session. Such preparation should include looking through the text of the piece prior to playing it, imagining the desired sound, considering the upcoming technical difficulties and possible ways of overcoming them. This method allows the performers mind to assume a controlling function in the process from the very start, which Mostras considers to be an indispensable condition of a successful practice session.

35

Mostras, Sistema, 27.

28

The ability of a violinist to overcome technical difficulties depends largely on students posture and set-up. Correct posture of the violinist during playing significantly raises the efficiency of his (her) work. The adjustability of muscles and joints used in violin playing is greatly affected by the position and form of the violinists arms, hands, and fingers. For this reason, then, one of the most important tasks of the violin teacher is aiding the student to achieve a correct set-up from the inception of formal studies. Specific examples follow. Some violinists tend to raise their left shoulder during playing. Mostras points out that this unnatural positioning makes the shoulder musculature tense, putting unnecessary pressure on the violin and exhausting available energy stores. This has an unavoidably negative effect on the performance of the violinists left hand. It in turn becomes tense and stiff, preventing the successful completion of many performances. According to Mostras, another serious consequence of raising the left shoulder is the forced irregularity of the musicians breathing. In this case, lowering the left shoulder will help ease unnecessary tension, restoring regular breathing. The amount of energy and muscle tension needed to achieve the desired goals in violin playing varies greatly, depending on the musical and technical demands of each piece or a segment thereof. The quality of the sound will be in direct proportion to the violinists ability to avoid unnecessary tension during performance. The musicians sensitive ear is the best guide in finding the right balance between tension and relaxation.

29

The connection between the technical tasks and sound is evident in Mostrass use of accents to improve technical and musical accuracy in violin playing. Such use of accents is discussed in his book Rhitmicheskata Disciplina Skripacha. As mentioned earlier, accents can be used to insure rhythmic accuracy. Mostras also explores the important role of accents in teaching the art of phrasing. He points out that accenting the stronger beats in the measure at the beginning stages of learning a musical composition helps the pupils to rhythmically coordinate the realization of their musical intentions. He also points out some situations in which the use of accents is necessary due to the nature of the sound generation and propagation from bowed instruments. For example, he points to Beethovens Violin Concerto:

Figure 3. Beethoven. Concerto for Violin and Orchestra, Movement I, mm. 166173.

Mostras suggests accenting the repeated A-sharps to avoid a common problem in violin playing: the violinists repeated notes are often blurred . . . not clearly separated from each other. As a result, the quarter-notes can be perceived by the listener as a single whole note. The use of accents on the repeated notes here

30

helps the violinist perform this important motive according to Beethovens intention.36 In a polyphonic composition, accents can help the performer convey thematic rhythm and emphasize voice leading:

Figure 4. J. S. Bach. Sonata for Violin Solo in G Minor, Movement II, mm. 44-45.

Understanding the proper use of accents can help find the right tempo and character of the piece:

Figure 5. F. Kreisler. Praeludium and Allegro in the Style of Pugnani, 1-13.

In this case, accenting every note helps avoid rushing and maintains the majestic character of the theme.37 On the other hand, using the accents less frequently in faster tempos helps to lighten the stroke and minimizes tension in the bow arm:38

36 37

Mostras, Ritmicheskaya Disciplina Skripacha, 68. Mostras, Ritmicheskaya Disciplina, 77. Mostras, Ritmicheskaya Disciplina, 78.

38

31

Figure 6. The spacing of accents in various tempos.

Mostras agrees that various technical exercises are a very important part of any successful system of practice, as long as they do not become meaningless and absentminded movements of a purely physiological nature. The following examples demonstrate the importance of reasoning in overcoming technical difficulties. Very often the work on shifts in fast passages does not give a satisfactory result because the violinist does not clearly understand the nature of the movements happening in the left hand and fingers. The clarity of the passages in the following example depends mostly on the quality of the consecutive shifts using the first finger. Often, the student will repeatedly play the passage in slow tempo, but will not notice any improvement. In the following excerpt, the key to solving the problem is to keep the first finger on the string after every shift so that in a fast tempo, the finger can glide up the finger board.39

39

Mostras, Systema, 31.

32

Figure 7. H. Ernst. The Last Rose of Summer, Variation 3, mm. 1-3.

Harmonics are an important part of a virtuosic violin repertoire. In the Kolybelnaya (Lullaby) from his Etudes Duets, Mostras provides a fun and practical way of introducing natural harmonics to students. This piece is preceded by an exercise, containing all of the harmonics used in the Lullaby, indicating the note produced by each harmonic. Such an approach successfully eliminates most of the confusion that usually accompanies the introduction of harmonics to beginners.

Figure 8. K. Mostras. Exercise no.35 in EtudesDuets for Two Violins.

33

When working on false harmonics, Mostras recommends practicing the movements of the first finger alone, adding the fourth finger later. It is also important to use vibrato sparingly in such passages. Often, in spiccato passages, slow repetitions do not lead to any improvement of the stroke. However, when performed on the open strings, spiccato comes out perfectly. This indicates that uneven movement of the fingers in the left hand is the reason for this problem. Concentrating on the precision of left-hand technique will greatly improve the quality of the passage. Very often in violin performance, the musician has to execute several challenging technical tasks simultaneously. A well-known passage from J. S Bachs Praeludio from Partita in E Major contains various difficulties for the left hand and bow arm:

Figure 9. J. S. Bach. Partita for Violin Solo in E Major, Movement I, mm. 17-22.

Mostras recommends practicing the stroke using just open strings in order to master the string changes, and then working on the intonation by converting the passage into double stops.

34

The violin literature is full of compositions which require extreme stretching of the left hand. Mistakes in dealing with technical difficulties of that sort can lead to very serious consequences, including extreme tension in the left hand and fingers causing very painful sensations in joints and muscles. When performing such intervals as tenths, elevenths, etc., inexperienced violinists often try to reach into the higher position with the fourth finger alone, leaving the hand and the rest of the fingers in the lower position. Mostras points out that the correct way of executing such intervals is by placing the hand in the higher position or at least between the positions that are encompassed within the interval, and then reaching with the first and other fingers down, until the lowest note of the interval is reached. Mostras gives another interesting insight into the matters of the left hand technique using Tartinis Devils Trill:

Figure 10. G. Tartini. Sonata Trillo del Diavolo, Movement II mm. 9-18.

Trying to show off their virtuosity, violinists usually try to squeeze as many notes into the trill as possible. Unfortunately, this happens to the detriment of the following note, which becomes significantly shorter, and the trill itself sounds

35

awkward and heavy. Instead, Mostras recommends focusing attention on the correct rhythmic execution of the note following the trill, lifting the finger as actively as possible, pretending to tear it off the string at the end of the trill. As in many other situations, Mostras finds the solution to this technical problem in the musical content of the composition. David Oistrakh adds an important comment about working on the technical matters mentioned above. After working on a particularly difficult excerpt, it is important to start incorporating it into the context of the whole composition by connecting it to the previous measures. This will prepare the nerve-centers and moving apparatus to respond to the difficulties in the situation close to the real performance environment.40 Besides purely technical problems of violin performance, Mostras discusses matters that deal with its mental and psychological aspects. The controlling function of the violinists mind can sometimes become a hindrance to a successful performance. The violinists will plays a very significant part in the performance it becomes its engine. However, it can also breed extreme anxiety during performance in a form of nervous anticipation of the upcoming difficulties. Mostras definition of this phenomenon can be translated into English as premature awareness or consciousness.41 Such an act of the violinists will results in fear of performance, and leads almost inevitably to the destructive

40

Mostras, Sistema, 34. Mostras, :Konspekty, 141.

41

36

speeding through the most difficult passages. The converse phenomenon is what Mostras defines as belated awareness or consciousness.42 This problem occurs when the performer lacks the necessary concentration, and is manifested in an inability to prepare for the upcoming difficult passages as well as a failure to execute them correctly. The pre-performance anxiety magnifies the psychological challenges of performance and affects the technical level of it. David Oistrakh recommends switching the focus of the student right before the performance, when it is necessary to distract him from justified anxiety and fear for the fate of one or another passage; in this case, the teacher should direct the students attention to the sound, tempo, dynamics . . . to the artistic side of the performance.43 Oistrakh also warns students against the bad habit of focusing exclusively on the technically difficult passages during practice, which is manifested by skipping or merely playing through the passages of cantilena, considering them too easy to practice. According to Oistrakh, such an approach ignores the melodic content of the composition which most of the time is the central element of a piece. Besides, Oistrakh states that cantilena, melody, [and] singing are the most challenging kinds of violin technique.44

42

Ibid. Mostras, Sistema, 36. Mostras, Sistema, 37.

43

44

37

The various problems discussed in this chapter do not include all the difficulties described by Mostras in his pedagogical writings. They are just samples of this pedagogues phenomenal expertise. He strongly recommends the extraction of difficult passages from the content of the piece and studying them separately at the beginning stages of learning the piece. However, as soon as it becomes technically possible, the performer should start putting those parts together in order to insure the progress of the piece as a whole. As was mentioned earlier, the violinists practice plan should include time for playing through the pieces in their entirety without stopping and correction of mistakes.

38

CHAPTER FIVE

Recommended Technical Materials

Technical materials that violinists use for practice include scales, arpeggios, various exercises (Schradeick, Schevchik, Flesch, etc.) and etudes. Scales, arpeggios, and other exercises that do not have artistic value, help violinists concentrate on improving and mastering the basic movements used in violin playing, which are later incorporated into more advanced technical skills in concert repertoire. The value of etudes lies in their transitional position between a purely technical material and a musical composition. Etudes give students the opportunity to use their newly acquired technical skills as a means of achieving certain (usually limited) musical goals. It is a well known fact that scales and arpeggios are indispensable for achieving technical proficiency in violin playing. Most violin teachers consider studying and practicing scales and arpeggios the main component of students technical development. In his Konspekty po Voprosu Metodiki Obucheniya Igre na Skripke (Notes for the Violin Method and Performance Course), Mostras comments on the use of scales in violin pedagogy: The importance and obvious usefulness of scales becomes more clearly understood when the study of such includes a necessary variety of methods. This variety can be expressed in the mandatory alternation of tonality, change of speed, fingerings, variation of strokes, dynamics, etc. . . . Scale study should help improve, even out and enrich the tone. However,

39

the sound quality is often ignored during scale practice. . . . In all, scales are the organizing material for achieving the expressive, resonating technique.45 The repetition of the same notes in different octaves is one of the specific challenges of performing scales and arpeggios on the violin. Mostras considers this technique to be one of the most important tools in improving the technical skills of violin students. At the same time, the difficulty of performing scales well on the violin and their unmusical nature make it very difficult for teachers to help their students appreciate this indispensable component of successful violin practice. In order to communicate the importance of scales and arpeggios, Mostras suggests pointing out to students the examples from music literature that demonstrate how composers incorporate these elements into their musical language:

Figure 11. L. van Beethoven. Concerto for Violin and Orchestra, Movement I, mm. 88-103.

45

Mostras , Konspekty, 147.

40

When discussing Mostrass approach to introducing scales to beginners, it is necessary to consider the uniqueness of the music education system as it existed in the Soviet Union. Most of the time, music was taught through the local or central music schools. These provided a whole complex of musical disciplines, among which were the study of piano as the secondary instrument, choir, and music theory, and, later, harmony. The process of studying scales, therefore, was very expedient, allowing the teacher to concentrate on the purely technical aspects of scale playing. Mostras highly recommends using tetrachord transposition and finger patterns at the beginning stages of scale studies. He advises teachers to play a second voice along with their students, assisting them to hear the harmonic possibilities of scales. Such collaboration also brings an element of musical fun into this dry technical material, making it more interesting and enjoyable for the student. The same is true of the use of different strokes, dynamics and varied rhythmic groupings in scale studies. Mostras recommends using scale systems which are organized according to the needs of students at different levels. For beginners, he suggests using scales written not in sixteenths but in quarter-note values, which more accurately reflect the speed of playing at this stage. The range of scales should increase proportional to the technical progress of the violinist. The subject of the fingering of scales often breeds tedious arguments among teachers. It is probably impossible to find two books of scales which would be in

41

complete agreement on this matter. There are, however, certain guidelines that can be followed in order to provide the most efficient use of this technical element. Scales by Bostanjoglo have finger patterns that Mostras finds very helpful:

Figure 12. M. Bostanjoglo. Two-Octave Scales and Arpeggios for Violin Based on the Principle of Related Finger Patterns, p. 33.

Using the same finger on the structurally important beats helps establish a connection between the fingerings and the rhythmic pattern. An understanding of such a connection helps deal with many difficult passages in violin literature.

Figure 13. P. Tchaikovsky. Concerto for Violin and Orchestra, Movement I, mm. 97-98.

42

Focusing attention on the fingers used on the first, second, and third beats guide the left hand in the correct rhythmic execution of the passage:46

Figure 14. K. Mostras. Coordination of fingerings and rhythm in fast passages in SIstema Domashnich Zaniatii Skripacha, p. 44.

An important part of proper scale execution is rhythmic stability. This depends on the strength and independence of left hand fingers. Double stops greatly help to develop such independence, especially when practiced with the use of dotted rhythm. In his book Intonazja na Skripke: Metodichesky Ocherk. Materialy po Voprosu o Skripichnoi Intonazi, Mostras gives double stops an important place in improving violinists intonation. When tuning different intervals, he recommends comparing those to the tonic of a given key. Combining certain kinds of intervals in a scale or an exercise can greatly improve the intonation of double stops:

46

Mostras, Sistema, 44.

43

Figure 15. K. Mostras, Exercise no.31 in EtudesDuets for Two Violins.

Alternating the sixths and the sevenths . . . eliminates the necessity of transferring the fingers over the strings, making it possible to establish better intonation in sixths.47 The following exercise from EtudesDuets makes use of such technique:

Figure 16. K Mostras, Exercise no.29 in EtudesDuets for Two Violins.

47

Mostras, Intonazia, 33.

44

Mostras points out the necessity of studying chromatic and whole-tone scales as well as whole-tone triads. His EtudesDuets contain very creative exercises using those elements:

Figure 17. K. Mostras, Exercise no.38 in EtudesDuets for Two Violins.

The musical imagination and pedagogical genius of Konstantin Mostras are brilliantly expressed in his EtudesDuets for Two Violins and Caprices for Violin. Mostras found the etudes very important for the progress of violin students. The manifold purpose of etudes, according to Mostras, includes: I. Development and strengthening of the technical foundation necessary at the highest levels of violin performance. II. Development of certain technical skills found in concert repertoire.

45

III.

Obtaining a technical reservetechnical skills exceeding the difficulty of presently studied repertoire.48 In the section of Sistema Domashnich Zaniatii Skripacha dealing with etude

literature, Mostras discusses and highly recommends etudes of such well known authors as Kretzer, Mazas, Dont and others. However, this author will limit discussion of the subject to the etudes and caprices composed by Mostras himself. The analyzed works will include compositions from his book of EtudesDuets for Two Violins, Volume II and Caprices for Violin. The amazing creativity demonstrated in EtudesDuets was discussed earlier in connection with specific examples. It is important to understand that the exercises in this book are designed to illustrate the main difficulties in the etudes, making the study of the latter more productive. In this book of etudes and exercises of intermediate level, Mostras explores a great variety of technical and musical difficulties found in the violin repertoire. Here the teacher can find the great variety of strokes, rhythms, double stops, plus the elements of chromatic and whole-tone scales. All of Mostrass etudes demonstrate the most important principle of his pedagogy: the subordination of technical means to artistic goals. Each of them has a very distinctive musical character which is achieved through the use of particular techniques. Many of his Etudes have descriptive titles: No. 25 Aria. No. 26 Siciliene, No.32 Capriccio, No.33 Melody, the above-mentioned Lullaby
48

Mostras, Sistema,25.

46

No.35,etc. We are repeatedly reminded that The main function of music is expression. Through the expression of emotion, music unlocks the possibility of expressing matters that are much deeper than emotions.49 EtudesDuets present perhaps the most adventurous exploration of the first position on the violin. Although limited to such a narrow range in the first violin part (the second part goes up to the third position), these works introduce the student to a wide range of violin techniques. The composers use of technique to convey the distinctive imagery of each etude is remarkable. In the Capriccio (no. 32), Mostras uses the contrast of legato and marcato to convey the resolute and aggressive character of the music. The frequent placement of accents on the last beat of the measure, combined with richly chromatic tonal language, reinforce that effect. The rhythmic challenge of the study is to resist the temptation to rush during the execution of marcato. The second violin part contains alternated eighth notes and rests contrasted with double stops in quarters and half-notes that help to achieve that purpose. The Lullaby (no. 35) is one of the most beautiful pieces in this book. Such a use of harmonics is perfectly suitable for a childs piece. The feelings associated with such a memorable childhood experience as falling asleep in ones mothers arms help to ignite the young performers imagination. It takes them away from the worries and confusion associated with the performance of harmonics, and gives students the confidence necessary for their successful execution. The second
49

Mostras, Mostras , Konspekty, 150.

47

violin part in sustained double stops is extremely difficult, since it has to be tuned to the harmonics in the first violin part. The Patrol (no. 39) starts with the ascending fourths, alternating in each voice, imitating a patrol call. This immediately creates within the performers mind an image of marching soldiers, awakening the sense of steady rhythmic motion associated with that image. The main didactic goals of the etude include learning to use contrasting articulation, chromaticism, extreme range of dynamics and more. Such an approach to violin technique was demonstrated in the earlier chapters of this study as a part of Mostrass violin method. His etudes illustrate the consistency of his theoretical works with his practical pedagogy. The simple imagery and musical effects achieved by means of certain techniques demonstrate the pedagogical genius of Mostras as well as his considerable compositional talent. Mostras had a special pedagogical talent for incorporating the elements of fun and adventure into his teaching methods. Doing so engaged his students emotions, enhancing the intellectual component of learning. He had an acute understanding of the connection between the emotional involvement of the students in the process of practice or performance and the quality of their work:

Often . . . intonation of the student is directly dependent on his interest in the material being performed. For example, the student is inclined to view scales and exercises as a compulsory and boring segment of daily practice. . . . The result of such generally passive attitude and lowered auditory concentration of a student is unsatisfactory intonation. But with the increase of musical interest, especially during performance of a piece,

48

the students intonation and sound take on more orderly and lively character. This fact reminds [us] of the necessity of finding systematic ways to animate the student and activate his attention even in scales.50

The book of Caprices for Violin contains some extraordinarily virtuosic violin compositions. These require the same level of technical proficiency as the works of Paganini, Ernst and Ysae. One of Caprices was analyzed by Rok Klopi. Klopi finds this Caprice very helpful in intricate matters of violin virtuosity: Velocity is one of the most important elements of violin technique and depends not only on the rapidity of fingers on one string but also on the skill of moving them across the stringor stringswith speed and security to exactly the right spot, resulting in pure intonation. This skill is given a thorough workout in Caprice no.5 [sic] by Konstantin Mostras. The study is taken from Mostrass set of seven caprices, published in Moscow and Leningrad in 1951.51 Klopi points out that dealing with the matter of lateral finger movements has been avoided by some very prominent violinists, such as Carl Flesch and Henryk Szeryng, making Mostrass study of those even more significant: Still, we cannot avoid lateral movements in music where theres a series of three- and fourvoice chords. So while thinking and deciding about fingerings, we ought to have a more balanced view about the suitability of lateral movements.52 Klopi also

50 51

Mostras, Intonazia, 25. Rok Klopi, Double Trouble, Strad 117 (May 2006): 54. Klopi, Double Trouble, 55.

52

49

points out the importance of the method of metro-rhythmic variation, used both by Mostras and his eminent student Ivan Galamian. In his seven Caprices, Mostras uses the tonal language of each piece to address many weaknesses of violin players in the area of intonation. Caprice no.1 is based upon whole-tone scale and its triad, expressed in a single-voice line or various double stops:

Figure 18. K. Mostras Caprice no.1, mm. 20-29.

The key motives of Caprice no.2 are based on the intervals of fourth and fifth:

Figure 19. K. Mostras. Caprice no.2, 1-6.

50

The tonal language of Caprice no.7 is designed to prepare the violinist for works by Ysae and Bartok:

Figure 20. K. Mostras. Caprice no.7, mm. 6-18.

Mostras remains true to his rule of diversity in every area of violin teaching. In the same book of Caprices, we find the compositions written in a truly Romantic tonal language and character. Even here, however, he finds place for some unusual

51

sonorities and double stops, such as the passage of parallel minor sevenths in Caprice no. 5:

Figure 21. K. Mostras. Caprice no.5, 186-94.

Mostrass use of various rhythms, strokes, dynamics, articulation, etc. is remarkable. All of those pursue clearly defined technical goals, the achievement of which will propel the student to the highest levels of proficiency on the violin. Ever true to his pedagogical principles, Mostras artfully includes this technical challenge into the most enjoyable musical forms. The graceful Chopinesque virtuosity of Caprice no.3 takes this composition far beyond the purpose of mere didactic material. Caprice no.4 has a very aggressive, almost militant character that will stand out at any recital or concert. The contrasting main themes of Caprice no.5 stir the imagination with their expressivity and drama. The striking melodies, dramatic contrasts, and technical virtuosity of the solo violin idiom make these Caprices perfect encore pieces that deserve to be performed and appreciated by violinists and audiences around the world.

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Analysis of the exercises and etudes composed by Mostras assists in an understanding of the most important reason for his success as a pedagogue. Mostrass practical teaching was perfectly consistent with the pedagogical theories expressed in his writings. This consistency is evident in such features of the abovementioned compositions and exercises: the diversity of metro-rhythmic patterns and various strokes; the sufficient degree of difficulty necessary for the development of technical foundation fit for professional performance at the highest levels; the use of techniques and tonal languages found in the concert repertoire; the composers preference for rarely used patterns in passages, double stops and chords which activate the students intellect during practice time; but most important, the subordination of technique to the artistic and musical aspects of violin playing.

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SUMMARY

The multifaceted talents of Konstantin Mostras discussed in this study remain largely unknown to English-speaking violinists today. The author deeply desires that the information contained in this paper will help the reader appreciate Mostrass significant contribution to the field of violin pedagogy. The wealth of information available from the sources researched during this study demonstrates the need for further research in this area. The publication and dissemination of these findings could make Mostrass valuable expertise in modern violin pedagogy available to a world-wide audience. Such research would be of particular value to the American violin school already greatly influenced by the ideas of Ivan Galamianthe eminent student of Konstantin Mostras. With violin pedagogy currently the subject of intense research in the United States, such a study could open a door into an area of expertise too long neglected by American violinists. The teachings of Konstantin Mostras are part of an era often referred to by Russian critics as the Era of Soviet Realism. During that era, Mostras worked in the Moscow Conservatory with such eminent pedagogues as A.Yampolsky, I.Zeitlin, Y. Yankelevich, G. Neigauz, and others. The limitations of this study do not allow the author to demonstrate the important achievements of Russian music educators during that period. This would have given the reader an even deeper understanding of Mostrass teachings. Further research into the life and works of

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Konstantin Mostras as well as his eminent colleagues of the Soviet Realism era should be urged. It could give valuable insight into the main ideas of music education in Soviet Russia, many of which continue to influence the contemporary American violin school. The author cannot overstate the importance of getting the complete works of Mostras translated into English and disseminated throughout the worldwide violin performance community.

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SELECTED BIBLIOGRAPHY

Books

All titles in parentheses are translated into English by this author.

Asafiev, Boris. Izbrannye Stati (Selected Articles). Moscow-Leningrad, 1952. Auer, Leopold. Violin Playing as I Teach it. New York: Dover Publications, Inc., 1980. Belza, Igor. Ocherki razvitia Cheshskoi Muzykalnoi Klassiki (Essays on the Development of Czech Classical Music). Moscow, 1951. Galamian, Ivan. Principles of Violin Playing & Teaching, 3d ed. London: Prentice Hall, Inc., 1985. Garbuzov, Nikolai. Zonnaya Priroda Dinamicheskogo Slucha (The Zone Nature of Dynamic Hearing). Moscow: 1955. Garlizky, Michail, Z. G. Kaz, and K.A Fortunatov. Programma po Klassu Skripki dla Detskich Musykalnych Shkol (The Violin Class Curriculum for Childrens Music Schools). Moscow: Sovetskaya Rossia, 1963. Maikapar, Samuil. Muzykalny Sluch, ego Znachenie, Priroda, Osobennosti i Metody ego Pravilnogo Razvitia (Music Pitch, its meaning, nature, special characteristics and correct methods of its development), 2d ed. P., 1915. Mostras, Konstantin. Dinamika v Skripichnom Iskusstve (Dynamics in the Art of Violin Playing), Moscow: Muzgiz, 1956. . Intonazja na Skripke: Metodichesky Ocherk; Materialy po Voprosu o Skripichnoi Intonazii (Intonation on the Violin: Methodolgy Essay: Materials on the Subject of Violin Intonation), 2d ed. Moscow: Muzgiz, 1956. . Pedagogicheskyi Repertuar dla Skripki i Fortepiano: Pervaya Stepen Trudnosti (Didactic Repertoire for Violin and Piano: First Stage of Difficulty). Moscow, 1938.

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Mostras, Konstantin. Programmy Specialnych Disciplin Orkestrovogo Faculteta Konservatorii (Major Discipline Curriculum for the Orchestra Department of Music Conservatory). Moscow, Leningrad, 1946. . Ritmicheskaya Disciplina Skripacha: Metodichesky Ocherk (Violinists Rhythmic Discipline: Methodology Essay). Moscow, Leningrad: Muzgiz, 1951. . Die rhythmische Disziplin des Geigers: ein methodischer Abriss (Violinists Rhythmic Discipline: Methodology Essay). Leipzig: Breitkopf & Hrtel, 1959. . Sistema Domashnich Zaniayj Skripacha: Metodichesky Ocherk (A system of home studies for the violinist: Methodological Essay). Moscow: Muzgiz, 1956. . Uchebnye Programmy dla Detskich Musykalnych Shkol (Curricula for Childrens Music Schools). Moscow, Leningrad: Iskusstvo, 1945. . 24 Kaprisa dla skripki Solo N. Paganini: Metodicheskie Kommentarii (24 Caprices for Violin Solo by N. Paganini: Didactic Commentary). Moscow: Muzgiz, 1959. and Przysta Czeslaw. Intonacja w gize skizypcowei: szkic metodyczny (Intonation on the Violin: Methodology Essay). Warszawa: Polskie Wydawnictwo Muzyczne, 1958. and Karl H. Krmer. Die Intonation auf der Violine: eine methodische Skizze: Materialsammlung zur Frage der Intonation auf der Violine (Intonation on the Violin: Methodolgy Essay. Materials on the Subject of Violin Intonation). Leipzig: F. Hofmeister, 1961 and Mao Yukuan. Xiao ti qin yan zou yi shu de lid u (Dynamics in the Art of Violin Playing). Xianggang: Nan tong tu shu gong si, 1956. Reitich, Michail, N. B. Sokolov, and B. B. Borisovsky. Specialnyi Klass Skripki, Specialnyi Klass Alta: Programmy dla Detskich Musykalnych Shkol (Violin Major Class; Viola Major Class: Curricula for Childrens Music Schools).

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Stowell, Robin, ed. The Cambridge Companion to the Violin. Cambridge: Cambridge University Press, 1992. Struve, B. A. Vibrazia, kak ispolnitelsky navyk igry na smytchkovych instrumentach (Vibrato as a skill of performance on bowed instruments). Moscow Leningrad, 1933. . Puti Nachalnogo Razvitia Yunych Skripachei i Violoncelistov (The Beginning Stages of Development of Young Violinists and Cellists), 2d ed. Moscow, 1952. Tchaikovsky, Peter. Musykalno-Kriticheskie Stati (Music Critique Articles). Moscow, 1953.

Articles

Agarkov, O. and K. Rodionov. Konstantin Georgievich Mostras: ScripatchPedagog (Konstantin Georgievitch Mostras: Violinist-Pedagog). Trudy Muzykalno-Pedagogicheskogo Instituta im. Gnesinych 14, (1974): 56-86. Klopi, Rok. Double Trouble. Strad, 117 (May 2006): 54-55. Ludi Peredovogo Iskusstva (Leaders in the Arts). Sovetsky Muzykant, 7 November 1940. Lukansky, L. Primer dla Molodozhi (Example for the Youth). Sovetsky Muzykant,1 May 1940. Mostras, Konstantin. Blestashie Muzykanty (Brilliant Musicians). Sovetsky muzykant, 20 November 1939. . I vso zhe Ya Ozhidayu ot Vas Bol shego! Pismo k Molodomu Drugu: O Sovetskom Ispolnitelskom Stile (But I Still Expect More from You! A letter to the Young Friend: On the Soviet Performance Style). Sovetsky Muzykant, 18 March 1939. . Pedagog I Muzykant: Pamati Borisa Sibora (Pedagogue and Musician: In Memory of Boris Sibor). Sovetsky Muzykant, 20 September 1961.

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Mostras, Konstantin. Sozdat Pedagogichesky Repertuar: Navstrechu Vtoromu Bsesouznomu Sezdu Kompositorov (Creating the Pedagogy Repertoire: Toward the Second All State Conference of Composers). Sovetskaya Kultura, 21 March 1957. . Talantlivaya Smena: K Itogam Vsesoyuznogo Konkursa Skripachei i Violonchelistov(Talented Generation: On the Results of the All State Competition of Violinists and Cellists). Sovetskoye Iskusstvo, 17 November 1937. . Tenevye Storony Detskogo Muzykalnogo Professionalizma: Po Povodu Smotra Unych Muzykantov-Ispolnitelei 21-27 Aprela 1937 g. v Moskve (The Darker Sides of Chidrens Professional Performance. The Young Musicians Showcase in Moscow: April 21-27, 1937). Muzyka,6 May 1937. . V Nepreryvnyh Tvorcheskih Iskaniah. David Feodorovich Oistrakh (In a Constant Artistic Search. David Feodorovich Oistrakh). Sovetsky Muzykant, 7 November 1940. and David Oistrach. K Voprosu o Redaktzii Muzykalnych Tekstov; Vopros ob Otnoshenii k Avtorskomu Textu (Concerning the Matters of Music Editing; A Question about the Proper Treatment of Authors Text). Sovetskaya Muzyka 5, (1951): 84-96. and Leonid Ginsburg. Pamati B.A Struve (In Memory of B.A Struve). Sovetskaya Muzyka 2, (1947): 92. Nazarevsky, Pavel. Konstantin Georgievich Mostras. Znama Kommuny, March 1939. Sibor, Boris. Nashi Slavnye Ubilary (Wonderful Anniversaries). Sovetskoye Iskusstvo, 30 May 1938. 6

General References

Keldysh, V. M., ed. Muzykalnaya Encyclopedia, 6 volumes. Moscow: Sovetskaya Encyclopedia, 1976. Smirnitsky, A.I. and O. S. Akhmanova, eds. Russko-Angliisky Slovar. 16th ed. Moscow: Russky Yazyk, 1992

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Unpublished Materials

Mostras, Konstantin, ed. Konspekty po Kursu Metodiki Obucheniya i Igre na Skripke, Tom I (Notes for the Violin Method and Performance Course, Volume 1). 1949. , ed. Razvitiye Techniki Pravoi Ruki Skripacha (Development of the Violinists Bow Arm). 1962.

Electronic Media

Schwarz, Boris and Margaret Campbell. Galamian, Ivan (Alexander). Grove Music Online. Ed. L. Macy. Accessed 20 February 2008. Available from http://www.grovemusic.com. Internet. Yampolsky, I. M. Mostras, Konstantin (Georgiyevich). Grove Music Online. Ed. L. Macy. Accessed 29 February 2008. Available from http://www.grovemusic.com. Internet.

Scores

Bach, Johann Sebastian. Concerto in D minor for violin and piano. Edited by Robert Reitz, Konstantin Mostras and Waldo Lyman. New York: International Music, 1950. Chausson, Ernest. Poema dla Skripki s Orkestrom: Perelozhenie dla Skripki i Fortepiano Avtora (Poem for Violin and Orchestra: Arranged for Violin and Piano by the Author). Edited by Konstantin Mostras. Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1953. Debussy, Claude. Youthful Suite forViolin and Piano. Arranged by Konstantin Mostras. Moscow: Muzgiz, 1957. Gedike, Aleksandr, Konstantin Mostras, Aleksandr Harutunian, A. Efimov and A. Maksimenko. Piesy Sovetskich Kompositorov dla Truby i Fortepiano (Pieces by Soviet Composers for Trumpet and Piano). Moscow: Izdatelstvo Muzyka, 1977.

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Glier, Reinhold. Konzertnoye Allegro dla Skripki s Orkestrom (Concert Allegro for Violin and Orchestra). Edited by Boris Liatushinsky and Konstantin Mostras. Moscow: Gosudarstvennoye Izdatelstvo Muzyka, 1963. Khachaturian, Aram. Dva Tanza iz Baleta Spartak (Two Dances form Ballet Spartak). Arranged by Konstantin Mostras. Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1956. Lobachev, Grigorii. Armianskaya Narodnaya Pesnia Dzhan Maral.Uzbekskaya Narodnaya Pesnia Besna (Armenian Folk Song Dzhan Maral, Uzbek Folk Song Besna). Edited by Konstantin Mostras.Moscow: Gosudarstvennoe Muzykalnoye Izdatelstvo, 1951. Mostras, Konstantin. Esquisse: no.2 for solo violin. London: The Strad, 2006. . Etud na Temu N.A. Rimskogo-Korsakova: dla Klarneta i Fortepiano (Etude on a Theme by N.A. Rimsky-Korsakov: for Clarinet and Piano). Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1954. . Preludii dla Skripki solo i dla Skripki s Fortepiano (Preludes for violin solo and violin with piano accompaniment). Moscow: Muzgiz, 1963. . Vesennaya Pesnya: dla Truby i Fortepiano (Spring Song: for Trumpet and Piano). Leningrad: Muzgiz, 1963. . Vosem Etudov dla Odnoi Skripki (Eight Etudes for Violin Alone). Mscow: Gosudarstvennoye Izdatelstvo, Muzykalnuy Sektor, 1929. , G. Litinskii and M. Krein. Piesy Sovetskich Kompositorov: dla Skripki i Fortepiano (Pieces by Soviet Composers: for Violin and Piano). Moscow: Muzyka, 1967. and Grigorii Lobachev. Tatarskaya Suita: Pesni i Tanzy Krymskich Tatar dla Skripki i Fortepiano (Tatar Suite: Songs and Dances of Crimean Tatars). Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1941. , Mikhail Glinka, Anatoly Liadov and Nikolai Miaskovsky. Fugi Russkich Kompozitorov (Fugues by Russian Composers). Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1956. and Vissarion Shebalin. Parafrazy na Venezianskii Karnaval G. Ernsta:dla Skripki i Fortepiano (Paraphrase of G. Ernsts Venician Carnival: for Violin and Piano). Moscow, Muzgiz. 1937.

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Scott, Cyril. Tri Miniatury (Three Miniatures). Arranged by Konstantin Mostras. Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo, 1957. Tchaikovsky, Peter. Concerto in D major, opus 35, for violin and piano. Edited by David Oistrakh, and Konstantin Mostras. New York City: International Music Co, 1956.

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