The Art Of Violin Playing

A monumental undertaking, this translation of Carl Flesch's essential The Art of Violin Playing, by Eric Rosenblith, was eagerly awaited by teachers and students of the violin throughout the English speaking world. Mr. Rosenblith, a student of Carl Flesch and for 25 years, chairman of the String Department at the New England Conservatory of Music in Boston, Massachusetts, has provided a version of Flesch's original 'treatise' that preserves all the essential basic concepts, but presents them in more contemporary and idiomatic English. Hand diagrams and a table for the consistent use of bowing and fingering symbols have been added. The range of material covered by this massive book is enormous: Body Posture, The Left Arm (positions & fingerings), Vibrato, Bowing (including all varieties of strokes), Tone Production, Musical Memory and much, much more. The range of musical examples is huge and covers excerpts from the works of all the master composers for the violin from Bach and Tartini to Suk and Reger. There is also a foreword by superstar-violinist, Anne-Sophie Mutter, that is a very heartfelt appreciation of the extraordinary position that Flesch and The Art of Violin Playing, Vol. 1 occupies in the education of string players. See Book Two Here

A monumental undertaking, this translation of Carl Flesch's essential The Art of Violin Playing, by Eric Rosenblith, was eagerly awaited by teachers and students of the violin throughout the English speaking world. Mr. Rosenblith, a student of Carl Flesch and for 25 years, chairman of the String Department at the New England Conservatory of Music in Boston, Massachusetts, has provided a version of Flesch's original 'treatise' that preserves all the essential basic concepts, but presents them in more contemporary and idiomatic English. Hand diagrams and a table for the consistent use of bowing and fingering symbols have been added. The range of material covered by this massive book is enormous: Body Posture, The Left Arm (positions & fingerings), Vibrato, Bowing (including all varieties of strokes), Tone Production, Musical Memory and much, much more. The range of musical examples is huge and covers excerpts from the works of all the master composers for the violin from Bach and Tartini to Suk and Reger. There is also a foreword by superstar-violinist, Anne-Sophie Mutter, that is a very heartfelt appreciation of the extraordinary position that Flesch and The Art of Violin Playing, Vol. 1 occupies in the education of string players.