Written by a distinguished
player and teacher, this book by Max
Rostal (1906-1991) can be viewed as
a series of ten master-classes in book
form, each class devoted to one of the
violin sonatas of Beethoven. In addition
there is an introductory chapter consisting
of densely packed information on "General
Principles". This includes discussion
of musicological matters such as repeat
markings, and playing issues such as
fingering and bowing, and agogics –
if you know what that is.
The book is aimed at
violinists who play, or who aspire to
play, these important works of the chamber
repertory. It would also be of use to
accompanying pianists. There is a postscript
chapter "from the Pianists Point of
View" by Günter Ludwig that mostly
concentrates on pedalling practice.
This English translation
was printed in 1985 and the fact that
retailers, 21 years on, are still trying
to shift copies, one can conclude that
the publisher, Toccata Press was over-optimistic
about sales. I suspect a misjudgement
was made; that the book would have appeal
beyond Beethoven sonata-playing violinists.
The key is in the subtitle: "Thoughts
on their Interpretation". These thoughts
are a discussion – frequently bar by
bar – of playing issues that are often
well illustrated with music examples
but the book cannot be read without
the scores at hand. This is a manual
for specialists yet, even now, Toccata
Press is declaring desperately and dubiously
on its website that the book "is a ‘must’
for all lovers of Beethoven".
I am not a violinist
so the book is not of practical use
to me but I did find it interesting
– sometimes amusing –in terms of teaching
technique and what it implies about
Rostal the man. On the evidence of the
book Rostal was of the "this is how
you do it" school. Many pupils respond
to this approach, especially when taught
by a distinguished player with a wealth
of experience to impart. But some do
not. A good illustration of this can
be seen in Bruno Monsaingeon’s moving
documentary film about David Oistrakh.
Oistrakh had a great reputation as a
teacher and for years was on the staff
of the Moscow Conservatory. There are
clips of Oistrakh teaching and it is
very much, "watch me – this is how it’s
done". One of his greatest pupils was
Gidon Kremer who, when interviewed for
the film, makes it quite clear, in spite
of being as tactful as he can, that
he found the teaching style stifling
and seems to harbour some resentment
about it. Some teachers have the knack
of recognising that there are players
who have a real need to develop their
own personalities and allow them to
do so. This does not seem to have been
the way with either Oistrakh or Rostal.
A theme running through
the book is to point out how often most
violinists get it wrong. He is repeatedly
"astonished" at this. For example: "It
is astonishing how often the secondary
theme ……. is wrongly phrased by most
players". Pianists are not immune: "It
is astonishing how many pianists make
a cresc …which is not justified".
In fact it astonishing that towards
the end the book he still remains astonished
by such malpractice. But none of this
need detract from the importance of
a book which contains within its pages
a lifetime of distilled practical wisdom
gained from the constant study, pondering
upon and playing of these works. Before
he died, Rostal had acquired a considerable
following and both this respect for
others and his unshakeable belief in
himself – bordering on conceit – is
well illustrated in the following passage:
"I prefer this last bowing which I myself
and my students (and now, too, my ‘violin
grandchildren’) like to use also in
other works. Thus it has come about
in the course of time that this type
of bowing became associated with myself
and has entered the world of violinists
as Rostal bowing".
Among admiring pupils
were members of the Amadeus Quartet
and they provide a glowing preface to
the book which bears facsimiles of their
signatures.
I would have thought
that no Beethoven-playing violinist
could afford not to have this book on
their shelves. For any that do not have
it, at least a "new" copy of this 1985
publication can still easily be purchased.
John Leeman
