THE DANGER OF PRACTICING TOO MUCH.
TECHNICAL MASTERY AND
TEMPERAMENT


Mature in virtuosity--the modern virtuosity which goes so far beyond the
mere technical mastery that once made the term a reproach--though young
in years, Jascha Heifetz, when one makes his acquaintance "off-stage,"
seems singularly modest about the great gifts which have brought him
international fame. He is amiable, unassuming and--the best proof,
perhaps, that his talent is a thing genuine and inborn, not the result
of a forcing process--he has that broad interest in art and in life
going far beyond his own particular medium, the violin, without which no
artist may become truly great. For Jascha Heifetz, with his wonderful
record of accomplishment achieved, and with triumphs still to come
before him, does not believe in "all work and no play."

[Illustration: JASCHA HEIFETZ, with hand-written note]


THE DANGER OF PRACTICING TOO MUCH

He laughed when I put forward the theory that he worked many hours a
day, perhaps as many as six or eight? "No," he said, "I do not think I
could ever have made any progress if I had practiced six hours a day. In
the first place I have never believed in practicing too much--it is just
as bad as practicing too little! And then there are so many other things
I like to do. I am fond of reading and I like sport: tennis, golf,
bicycle riding, boating, swimming, etc. Often when I am supposed to be