Books › A Practical Guide to Violin-Playing, 1913 › scan 131
Scan 131
A Practical Guide to Violin-Playing, 1913
6 lines. Read by computer on 3 September 2026. Printed page 113. See the scan on archive.org.
1The four notes marked with an asterisk receive a strong accent (helped by a vigorous 'vibrato') after which a decided rest has to be made to ensure the freest style of phrasing.
3In the third bar of Fig. 303, the first note of the first, second and third beats receives the lion's share of expression, whilst at the change of bow a slight rest (breath) should be made. Another important feature in phrasing is the now-a-days very much permitted tempo rubato (i.e., a slight hastening and retarding the time). Spohr in the preface to his 9th Concerto in D minor demands from the performer rigid time-keeping during the entire work. The author (for one) doubts, whether, in following his advice, a certain monotony of time would not be felt alike by the player and listener. Even the much older Chaconne by Bach (as it was played by that incomparable master, Joachim) received in all phrases the most wonderful elasticity of time. Yet it will always require great care and taste in deciding when to make such permissible changes. The moment that the shape of a phrase cannot be felt, the execution of it must be styled an indifferent one. The Author's recent experience in hearing the Chaconne performed by a modern, well-known virtuoso was by no means gratifying. In this case the lingering on certain prominent notes was so great that the coherence of many phrases was quite destroyed — \( \frac{3}{4} \) time was often turned into \( \frac{4}{4} \) time.
5More recent (French) compositions demand greater freedom of phrasing and time changes. Take for instance: —
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