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Scan 203
An Encyclopedia of the Violin, 1925
20 lines. Read by computer on 28 September 2026. Printed page 175. See the scan on archive.org.
1In the trill in the first movement the following termination is generally used:
31st Movement – Beethoven Concerto
5Here, however, the termination has been indicated by Beethoven himself, and it is clear that it is better to follow the master in the development of his idea:
71st Movement – Beethoven Concerto
9Trills may be found in works by Florillo, Wieniawski and Sarasate which are played as an accompaniment to a phrase, and which are difficult to make stand out. A passage of this kind may be found in Wieniawski's "Airs Russes":
11Airs Russes – Wieniawski
13This passage is complicated because of the great stretch made by the fingers of the left hand. A phrase found in Sarasate's "Le Rossignol" is equally difficult; yet, since it lies almost altogether in the third position, the real difficulty is to be found in the very limited amount of room left for the fingers to move in.
15Le Rossignol – Sarasate
17It is imprudent to attempt to force the swiftness with which the alternations of the trill notes are played, since this gives rise to a nervosity which totally does away with clearness and balance.
19For the sake of completeness, some of the abbreviations employed by the older composers should be presented. The composers in question include: J. H. d'Anglebert, 1689; J. S. Bach, 1720; C. Ph. E. Bach, 1787; Dr. John Blow, 1700; Dr. Thomas Busby, 1786; F. Couperin, 1713; W. Calcott, 1817; E. Loulié, 1686; N. de St. Lambert, 1697; F. W. Marpurg, 1762; J. P. Milohmeyer, 1797; J. S. Petri, 1782; and J. G. Walther, 1732. Though these composers, with the exception of Bach, have written nothing for the violin, it is nevertheless decidedly useful to be acquainted with the abbreviations they employed.
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