Books › An Encyclopedia of the Violin, 1925 › scan 220
Scan 220
An Encyclopedia of the Violin, 1925
28 lines. Read by computer on 28 September 2026. Printed page 192. See the scan on archive.org.
1Henri Wieniawski, employs the same device in the introduction to his brilliant "Airs Russes."
3The abbreviations used by the older masters have given rise to numberless controversies in our own day, to which each individual edition of their works adds its own apple of discord, and a trifle more of confusion.
5For instance, in the fugue in the Johann Sebastian Bach Sonata in G Minor, the following fragment is written as shown:
7Fugue (Sonata in G Minor) Bach
9Who can tell us exactly what Bach had in mind? Could it have been that he meant it to be played as follows?
11First Interpretation
13Hellmsberger gives the following formula:
15Second Interpretation
17It would be more logical to play this, however, with the same idea in mind as shown in the following example:
19Third Interpretation
21It is well to note the fact that the violinists themselves have been the greatest obstacles toward progress and development in violin technique, a fact which is as strange as it is true.
23And we have not changed. We are still the same at the present day, and take but little interest in new things unless they are placed on the market with a great outcry of advertisement.
25Whenever some great virtuoso plays a new composition with success, all the young artists take it up.
27When Brahms showed the manuscript of his violin Concerto to Wieniawski, the latter was terrified and refused to play it, and yet all who were acquainted with Wieniawski regarded him, not only as a genial violinist, but as a serious musician as well. He said that the Brahms' Concerto could not be played on the violin; and, to be candid, though it is a fine work, it is not a violinistic one.
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