Books › An Encyclopedia of the Violin, 1925 › scan 229
Scan 229
An Encyclopedia of the Violin, 1925
28 lines. Read by computer on 28 September 2026. Printed page 201. See the scan on archive.org.
1What is done in the G Minor Symphony of Mozart passes all bounds, and actually turns things upside down. The following example shows the bowings used at its beginning when played by Symphony Orchestras:
3G Minor Symphony – Mozart
5On a number of occasions the violinists may be seen playing with inverse bowings, which is a decisive proof of incapacity.
7And now I shall "outrage" the convictions of a number of my colleagues when I declare that I do not believe in a precise or exactly defined way of playing the martelé, at the point, or at a two-third bow length; or the spiccato with the middle of the bow or at the point.
9Sarasate had a sautillé unique of its kind, and he played it nearly at the point, and at all events notably higher than the middle of the bow.
11In the application of his bow stroke, every student should be guided by his individual physical conformity, or, better said, every teacher should study and realize the individual student's "type" before teaching him principles which may not be in accordance with his physical capacities.
13In order to make a natural and normal application of the various styles of bowing, the student should first take a composition and make it the subject of exhaustive investigation. He can thus tell whether there is occasion to use the sautillé, the détaché or the martelé in this, that or the other passage. For example, in the Beethoven "Romance" in F, if the passage which follows be played spiccato, it becomes cheapened, and is in direct contradiction with the well-nigh austere character of the composition:
15Romance in F – Beethoven (1)
17The passage in question should be presented, using a short détaché and playing nearly at the point of the bow.
19Further on, however, the bowing must be broad and full of marrow, and every note must be given that due majestic quality which it calls for, as follows:
21Romance in F – Beethoven (2)
23Also the passage:
25Romance in F – Beethoven (3)
27which should be played with the whole length of the bow.
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