Books › An Encyclopedia of the Violin, 1925 › scan 232
Scan 232
An Encyclopedia of the Violin, 1925
20 lines. Read by computer on 28 September 2026. Printed page 204. See the scan on archive.org.
1the result is monotony itself, while if the accent really demanded be given, as follows:
3the phrase thus played will be full of life and decision.
5We now come to a two-measure section in the Mendelssohn Concerto which the majority of artists accent incorrectly, in the following manner:
7The accentuation really should be employed here in the manner as illustrated:
9During the moving phrase which follows, certain most important accents should be applied:
11and later on:
13This last accent, on the G, is the expression of an ill-restrained impatience; and in view of the entirely lifeless manner in which this phrase is generally understood and interpreted, this accentuation may be advised as a most happy one.
15In the technical two-measure example which follows, we find a celebrated passage which offers insoluble difficulties to many violinists. Its lack of accentuation is their worst enemy, and yet this same section, as may be seen in the following example, falls readily into line under the direct application of the proper accents.
17A violinist who plays without accentuation or emphasis must be regarded as a mediocre player, a "whipped cream" violinist, and not, in the true sense, an artist.
19In the andante from the Mendelssohn Concerto there are also characteristic passages which demand accentuation.
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