Bow & Bridge Violin and bow makers, as the old books printed them

Books › An Encyclopedia of the Violin, 1925 › scan 246

Scan 246

An Encyclopedia of the Violin, 1925

20 lines. Read by computer on 28 September 2026. Printed page 218. See the scan on archive.org.

1the second measure a slight crescendo, and observe a decrescendo in the first two beats of the third measure. Another slight crescendo should be made in the last two beats of the fourth measure. In measure 1 the fingering to be preferred from the point of view of sureness is the following one:
3although the more musical fingering is that shown below:
5In measure 11 observe a slight crescendo. In measure 21 the fingering given below is a musical abomination:
7In measure 24 avoid dramatizing the fragment in question, yet, at the same time, do not play it in a cheap and commonplace fashion.
9In measures 24 and 25 do not play the thirty-second notes shortly and abruptly, and see to it that they are well detached from the eighth notes.
11In measure 26 give a slight accent to the D; and also accent the first E in measure 27 in the same manner.
13Do not exaggerate the crescendo in measure 1. Measures 4 to 7 are to be played with a slight acceleration, with a return to tempo primo at measure 7. From measure 7 to measure 11 strive to give the violin tone the quality of the organ tone; play in a sustained manner, and with precision, and without any shading at all, on a mezzo forte dynamic plane.
15The same observation holds good for the interval from measures 15 to 18.
17The many different editions of the Beethoven "Romance" treat the composer's original text with scant respect. Alterations such as an editor may see fit to make are always permissible; but the original text, in such cases, should always be indicated on the margin.
19At all events this is an energetic period, followed by one in imitation, in solid point-lace style of tonal embellishment, which, however, has nothing in common with the delicacies of point d'Alençon in its character.

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