Books › An Encyclopedia of the Violin, 1925 › scan 247
Scan 247
An Encyclopedia of the Violin, 1925
28 lines. Read by computer on 28 September 2026. Printed page 219. See the scan on archive.org.
1We give below the bowing which we have found to be the best for playing measures 2 to 5 of this section:
3It should be played with breadth, with an equal division of the bow into four parts, and in as extended a manner as possible.
5In measure 7 accent the D sharp.
7The three last sixteenth notes of measure 9 form a little poem in themselves, and should be played tenderly, without, however, exaggerating the glissando on the A string.
9Measures 16 and 18 must be expressed simply, with an equal tone.
11The sextolets of measure 18 should be produced without exaggeration. Violinists are apt to make them ungainly by dwelling too heavily on the individual notes. Be sure to observe the crescendo, and give its full value to measure 23, playing the two groups without a slackening of the movement.
13In measure 28, the D sharp is of great importance, and should be slightly accented.
15Measures 30 and 31 should be played with great calmness; and there may be a trifle more of expansion in measure 31.
17Play the chords of measure 32 broadly, yet without roughness. It is always a shock to hear a beautiful composition such as this brought to a peculiar conclusion. These final chords might be termed the surprise of the "Romance in G," for in spite of its marvelous charm, the "Romance" seems to have a soporific effect on many of the older persons among the audiences that listen to it. These final chords rouse them for a moment, and the sight is an amusing one to witness.
19THE ROMANCE IN F MAJOR
20By L. van Beethoven Op. 50
21(1770-1827)
23The original manuscript of this "Romance in F Major," first published in 1803, was the property of Joseph Joachim. The adagio cantabile indicated at the beginning of the "Romance" as the proper tempo, should not be taken strictly as an adagio, but rather as an adagio assai.
25The periods consist of 30 measures each, and the tutti are included in the periods.
27In measure 1 the group or turn should be expressed as shown in the following example:
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