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Scan 249
An Encyclopedia of the Violin, 1925
27 lines. Read by computer on 28 September 2026. Printed page 221. See the scan on archive.org.
1In measure 1 the triplets should be played broadly and in a detached manner. In measure 2 emphasize the last A. In measure 3 emphasize the first B. Play the triplets broadly, with a slight retard on the six last notes of the measure.
3Measures 4 to 9 disclose an admirable phrase, which is suddenly cut by the tutti. Why? That is a secret which Beethoven has carried with him to the grave. With all due respect and deference to the genius of the Titan of music, one might be allowed to suggest that a single phrase be made of measure 4, up to the first sixteenth note of measure 9, as shown in the following example:
5Sul G
7In measure 9 play four notes détaché and four notes martelé.
8Observe the same procedure in measures 10 and 12.
9Play measures 14 and 15 détaché, emphasizing the fundamental notes, and with a big crescendo.
10Play measure 16 with the whole bow and forte.
11Play measures 17 and 18 without hurrying.
13Measure 1 should be played broadly and with warmth.
14In measure 2 accent the first note of each beat.
15Play measure 3 with great breadth.
16In measure 6 make the small notes very broad.
17Measure 8 should be very calmly played.
18Play measures 9 and 10 mezzo forte, without any rallentando, until the last two sixteenth notes of measure 10 are reached. End on the final notes, together with the orchestra, with the two final eighths well sustained.
20THE DEVIL'S TRILL
21By Giuseppe Tartini
22(1692-1770)
24"The Devil's Trill" Sonata is one of those works which leave the musician overcome with admiration. Musically it is a masterpiece of the first rank, and violinistically it is one of the greatest compositions which have been written for the instrument.
26Tartini himself has told how his Sonata was conceived, as the result of a dream; and the mood of suffering and bitterness which dominates it suggests
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