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Scan 252
An Encyclopedia of the Violin, 1925
12 lines. Read by computer on 28 September 2026. Printed page 224. See the scan on archive.org.
1scription: "Concerto Written for Clement, First Violin and Director of Vienna Court Theater, by Ludwig van Beethoven, 1806." It was played the first time in Vienna, by Clement, for whom it was written, on December 1806, was very warmly received and scored extraordinary success.
3Nevertheless, the critics of the day dwelt upon its length, and pointed that its unity was "often broken." This is not surprising in view of the fact that, in our own age, too, there have been found those who take it upon themselves to criticize this work. After its initial performance, the Beethoven Concerto was not played for a long space of time, and the performances given Luigi Tomasini in 1812 in Berlin; by Pierre Baillot in 1833 in Paris; Henri Vieuxtemps in 1836 in Vienna, and by Ulrich in Leipsic, stand out during the long period of its neglect.
5Joachim made it one of the principal works in his repertory, and attained a perfection of style in its playing which has never been equaled. The work was literally Beethoven himself as Joachim presented it to the public—performance never to be forgotten.
7Beethoven's Violin Concerto may be said to be a work which gives the accolade to the virtuoso artist, and if he can present it as it should be presented, he may be classed among the masters, for he has achieved the measure of greatness which lies in a valid reaction to the inspiration of the titan composer of what is, in the opinion of many, the greatest concerto ever written for the violin.
9There are not two violinists in the world who interpret this work in the same manner, and it may be said with entire frankness, that many are guilty of crimes against art in allowing themselves liberties in its interpretation which would have shocked Beethoven himself. The very first solo measures in the Concerto are played in distinctly different ways by great artists, as the author has demonstrated in one of the interpretative articles in this Encyclopedia. The various editions of this work also display a tendency to improve upon which may truly be deplored, for, from the moment when editors allow themselves to "correct" Beethoven, one cannot take them seriously. Some years ago while reading a book of collected criticisms by Paul Scudo, I was shocked to find the following passage: "… a talented young violinist named Henri Vieuxtemps came before the public with a Concerto by L. van Beethoven—composition which I take the liberty of admiring not over-much." Shortly afterwards I asked M. Saint-Saëns what he thought of Scudo. His opinion was, and I give it word for word, "Scudo was an old fool who knew nothing at all about music." And yet Scudo in his day was accounted one of the most famous of music critics.
11It has become a habit, when young artists discuss this master work, to dwell upon its beauty but to complain of its length. The length of a work is often more or less apparent in connection with the character and length of other works presented on the program together with it. Too many big work
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