Books › An Encyclopedia of the Violin, 1925 › scan 254
Scan 254
An Encyclopedia of the Violin, 1925
18 lines. Read by computer on 28 September 2026. Printed page 226. See the scan on archive.org.
1each note should be played with an increasingly broader bowing and the D should be well sustained. The first note of the first and third beats should be underlined, and too marked a dwelling on the second eighth results in an incorrect accent.
3This first period, in accordance with my plan, ends at the tutti, and the second period begins with the solo.
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7Although the expression mark given be "dolce," this period must be conceived as one whose keynote is majesty, and it should be played with eloquence and with a bowing generously broad. The last four notes of measures 2 and 4 should be stressed. The groups in measure 6 should be played exactly in time, as follows:
9Measures 7 and 8 should be played with grandeur and without the player's allowing himself to be influenced by the change of rhythm which occurs in measure 8. In the following eight measures, every violinist uses a different bowing. One should remember to maintain the interpretation on a level of simple grandeur, and to avoid all buffoonery. In the following measure:
11it is necessary to take the E on the open string, in such wise as to recall the first measure of the first tutti; make a slight rallentando and revert to tempo at the trill. The resumption of the phrase by the violin should be marked by restful calm, and by a slight holding back in measure 26 of this period. When the appealing variation of the main theme in minor begins, the player must allow himself to be guided by his inspiration and stress the important notes.
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15At measure 10 a slight crescendo and decrescendo will add weight to the chromatic fragment:
17Measures 17 and 18 should not be played stiffly as regards the rhythm, but rather with a light stressing of the first four notes of the measure.
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