Books › An Encyclopedia of the Violin, 1925 › scan 255
Scan 255
An Encyclopedia of the Violin, 1925
17 lines. Read by computer on 28 September 2026. Printed page 227. See the scan on archive.org.
1Measures 19 and 20 are characterized by the importance which should be given the first notes of the fragment:
3The period beginning with measure 24 should be played with repose and grandeur, and the expressional shade "dolce" applies only to the first four measures. It must not be forgotten that this period supplies a species of adjunct for the bass, hence the crescendo should begin with measure 32 of the period.
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6Play sempre crescendo, the four last notes in particular, until the triplets—which should be played with great breadth—have been reached. The chromatic scale which follows should begin pianissimo and end with a slight crescendo. Play measures 11, 12, 13 and 14 eloquently and with a broad bow, while making a big crescendo, terminating in forte, at the E of measure 15; then accent the first trill which follows and return to piano.
7The trill should begin with a slight accent on the B, but the trill throughout its course should not be accented save that there is a slight crescendo at measure 27.
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10From measure 28 of period four to measure 2 of period five, play with great calmness, almost metronomically, so to speak. Measure 2 should be presented broadly and the last nine notes with an accent of eloquence.
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13We take up period six after the end of the tutti.
14The first 14 measures are to be played in the same mood which characterizes the beginning of the Concerto. In measures 15 and 16 the crescendo should end at the mezzo forte. Measures 17, 18, 19 and 20 should be serene and reposeful in expression. In measure 21 give a light touch of importance to the first F. Beginning with measure 22, we have an illustration of the principal theme,
16whose details should be properly stressed; as shown in measure 24:
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