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Scan 257
An Encyclopedia of the Violin, 1925
16 lines. Read by computer on 28 September 2026. Printed page 229. See the scan on archive.org.
1We begin period nine after the tutti.
3A distinction must be made between this period and the period of the first solo resembling it. In itself the tonality of D major lends a brilliance which is in striking contrast with that of D minor. The expression mark piano is out of the question, however. The violinist must play mezzo forte, with a slight crescendo at measure 6, and a decrescendo at measure 8.
5Measures 9 and 10 should be played very evenly, and measures 11 to 14 without any shading and calmly. In measures 15 to 20 introduce a moderate crescendo and decrescendo, as in the following example:
7At measure 22 a big crescendo terminating in a forte which is sustained to measure 29 should be made, followed by a diminuendo at measure 30, running to the trill.
9Play measure 4 calmly; measures 5 and 6 without nervousness; and introduce a slight crescendo and diminuendo between measures 7 and 8. Otherwise the remainder of this period should be interpreted as was the first solo.
11After measure 7 observe the most rigorous tranquillity in your playing and do not depart from it until measure 19 is reached. Measures 20 and 21 should be presented eloquently; and the first sixteenth notes of each beat in measures 22 and 23 must be strongly accented. The chromatics in measures 24 and 25 must be played evenly and mezzo forte. Make a crescendo at measure 26 and broaden out powerfully in measure 27. The trill must be played evenly, while lightly accenting each change of note.
13The cadenza is of necessity left to the individual choice of the violinist, and it is with regret that I find myself obliged to declare that too many virtuosos are content to introduce the most pitiful makeshifts in the guise of cadenzas. From the moment when technical display becomes the keynote of cadenza the spirit of Beethoven's work suffers inartistic profanation.
15The sublime phrase which follows the cadenza should be played with simplicity, piano, and in the actual tempo of the beginning of the Concerto. A big crescendo, entering five measures before the close, should end with a formidable fortissimo. The D of the measure before the last should be sustained, the chord played without harshness, and the final D uttered broadly.
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