Books › An Encyclopedia of the Violin, 1925 › scan 258
Scan 258
An Encyclopedia of the Violin, 1925
24 lines. Read by computer on 28 September 2026. Printed page 230. See the scan on archive.org.
1Larghetto
3Beginning with the solo: play with great calmness. Measure 2 should be played as an echo, yet without exaggeration. A slight crescendo should be made at the end of measure 3.
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7The trill of measure 4 should be sufficiently prolonged and any glissando after the short cadenza should be avoided.
9The accentuation of measure 7 is most important. See the following example:
11It is understood, of course, that this accentuation should be employed with discretion. In the period of the larghetto which follows, the effect of an improvisation should be made, though the player, in endeavoring to achieve his purpose, must show good taste and restraint.
13Make a short rallentando before the sublime phrase which veritably seems to have been set down "by the hand of God." To do justice to it the violinist should seek inspiration in the principle of bel canto song, and carry the note with distinction.
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17Avoid all shading while playing measures 3 to 27 of period two, and at measure 28 introduce a slight crescendo, followed by a diminuendo on the three last notes. A big crescendo marks measure 32 of this period.
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21The short cadenza of measure 3 in period three should be played forte and in declamatory style, and should be equally divided, while stressing the last seven notes.
23The first two trills of measure 4 should be played without termination, the third trill with termination.
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