Books › An Encyclopedia of the Violin, 1925 › scan 259
Scan 259
An Encyclopedia of the Violin, 1925
20 lines. Read by computer on 28 September 2026. Printed page 231. See the scan on archive.org.
1Play the final measures of this admirable larghetto with calmness, while giving the conclusion a slight touch of impatience.
3Rondo (Allegro)
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7Accentuation plays a large part in the proper exposition of this simple and noble hunting air which Beethoven has invented. Certain violinists use false accents when playing it, thus making themselves guilty of a serious attack on good style. The best way to make sure of the right accentuation is to give an exact illustration of the position of the accents of the principal theme, as follows:
9The following measure should be presented as shown below:
11Use the same accentuation when the theme is repeated in the higher position, and use the shading mezzo forte for the initial appearance of the theme, and the shading mezzo piano for its repetition.
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15Beginning this second period the first measure following the tutti, the A should be played without shock, yet with precision, and a big crescendo made at measure 13. Play measures 16, 17 and 18 fortissimo and with powerful accentuation. Measures 24 to 32 should be played broadly, taking care not to sustain the highest sixth in measure 25, in order to avoid giving rise to comparisons with those Italian tenors who have good voices but sing in wretched taste.
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19Play measure 5 forte, and measure 6 piano. A tradition exists which prescribes that measure 7 should be played an octave higher. Logically this may be attributed to absence of mind on Beethoven's part, since this traditional playing would be the natural melodic continuation of the period. Play measure 14 very broadly and with stress; and, beginning with measure 13, a powerful progression of the three G's of measure 14, which must be vigorously accented, should be prepared.
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