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Scan 260
An Encyclopedia of the Violin, 1925
13 lines. Read by computer on 28 September 2026. Printed page 232. See the scan on archive.org.
1From measure 15 on allow the adorable period which is approaching to be forecast by a carefully graduated diminuendo. From measure 18 on the most exquisite pastorale imaginable develops until measure 25 is reached. Play this simply yet with feeling, making a slight crescendo at measure 25 and a decrescendo at measure 26. The variation which develops up to measure 1 of the fifth period should be presented without ostentation.
3Many violinists give this variation altogether too brilliant a character. It must be held within its proper bounds and not forced, and the artist should remember that it ought to be played primarily from the standpoint of music, and not from that of the public.
5At measure 2 the second fraction of the theme indicates a natural crescendo, which continues until the end of the measure following. There should be a decrescendo from measure 5 to the end of measure 6, and measures 7, 8 and 9 should be played with simplicity. The variation which follows offers a contrast to the variation of the first portion of the theme. Here the violinist must be more persuasive, more expressive in his playing. There is a big crescendo at measure 14 and a decrescendo at measure 17. Play increasingly piano from measure 18 to measure 26. Measures 28, 30 and 32 should be played with a crescendo increasing in vigor in order to attain a truly gigantic forte.
7We begin period six after the tutti.
8Play without any shading from measure 1 to 12, and without jolting the bow. If the interconnection of the notes is defective, a hardness is bound to be developed which is not at all in keeping with the elegance of the phrase. From measure 13 on to the tutti make a big crescendo, and from measure 18 to 20 "whip up" the crescendo with a powerful accent on the first and fourth beats of measure 19. Play crescendo at measure 25 and diminuendo at measure 26.
10Rigorously observe all contrasts throughout period seven. The crescendo on the trill starts on measure 20.
12Period eight begins after the cadenza. Allow the trill which begins forte gradually to die away into a pianissimo at measure 13. The repetition of the theme should also be pianissimo, and a subject for meditation on the part of the serious violinist. There is a great difficulty here which must be overcome;
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