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Scan 261
An Encyclopedia of the Violin, 1925
19 lines. Read by computer on 28 September 2026. Printed page 233. See the scan on archive.org.
1it is that of maintaining a rigorous rhythm while accenting without jolting or rushing, as in the following example:
3Play measures 18 to 23 sempre pianissimo, and make a rapid crescendo at measure 24, playing mezzo forte at measure 25 and forte at measure 26, while sustaining the D. The three eighths of measure 29 should be strongly accented and eloquently played, and a big diminuendo should occur on the trill, in order to achieve the pianissimo of measure 32 of this period and the first four measures of period nine.
5Play measures 5 to 11 with imperturbable calmness and piano. From measure 12 to the D of measure 18 make an even and well balanced crescendo which should lead up to a fortissimo on the D. Since this period is one bounding in power and enthusiasm, it should be played broadly, emphasizing the basses, and with genuine authority of manner. The player should not strive to shine, yet his bowing should be broad and powerful. At measure 32 a little roughness may be employed as a radical contrast to measure 1.
7What has already been said anent measure 14 of period eight applies to the last four measures of this period.
9THE KREUTZER SONATA
10by Ludwig van Beethoven Op. 47
11(1770-1827)
13This marvelous violinistic jewel, created by the Master of Bonn, confronts us with a problem whose solution is anything but easy. After having heard it played by the majority of the greatest violinists, the writer retains the impression that Joachim interpreted it in the manner which best revealed its profundity, hence it is upon his interpretation that the present analysis is based.
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16Adagio Sostenuto
18The first chord should be played broadly, yet without harshness; though the piano which follows should be observed, the impression of a prelude on the organ is the one desired. The fingering of the first two measures has given rise to much discussion; they are very difficult and the one which is best and most reliable, and which in addition conforms to the exigencies of what is really musical, is the following one:
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