Books › An Encyclopedia of the Violin, 1925 › scan 266
Scan 266
An Encyclopedia of the Violin, 1925
20 lines. Read by computer on 28 September 2026. Printed page 238. See the scan on archive.org.
1was a violinist of great talent, and as such was able to give the work a violinistic form and cast. As a result this splendid Concerto is so well written for the violin that, once it has been thoroughly learned, one may play it several months after it has been studied, and it will still be at one's finger tips. His fingers are the violinist's memory—in fact, it is possible to recall a piece which has been forgotten by taking up the violin, for, no sooner is the instrument in your hand, than the composition comes back to you with astonishing clearness.
3This great Concerto, classic in all its lines, is also highly romantic. It is magnificently proportioned, and those who would dismiss Mendelssohn as a "talent" should have this Concerto placed before them as a challenge and as proof positive that "genius" is the word which ought more properly to be applied to its composer.
5After all the years which have passed since it was written, the "Concerto in E Minor" is still played with fervor, and audiences still acclaim it with joy. It is, above all others, the most beautiful violin concerto.
7This lovely music must not be played too quickly. Moderate tempos are the ones which should preferably be used. Sarasate was accustomed to give as bad example of this too rapid playing of the work by taking the finale at an extreme tempo.
9In considering the Mendelssohn Concerto it has been taken by its periods which have 30 measures each, and in which the tutti's are included.
11The beginning of the Concerto has no element of the solemn in its concept and is expressive of tenderness rather than force. The B of measure 3 should be lightly accented, as well as the E of measure 4. Give life and vitality to this charming phrase with which the work begins, a beginning which is exquisite beyond all measure. A suspicion of a crescendo from measures 7 to 10 might very well serve to lead back to the shading of the beginning at the third quarter note of measure 10.
13At measure 17 a pronounced crescendo should move gradually to measure 24. Measures 25 and 26 and the first two beats of measure 27 should be played with the whole bow, while strongly accenting the first eighth of each triplet group.
15Play measure 28 without harshness, as in the following example:
17Avoid the objectionable, but commonly used, rendering which follows:
19At measure 6 the shading must be abruptly broken, in order to begin with piano the forceful crescendo which ends at measure 10.
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