Books › An Encyclopedia of the Violin, 1925 › scan 267
Scan 267
An Encyclopedia of the Violin, 1925
20 lines. Read by computer on 28 September 2026. Printed page 239. See the scan on archive.org.
1The octaves of measures 10 to 12 should be played broadly, but without accentuation.
3If, as it is claimed, David had a hand in the shaping up of this Concerto, it seems strange that he omitted to add a lower B to the octave in measure 13, as shown in the following example:
5The isolated upper B does not sound well. The octaves should not be played with precipitation, but calmness and balanced playing are emphatically in order as regards them.
7In measures 14, 15 and 16 strongly accent the first notes of the triplets, yet not to the detriment of the other notes; all should be distinctly audible.
9In the following measures, 16, 17 and 18—the solo resumes after the tutti at measure 16—
11The crescendo should be made without exaggeration while, at the same time, it must necessarily be shaded on the same plane as the phrase itself. This, after all, is no more than the peroration of the four last measures of the preceding tutti, which commences the phrase to which the violin replies.
13At measure 25 we enter upon a period of feverish movement, in which the difficulty lies in convincingly maintaining the feeling of agitation. The first B of measure 25 should be played with a strong accent, the remainder of the measure with a broad bow. The detached notes should be played as broadly as the tied notes, an arduous problem, yet one whose solution is logical.
15Accent the second of the tied eighths in measures 3, 4, 5 and 6.
17Maintain equality in the gradation of the crescendo from measure 7 to measure 10, that is to say the eighths should not sound jerky. In treating measure 10 some editions display lack of logic. The measure may be fingered as follows:
19But not as shown in the next example:
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