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Scan 270
An Encyclopedia of the Violin, 1925
20 lines. Read by computer on 28 September 2026. Printed page 242. See the scan on archive.org.
1In measures 22 to 30 recall the beginning with an added tenderness and a kind of despondency.
3In measures 7, 8 and 9 of this period we find an apparent contradiction between Joachim's own interpretation and the interpretation indicated in his edition of the work. Joachim, in fact, when playing this passage, tied the three G sharps, thus:
5Henri Petri, one of Joachim's most distinguished pupils, acquainted me with this tradition.
6Play measures 10 to 15 with great calmness.
7Introduce a rallentando in measures 16 to 19, then revert to the previous movement at measure 20.
9The Cadenza
10Every violinist plays this cadenza in his own individual way. At the same time there are some valid points regarding its interpretation, which should be established. In the first arpeggio sustain the bass without accenting. The trills should be well nourished. After the final organ point "a tempo" is wrongly indicated. One should play in prelude style, sustaining the lower or bass notes until measure 30 has been reached. Then, little by little, the original movement is resumed at measures 1, 2 and 3 of the period.
12The original tempo is resumed at measure 5.
13At measures 18 and 19 another Joachim tradition calls for mention, the manner of playing shown in the following example:
15Play measures 3 to 12 very calmly.
16Play more broadly in measures 13 to 16, making a ritenuto at measure 1.
17Revert to tempo at measure 17.
19For the remainder of period thirteen and for this period the remarks already made in connection with the first part hold good.
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