Books › An Encyclopedia of the Violin, 1925 › scan 272
Scan 272
An Encyclopedia of the Violin, 1925
24 lines. Read by computer on 28 September 2026. Printed page 244. See the scan on archive.org.
1In measure 11 let the D stand out. In measure 17 pay attention to separating the last thirty-second notes of the measure, as follows:
3The same applies to the last four thirty-second notes of measure 18.
4In measures 20 and 21 accent the first and fourth eighths.
5Eloquence should mark the playing of measure 22.
6In measures 22 to 29 a tendency to bolt is noticeable in the case of nearly all violinists. A much nobler effect is secured by maintaining the initial movement and making a voluminous crescendo at measure 30, emphasizing the two C's.
8Period three has 41 measures.
9Both measures 5 and 6 should be played with great breadth, and the thirty-second note A, in measure 8, should be sustained.
10Measures 9 and 10 should be played greatly rallentando diminuendo. The pianissimo here is an exaggeration; play piano.
11There should be a big crescendo in the measure 20. In measure 21 bring out all the small notes clearly. There should be a crescendo in measure 23.
12Play measures 23 to 26 with a large, warm volume of tone. Press forward little in measures 27 and 28. Hold back considerably in measures 29 and 30, above all on the three last eighths. Play measures 31 to 38 with great calmness and introduce a slight crescendo in measures 37 and 38, with a pronounced ritardando in measure 39. Let measures 40 and 41 die away with a sigh.
14Allegretto Non Troppo
15(♩ = 100)
17Periods of 30 measures each, in which the tutti's are comprised.
18This genial scherzo should be played with grace, and the question of its interpretation is entirely one of accent.
20Play measures 2, 4 and 5 mezzo forte, and make the second A very brief, shown below:
22In measures 6 and 7 develop a great crescendo.
23The first B of measure 9 and the first G of measure 10 should be accentuated but without being sustained.
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