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Scan 281
An Encyclopedia of the Violin, 1925
21 lines. Read by computer on 28 September 2026. Printed page 253. See the scan on archive.org.
1almost metronomically, with a prolonged spiccato, and a very great crescendo from measures 25 to 27.
3Brahms might have dispensed with the chords in measures 5 and 6, since their keynote is elegance, and chords are therefore out of place. At all events they should be played without harshness.
4Measures 7 to 10 should be played with exquisite delicacy.
5Measures 11 and 12 are summaries of measures 7 to 10.
6In measures 7 to 14 use a fairly well nourished spiccato.
7Keep the bow on the strings in measures 15 to 18, accenting the second sixteenth note of each one of these measures.
8In measure 19 sustain the first F.
9In measures 20, 21 and 22, sustain the first note of each measure in a noticeable manner.
10Play measures 22 to 26 with great brilliancy, forecasting, so to speak, the powerful and energetic period which follows this one, in measures 27 to 30.
12Strongly accent measures 1 to 12 of this third period.
14It occurs at times, in this period, that the orchestra forgets that this is a violin concerto which is being played. The orchestral conductor must be given to understand that brass violins will never be the fashion!
15Play measures 9 to 12 without constraint, and take your time while playing in order to avoid breaks.
17The remarks made at the beginning apply to measures 1 to 17.
18(As regards the tutti, we refer the reader to measures 3 to 9.)
19Play measures 18 to 21 in tranquil style, lightly sustaining the first note of each measure.
20The expression mark diminuendo, at measure 24, does not apply. Incidentally, composers who write for the violin are continually making mistakes as regards expression marks, and it is a question whether any violinist observes the expression marks indicated to the letter, from measure 18 to measure 24 of this period of the Brahms Concerto. This phrase, without being played explosively, should nevertheless, be played with brilliance.
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