Books › An Encyclopedia of the Violin, 1925 › scan 282
Scan 282
An Encyclopedia of the Violin, 1925
28 lines. Read by computer on 28 September 2026. Printed page 254. See the scan on archive.org.
1The ravishing episode which begins with measure 30 of period 4 and continues to measure 4 of period five is decidedly characteristic of Brahms' manner.
3From measures 8 to 11 play fluently and transparently.
5In measures 12 to 15, there should be a light, sustained accent given to the fourth sixteenth note of each beat. The signs for crescendo and diminuendo should not be regarded as applying here, since they cannot be carried out on a note as short as the sixteenth in question.
7Play measures 16 to 19 very expressively, and connect the four sixteenth notes on the third beat of measure 17.
9Measures 23 to 30 as measures 1 to 15 of this period.
11The same observations apply to period six which were made in connection with period two and period three.
13The same observations apply to period seven which were made in connection with period one.
15In measures 12 to 20, take all the time needed and do not jostle the chords.
17The phrase may be said to represent gladness after effort, and is a very lovely fresco, with outlines which combine grace and power.
19Play measures 21 to 30 with almost metronomic exactitude, and, above all, with grace.
21Beginning with measure 7, the approach of the coda or finale makes itself felt. Play measures 9 and 10 mezzo forte.
23Measures 21 to 24 should be energetically played, and the chord well sustained.
25Measure 26 (the first two sextuplets of the cadenza) should be enunciated with repose, and measure 27 (the remainder of the cadenza) without any precipitation.
27Measures 1 to 19 are in the style of a hunting air. Be sure to accent the first quarter notes of measures 1 and 2 strongly.
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