Books › An Encyclopedia of the Violin, 1925 › scan 284
Scan 284
An Encyclopedia of the Violin, 1925
16 lines. Read by computer on 28 September 2026. Printed page 256. See the scan on archive.org.
1Accent the third and sixth beats of measure 2 of the beginning strongly as follows:
3Nevertheless, these third and sixth beats should not be sustained, but should be played as shown in the next example:
5At the beginning of the next period (letter A in the edition of the work published by Hamelle, in Paris) the measure should be divided into two bow strokes, as follows:
7It is decidedly difficult to play here with an even tone, yet the passage is excellent for study purposes, and the wrist plays a large part in it.
9The noble phrase which follows after the trill should be rendered in a spirit of concentrated grief. A remarkably expressive phrase, the player should be able to draw from it the tears and despair it so eloquently expresses. We are now confronted by one of those phrases which demand proper restraint in their expression, and the dilemma which at once arises is that of avoiding exaggeration in one or the other direction. Six measures after letter C a noticeably pronounced ritardando should precede the breathless fragment which follows. Play with a whole stroke of the bow to each note in the four measures preceding the letter D. Two measures before D take care to accentuate the principal design:
11After the tuttis of the C major period we come to a phrase of such exquisite and ravishing charm that its playing raises the artist to the heights of emotional enjoyment.
13It is not dots which should be placed above the following notes, but short stress lines:
15At letter E, the skies grow overcast, hence at the end of the crescendo in the second measure, one should, so to speak, play the last two eighth notes with brutal roughness.
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