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Scan 286
An Encyclopedia of the Violin, 1925
28 lines. Read by computer on 28 September 2026. Printed page 258. See the scan on archive.org.
1not a single violinist who has composed a similar work of the first order for his instrument.
3Vieuxtemps, it is true, wrote superb concertos, but they in no wise stand comparison with the concertos of Beethoven, Mendelssohn or Bruch. The concertos written for the violin by violinists are better adapted to the instrument than those written by the composers, but they are less musical in the real sense of the word. The Concerto under consideration is one of those which may be placed in the category of works which, though not very violinistic, are, nevertheless, admirably musical.
5The first movement is authoritative and structurally worthy of Beethoven.
7The andantino is a charmingly inflected barcarolle, which, however, seems out of keeping in a concerto as grandiosely conceived as is this one.
9The finale is alive with verve and power, perfect as regards form and its creative values.
11The beginning should be played broadly, with concentrated passion, and lyric fullness.
13The letters referred to hereafter are to be found in the original French edition of this work.
15Take care not to "bolt" in the following passage:
17Further on we find the subject which is later taken up by the orchestra; the sustained playing of the basses or lower notes should be imitated as follows:
19This effect may easily be obtained by playing the basses fortissimo and the upper notes mezzo forte.
21At letter A sustain the F, as well as the first eighth note of measure 3.
23The phrase which occurs eight measures after letter A should be broadly sung. Take care not to bolt in the two measures before the letter B.
25Four measures before E major avoid the tendency to dramatize, and play simply and naturally.
27The exquisite phrase in E is ideally conceived. It is as artless and lovely as could be imagined; hence, play it without ostentation, and with a soft quality of tone.
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