Books › An Encyclopedia of the Violin, 1925 › scan 294
Scan 294
An Encyclopedia of the Violin, 1925
17 lines. Read by computer on 28 September 2026. Printed page 266. See the scan on archive.org.
1The first recitation, as well as that which follows, should be played with great breadth and tranquillity; but always on the same level of tone, and the last note should be decidedly prolonged. As for the rest, up to the end of the period, play on the G string, with power and in an authoritative manner, enunciating the notes clearly and without any haste. Avoid all abruptness in playing the triad chords, and take enough time to make them stand out clearly.
3In the charming phrase which follows, retard somewhat, and play in singing style, increasing the movement a little at the measure with the four trills. The succeeding ritardando should not be too pronounced.
5The technical period which now follows should be played without hurrying, but in a somewhat lively tempo.
7In the passage which follows:
9sustain the notes in such a manner as to create the impression that double chords are being played, sounding as below:
11Do not fail to use a large and generous bow. Take two thirds of the bow for the final trill. At the concluding fraction, the four-measure Allegro, each one of the first three measures should be introduced slowly, then each subsequent note should be played with greater speed.
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14Adagio
16In order to execute this unique movement properly, it will be very helpful for the student to hear it interpreted by some great violinist such as Ysaÿe or Kreisler, who infuses into his performance the amount of depth and kindling ardor which it calls for in a musical sense. Some of the younger virtuosos do not play this movement with sufficient balance, nor with a sufficiently slow tempo. Even Sarasate, when he played this adagio, took it in far too rapid a tempo. It should not, of course, be played so slowly as to become tiresome; but, notwithstanding, the true character of the movement is one of breadth and poise.
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