Books › An Encyclopedia of the Violin, 1925 › scan 296
Scan 296
An Encyclopedia of the Violin, 1925
22 lines. Read by computer on 28 September 2026. Printed page 268. See the scan on archive.org.
1The student must endeavor to realize that tempo markings are always relative, and that the composer always assumes that clarity will be the keynote of the performance of any movement, whether it be adagio or prestissimo.
3INTRODUCTION AND RONDO CAPRICCIOSO
4by Camille Saint-Saëns, Op. 28
5(1835-1921)
7The late illustrious master, Camille Saint-Saëns, was truly inspired when he composed this famous rondo, for it stands out in the entire literature of violin music as one of the most sparkling, most brilliantly varied and interesting of pieces, and one which is calculated to display in the highest degree the virtuosity and musical ability of the violinist.
9It was one of Pablo de Sarasate's favorite program numbers, and he played it with a sprightliness and charm which made him its unique interpreter. It seems that Saint-Saëns originally wrote the Rondo as a final movement for the "Violin Concerto in A," Op. 20; but that later he changed his mind, and published it separately in the form in which it is known to us.
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12Introduction
14The adorable andante malinconico at the beginning should be played strictly in character, as indicated. It is past understanding why nearly every violinist plays this beginning too fast. One should, in fact, even exaggerate the indicated phrasing a little when playing. The student should allow himself to be guided by the following example:
16These crescendos, it goes almost without saying, should be played with great discretion, yet must be accented correctly—this is something the student must learn—in harmony with the laws of rhythm and the movement of the melody.
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19Animato
21The player should begin slowly, and play more quickly in the proportion shown in the following example. Pay attention to the fingering:
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