Scan 93
The American history and encyclopedia of music .., 1908
10 lines. Read by computer on 11 September 2026. Printed page 65. See the scan on archive.org.
1the viola, thus the lower strings of the viola effect a smooth connection between the violins and the 'cello, which is of prime importance in scales and similar passages. A passage which begins in the high register of the first violin, and is then taken up by the second, should be led down to the depths of the 'cello, through the intermediate regions of the viola, without any noticeable break.
3In order that the work at rehearsals may be intelligent and productive of the best results, it is necessary that each player acquaint himself with the composition, not only by looking over his own part but also by studying the score. A performance cannot become plastic and transparent unless every player has gained an intelligent insight into the work as a whole, and this can only be obtained from the score.
5To the first violin, the leader of the quartet, naturally falls the task of directing the rehearsals. His ideas must be carried out in order to obtain good results, as differences of opinion on any point can never give a satisfactory performance. A little tact and diplomacy will obviate many a difficulty arising in the course of a rehearsal. It is not well to rehearse a difficult work for too long a time without interruption. It is far better to interpose a simpler or more familiar work and then return to the difficult composition when the mind has regained freshness and elasticity.
7The leader should, of course, be thoroughly familiar with the work to be played before the quartet meets for the first rehearsal; and should have formed his ideas about the tempos, and all other vital matters of interpretation, beforehand.
9Perhaps the most important question to be determined is the tempo. The usual tempo marks, such as allegro, andante, adagio, must not be taken too rigidly, but occasionally modified according to the character of the composition. Thus the first movement of Beethoven's G-major Quartet, op. 18, No. 2 is marked simply allegro; yet the graceful char-
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