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Scan 12
The Violin Music Of Beethoven, 1902
8 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1THE
2Violin Music of Beethoven.
4CHAPTER I.
5The Sonatas for Piano and Violin.
7THE sonatas for piano and violin of Beethoven will be approached by players—professional as well as amateur—with very different feelings according to individual temperament. If, like Beethoven's greatest interpreter, Joachim, the player is "musician first and violinist after," he will regard them for the intrinsic value of the ideas therein enshrined, as amongst his choicest possessions; if the virtuoso is uppermost, he will surely neglect them for works more brilliant and full sounding; such as abound in strong effects written by great violinists for the display of a special violin technique. When, as in a sonata for the piano and violin, both instruments are placed on an equality, the composer is set face to face with a somewhat difficult task. The violin being essentially a melodic instrument, it appears like a dethroned monarch when made to play ordinary accompanimental figures to the theme given to the piano. The violin may comment upon, ornament, or add some entirely new feature of interest to the musical thought as originally conceived, or, failing these, be silent altogether for a while; either course is preferable to the exact transference of such figures as are best suited to, and mostly associated with, the piano according to one's ideas of the fitness of things. Then, again, it is probably seldom that a theme will occur to the composer in its dual form for the two instruments; it is more likely to
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