Books › The Violin Music Of Beethoven, 1902 › scan 16
Scan 16
The Violin Music Of Beethoven, 1902
7 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Here are no big effects; not a note more than is absolutely necessary do we find. All is Arcadian simplicity; the "welt-schmerz" which has fastened as with a grip of iron on so much modern German and Russian music was then unknown; the naïve was not then considered childish. Yet one transient note of pain intrudes itself upon the merry scene (in the middle of the movement where the second note of the melody is made F natural) and a deeper earnestness pervades the music; a foreshadowing of the things which were to come! Fourteen bars from the end we are treated to one of Beethoven's subtly humorous effects—
3Ex. 3.
5It is as though, with the sudden break in the rhythm, violinist and pianist had lost themselves, and were cautiously feeling their way in these pp passages: six bars from the end they find each other, proceeding with growing confidence to the final rush of semiquavers ff in the penultimate bar which announces the end of the work. It is very characteristic of the composer thus to play with the listener by arresting the flow of the music, so that one wonders what is to follow; the parts, either as here, timidly searching for the lost idea, or in other cases, each instrument insisting on its own entry in contradiction to the other. Such touches of humour in classical works are often far too subtle for the comprehension of the average hearer, who listens with a resigned air to works in sonata form, as though a smile would be quite out of one of two readings
6It is as though, with the sudden break in the rhythm, violinist and pianist had lost themselves, and were cautiously feeling their way in these \( pp \) passages: six bars from the end they find each other, proceeding with growing confidence to the final rush of semiquavers \( ff \) in the penultimate bar which announces the end of the work. It is very characteristic of the composer thus to play with the listener by arresting the flow of the music, so that one wonders what is to follow; the parts, either as here, timidly searching for the lost idea, or in other cases, each instrument insisting on its own entry in contradiction to the other. Such touches of humour in classical works are often far too subtle for the comprehension of the average hearer, who listens with a resigned air to works in sonata form, as though a smile would be quite out of one of two readings
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