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Scan 26
The Violin Music Of Beethoven, 1902
6 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1Our modern tarantellas are anticipated in this presto. It is also noticeable for the unusual feature of two repeated sections, the mad pace proper to the movement making this possible with good effect. Beethoven has studiously refrained from the use of full-sounding chords for the sake of effect; the part-writing is clear and distinct as in a piece of Bach's, and in this light it must be viewed, and not from the standpoint of the modern sonata. The rhythmic variety so characteristic of Beethoven in the majority of his works finds here no place, but the "Tarantella" rhythm and feeling is maintained to the end.
3The "Andante scherzoso, piu allegretto" is in the form of a first movement, with second subject in the dominant key of E major, full close in that key, repeat, and short development section. The principal theme on its reappearance is decorated with shakes, etc., and the whole movement shows us Beethoven in his most playful mood, light-hearted, and as full of an innocent gaiety as his predecessor, Haydn.
5The Allegro molto is virtually a rondo with episodes in the keys of A and F major. The first episode is singularly brief, occupying two lines only; the theme of the F major episode, first given in semibreves, is varied first with crotchets in the violin part, and then enlivened with crotchets as triplets, i.e., six crotchets in the bar as a counterpoint against the "whole notes" of the theme.
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