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Scan 46
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.
1Ex. 23 Adagio sostenuto
3Note the intensity imparted to the phrase by the piano, repeating it with the F's natural instead of sharp.
5I ought, perhaps, before proceeding further in what is practically a very late "review" of a work so well known to experienced violinists and concert-goers as this is, to advise those who are perfectly familiar with every bar of it, to skip this portion. But I am mindful of the fact that the keenest and most enthusiastic readers are often young students who are beginning to make their first practical acquaintance with the masterpieces of violin literature. For such, analysis of important works is useful, whilst to experienced and cultured violinists it is a weariness to find such compositions continually being dissected afresh.
7An introduction awakens expectancy; indefiniteness of outline, vagueness as to tonality, sudden contrasts of tone, variety in rhythm, unexpected pauses and modulations are the material at the composer's disposal for producing this effect, and none knew better than Beethoven how to carry the listener from one surprise to another. We are brought at the eighteenth bar to a pause, pp in the key of D minor. Out of this the fiery Presto appears to dart from the bow, only to be arrested in its mad career at the end of its first phrase with a pause on the chord of C, and again with the piano cadenza on the same chord. To save space the violin part alone is given here, as the melody sufficiently suggests to anyone advanced enough to grapple with the work the plain harmonies with which the piano supports the violin.
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