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Scan 51
The Violin Music Of Beethoven, 1902
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1The Adagio expressivo is another of those slow-breathing melodies, chiefly moving up and down the scale in successive degrees. As usual, the piano first announces the whole of the first eight bar section, and the violin enters with an effective answering phrase, which should be played on the richest part of the violin, i.e., the lowest octave of the fourth string.
3Ex. 27. sotto voce.
5The melody immediately following is evidently intended for the A and D strings, thus imparting a different tone-colour which Beethoven no doubt had here in his mind. The florid demisemiquaver and semidemi-semiquaver passages which follow (how ludicrous some of our nomenclature is; we should say, as the Germans do, thirty-second, and sixty-fourth notes), show the desirability of adopting a very slow time indeed for this Adagio, as these quicker notes must be played very smoothly, and without conveying any feeling of hurry or scramble, which would disturb the balance of the movement by presenting too violent a contrast to its reposeful serenity. No brilliant bravura is intended, no storm, only a gentle zephyr, with a softly murmuring accompaniment.
7In the Scherzo both instruments have to play in a light staccato style; with a frequent forcing of the accent on the third beat, a freakish upsetting of the normal rhythm so often met with in Beethoven. The smooth and flowing legato melody of the trio affords an excellent contrast, and after due repetition of the first section the
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