Books › Violin master works and their interpretation (1925)
Violin master works and their interpretation
1925.
On archive.org as violinmasterwork0000auer.
65 pages read (scans 7 to 169)0 makers on this site cite it
Pages
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| Scan | Page | Starts | |
|---|---|---|---|
| 7 | FOREWORD. | Read | |
| 8 | volume which proves how adequately its a… | Read | |
| 9 | tive views by citing the actual opinions… | Read | |
| 10 | INTRODUCTION. | Read | |
| 11 | certain work; while another, playing the… | Read | |
| 12 | tempos are hurried, the slow movements a… | Read | |
| 13 | the soul of the composer's music, it und… | Read | |
| 14 | CONTENTS | Read | |
| 15 | CONTENTS—Continued | Read | |
| 16 | CONTENTS—Continued | Read | |
| 17 | CHAPTER I. | Read | |
| 18 | Sonata); Corelli's "Follia d'Espagna"; t… | Read | |
| 19 | and where the same phrase is repeated a… | Read | |
| 20 | After a repetition of the Grave and the… | Read | |
| 21 | beauty. For instance, in the second meas… | Read | |
| 22 | should be decidedly long sustained, and… | Read | |
| 23 | the original edition with a very adequat… | Read | |
| 24 | making the sforzandi without forcing the… | Read | |
| 25 | pression, and at letter Q take the Lento… | Read | |
| 26 | The Largo, unfortunately, is somewhat sh… | Read | |
| 27 | same form for violin solo. It is a "Ciac… | Read | |
| 28 | Four measures before Variation Six we ha… | Read | |
| 29 | which leads to the climax, the theme, ff… | Read | |
| 30 | from which Paganini drew suggestions for… | Read | |
| 31 | and bow-inflection must be exactly carri… | Read | |
| 32 | characteristic is the composer's evident… | Read | |
| 33 | The "Aria con variazioni" on a ground ba… | Read | |
| 34 | long one, and unless it be played with a… | Read | |
| 35 | energetic theme of four measures, after… | Read | |
| 36 | CHAPTER II. | Read | |
| 37 | powering and elementary grandeur, and un… | Read | |
| 38 | into the tree-crests, so that the latter… | Read | |
| 39 | I always advise my pupils never to play… | Read | |
| 40 | should be observed up to the fourth meas… | Read | |
| 41 | At Aa the phrase closes with a fortissim… | Read | |
| 42 | The Fuge should be taken at a moderate t… | Read | |
| 43 | tempo, an approximate Andante, while the… | Read | |
| 44 | The fourth movement, the Allegro, forms… | Read | |
| 45 | the manner in which they are employed, t… | Read | |
| 46 | character already has been described. Th… | Read | |
| 47 | Third Movement, Allegro, is a masterpiec… | Read | |
| 48 | Excellent examples of good Bach transcri… | Read | |
| 49 | In the first movement, Allegro, after an… | Read | |
| 50 | At the seventh measure after letter D th… | Read | |
| 51 | be presented with decided breadth to the… | Read | |
| 52 | at the beginning should not be given the… | Read | |
| 53 | purposely meant to interrupt the merry o… | Read | |
| 54 | once more appears. At the seventh measur… | Read | |
| 55 | regard to expression: Here the Agitato,… | Read | |
| 56 | tained until the Allegro vivace in A min… | Read | |
| 57 | At letter C we have the Second Theme: | Read | |
| 58 | at the nut, and is managed very carefull… | Read | |
| 59 | George Friederich Handel's (1685-1759) "… | Read | |
| 60 | and its eighth-notes should be played mo… | Read | |
| 61 | for these three sonatas. Eight measures… | Read | |
| 73 | freedom and independence until the follo… | Read | |
| 74 | with its serious and most important cont… | Read | |
| 109 | large hands and long fingers to enable t… | Read | |
| 128 | At letter L the tempo again grows more a… | Read | |
| 137 | CHAPTER XIII. | Read | |
| 165 | CHAPTER XVIII. | Read | |
| 166 | and from this point on until No. 5 is re… | Read | |
| 167 | and scrupulous care. Every line of his m… | Read | |
| 168 | that in composition he enjoyed the techn… | Read | |
| 169 | bow must take place inaudibly, a point w… | Read |