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Scan 128
Violin master works and their interpretation, 1925
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1At letter L the tempo again grows more animated and agitated until two measures before letter M, where the second principal theme (as at letter E) returns; this time, however, in the tonic. From letter O on the tempo grows gradually slower until the first movement comes to an end.
3In connection with the second movement of this concerto, the "Recitative and Allegro," it is very necessary that every violin student should have a clear idea of exactly what "Recitative" means when applied to violin music. The composer supplies the indication: it is the part of the player to express its meaning to the best of his ability; and aside from anything else, this calls for musical instinct, temperament and also a certain amount of experience.
5In earlier times, before Wagner, it was possible for aspiring violin students to learn how to phrase a dramatic recitativo by listening to the famous opera singers; but in this respect the times have changed. In modern opera the melodies, in most cases, are assigned to the orchestra. There they are covered up or obscured by counterpoint, contrary motion, and imitation on the part of component groups of orchestral instruments, while the singers themselves have to make almost superhuman efforts to pierce these masses of instrumental tone with the human voice. The "Recitative" as it formerly was sung no longer occurs, unless it be a recitative of the parlando, the "spoken" type, or occurs as a cry of passion or of horror.
7Personally I learned much, in my day, from the famous Italian opera singers who sang at the Imperial Opera in St. Petersburg during the winter months. I also gathered many valuable hints from celebrated German concert singers, artists like Julius Stockhausen, who was a perfected master of the old Italian bel canto repertoire. Young violinists of to-day, however, can learn musical recitative declamation only by listening to the great contemporary masters of their own instrument, or to the most important lieder-singers of the classic repertoire, for "Recitative," all said and done, is simply declamation expressed in music.
9The Bruch "Recitative" in question—in so far as its composer can do so with printed words—has been qualified by indications as clearly as possible, and his music in his connec-
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