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Scan 166
Violin master works and their interpretation, 1925
22 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1and from this point on until No. 5 is reached the piano dominates. At No. 7 the violin reintroduces the initial theme. The mood of the entire movement remains unchanged up to a final exclamation:
3346. molto lento dimin.
5three measures before the end.
7The Sonata as a whole has been very truly and beautifully summed up as the expression of a soul which offers its sorrows and renunciations to God. In the First Movement the player must supply out of his own soul the proper "exteriorization" of its tears and grief.
9In the Second Movement (Allegro), the piano first introduces the passionate theme which is repeated at No. 1 by the violin. At No. 6 the mood grows quieter; and the Quasi Lento at No. 8 calls for a sorrowfully expressive rendering. At the Tempo primo:
11347. fuocoso
12mf molto crescendo f
14from No. 9 to No. 11, we have the climax of this movement, outstanding in every way. At letter 19, the Coda commences:
16348. animato poco a poco
17pp
19and rushes with hurricane fury to the end. In this movement human love is carried into the regions of vision, and in its conclusion human yearning strives upward toward the ideal with elemental passion and intensity.
21The Third Movement, with the indication Ben moderato, is a "Recitative-Fantaisie." This is the most difficult of all the four movements to interpret. The composer, however, has indicated his own wishes with the most painstaking exactness
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