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Scan 167
Violin master works and their interpretation, 1925
16 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1and scrupulous care. Every line of his music is provided with one or more expression marks, indications for change of tempo, and dynamic signs, a proof of the major importance he attached to the correct interpretation of this particular movement. It might be called a supreme prayer of sorrow, one phrased with the utmost intensity of expression, and one which the player must feel in order to convey to his listeners.
3The violin is the leading voice, while the piano part adapts itself closely to it and supports the solo instrument in its various shadings of expression. After No. 4 the bowing in the quiet, flowing sixteenth-note passage may be altered by the player to suit his individual needs: though if he intends to do so, the most absolute calm, equality of tempo and an imperceptible change of bow are the first requisites.
5From No. 10 on:
7349. f crescendo ff
9the greatest energy must be exerted, while beginning with No. 11 the movement progresses in a Molto lento to its close.
11The concluding Fourth Movement (Allegretto poco mosso), is written almost altogether in the form of a canon. It offers a contrast of serenity which the auditor appreciates after the "Recitative-Fantaisie," and is an expression of the infinite recognition of the mortal who has risen victorious in his struggle for mastery of self, and whose soul turns whole-heartedly to the Divine. It might be said to breathe the serenity of the soul which has overcome the earthly and has entered into perfect beatitude.
13At Nos. 11 and 13 we have a reminiscence of the preceding movement and at No. 19 a Poco animato leads us to the close of this interesting work.
15A concluding movement in canon form in César Franck's case has no element of surprise. As regards form, all the movements of the Sonata in A minor—unless we except the first, which probably is musically the most genuinely inspired—show that counterpoint was its composer's native tongue, and
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