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Scan 169
Violin master works and their interpretation, 1925
14 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1bow must take place inaudibly, a point which, when the change is carried out at so difficult a place as that at No. 4, in which two voices appear, is of the utmost importance.
3A few measures before No. 5 a spirit of restlessness develops and at the subsequent Animato:
5Animato
7the mood of the music for a moment becomes highly exalted; quieting down again, however, at No. 7. Two measures before No. 1:
9the student should commence quietly, and drive forward with ever increasing speed to No. 10, the Molto animato. At No. 11, A tempo animato he must play very delicately and airly—the Italian term flottato which the composer uses, literally means "as though floating"—but the music develops a great tonal stretto to the fortissimo at No. 12.
11At Nos. 14 and 15 we have the recapitulation of the First Theme which beginning at No. 17:
13gradually becomes more and more agitated. From No. 18 on this agitation increases to actual breathlessness, until No. 20 is reached, where the theme enters vigorously in the bass, and continues fortissimo in the orchestra until it climaxes at No. 21. The mood now grows quieter and the "Poème" finally dies away in the trills of the descending quarter-notes.
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