Scan 19
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 where the same phrase is repeated a third lower:
32. etc.
5at the end of the first movement, which closes very quietly on a long trill. I should like to mention that Larghetto is not synonymous with Largo; in other words, the movement should not be dragged as it sometimes is when heard on the concert platform, since dragging detracts from its effect.
7The Second Movement, in contrast to its predecessor, begins very energetically and is followed by short, ironic little trills—I say "short" because care must be taken that they are not extended so that their length interferes with the flow of the melody. I advise my pupils not to put the rhythmic accent on the trill itself, but to make it after the trill, that is, to stress the note on which the trill is based, as for example:
93.
11Expression marks and dynamic signs must be strictly observed if the movement is to produce the desired effect.
13The Grave which follows (Third Movement) had best be taken in 8/8 time, that is to say, with great breadth. It leads over into the Allegro assai in 2/4 time, which contains the "Devil's Trill." The latter begins very piano and by means of a tremendous crescendo leads over into the Grave (played as before) which follows, with the difference that this time the latter occurs on the dominant, in D minor. In order to secure the greatest clearness and rhythmic pregnancy I advise the following rhythmic division of the trill-sequence:
154.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.