Scan 22
Violin master works and their interpretation, 1925
17 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1should be decidedly long sustained, and the final note played strongly, without any diminuendo!
3The third movement, Largo, must be played with great breadth, as an introduction to the Allegro commodo, and the Allegro commodo itself should be taken in a tempo approximating a Moderato. I am not of the opinion that this movement should be played in too slow a tempo; the tempo is very exactly indicated and in view of this fact (i.e., that too broad and extended a tempo is uncalled for) at letter C:
510. p leggiero
6etc.
8I have marked the eighth-notes with a leggiero in order to avoid monotony in phrasing. The second part of the movement begins with the same light spiccato and, in part, staccato bowings:
1011. p
12for the reason already given. All the other notes are to be taken with a détaché stroke, and the whole movement should be played with a somewhat melancholy tonal color. The Più lenti in the second and in the last movement should be observed only when indicated, and then only the second time, that is, when the section in question is repeated.
14Archangelo Corelli (1853-1713) whose contemporaries called him "Prince of Music" and "Master of Masters," aside from his Concerti grossi wrote some sixty sonatas; and his compositions, though centuries have passed, still remain classics. From the standpoint of the violin repertoire of the present day, the sixth sonata of his group of Sonate a Violino e Violone o Cembalo (Rome, 1700) cannot be overlooked. For the fifth movement of this sonata is the famous "Follia" with sixteen variations.
16The "Follia" or "Folies d'Espagne": this group of violin variations with figured bass is one of the most important of the works of the old Italian school. As a "modern" repertoire number it has existed since Ferdinand David edited it after
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