Scan 25
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.
1pression, and at letter Q take the Lento, in 9/8 time, somewhat more slowly than the preceding Adagio. At letter R:
3Allegro
517. pp e con grazia
7the student should play in a light and animated manner as a contrast to the two preceding variations. At letter S all details are indicated with great exactness and it may be mentioned that this variation is first and foremost a technical study. At letter V, the tempo is the same as that of the variation preceding it, yet toward its close it grows quieter and at W—Meno mosso—it becomes slower. After letter Y comes the closing Cadenza: the player should begin it very quietly, keep to this mood during the long trill, and take the closing chord with great breadth.
9Antonio Vivaldi's (c. 1675-1743) Concerto in A minor* is one of the best, if not the best and most frequently played of the many concertos written by its prolific composer. Arranged and published with string orchestra and organ accompaniment, it has won acceptance in the concert hall because of its wealth of melody and the variety of the tonal colors which orchestra and organ weave about the solo violin.
11In order to interpret this Concerto properly the player first of all must have a feeling for musical style and a gift for rich tone colors; an exact observance of the correct bowings and of the dynamic signs will then follow as a matter of course.
13The first movement is marked Allegro. To this Allegro I should like to add a moderato, for if this be done we have the tempo which is best suited to the somewhat melancholy character of this movement. The broad détaché stroke prescribed in forte as well as in piano must be strictly observed, and the martellato occasionally indicated for one or more measures on the one hand gives the music its special character, and on the other interrupts and varies the détaché bowing which dominates throughout the movement.
15* Arranged and edited by Tivadar Nachez. Carl Fischer, Inc., New York.
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