Scan 27
Violin master works and their interpretation, 1925
4 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1same form for violin solo. It is a "Ciaconna" with variations, in which a clean-cut rhythmic theme is developed in a number of contrasting variations whose ornamentation is no mere external, virtuoso embellishment, but forms part and parcel of the working out of the Main Theme itself. The first eight measures of the organ or piano introduction, which always impress the listener by their combination of outward simplicity and inner grandeur, establish the proper mood of the composition in the auditor's mind, and make him more susceptible to what is to follow—the grandly laid out Theme with its interesting variations, which fascinate by reason of their musical content, as well as because of their variety of technical figuration. A special charm of these variations is the change of tonality which occurs in certain ones among them—something unusual in seventeenth-century compositions—and some decidedly inspired modulations. I know no other work of its period which compares with the Vitali "Ciaconna" as regards wealth of harmonic development. This, however, may be due in part to David who, when he edited the work for his "High School of Violin Playing," in various instances departed widely from his original. His transcription, however, is held by the best authorities to represent a valid approximation of Vivaldi's manner of writing.
3Already, in the Third Variation, we find ourselves moving in B flat minor, then in G flat major, D flat major, and all the various keys related to the original key of G minor. On a closer examination of the work we find that in it, as in Bach's "Ciaconna," each variation has a clearly marked, individual character of its own; and that this special character has been intensified by Ferdinand David's organ or piano accompaniment in a masterly way, so that when the solo player is properly supported by his accompanist the collective effect is greatly heightened. The basic mood note of the "Ciaconna" is a dramatic one: the observation of the slight changes of tempo such as, in Variation Two: Un poco più animato; in Variation Three: Espressivo agitato; in Variation Four: Leggiero ed un poco vivo, is of quite particular importance, because these little contrasts in tempo and movement, these slight modifications in mood, emphasize the fundamental character of the entire work.
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