Scan 28
Violin master works and their interpretation, 1925
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1Four measures before Variation Six we have an a tempo:
3to be played "sighingly," the eighth-notes quite short, produced to sound like a catching of the breath. In variation Six, again, we move to a Più largo and "sing." Variation Eight should be played with great breadth. This variation leads over to the theme, Tempo primo, fortissimo. As it does so in A minor and at quite some length, it becomes monotonous. For this reason I have indicated a little "cut," from Variation Nine to Variation Ten. One of the "Ciaconna's" loveliest moments is in Variation Eleven, pp, dolcissimo:
5that is to say, it should be played so that it is hardly audible. It should sound as though played in the far distance, the bow lying on the strings without the faintest pressure from the wrist, while the left hand carries out a sustained vibrato.
7The sustained vibrato is against my principles, and in general I teach only a moderate vibrato, and then only on sustained notes. The above case, however, represents an exception to the rule. After a Crescendo poco a poco, we have Variation Twelve, also presented pp, notwithstanding which its beautiful melody should be played with the most tender warmth and intimacy.
9Variation Thirteen has a four-measure stretto which leads suddenly over into a Piano espressivo, and with Variation Fourteen the great working-up begins with an Un poco vivo, marked sempre pianissimo:
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