Scan 32
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.
1characteristic is the composer's evident attempt to blaze new trails in the traditional sonata form customary in his day. There is an Introduction, and then comes a Largo with three Grave, around which are woven various little Cadenzas and which together form the First Movement. These Cadenzas apparently were written by the composer himself, and I judge that this is the case because in their shaping up they in no way or manner reflect more modern technical acquisitions. Besides, in another edition of this Sonata in F minor, edited by the late Miss Maud Powell (G. Schirmer, Inc., New York), these same Cadenzas are identical with those in the Röntgen edition.
3The Second Movement is a Vivace, ma non troppo, and the third an "Aria con variazioni sul basso con ostinato," which the editor has provided with a concluding Cadenza. The customary final movement is lacking, and in spite of its melodic richness and beauty this Sonata does not escape a certain monotony due to the use of the key of F minor throughout, and the want of contrasting moods in its three movements.
5The First Movement, Largo, is short and serves to introduce the first Grave, with the following theme:
731. p espressivo
9After the first Cadenza comes the second Grave, a Non troppo lento, which forms the second section of the Theme. Then, following an interruption in the form of a second Cadenza, the Theme appears as the third Grave (again Non troppo lento), and the movement ends with the third Cadenza.
11The Second Movement, Vivace non troppo:
1332. Vivace
15introduces a little life and change in contrast to the preceding and the succeeding slow movement, and the more energetically and vigorously the student plays it the better effect it will make.
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