Scan 43
Violin master works and their interpretation, 1925
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1tempo, an approximate Andante, while the "Bourrée" had best be played Moderato assai. In both cases the "Double" should be played somewhat more rapidly,** since from a musical point of view the graceful character of the variations demands a somewhat livelier tempo. The expression marks as well as the dynamic signs should be emphasized in the most conscientious manner in order that the player by so doing, may feel certain that he will be able to approach as closely as possible the expression of the composer's meaning.
3The Third Sonata, in A minor, like the First Sonata, consists of four movements independent one from the other, and resembles the G minor sonata not alone in its form, but also in the grouping of its movements. The first movement, Grave-Lento, also enters in 16/16 time; it also has its dramatic moments, and in no wise yields to the G minor Sonata as regards melodic beauty. The same might be said of the Fuge, Moderato assai—Johann Mattheson (1681-1764) preferred it to the Fuge of the G minor Sonata—which, fortunately, probably owing to the material used, is more extended, something which only adds to the value of the work as a whole. The third movement, Andante sostenuto cantabile, is one of Bach's loveliest slow movements and especially rich in melodic invention; together with the Allegro which follows it, this is a number often listed on the modern recital programme. I should like to remind the young student that the composer has added to the Andante sostenuto the word cantabile, i.e., "in a singing manner." The wonderful melody in the upper voice is now and again alternately combined with an accompanying melody on the G and on the D string; and the technical difficulty for the right arm lies in the fact that the two melodies must be treated as a unit; while at the same time the lead melody must be made to stand out, and the accompanying melody must be more subdued, must be kept discretely in the background.
5** The fact that the "Double"—the transformation or variation of a theme in these earlier forms—retained the melody, key and rhythm of its theme, does not mean to say that the tempo could not be modified. This earlier type of variation, in the case of variations by Mozart and Beethoven, shows the strongest contrasts of harmony, key and rhythm.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.