Scan 44
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.
1The fourth movement, the Allegro, forms a worthy contrast to the preceding Andante sostenuto. Expression marks, such as espressivo, ritenuto, etc., and dynamic signs crescendo, diminuendo, piano, pianissimo, must be exactly observed.
3The Fourth Sonata in D minor, from the standpoint of form is, of course, a 'suite.' It consists of movements in dance-rhythms, "Allemande," "Corrente," "Sarabande" and "Giga" and the great "Ciaconna" with the 33 variations which already have been considered. The grandeur of the "Ciaconna," and the musical importance of the "Sarabande" and "Giga" cast the first two movements, the "Allemande" and the "Corrente" into the shade. The latter are seldom if ever played in public.
5The "Sarabande," in view of its singing character, should retain a Molto moderato movement, while the "Giga"—an Italianized form of the old English "Jig," in spite of the fact that it is written in D minor—ought to be played in a decidedly lively tempo, such as an Allegro assai.
7The Fifth Sonata in C major is perhaps the most important of the six in conception and content, and because of the manner in which the first two movements have been laid out. Its "Fuga," in spite of its length, is probably the most important of the three fugues, in G minor, A minor and C major respectively. To play it properly the player must be equipped with an independently perfected technique of both hands, and especial attention must be paid the quality of the tone emitted. The leading of the themes, too, demands profound musical understanding, and an exact observance of dynamic signs. There are moments in the "working-up" of the Fugue when the slightest pressure in the right hand beyond the absolutely natural degree of pressure called for results in a disagreeable tonal buzzing, which may escape the player's notice but makes a most unfortunate impression on the auditor.
9In this connection I should like most emphatically to call the young student's attention to the danger which lurks in the natural wish to produce a big, powerful tone. A big tone has its cause of being, its basis, first: in the physical construction of the hands and their muscular equipment and secondly: in
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