Scan 45
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.
1the manner in which they are employed, the school they represent. Yet no one theory has adequately solved this important problem, in spite of hundreds of pages of printed matter devoted to it in the form of numerous special studies which attempt to offer solutions. In addition to the necessary physical prerequisites, only natural born talent and proper demonstration on the teacher's part of how the essentials already mentioned should be applied practically secure the desired result. In the third and fourth movements, the Largo expressive in F major, which moves in one uninterrupted course, and the Allegro, suffer from the crushing importance of the two principal movements.
3The Sixth Sonata, in E major, like the two other "Partita" sonatas, assumes the form of a suite made up of dance-forms, with the exception of the "Preludio." As is well-known this Prelude forms the instrumental introduction to a cantata for chorus, soli and orchestra; while violinistically speaking it remains one of the loveliest, most difficult and technically most useful compositions in this entire sonata group. It is especially valuable, in view of the incomparable practice it affords for the use of the right wrist in connection with the forearm. How lofty the level of violin-playing must have been in general, and what a notable violinist—quite aside from his mastery as an organist—Johann Sebastian Bach must have been in order to invent and to play works such as this Prelude and the Fugues in G minor, A minor and C major!
5The "Loure" which follows the "Preludio" supplies an equally fine introduction for the charming, merry "Gavotte" in E major, which should be played in a Tempo moderato, the historically approved tempo for this old French dance as well as for the "Menuetto." In the case of this last movement a very moderate tempo also is in place, to make possible the graceful movements of the dancers. As a model for the style and tempo in which this "Menuetto" should be played we have an example in Mozart's "Don Giovanni" Menuet, which has been handed down by the French balletmasters of the eighteenth century in Europe as a spiritual legacy. The two "Menuetti"—which seem to take the place of a "Sarabande"—are followed by a "Bourrée" and a jolly "Giga," whose
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