Scan 47
Violin master works and their interpretation, 1925
12 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1Third Movement, Allegro, is a masterpiece of counterpoint and, quite aside from its lyric moments this Finale contains delightfully humorous sections which lend it an extraordinary wealth and splendor of color.
3The performance of the Bach Double Concerto in D minor calls for two violinists thoroughly imbued with the musical content and importance of the work, and whose technical apparatus allows them to do justice to the composer's intentions. I say this with special reference to the younger generation, which will do well to study this work seriously, and allow itself to be influenced in its own playing by listening to the interpretation given it by outstanding masters of the violin.
5The Double Concerto in D minor, however, must never be considered a solo composition for two solo violinists instead of for one. It must be played in accordance with the ideals of chamber music, in which no distinction is made between the first and the second violin as such, the terms "first" and "second" in this case being purely external designations, since it is not possible, of course, to write for two first or two second violins. It is the value of the musical ideas in themselves, and not in connection with one or another of the solo voices which is the determining factor in presentation. The players must comply with this law of art and, whenever the given moment may occur, subordinate themselves to the guidance of the leading voice.
7There are Bach transcriptions for violin with piano accompaniment, but they are not numerous. Perhaps the oldest and most famous is the "Aria" from the D major suite for string orchestra, transcribed by August Wilhelmj. It is one of the happiest and most generally played of all transcriptions. Its interpretation, first of all, demands control of a fine singing tone on the violinist's part; this, together with a good Italian master-instrument (or an adequate copy) should enable him to produce the desired effect.
9A "Siciliano"* transcribed from a sonata originally for cembalo and flute is an intimately held composition of real charm which often is listed on the concert programmes of Jascha Heifetz.
11* "Siciliano," from Johann Sebastian Bach's Sonata for Cembale and Flute. Transcribed and edited by Leopold Auer. J. H. Zimmerman, Leipsic.
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