Scan 52
Violin master works and their interpretation, 1925
14 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1at the beginning should not be given their full value; they should rather be played as follows:
3in order to preserve the joyous character of the theme.
5The Allegro, ma non troppo, letter A, must be played very lightly and happily; yet, in spite of the spiccato bowing the stroke should come from the wrist, the bow being held with a somewhat firmer grasp so that the player may be better able to control it. Eight measures after letter C the eighth note at the beginning of each measure:
7should be played as shortly as possible in order to preserve the merry character of the phrase. Letter D is a repetition of the Allegro. The passage in sixteenths at letter E is provided with very exact indications; all that is required is for the player to observe them exactly as they are given; and the same applies to the Andante grazioso at letter F. From letter H on:
9the tempo grows somewhat more animated, and a loose spiccato bowing should be used. As the case may demand, a slight modification of tempi in keeping with the character of the music is permissible until the Andante following—six measures before letter K—has been reached. The close of the final Allegro, ma non troppo creates an impression of a spontaneity full of charm owing to the long sustained ritenuto which is continued to the very last note of the composition.
11The Concerto in A major* commences with an orchestral introduction which contains no allusion to the Adagio with which the solo violin begins. It seems as though the composer
13* Wolfgang Amadeus Mozart. Concerto in A major, No. 5, for violin and piano. Revised and edited by Leopold Auer. Carl Fischer, Inc., New York.
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