Scan 54
Violin master works and their interpretation, 1925
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1once more appears. At the seventh measure after letter E a new theme is introduced:
3with a sorrowful undertone. It is marked espressivo and should be taken in a somewhat quieter tempo. Two measures after letter F the Principal Theme once more reappears as at the beginning of the Allegro aperto. Every violinist is entitled to play the Cadenza which follows according to his own conception: the tempos change according to the nature and character of the motives drawn from the first movement of the concerto, upon which the Cadenza is built.
5The second movement, Adagio, contains a veritable treasure of the loveliest melodies, and those who would sound its hidden deeps of beauty, and prepare to do so with true devotion and self-sacrifice, will enjoy revelations of inestimable musical value. This entire Concerto in A is not played often enough in public, no doubt because, though simple in conception and rich in invention, it demands the manifold colors of the orchestral accompaniment in order to win proper appreciation. The Adagio should be played in a very sustained manner from the very start, and the eighth-notes in the 2/4 measure indicated should be taken quite slowly, since otherwise the thirty-second notes, which form a very essential part of the melody, will sound as though they were being hurried, and thus will detract from the effect. Six measures before the letter C:
7play with great energy, and the measure immediately following very softly. The repetition of the measure just mentioned should be carried out in exactly the same way. With this exception play forte until letter C has been reached. Four measures after letter D we have a most important moment with
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