Scan 56
Violin master works and their interpretation, 1925
26 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1tained until the Allegro vivace in A minor, in 2/4 time, is reached. It is a genuine Vivace, not only with regard to tempo but also as regards expression; the following passage:
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5should be specially accented.* yet not to such a degree that quality of tone suffers.
7In view of the fact that the Menuetto is repeated at various times by the orchestra and the solo violin, I suggest the following "cuts," especially in public performance:
9From letter H on cut sixteen measures up to the entrance of the solo violin on the third quarter:
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13Later, at the last quarter before letter I, cut eight measures, to the third quarter of the forte entrance in the orchestra:
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17Tutti
19I do not believe that the composition suffers when these "cuts" are made; it is merely a matter of eliding repetitions which unnecessarily extend it.
21In the Mozart Concerto in E flat major,† the beginning of the work in the orchestra as well as the two characteristic concluding measures of the introduction (letter A) prove that the composer as regards the tempo of the first movement preferred a Moderato to an Allegro. With the entrance of the solo violin with the delicate phrase which forms the reply to the two very energetic initial measures of the Principal Theme this preference is most clearly marked.
23* With regard to the spiccato and other types of bowing the student is referred to my "Violin Playing As I Teach It." Frederick A. Stokes Co., New York.
25† Wolfgang Amadeus Mozart. Concerto in E flat major for Violin and Piano. Revised and edited by Leopold Auer. G. Schirmer, New York.
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