Scan 61
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.
1for these three sonatas. Eight measures after letter B occurs a sequence:
385. [musical notation]
5which if properly presented decidedly heightens the effect. This passage, after the preceding forte, should begin with the most supreme delicacy—I might almost say tenderness of expression—and after the four measures during which this piano is maintained should broaden out in a swell of tone which terminates in the forte at letter C. The remainder of the movement should be played according to the indications given.
7CHAPTER IV.
9BEETHOVEN'S "KREUTZER" SONATA AND HIS "ROMANCES."
11Before discussing the Beethoven "Kreutzer" Sonata in detail it seems in order to set down a few reflections regarding the interpretation of chamber music* in general. In the case of compositions in sonata form written for several instruments—in this specific instance for violin and piano—there is no difference between the instruments in question with regard to their respective importance in the interpretation of the work. Both have absolutely equal rights, and the composer decides which of the two instruments is the leading instrument for the time being. The experienced musician who is guided by genuinely musical principles will follow his artistic instincts without loosing sight of the composer's intentions. The young, inexperienced aspirant must try to divine these intentions and, above all, must train himself to regard the composition itself and its proper interpretation as his goal. He should not thrust his instrument into the foreground at inopportune moments in order to make himself appear as persona grata.
13* The "Kreutzer" Sonata is the one Beethoven Sonata for violin and piano which is included in the concert repertoire of the violin. The remaining sonatas for violin and piano are essentially chamber music and do not come within the scope of the present volume.
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