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NOTABLE VIOLIN SOLOS. HOW TO PLAY THEM,

f

Selection of Works on the Violio.etc.

Reees

VIOLINIST'S ENCYCLOPAEDIC DICTIONARY: Explanaabout 4,000 Words, Phrases, Signs, References, English and Foreign, used in the Study of the Vioand by String Players gem rally, by F. B. EMERY, M.A. Enlarged edition, doubled in size 246 pp., crown 8vo. Cloth, 6s., paper covers, 4s. 6d. (or on India paper and bound in red pegamoid, 6s. 6d.).

tions of etc., lin,

CONCISE METHOD OF INSTRUMENTATION. How

to

Write for the Orchestra and Arrange an Orchestral or Band Score. With Musical Examples, large folding Charts and Index. By EDWIN EVANS. 8vo, ol. Vol. I. How TO WHITE FOR STRINGS. Arrangement of Scoring and Preparation of Parts. 7s. 6d.

THE VIOLIN,

ITS

HISTORY AND CONSTRUCTION.

Il-

lustrated and- Described from all Sources. Together with a List of Tyrolese and Italian Makers. With 29 Illustrations and Folding Examples of the First Music issued for the Lute, Viol and Voice. From the German of ABELE

and

NIEDERHEITMANN.

printed (paper,

in

By

J.

Fresh

BROADHOUSE.

Crown

size.

larger

8vo

4s.

cloth,

issue 6d.

3s.).

BOW INSTRUMENTS,

their Form and Construction. PracDetailed Investigation and Experiments regarding Vibration, Sound Results, and Construction. By J. W. GILTAY. Issued into English by the Author in Co-operation with E. VAN DER STRAETKN. Numerous Diagrams. 8vo, oloth, 8s. 6d. (paper, 6s. 6d.).

and

tical

IMPORTANT

LESSON

TO

PERFORMERS

VIOLIN. By the Celebrated TARTINI.

THE

.ON

Cloth, 3s.

OLD VIOLINS AND VIOLIN LORE, Famous

Makers of England. France and Ger-

Cvemona and Brescia, and of Players, many, Dictionary of Violin Makers, Famous and Chapters on Varnish, Strings and Bows, with 13 full-page Plates. By H. R. HAWEIS. Thick crown 8vo, cloth, 7s.

6d.

THE VALUE OF OLD VIOLINS. By

E. POLONASKI. Being A List of the Principal Violin Makers, British, Italian, French and German. With Approximate Valuations of their Instruments and Occasional Notes on their Varnish. Facsimiles of Labels and Violins. Crown 8vo, 4s.

cloth,

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HOW TO REPAIR VIOLINS ments. 8vo,

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and other Musical InstruWith Diagrams. Crown

COMMON. Is.

6d.).

INFORMATION FOR PLAYERS,

Owners, Dealers and Makers of Bow Instruments, also for String ManufacTaken from Personal Experiences, Studies and Observations. By WILLIAM HEPWORTH. With Illustrations of Stainer and Guarnerius Violins and Gauge of Millimetres and Centimetres, etc. Crown 8vo, cloth,

turers.

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UKKVES'

DICTIONARY OF MUSICAL BIOGRAPHY:

Noteworthy Men and Women (Past and Present). E. DU.VCAN and Others. Crown 8vo, cloth, 4s Gd 3s.

',

Many

Ed. by (pap-?r

6d.).

useful

All prices net.

and valuable work*

will be ('ntnlngue B, sent post free.

WILLIAM REEVES BCOKffiium

LTMITI.II.

found

LOXDOX W.C 83

in

cur

2

CHASING CBOSS ROAD,

Van der

Straeten.

The Complete Work. (Three Series).

NOTABLE

VIOLIN SOLOS HOW TO

PLAY THEM WITH UNDERSTANDING, EXPRESSION

AND EFFECT BY

E.

VAN DER STRAETEN

Containing 44 Articles dealing with works of ALARD, BABELL, BOROWSKI, BRAGA, BRIDGE, BURROWS, CARSE, CENTOLA, COLERIDGE-TAYLOR, CONTIN, DEVRIENT, DUNHILL,

DUSSEK, GOUNOD, HUMPERDINCK, MOFFATT, MOSZKOWSKI, MOZART, PAPINI, PURCELL, RAFF, RANDEGGER, JR., REINECKE, RURT, SAINT-GEORGE, SCHUBERT, SITT, VAN DER STRAETEN, SVENDSEN, TEN HAVE, THOME AND WIENIAWSKI.

WILLIAM REEVES BOOKSELLER LIMITED

83

CHARING CROSS ROAD, LONDON, W.C.2

Printed by The

New Temple

Press,

Norbury Crescent,

London, S.W.16, Great Britain.

MI v/

CONTENTS. PAGE

"

ALARD, DELFHIN,

BABELL, WILLIAM, Sonata in A. Moffat. I.

56

Valse Graeieuse

B

flat

major, arranged by

Preludio and Giga

II.

Air,

BOROWSKI,

Hornpipe "

FEILIX,

and Gavotte

94

Mazur " (Mazurka)

"La

BRAGA, GAETANO,

87

a Plnglese

130

Serenata "

101

" Gondoliera " BRIDGE, FRANK,

BURROWS,

B.,

"

136

On Shadowy Waters"

CAUSE, A. VON AHN, Minuet and Trio in

CENTOLA, E., "Spanish Waltz," Op.

106

A

2,

sharp major No. 2

S.,

'''Lament," Op. 9

COLERIDGE-TAYLOR,

S.,

"Merrymaking," Op.

DEVRIENT, F., Willemsen

J. L.,

Berceuse," Op. 10

77

23,

...

No. 2

...

157

...

...

58

"Berceuse" in G major, arranged by 160

DUNHILL, THOMAS

DUSSEK,

"

166

Ill

COLERIDGE-TAYLOR, CONTIN, GUISEPPE,

...

"

GotrNOD, CHARLES,

F.,

" Trois Valses Miniatures"

Menuet," arranged by Burmester " Serenade," arranged by F. Mullen

HUMPERDINCK, ENGELBERT, by Goltermann MOFFAT, ALFRED,

"At

"

...

152

...

14

...

01

Evening Prayer," arranged

Court," Minuet

129

Contents.

viii

PAGF,

"

Scottische Weise" (Scottish Air) MOFFAT, ALFRED, MOSZKOWSKI, M., "Spanish Dances," Op. 12, No. 1, ranged by Scharwenka

MOZAIIT,

W.

A.,

Sonata in

G

...

23

ar-

170

major.

Allegretto

.147

141

Allegro con Spirito " Ronde Champetre," Op. 66, No. 6 PAPINI, GUIDO,

...

42

PURCELL, HENRY, Air and Hornpipe, arranged by Reed " Canzona," Op. 85, No. 5 RAFF, J., " RAFF, J., Cavatina," Op. 85, No. 3

124

RANDEGGER, JUNE., Book3, No. 1

ALBERTO,

"Bohemian

Dances," 39 65

>.

Adagio, Sostenuto e Religioso III. Fantasia

II.

...

...

...

66

...

...

69

...

Allegro Moderate

Andante

III.

Menuetto

...

...

...

...

117 ...

...

28 33

...

S.,

51 9

"Romance/' Op. 26

TEN HAVE, WILLEM, " Allegro Brillant," Op. 19 " Andante Religioso," Op. 70 THOME, FRANCIS, WIENIAWSKI, HENRI, "The Minstrel," Mazurka, Op.

36

48

HANS, "Romanze," Op. 97, No. 1 " Gavotte and Musetta " STRAETEN, E. VAN I>ER,

SITT,

No. 2

45

2.

31

IV. Allegro

SVENDSEN, JOHANN

72

;

SAINT-GEORGE, GEO., "Chant san Paroles" " L'Abeille " ("Bees' Wedding") SCHUBERT, FRANZ, SCHUBERT, FRANZ, Sonatina in A minor, Op. 137, No. II.

4

181

REINECKE, CARL, "Romance," Op. 43, No. 1 " RUST, F. W., "Sonata Seria I. Allegro Moderate e Maestoso ... ...

I.

187

80

173 19,

19

LIST OF ILLUSTRATIONS.

Van

der Straeten

...

...

...

...

...

...

8

Joachim, Ernst, Wieniawski

...

17

Franz Schubert

...

...

...

33

Guide Papini

...

...

...

41

W. Ten

...

...

...

80

E.

Humperdinck

"Le Mercure" Strad

Flave

Henry Purcell Mozart

Thomas

Moszkowski

facing page

I

,,121

...

F. Dunhill

frontispiece

144 ..

...

,,152 168

E.

Humperdinck.

" 1

From

'*

Evening Prayer

.

" the opera,

(Abendsegen).

Hansel and Gretel," by Engelbert

Humperdinck, arranged by G. Goltermann. us begin with the children

LETthe

starting point of

all

for that

human

is

for ever

existence

on

These particular two children had lost their way in the wood, and after wandering about all day they were overtaken by darkness. Worn out by

earth.

fatigue they encounter the

little

sandman who

fills

sand till they can no longer resist their Before lying down under the roof of the

their eyes with

sleepiness.

green trees they kneel down to pray for the protection of the guardian angels, and perhaps never has the true and fervent devotion of children in their pureness of

and simplicity of mind been more convincingly expressed than in this truly inspired music. The soul

pathos of the melody relief

that

by when

is

even brought into stronger

Gretel reminding Hansel before they pray mother at any time gives way to despair the

father tells her that in direst need the

Lord

is

nighest, 2

'Well-Known Violin Solos.

2

and the above is the melody to which the Germah words are set. This gives us the cue to the meaning of the piece;

it is

the cry to

God

for help in great dis-

tress, and must consequently be played in a simple devotional manner carefully avoiding anything ap-

proaching affectation. After the two bars' introduction begin softly but yet with a rich and round tone. Use the full length of the bow, which must travel fairly The time is about five the finger-board.

near

The

seconds to the bar. notice, the -fall

from

:

D

to

A

fifth

and

bar calls for special

A

to

F

sharp and fol-

lowing bar to the third beat (E) expressing a fervent supplication.

The

while

D

must therefore receive special

recedes in strength very slightly and gradually as the phrase drops down to The last quaver in that in the following bar. the

emphasis

the

tone

D

bar

F

leads to a

sharp

new two-bar phrase

in

which

This the children enumerate the guardian angels. phrase repeats four times with slight modifications, each time appearing on a higher degree of the scale. The A in the ninth bar must be stopped by the fourth fin-

D

The B flat in ger on the string taking full bows. the eleventh bar is taken by the first finger on the string, and from here the tone must gradually increase

A

in

strength to the

E

in the fourteenth

bar which must

be taken by the fourth finger as the open string would hot blend with the preceding and following D. The fourth beat in this bar (E-F sharp) must be diminu-

endo and the

G

in the

following bar must enter very

"Evening Prayer"

3

We

meet here with an inversion of the openwhich occurs for the first time in the third ing figure

softly.

bar of the melody. In this instance, however, it appears in the key of the subdominant (key "of G) and is accompanied by the opening figure in its original form.

The

inverted descending figure is repeated a tone higher in the following two-bar phrase; and from here a slight crescendo must be made which rising-r

Take the E in the fourth bar with the fourth finger. The A in the following bar starts forte with the open string and taking full bows to each crotchet the tone must be increased to fortissimo on the following minim G. This must be held increases for four bars.

out slightly more than its full value, while a ritardando and diminuendo marks the second half of the bar which sinks to a very soft piano commencing the following bar. Here we reach the "coda" or final section of the piece which must be very calm and The second A in the third bar of this coda peaceful. must be played witji the fourth finger on the D string. Two bars later we come to a minim G followed by a quaver figure which commences a slight crescendo rising to the minim A, and is followed again by a decrescendo on the quaver figure in that bar. The two quavers, F sharp and A, in the following bar com-

mence the

final

phrase which must be of a rocking

somnolent character indicating that the children are A gradual ritardando should be falling asleep.

made from

this

point.

The following bar should

Well-Known

4

Violin Solos.

have a slight crescendo starting the

and holding

last,

note mezzo

out quite a bar and a half with a forte very gradual diminuendo^ letting it die right out. Although the piece is arranged to be played in the first will be

it

position

it

more

from the end on the

D

play the third bar string on account of the more effective to

sombre tone colour.

2.

J.

Raff's

OP

.

85,

"Cavatina." No.

3.

has given to the world in this Cavatina a of never-fading beauty. It is an in-

RAFF melody spiration

sprung

so

strument.

as

if

it

its finest qualities

had in-

so that

it

more than half a century by every vioand still keeps a favourite with all who and those who try to. The technical

for

of note,

can master

violinistic

from the very soul of the

brings out all

It

was played linist

essentially

into existence

it

difficulties are

not exacting, but

it

requires a poetical

rendering combined with great breadth and beauty of tone.

advisable as a preparatory study to practise what Viotti calls "filer le son," the spinning of tone, as the thread is drawn out and spun on the It

is

spinning wheel. This should be done by letting the bow travel about an inch from the bridge in an abso-

/.

Raffs

'>

Cavatind."

5

lutely straight direction, and without any pressure on The slightest deviation from the the bow stick.

straight line interferes with the equality of the vibra-

and a very steady hand is required bow along the string without the least

tions,

to carry

the

variation

of pressure, or rather preventing it from resting on the string either with more or less weight than it does at the start. -, In that manner each vibration of the is nourished by the preceding and following and thus acquires that fullness and roundness

string one,

which

is

the essence of a beautiful singing tone.

necessary that the student should acquire pertime to be given to each bow, which must travel right from the nut to the It is

fect control over the length of

very point,-' not leaving the smallest fraction of its This can only be done by watching length unused. the

hands on a second

ing, say,

and

with

dial of a

so on until one can

minute.

The

watch or clock,

start-

ten seconds to each bow, then fifteen,

make one bow

time, of course,

must

last for a full

not be

left

to

chance but determined beforehand, and each down

up bow must occupy exactly that length of time. This digression appeared necessary, as the Cavatiria requires long bows of various degrees of strength, and after acquiring the ability to let it

bow

as well as

travel

for

a minute without increase or decrease of

and decrescendo during one stroke The Ereitkopf and Hartel mastered.

tone, the crescendo

will

be soofi

edition indicates the use of

G and D

string for the

T

6

}V

ell-Known Violin Solos.

period, whereas

first

it is generally played entirely which enhances concert string by players, the effect and shows off the fine quality of that string

on the on a

G

As

of playing piece difficulty by employing the highest positions on the G string, we adhere to the easier way of fingering. The time should be about instrument.

first-class

the

this

way

increases the

The opening

phrase, of course, string, stopping the G firmly on no account use harmonic

four seconds to a bar.

commences on the

G

with the third finger

and the following F sharp (dotted minim) with the second finger. The crotchet F sharp take on the D string and remain on that string, stopping the D in bars six and seven firmly with the third finger. The last beat of the following (eighth) bar introduces a repetition of the opening theme, this time pianissimo. Bring the

bow

nearer to the bridge, using

each slur but without that the 'tone

retains

its

full length for

any appreciable pressure, so its roundness but receives a

sombre, somewhat mysterious character. The second slur begins with a very slight and gradual crescendo ending on the dotted minim G, which is still to be

G string, while the following crotchet G should be taken in the second position on the D string. A strong crescendo leads up to the D, which must be

taken on the

played on the D string as well as the following bar, which contains a diminuendo which dies down to a pianissimo phrase.

At

for

the

the

repetition

end of

this

of the

last

two-bar

a crescendo commences

/.

Raffs "Cavatina."

7

leading up to forte on the second F sharp, which is first crotchet in the next following bar. For the

the

A following the G sharp take the open string and continue on this, with the exception of the first five

A

notes of the sextuplet, to the end of the phrase, the last notes of which must die away very softly. The of the next bar (open string) introduces a slight

A

crescendo

leading up to the

commences with

A

D

on the

second

subject.

string, to be

This

taken with

a decrescendo by the third finger on the D string. The beautiful melodious strain that follows is of a longing, emotional character, and has to be played softly but with great expression, giving a little emphasis to the B, and still more to the following

D

which takes its place in the repetition, commencing a tone higher, of this two-bar phrase. The following figure commencing with C sharp repeats the preceding phrase commencing with B. succession

crescendo^

character

suppliant to a climax on the

ing,

coming on the the

marked

C

E

string,

whence

it

It

appears twice in

and emphasises

with

D

increasing

its

long-

ardour,

in the fourth position

descends, finishing with The whole of

sharp on a dominant cadence.

ing with

E

now

repeated a fifth higher, commercin the second position on the A string,

this section is

culminating point to A, the fourth finthe seventh ger position descending to the open string, after which the first subject appears again

rising at its in

A

pianissimo on a pedal

A

(in the piano part) in the

Well-Known

8

Violin Solos.

minor modulating to G major, and after This is one eight bars it repeats in double stopping. of the most effective sections. It must be played with full power and great breadth as if triumphant at key of

G

having obtained

all that

in the previous section. well under the hand, and

must be taken

was so ardently sought

for

The double stopping

lies

is

fairly easy, but great care

to get the intervals well

pecially in the fifth bar.

and

Do

in tune, es-

not drag this section

increase in speed on the octaves to the previous time at the a tempo.

D-D, returning

The

last

bar of

the double

stops decreases in strength to a piano, a little on the notes without making a disdwelling tinct ritardando. From the following to the end

D

to be played on the G string. The notes must be played with a full bow accentuating every note. The final D must gradually de-

everything

marked

is

>

crease in strength until

it

dies right away.

Le Mercure

"

Strad.

S.

Johann

3.

Johann

Svendserfs

S. Svendsen's

OP OVENDSEN,

^

"Romance"

.

Romance/'

26.

who ranks among

dinavian composers, became musical world by his beautiful strings,

"

which was a favourite

the greatest Scanfirst

known

Octet,

at the

old

Op.

to the 3,

for

Monday and

Saturday Popular Concerts, where it experienced excellent performances under Joachim's leadership. Of subsequent compositions none has attained such widespread popularity as his Romance in G, for violin. It was originally written for violin and his

many

fine

orchestra, but the

composer himself arranged the very accompaniment, and in that form

effective pianoforte

more frequently heard, and more valuable for the use of amateurs. It begins with an introduction of it is

nineteen bars marked andante with the metronome mark: J^6o. Those who have not a metronome at hand may take it at the rate of ten seconds for three bars.

The

piece, distinctly

Scandinavian in character,

is

of the mystic and romantic past of the Norsewith all the pensive tenderness and all the vigour men, and passion of that sturdy race. And in that spirit it like a tale

should be played as ful tales of love

if

unfolding one of those wonderas we find them in the

and adventure

Well-Knoivn Violin Solos.

io

old "

epos

of

"

Gudrun

''

and

the

bardic

songs

in

Ossian."

The player should remember this well and exercise his imaginative faculties when performing the piece. The enchanting opening melody must be given out tenderly with great breadth and freedom. Freedom, by the by, does not mean playing havoc with the time, as some people. seem to think when they lose every feeling of rhythm and time, but it means a proper accentuation and sometimes a slight leaning on important notes, which imparts the interpreter's conception of the piece to his listeners. At the beginning of the tenth bar from the entry of the solo instrument (letter

A is

"

"

Breitkopf and Hartel edition) a poco animate marked, and the tempo must be slightly increased, in

carefully observing the crescendos and decrescendos as well as the -poco rit. and decrescendo in the last

bar before the "piu mosso" in the

middle

section.

G

minor, which forms

The metronome mark

for this

is

116, but for those without a metronome given as ^ it might be fixed at five seconds to four bars. The

above-mentioned edition gives no bowings for this section, which is left to the individual artist, whom the

composer evidently would not

fetter

by

strict indica-

tions, rather leaving it to his own genius to adopt the bowing best suited to his own style to arrive at the

desired ing.

effect,

which

is

that of restless, excited long-

In order to assist those difficulty in settling the

who might bowing

experience

for themselves,

Johann

we give

it

S.

n

Svendsen's "Romance"

here for the

first

twenty-two bars of the

"piu mosso," which will enable players to bow the analogous phrases for themselves. We only give the rhythmical values of the notes, without taking notice of their pitch, which does not come into consideration for this purpose Flu Mosso,

MM. J ~

:

1

60.

I

Ld UJ Ld

I

1

LJ

4

l

I

I

I!

I

!

H

I

LJ From

the twentieth

bar

I

Ljj

1

-I

I

:

I

I

LU

(letter

C)

I!. -I

1

!

I

!

4

j

make

a

very

gradual crescendo to the end of the twenty-fourth bar, then let the piano come in quite suddenly and without This piano any preparation (previous diminuendo'}. keeps on for four bars, when the F sharp of the foK

Well-Known

12

Violin Solos.

taken with a sudden mezzo-forte, which, by a gradual crescendo, leads to the forte (letter D) four bars further on. The .next eight bars, introducing

lowing bar

is

new

motive, which appears, first in the introduction, must be played with a powerful tone and steady in-

a

crease in time to give that period a passionate and excited character, leading up to the flat (a tempo'],

E

which must reach a fortissimo climax. Dwell just a little on that note, then begin to relax the tension of excitement

that

by gradually

reducing

speed

and

power, sinking down to a pianissimo when the tempo primo (ten seconds for three bars) is reached. The

motive of the

"

molto animate

the dominant chord of

key of

G

minor,

when

E

flat,

"

section appears

modulating back to the

the middle section,

reappears in a shortened form, the (letter

E) leading

G

"

piu mosso," second subject of this

after four bars to a fortissimo

falls in a cadential figure to the dotted

the

now on

minim B

string, without reducing the power of tone.

commences the

and on Here

flat

"

lento molto," which, played very slowly with powerful, well-sustained tone, shows off the G string to best advantage, and the following bars up to

the

Tempo

/,

which returns to the original key of

G

major, must all be played on that string, and those who are not afraid to use the higher positions on it may obtain a fine effect by playing the first four bars,

which bring the

first

subject to the opening theme,

in the lower octave likewise

on that string but pianis-

simo, yet with roundness and fullness.

fohann

S.

Svcndsen's "Romance."

13

For the D in the fifth bar take the open D string and remain on it until you come to the B, last note in seventh bar, which is to be taken on the A string, on which you remain until the G,

last

note in tenth bar

(second bar after letter F) is reached, which is to be taken on the first string. Everything explains itself now till we come to the animato e crescendo (letter G),

where

the

accents

">"

must be

well observed

The time

which shift the natural accents of the beats.

here becomes gradually quicker to the fortissimo notes, which are to be played very broad and with full bows,

decreasing the tempo to a very marked ntenuto. the last section, -piano

>

calm and

''

the

lento,"

In

melody appears very beyond the

serene, lifted, so to speak,

spheres of strife and passion through which it has passed in the course of the piece. Use about four

seconds to the bar and a "

piu lento,"

trifle

where the tone

more

is

for the following

increased to forte on

the upper G, which can be taken either string.

The former sounds

D

string

and

in fact

D

or

it is

A

best

D

string right to the end, though of course six bars from the end might be taken on the

to use the

the

best,

on the

A

and

right out.

the rest on the

first.

Let the

last

D

die

Welt-Known

14

A.

J.

L

Violin

Dussek's

"

Menuet"

(1761-1812), arranged by Willy Burmester.

composer of

THEBohemian

by

this

birth,

graceful

little

whose name

in

gem was his

a

native

"

Doosheck," though now pronounced tongue it is only known in its French version. He was a true child of the Czeckian woods and mountains, full of

was

and a restless, roving spirit. One of the greatest pianist-composers of his age, highly educated and of courtly manners, he was a favourite music, romanticism,

among

the great,

and

especially at the French court,

where he became a favourite of that unfortunate Queen Marie Antoinette. There, in the luxurious surroundings of Versailles, was the home of courtly graces, and that stately, elegant dan.ce, the minuet. It is well to

remember

this

when playing

this piece, to

imbue

it

with

that spirit of fanciful quaintness and daintiness which lends it that particular charm upon which its successful rendering entirely depends. like a little story

full

It

should be "told"

of amiable grace and serene

peacefulness.

The ner,

subject opens in a quiet and stately manseconds for two bars is the right tempo. at the second hands of a watch or clock and see first

about

Look

five

/.

L. Dussek's

"Menuet*

15

you fill out five seconds as nearly -as possible with two bars, without binding yourself slavishly to that time. A little freedom for the sake of proper

'that

expression must always be allowed, otherwise the ren-

dering becomes mechanical and uninteresting. As the edition before me now (Schott and Co.) has no dynamic sign at the beginning of the violin part, let it be said

commenced mezzo-piano, louder than piano and less than mezzoStart with a forte, with a round and singing tone. the minuet should be

that

that

is,

a

little

down bow as marked, and though you will naturally get a down bow on the second crotchet of the first bar, you must take another down bow on the third beat, which receives also a little emphasis. The same happens in the third bar, where the centuated,

and

likewise the

A

G

D

sharp

is

"slightly ac-

in the fifth bar.

The

must be played notes, very lightly in the middle of the bow, avoiding any accent which falls on the G in the next bar the final note of the first sentence which repeats in the followtwo staccato

ing eight bars.

B, in bar seven

After this repeat we come to a second

contrasting sentence. Although built up same bass as the first one, its contrast is

every

other

respect

Firstly,

from a quiet "allegretto" to a only

five

the time

is

upon the marked in increased

"

piu mosso," allowing seconds for three bars instead of for two

bars, as in the first sentence.

Secondly, the rhythm is altered by breaking up the two crotchets or one minim followed by two quavers or dotted quavers into figures

1

Well-Known

6

of six quavers.

Violin Solos.

Thirdly, the piano of the

tence changes to a

sudden

first

sen-

forte at the beginning of

the second sentence, but only

for the

first

or

fore-

phrase (four bars), while the after-phrase returns to a sudden pianissimo. This second sentence must, .as-

sume an

air

The

three bars

first

of gaiety without losing its stateliness. must be played in the middle part

of the bow, using half a bow to each note, which must be attacked firmly and played with a full and vigor-

ous tone. Burmester's bowing for the fourth bar is the same, but with due deference to so excellent a master, this

appears to

me

just a little too

much of

that bowing,

rendering the phrase somewhat dry and stilted, wherefore I should prefer to bow this bar in the following

manner

:

becomes more graceful, and also makes a nicer introduction for the after-phrase, which is played

whereby

it

pianissimo with a very light spiccato in the middle of the bow, which must be well suspended over the string

by the thumb,

right hand.

At

first

and second

the third bar the

finger of the

bowing is changed two quavers, while the following four quavers are played staccato, making a crescendo from the beginning of this bar to the beginning of the

to a slur for the first

Joachim.

Ernst

WienawskL

/.

L. Dussek's

"

Menuet"

\j

marked

next one,

This latter bar comsostenuto, mences with a decrescendo, and sustaining the notes a

slackening down to the time of the first subNotice that in this case the first, beat, comes on a

little,

ject.

and consequently, every beat of that bar must be taken on a down bow, right at the heel of the bow, using very short bows and lifting the bow. up from the string between the strokes, using the wrist

..down bow,

The second

only.

(four-bar) phrase appears now in a on the first string, which note,

fresh form, rising to D'"

of course,

is

position.

The

the

taken by the fourth finger in the second A and G in the following bar fall to

first finger,

as indicated, and the

G

in the follow-

taken by the fourth finger en the A string. The pp at the end of this episode must die out in a mere breath. We come now to a middle section, in G ing bar

is

minor, which calls for

little

comment except

that

its

rendering requires great breadth, expression and a singing tone. Let the player b.e warned here not to confound expression with maudlin sentimentality. Expression means the right rendering of the composer's

ideas,

which are uttered in a clear sentence

though they cannot be explained- in words, the musical language commencing there where the language of

words has come to the end of its power. A great factor in an intelligible rendering is., the clear definition of fore-phrase and after-phrase,.. just important to define the parts of a sentence in speaking. Animation and feeling, of course, play an as

it

is

3

1

Well-Known

8

Violin Solos.

essential part in all musical rendering, but they

must

not sink to the level of mere sensuousness, which leads to stupid sentimentality.

After two sentences of eight bars each, both of which are repeated, we come to a little bridge portion which is a simplification of the minor subject, and must be

phrased It

in that sense.

commences here on the subdominant chord

stead of en the dominant

This will be seen In

first

sentence

in the

as

the

in

following

first

in-

sentence.

:

:

In bridge portion

:

Vn

The phrase

in the latter case

is

divided between the

two instruments, the violin taking the

part and the pianoforte the second part with the inverted quaver This bridge portion cf eight bars, finishes on figure.

a cadence in

minuet

is

G

minor, after which the

repeated.

first

first

part of the

Henri Wieniawskts "Mazurka.

Henri Wieniawski's

5-

(Le Menetrier), Op. is

Mazurka"

No.

the second of two gems, the

THIS famous poser.

19,

"

19

2.

first

being the

"

mazurka, Obertass/' by the same comBoth are favourite items in the concert

repertoire

of

"Minstrel,"

music of a

every

violinist.

The

"

Menetrier,"

or

some extent a piece of programme rhapsodical kind. At the beginning we

is

to

hear the minstrel tune his fiddle by sounding the fifth between the third and second and second and first string with the left fifth

hand

Then he tries the with the bow, and forth-

pizzicato.

between the four strings

with commences his spirited mazurka tune at a brisk and vigorous pace (molto vigoroso), allowing about five

seconds for three bars. the

There

is

a pedal

"A" which

running right through opening melody appears sometimes above and sometimes below that A as of voices answering each other. As the double stopping is thus obtained by the use

A

of the open string, the brilliant effect of these phrases does not involve any particular difficulty, but let them

sound merry and bright, and, above all, do not- forget that the mazurka is a dance, and that the rhythm must be well accentuated. The "molto vigoroso" be-

Weil-Known

2O

Violin Solos.

D

gins with a chord of major, forte, with round and full tone. Give a strong accent on the octave "A."

The

first

two-bar phrase

is

answered by a second phrase

which the melody appears at first below the accompanying pedal "A," which therefore must not predomin

inate so as to obscure the melody.

the full

On

the other hand,

"A"

must be heard sufficiently to give a rich and harmonic background to the melody, which thereby

should be put into proper relief. At the fourth bar The first to a cadence on the dominant.

we come

then repeated with a full cadence on the tonic. whole of the eight-bar sentence is also repeated,

period

is

The and followed by another eight-bar sentence, which is developed from the second phrase beginning piano, and increasing in power at each repeat of the two-bar phrase until a fortissimo

is

reached at the fourth "

re-

"

sudden diminuendo on the full bar D leads peat Whereas the first subject is of to the second subject.

A

a stormy and rugged character, the second subject presents a flowing melody of tender playfulness and It must be rendered with a singing, mellow grace. tone, soft, yet full

and brings

and

rich.

It is

of a pleading nature

at the fifth bar a reminiscence of the open-

ing motive mellowed down to the gentler nature of the second subject, repeated in the next bar commencing a third higher by way of emphasis, and followed

by two bars which lead to a repetition of this period ending on a chord of G minor. The whole of this section is then repeated, and followed by a repetition

Henri \Vieniawski's "Mazurka? of the

first subject,

on

ritardando cadence.

the

There

is

finishing fortissimo

detached

21

and a strong

notes

leading to the nothing to be added with regard

which is perfectly plain, and fully T indicated where any possible doubt might occur. ith to the regard bowing, let it be pointed out that the up to the fingering,

W

bow on

the slur from

vigoroso"

^_^

^F

molto

The second starts with an up bow at the nut bow, and for thrs phrase we venshould be observed.

^==t=

phrase of the

"

to second beat of the

first

I

ture to

second

a

give

version

for

the

bowing which would impart more vigour. !

We

are aware that

unorthodox to detach the

is

it

three quavers at "a," but that is no reason why the performer should not do so if he feels it that way. The rest is so clearly

and

rationally

remains to be said about

The middle section of marked "Tranquillo con transition

crying,

marked

that nothing

it.

the

mazurka

is

melancolia."

in

G

minor,

sudden

This

from gaiety to sadness, from laughing

and

to

vice versa, is quite a characteristic of the

Polish nation,

and

the "mazur," or

"mazurka"

is

one

of their favourite national dances which emphasises the emotional side of their nature.

melody of this section

is

The

fine,

thoroughly- Polish

flowing in

char-

"Well-Known Violin Solos.

22

The

eight bars, of a languorous character, are repeated pianissimo and answered by a four-bar phrase in the dominant key which is intensely emoacter.

first

and must be played with great expression and a strong crescendo, which finds its climax on the minim

tional

"G," thence gradually descending to a piano. These four bars are then repeated and followed by a codetta of three bars, diminishing in strength until they die " away on the high D," which is taken as a harmonic

by the third finger in the and held out fairly long.

D

string position on the After this the first sentence

first

of the "Tranquillo" is repeated pianissimo for the first-bar phrase, the second phrase being played mezzoforte and gradually slackening in time and breaking off

abruptly at the end of the

making

third

following bar, rest. This

a short pause on the last semiquaver

then repeated very softly and slowly in G major, From resting, like the former, on a dominant pedal.

bar

is

part of this bar a four-bar cadenzi evolved with the alternate use of the B flat and the second

is

B

two bars bringing one half of that bar rethe last two bars only using the third beat of peated, it as first beat, followed by two crotchet rests. The natural,

minstrel

now tries hand

the fifths of his open strings again

pizzicato, as in the beginning, and then follows a repetition of the first section, but this time fortissimo and more stormy than before, until we

with a

come piano

left

to the ninth bar of the subject, sets in,

when a sudden

which must not be anticipated by a dim-

Henri Wieniawskts

"

Mazurka?

23

From this piano commencing on the beginof the second half of that section, a steady inning

inuendo.