Preface. In order to facilitate the comprehension of Beethoven's Violin- Concerto, which through virtue of its beauty as well as abundance of difficulties, commands the highest position among all violin-concertos, quite a num- ber of well-revised editions have already been published. The present edition is intended to facilitate the execution of Beethoven's master work to a still higher degree, as in addition tothe careful mark - ing of fingering, phrasing and bowing, numerous hints have been added, with the aid of which, the various passages may be produced to best and most characteristic advantage; as a matter of course these hints are in no way intended to influence or interfere with individual interpretation of the concerto. Their true mission is not to withhold the player from exercising his own individuality, but rather to aid him in independently unfolding the character and spirit of the various melodies and passages, in order to present the wonderful beauties of Beethoven’s work, with greatest cre- dit both to the immortal composer and himself. —1 ews. Bow CONCERT. i \ Up- Bow. L.v. Beethoven, Op. 61. VIOLIN. A) The first movement 1s frequently taken at too rapid a tempo. The indieation‘ma non troppo” ts only intended to cenvey the idea that the tempo should nut bo ehoveh at too galt but still not rob the movement of the real character of a flowing Allwaros ierpretation would otherwise te too heavy and dull. AE 9 Allegro ma non troppo. Oboe, A) smpant, Jd aD) Timp. Viol. TuTt. St S Brae tea to comm heed with long strokeand in broad style;but without any txuegerated pathos, Vight ani flowing, Gbserve the Masa contaeed inthe Hh bee, hie nienion mate no be followed to eloely a te-meak atonal peacten nth ariealar pace would ot be ofrFeial svantsger The whe Coneeno Ina amps eenceptibn tn Solo velin i kampltely one par with he seconparaton eee, owing to which compcunue. iano ai wiadasine effect, which ar of ec nd fete in chamber aunty aenly aecsionute sae inane, br the performance of this Concerto, = e 2, y P C) This passage Is to be commenced very plainly and with little tonal strength, the latter to be inerease very gradually. The increase of tone begins with the erese. in the third bar. The strength of tone, and shove all the energy of expression most grow rapidly and develop more and more impuleively til the end of the passage. In order to avoid the least break in the performance, the change of bowing must be executed most carefully, well-rounded and flowing; any change, aceented too prominently, would mar the effect. Under no condition mast the following inspiring melody be played either timidly or weak in tone and while not exactly sonorous and with all due attention to the idealism and innermost feeling to be expressed, still with such breadth of tone, as will not allow-the solo- characteristics of the passage to appear either insignificant or indistinct.D) These triplets must be played very feveily and exceedingly lively the fol- lowing passage in broken vetaves(three ‘ary later) with great warmth of tone. 2 p 55. ictal observance, this pasiage most be me more in & Cantabile than Bravura style, The lower 7 oesereeenee eee = sulGeD dim. Corn.D) Sotwithstanding the P2P the tone in the: passages must net in any way be timid or dul ‘woak, but vory glowing and boll-like in purity t t & B) tu consideration ofthe entre characte ofthe seeond movement and g) SOLO contrasting i tothe frat, a short Cadenza will aaffice and be most appro Cadonsa ad lib. S——priate. An extended tranaltional movement into the immediatly follow - FE Fe inn tant part wi prove satntatory. road or elaborately designed Cs SEP tensas would not be very advisable In this instance If RONDO “Attacén subith it Rondo Allegro. sug. EEE dC A) the theme should be performed in a free A) and joyful, we might say froliesome manner, ‘voll marked in rhythmana aot without grace soe? Sencar B) toorder that this passage may sound exactly as bright and harmonious, B) ‘as before in the lower position, many violinists, among them Joachim, play, yyfg entirely upen the E string. Por playing it in this way the fingering marked ave the nates Inte be taken, Other vloiniataagainsae the Regering maried othe nator, through which he iaagrseable siding fn the tied to the Sixth position Ix evo, ance st least Tn my opinion & five performance may etbrought about, with ether nf the twa fingerings Peete that : doticatamonte * 5 rurtr ©) Toeplayed with bred, singing tone, without dragging3 2 5 q — — D) ies V ts os . $: a. D) the crescendo toe carried through oe Piet PETE win animation and rite, bat without in ve ? ¥ treating the wpeed ofthe tempo. o i == ge ore = = BRO - = do ~ = B); E) this passage may be played with jump - Ing bow. Por the erescendo and forte bars the Jumping strokes are to be exchanged for the usual decided bowing P legetcro cre- = —«Bten ~ SHEET ecw Hee P leggiero F) Prom tnis point on, 0 Dowsing is to ease; light, elastic bw. = Ing will answer instead . vn ett n on ae@), G) The energy of expression must be greatly diminished Se? peer eel ee E tramihewecond baron; trom the third bar onthe Intenre ae ZAR. GEL legato; the staccato not to be detached in too marked a manner. J” dimin. Had ebe®a * BoE 5 REE Be DN ale tee! Patt these els P dolce ‘expressive = == aaah £ “f. 2 ornament of secondary importance, tothe orches - tra; they must he performed very expressivelysthe = ee WD HD) These steteonths da not in any way form an P< | PP must he distivetly auth I) This reminiscent phranc of the first movement to he played with iereat energy and fire, the following theme of the third movement if Anything with increased spirit and playfulness, than at the begin- — ning of the last part.\Y delicatamente ee TUrTl P leggieroK) o os K) To ve continued trom here on with light bowings, Dut without employing spiceato strokes dim Torry Oboe Bim mm > seen ~~ do a v Ea v et t FsoL0 Tf dim ? wip DP semprop _ ete e\e\ ee ie semproppLy ps + 2 a L) incais plano passage the tone pro- duction should be more brlliant than batt, with very deel ded shyt, ~ Te cen : ae Start st eetet ef M) the sixteenths are to be commenced very energetiealy and with nroad M0? refeettt = 2 FEE tone; towarda the end of thin sixteenth passage the tone production ix to te ey row steadily in bellliancy afcolering in order that The violin may thine brilliant advantage againat the orchestral hack- ground. sempre a a oe oe ee RP a at a = =e eS zi iz r dim ‘P pardendont Pp N) N) tats tint reminiscence ofthe prinetpa thame is tebe played SOLO igen with » certain degree of restraint in its expression, nearly timid a6 =. Compares win the iterretation tthe beginning of she movemert Noverthtons ail stfetion in te performance ie to be svetged! arerally both of tho Fal chor are the played with pest eh. gpp =" %