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 number (')1' 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 to the careful mark - ing of fing-erin~, 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 credit both to the immortal composer and himself.

-----* .. -----

r"1 Down - Bow. V Up- Bow.



L. v. Beethoven, Op. 61.

~ vur.r.

Vio1.I. Ob~ !""!"iJ.I~. -


'f ,

~ JJ'JJh~'?1~,~ti~"ll'i"J~"' jO!~13 G7D'lijc%IJ7IJ'1rMarl#!p~YJJJjI

~ ff 15' sf «r sf sf

,~ "i~ yLW I #0 ylAy JjiJ I J ~lIiJJ)'jJ:jl~tliJJ~'1jm, ill J@J',jJi,jj Jlri";:'J~I .. 1 fflifJ~

·~f ·~I .If .if ... p .......---c---

t'J! u 1~'~'MI7I D I~'~,)'~YI ~;~rl rii~jllfilltln,ri2tJ1 Elli(rill, n tEEr~ti9

.......--r:-- sempr« p .

,~ E~EI!(rJ(rrr~fljfr7tjtl?I'tmluTIrlirm Ififfil~;lf~lrrtfflfffrrerm

orese., - - .f .~f pp cresco f f ff .

t f.! ... t 1f~ ~ Ob~~1.1 ~ ~. ~ ~~ vt-i.r.

,~ i uti '_I ttri~1 @r?1"1"1 Ali FrU-1 I ~ P I f~ft I ppfforr WE? I

) f f f .if P

B The first solo to be commenced with long strokes and in broad style,but without any ..--... 4~

exagg erut ed pathos, bright and flowing. Observe the piano contained in the firth bar. B) :l ~

This indication must not be followed too closely, as too weak a tonal production in this :i

pnrticu l ar place would not be of special advantage. The whole Ccn cer to is n sy mphon- •

Ic conception; the 8010- violin is completely on a par with the nccompany i ng orchestra, owing to which conspicuous piano!!..!l..!! pianissimo effects, which are of such wondrous efficacy in chamber- music, are only serviceable in rare lnst ancea.tor the performance of this Concerto.


cresco f


·if P

C) This passage is to be commenced very plainly and with little tonal strength, the latter to be increased very gradually. The l ncr euse (If tone begins with the cresco in the third bar. The strength of tone, a.nd above all the energy of expression must grow rapidly and develop more and more impulsively till the end of the passage. In order to avoid the least break in the perfnrmance, the change of bowing must be executed most careful ly, well. rounded and flowing; any change, accented too prominently, would rna r the effect. Under no condition must the following inspiring melody be played either timidly or weak in tone and. while not exactly sonorous and with &11 due nttention to the idealism and innermost feeling to be expressed, st111 with such breadth of tone, &8 will not allow-the Bolo·chara.cteristics of the passage

to mppear either insignificant or indistinct. ~ r:;...... r.







~ ... J~ )5_"1 jiLj)"I JI "I

4 4

E) f' SOLO g ~ ~~

Contrary to a super i c iul ohser vunce , this passage must he· ( T

perf or med more ill a Cnn t uhi l e t hun Bravura style. The lower E\)~ ~ ~ (

nr.tes or t h e broken "',,,u",,",,lh,, t reut ed s l i g ht i rurl ' ~6) TIl £ I SEfCuf!=: ajAj

nor he p lnyeil WIth tou we a k a tone, III or der that the melody § •

,. • ..r "/_./

may he h eur d very prominently and to g-ood ull VUIl t ajre , do! cc. ..___...-

F) St.<I'". with the """",'" r,om the t h i rd hOI, t h i s passuge wh ich bcai ns with such s i mpl i- F)~ 1 m ~ -r--, ,

"'Y mus I be '"~ t inued wit h eq ~.' st r eng h r or It" ,,,II,, d urut i on. A,., ready I ntll ca ted by ham- : er- r fl~refrfefCr

mer ed strokes 1lI the fIfth bar 1t partakes of nearly a decf de d , we m i gh t even say a harsh char- I

act e r. The l as t bar must be pl ayed softer by dug rees in order to l ead into the following triplet figure smoothly. Without becoming too prominent, the following trill upon E must be 'lIt/-

played strong enough, 80 as not to be lost in the orchestral volume of tone.

trul volume.

, r E r#d ~Ef~t t f r r(EfifirWffffr [pffjijf Et f~

(.It; _ _ _ _ _ _ _ _ S((.II _ _ _ _ _ - -

~ #~ " U ~ U

,d'Jl_dlll =jd ~qrt I EirwErfl~m&bEl!-==d

- - '----: - - - - - do. _ - - f .f

() Y V V

It JEuEf@jfwalJ I ,wrb rW nijt ;~ifCi-kJJqg--%:2d

. ~.

3 4 .

e t .r~;. f"ji 0 8 I) While all the notes in the following I)

~ ~;t-Et-5 ~.~~ ~=a~ I passage should •• exeeuted wtth dts- 1d I

J -. ~ ~ iJ J:± tinct and Individual attack, still they i =:±} 15 j=. ~ =J:~

- _r ~ ~1I should not be played abrupt ly or in too ~. ~ ... ~ i ~ .. ~ . ~ .

. hammered a style; the passage should t!. .' .' . create rather a singing effect.

K) The staccato very light, lind the dotted sixteenths K)

00 ~ 0

In the second bar with l.mpln. bow. Th, crescendo I, ~ a 1] _ . . ~. ~" ,~., ,~., . .

:~~.:I:~ !;;hl:':':~;:;I:;;'::~h~~;::!h ;~: I::~; tr W J ;!l ~ U' r;t; crt I C Etf E ¥Ji n:·tt (r rr I

style of Interpretation ill again appropiate four bars' :=:=='-

before the grand tutti.


f1- dUtftrnttttrtt IcbtCfNfctttttt I efNtCffrffrtfartf I

pOCO cresc.


,~ @JOJJ8fJ ,15JO.13htlJ UFg ,#CHtJZJQ=r;racr,

ere _ _ 5 _ _ seen _ _ _ _ _ _ _

~ /T. ~ !. t: - ,ii. i t:i t: #t .J.TUTTI.

,~ u#e j EM rut E f F ,#CEercrcfkfEttEt f I ;cu~cuq5~~~' I

- - - - - - - do. - - f .tJ'

,~ © 1~(7rllrrrr I u 1t1@T'r%I~M I AfC? I~g I~ f I & ~r I

SI1mpre.u semprtlff i

N) The performance of this expressive part is to be brou.ght aho.utIDore. N) V~. 1 ~f f~

through -warrn arul deeply-felt iuterpr etnt ion, t hn n throup:h great tonal-vol- 1~ 1/ ~ 0. __ • - - V

ume. ~fter. eighth-Ilott~. «r th e second har, .it is p~rmi!:< to. it~ - r c.#. rr r tf ~rriL: = t . ElfJ.· .

dulge In an nuag ruur y pause, just as though the player, to express his 111- F I I" ~

nerrno st feelings, finds it n e c e s s a r y to breathe once more. Natnrally such

li~erties ill int er io n demalldgreatc:~reandahsohltclynoexagger-Q·PII.

I1tlOlI. 4~

P _ a 1

1 ~- __ p -p

~. ~ :;--... Viol.1. __

,~, ill! 1~'~+J'13· tirE dJI U il ~~~'tio/-Ji'l I-I WJTS) I

ff· ~ ~ #~ I ~"/ D.-I D"/ .'if8em)J1·ef.f

Viol. II.




ere -

- seen ~ -


R) Too jrreat an anxiety, on the part of many violinists, that the beauty and purity of style of th is cuncer to, might he marred, SOLO

has iuduc e d not a few, to compile Cadenzas containing- nothing hut Il more or Ie SA sk ilful st r iug i njr together of melodies C((denz;:...., and pu ssnge s from the fore- going. Huw.ever th is tremendous fint mnv. ern e nt can h~' 0I1I!!JnCllt.C4l s at i sfu c tur i lv' t:\ ~:.

with such a poor Cadenza a!' one with mod er-n-virtuo so emtiell ishments . A!' a matter of course, parts of the CUIH'."rto ~~~~~=~:~~ should form the fundamental structure of the Cadenza, but they should be freely developed ali" inte. rspers e d with apprn- ::

printe little original episodes hy the author of the Cadenza. The difficulty consists in creut i nl! t h i s free development with-

out disturbing the general impression of the concerto. (See the excellent Cadenzas hy Juach im.)

S) After the gradual ending of the Cadenz a, this wonderful melody, through virtue of its reli)!:iOll!' (]U iet, creates an Impresaion as though hal ling from heavenly spheres. The first seven bars should consequently he played with sincerest expression, but without the least Crescendo or Diminuendo. Any increase or d ccreu s e of tone would mar the sphere-like character of the melody. Its warmth of expr cs s iun must be brought ahnut solely through spiritual animation of the tonal-prnducttun. In or to facilitate t h i s , the eut ire pas s ag e shuuld be played upon the G string, hut with soft tone. A sonorous performance, tn which the execution upon the (i ,;Irilll! mi~ht. tempt, would desl roy the impression.


IV Cnrd e

W?]-J-;U I


4 IV.

~~ 0' "~ , ' "," ..9 ~

# OJ I J = J !J I J J I J J J U I D I22U} IWjJJiH tB rCE!

~ "--' restcz

3 dim/n. II. ,


11 n





I r,:J t ±



3 ==============~



T) This passage tobe started moderately f;troll~, and ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~;~~~~~~~~

then, especiu Ily frum t.he third bar nil, inereu sing rn ijrht- ~ LJ ttt;r I F Ii J i J Ii J ; -I

ily, both ill tonal-volume and warmth of expression. _ iiiIiIII _. -~ • _ .. ~







SOLO tCII. ten.

A) Thes.e pas~~l'!e~ of the Soln-violin entwine the t.heme, A) V~fL ~~- ! ~~~ ~m- !.

~ivell out 11;1' the orch estrn.tu arabesque-like fashion. While ~1~~·~~-~"i§1±~···~§~~~l~~~~~_~"~gf::~~~

they should IIHt appear too prominently their executiun should :V r L * I If E 4 r L t

be very expressive au d uf absolute tonal-purity. d




ad libitmll





C) The little notes very plainly and without any picquancy .. Two bars


later, the sixteenth notes are not to be treated UR an unimportant transitional passage, as might seem at Urst ,Illance. Their correct inter - pretation demands broad and very free treatment. The interpretation of the following melody should be warm and glowing and not an academically restrained one. Further on,at perdf'.lldosi,notwithlltanding the gradual decrease in tonal-vo lume, the interpretation must be a mo st elevated. one .

... . ~1~~ 2

~ ~ 1f5mrf§ rH F td F rtd I e=qtrtOjrr'lf*~J!1

cresco _ _ _ _ _ _ _ f ::> >- :> dim .

.:;.~ SU1G~eD::1~ ~ a ~ 0 14~ a~ ~ ~ ~_--

We @§I~e®l@ampl#J;-r r1r[ VlmFrWmDI&erri'hll

cantabile .

lr ~1~ ~ 2~' 2~~

~ t..!.--~-~- ~~~ ~3 .. ~.:...--... 1~ 2~1~

~- ;w1~·,IIC#C(rfTE [ It iJUmrrrUlf tfgfrjEIEurrJ = I


~. ~~E .. E r1.I#f u,iu,#ffH QlVE IEf fl~t .titi

pel'dendosi --=== :::==- -=-== ::::;:::=- PP II

-.4 r-. -\ . . ~.----.

~t iEEr ~IL tQil2ifrrijW1r1 iiiil~rilfft.

~ ~ 4d%¢-





E) In consideration of the entire character of the second movement and E) SOLO

_ . . ,. co~tru.i!ting it to the first, u. .short Cadenza wi,H. .. and. ~e most. appro" t Cadenza ad Ub,

tfl' r~ iij 1""'" An ,.x. t~nded trail. Bi,tlO.nnl moveme. nt mto the'd>a'.'Y follnw-j= .. ;i I

'-: ;- = ~ . ~ : ing last pnrt will prove satisfactory. Broad or elaborately deaigned Ca " =t J ~ J =:= ::

denzus would not be very advisable in this instance., .if ~ -J #71

ROND 0 Attacoa sltbito ilROl1do,


~ A) Sui G" " :l" 4" 1

A) The theme should be performed in a free ~ ~ ~

and joyf", we mi." aay f ro l icaorne m.a nn e r f =# g . ill 11' -\ ~9 J I I OM Jd J I J ~ J Jj I

well marked in rhythm and not without grace, '-....._- '-"

p -~ "__' ~ --- <::«

~## -US;)' OJ) i j~liJ Iii J] J I j OJ)J ))-1 J jai'l{1J -iJj"~i rl

• , :__...> . :....../ "-.__..:, .J -..___...... :___./:_......' _/:_/ {I."___'" ~ ~ 'V

B) In order that this passage may SOUIHt exactly as bright and harmonious, B) 1 2'g. 1 1 P.'g' ..-: tr

u.s. before in the lOW. er P.O~ition., many :.iO.l~n~sts, ,am.l)J1g .. t. hel~ ,Joa:him, play ~4 fe;;:i' f g' t':;~" ~ ~ •. ~- ~g"-:i· i . "-i· i4

it entirely upon the E string. For p l ayiug it In this way the fln!(crIllg marked _ 1!:- ' ~ ~~t- _ _

above the notes i s t o betuk~n. Otl1e~violinists ug~i~usethefillger~lIgmarked 1+= 1 1 I:t=:j::r ! I

below the notes, through Wh1Ch the d.isugre euble skid ing' from the U1I rd to the: :_ : : -:

sTxth- position i~ avoided, once at Ien st. In my opinion a fine performance may d ," t t 2

be brought -about, with either or the two ringeri.ngs,(} I C(1 am on c

~ --;:::--.


ten.. ,,-;.

, ## .. ~ ~. JS I· .

- - " J ' . J

\;.) delicatam(JJltc




A ~ G) The energy of expression must be ~reatly diminished IJ ~ ~ ~

~tf: ~. r! Irorn the seccnd b ar o n; '<om the third b ar o n the Int.erpre ~ ~ if E~' ir

qrqp IP I tat i o n to heve.ry flowing, we ~ight say coning, (of course I ~ I~ ~ I

not too swaat ish.) The followtng sixteenths to be played very

legato; the staccato not to be detaehedin too marked a ma.nner . ./' dhltilt.

,~ i',Qien,e_,t~a,qm,F1rr,ermu,(ffT,

P dolce

4#~ r~lc~FtfiiiWI9_YI~J'1


4~~ l(filirI?fFrr I tPrOePctfrcr I Cf#rEIEPCrfcU IE! *=; ; I

P r p g

. I) .

I) This reminiscent phrn s e nf the first movement t o he played with.£ ~~ -1*'

great energy and fire, the following theme (If the third movement if ~ )g) == ~r -f] ¥ I ~r D ~.':/'? ~ I

anything with increased sp ir it and playfulness, than at the begin - - - ~g~ -r ~ _ . _ 7 _

n ing of the last part.

C1'e - seen -

K) 0 n 0 __

K) ~o be continu~d fro~ here on W.ith light b owi n g s, (t r r r: tJ d j j J 1 C t E r@JjJjJJI

but without employing splceato strokes. it . J:j

~~~ tr : . " ... Ct, i2' ~
,,~ ------..... = ;::
.p;.,#, - -
to • • • dim. • ~ pp rJre
- -
I r::;jII' r"'1

Cnf/CJlZfl. tr ..... , .... ,........ ... ... ~'"

17\ 2------..... ...---.... ...---.....

. . .


tr- ,,, .. '" "" ..

------..... ------

r"'1 ~

tr ..... ....... 11·" "' ....

".....-..._ ".....-..._





,~ ~t;~rr~lpr~v~t~v, prr\ft ~~ Ivt\ctcerifdfml ql[1I£t\[lUUI

sewjJrepp -- ----

~ ~ ,1[10 ~rrPiv 110"\[10 ~rlerr 1 b ~fP;frtlfr, (~fOfff[[ra 1





M) The sixteenths are to be commenced very energettcntly ann wtth hro(llt 1\1) 1 ~ ~1 ~ ~ m ~ ~

tone; towards the end of this sixteenth passage the tone production is tu E Ed I F 'f * 'I

grow steadily in brillia ncy of coloring in order that the violin may shine tn tr r _ . _

brlllinnt advnntage against the orchestral back-ground. _ .....





N) Thill tinal remmiseence of the principal theme ill to be played SOLO

with a certnin degree ot reetrnint in itll exprenion, nearly timid all ~~VI~m~~1 ~'J~~~~~~~n~~~

eompared with the Inter-pretation lit the beginning of the movement.

NevertheleslI all .Ueetion in its pertQrmance is to be avoidedl

Naturally both of the finalohords are to be played with great energy. pp