This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ...from the similar passage in bar 17 of page 10. I have therefore added the following parts for the horn starting from the bar in question. p cresc. ff This is not absolutely necessary, but it seems rather strange to hear this passage which is raised a tone (ismajor in contradistinction to the preceding D major) without ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ...from the similar passage in bar 17 of page 10. I have therefore added the following parts for the horn starting from the bar in question. p cresc. ff This is not absolutely necessary, but it seems rather strange to hear this passage which is raised a tone (ismajor in contradistinction to the preceding D major) without the ring of the horns, and to be forced to say that doubtless it was only a technical hindrance which caused this omission. The artistic conscience of the conductor must be the guide as to whether my suggestion should be adopted or not. Page 14, bars 9--16. For a careful performance I propose the following notation for violas and violins: VC Page 15, bars 4 and 5. The second horn plays the lower D. Page 16, bars 2 and 4. The trill should be taken without grace-note to the second crotchet of the last bar; it stops there, so that this crotchet is played simply, without shake. Page 16, bars 17--19. Second violins and violas come in here as a repeating continuation of the clarinets and bassoons. The following notation is therefore a suitable one: Page 19, bar 12. See page 6, bar 23. Page 22, bars 11 and following. The whole passage would be robbed of its character if it were to be hurried. The first time, taken in an easy manner, should be the standard to the end of the movement. Page 26. The second violins, the violas and the two muted violoncellos are apt to sound too loud in all the passages where they have figurations. The conductor should see that these instruments only form a background which brings into relief the tender light-pictures of the melodic parts. Great care must be taken not to let the time drag. The metronome-mark J = 50 is all that can be desired. Page 27, last bar but one. In order to allow the gently blowing clarinet to give ...
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