. Analysis and interpretation of eighteen violin compositions . a. 3. 3 S:_ ^^^v r I txrn-^.rxr^rJ, ffrM:^^^n^ r I iX~Ji^^\ SL, ^.iJ^^^-J-^ A ritard in bar 53 is certainly desirable,followed by a new allegro mark for thepiano, at bar 55. Accompanists frequentlyplay bars 55 to 57 too slowly; at bar 57 (not58 as printed) play molto rallent, leadingback to the tempo prime (bar 39). In thisthird section the same changes should beobserved as in the first, and at the end Iahvays change the last 3 bars, reducingthem to two, thus: (Some violinists may be glad to adopt Tssca^^oC ^. 58 ANALYSIS
. Analysis and interpretation of eighteen violin compositions . a. 3. 3 S:_ ^^^v r I txrn-^.rxr^rJ, ffrM:^^^n^ r I iX~Ji^^\ SL, ^.iJ^^^-J-^ A ritard in bar 53 is certainly desirable,followed by a new allegro mark for thepiano, at bar 55. Accompanists frequentlyplay bars 55 to 57 too slowly; at bar 57 (not58 as printed) play molto rallent, leadingback to the tempo prime (bar 39). In thisthird section the same changes should beobserved as in the first, and at the end Iahvays change the last 3 bars, reducingthem to two, thus: (Some violinists may be glad to adopt Tssca^^oC ^. 58 ANALYSIS AND INTERPRETATION this, since these half notes are really very long notes on account of theritardando.) So much about the tempo and its modifications. The composer marksarpeggios in bars 5 to 8 in the piano part; did he mean to have them con-tinued throughout bars 9-19 and again at the repetitions?jy ^ / o^^—^ The word segue or simile would have precluded any pos-^ Y^ \^ — sible doubt, but as neither is given, the pianist must use(.5 his own judgment. There is a peculiar charm and mean- ing in this phrase (bars 29-30), which ought to be emphasized and so
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