. Analysis and interpretation of eighteen violin compositions . thus: In bar 3S, change the chord to a single Fsharp on the G string, which seems to connectthe two movements more naturally, especially TTTT -w p change to m^ V- ADORATION—BOROWSKI 59 if a great crescendo is made in that bar. Tlie agitato movement requires aspirited execution, considerable vibrato on the sustained notes, a strictobserving of crescendo and diminuendo marks, the tone greatly increasingin volume from bars 50 to 55, combined with an accelerando, which, however,must abate on the last half of bar 53, a ritard taking it

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. Analysis and interpretation of eighteen violin compositions . thus: In bar 3S, change the chord to a single Fsharp on the G string, which seems to connectthe two movements more naturally, especially TTTT -w p change to m^ V- ADORATION—BOROWSKI 59 if a great crescendo is made in that bar. Tlie agitato movement requires aspirited execution, considerable vibrato on the sustained notes, a strictobserving of crescendo and diminuendo marks, the tone greatly increasingin volume from bars 50 to 55, combined with an accelerando, which, however,must abate on the last half of bar 53, a ritard taking its place, while the tonecontinues forte to the end of the phrase. For euphonic reasons I couldnever withstand the temptation to change bar 47 (allegro) :. K y 0-- as the A natural is probably a misprint. The phrase ,_r-which occurs in bars 44, 48 and 50 I invariably playin one stroke, instead of two. Similarly I prefer: ZiZL

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