No. 7.
While allegro with the old composers was not like our modern allegro, an adagio was practically the same as at present. Full bowing and a broad, free tone, as well as great dignity, were demanded. I do not believe that the early violinists played with as great warmth of tone and freedom as is now secured by artists.
The old masters played correctly and classically; they used the crescendo and diminuendo, and were masters of tone graduation, but they did not give the emotional treatment to their subjects that is now an apparent necessity. This étude begins pianissimo, but one must cultivate a “concert hall” tone, and make a crescendo in the first two measures; the same in the next group. Tone-color is a prime essential in this étude. Embellishments must never interfere with rhythm. Note the adagios of Mozart’s quartets. The old writers used embellishments because they lacked intensity and were not skilled in the use of the vibrato. Although number seven is not difficult, it must be technically perfect. At line two repeat the up bow on the second note of the second group. Always do this for beauty of phrasing. Keep broad bowing when possible. Note in the sixth line some peculiar rhythm. Count four steadily, using no embellishments, at first.
The embellishments of the seventh line must not interfere with rhythm. In bow length one must not be hampered by exact rules. Let the nature of the passage decide the bowing. One must not keep trilling if the phrasing demands a pause. The opening measures of the allegretto are played at the middle of the bow, the staccato note being lightly played. The allegretto comes in jocund, with a slight pause between groups, in the upper half of the bow. Try to maintain a forte throughout.