Andante sciolto means about the same as Andante commodo (as slowly as you please). At the middle, or upper half, of the bow, cut the notes lightly and accent trills. The second four measures require grace and ease in the upper half of the bow. Remember to discriminate between the short staccato at the point of the bow and the broader detached stroke. Be very careful of intonation at this point.
The opening measures in the seventh line may be played with a raised bow stroke, middle of the bow. Play near the point of the bow in the last four or five measures of the étude, lightly and elegantly.
Important points to remember in this étude are: Passages bowed near the point are light, as a rule; passages requiring broader bowing are played forte. Always raise the bow slightly for an attack. Each group must be well defined, with accents strong. Pause long enough between the groups to gain poise. Always draw a long bow at the middle with sufficient length to be free and to secure tone. In this exercise, as in many others, the left hand is of most importance. It must be ready. Do not lose time by the trill. Play the single notes freely. These are not staccato. Whenever the staccato occurs in the Hermann edition, as a rule one must play in a broader style. Those old composers did not use the staccato much. Witness Fritz Kreisler playing a work of the period. He gives it more tone-color and varied phrasing than in its period, but he uses very little short staccato work. Number six is a joyous, light work of the French school. It must be technically clean cut, and clear as crystal.
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.