The semiquavers (s) are grouped in fours with dots under a slur, and it’s important to do these bowings – four downs, then four ups. It’s important to define a tempo at bar 13, so that the orchestra knows where to come in.Īt bar 20 ( example 2), we need to ‘hit’ the string to achieve a beating sound.
I use ponticello and play with rubato, not completely rhythmically, like a whirlwind. When the violin solo begins in bar 12 ( example 1), the score instructs us to tremble from cold in the icy snow, in the harsh breath of the horrid wind. I ask the orchestra to play ponticello from the beginning, and then I crescendo through bars 10 and 11 to the solo entrance at bar 12 for each solo entrance after that (bars 14 and 17), I give more and more. From the first entry at bar 4, keep the left hand trilling constantly and articulate the dotted slurs using the bow to give a queasy, wintry feel.
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