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Besides the reorientation required for playing chords, a three-dimensional detaché approach is called for which in turn presupposes a highly developed form of legato playing and the generation of as many overtones in the sound production as possible. All of this means liberating the violin from its conventional, artistically constricting role of unrelieved virtuosity. We all know that it is easier to learn the "conjuring tricks" of rapid runs, harmonics, chord chains, pizzicati, staccati etc. - even though this involves a great deal of work - than it is to gain full mastery of the criteria for good classical playing. The former yields relatively clear indications of success, but reaching perfection with the latter is rarely achieved as purely intellectual objectives play a major role.
Above all it should be stated that metronome markings are merely guidelines, and cannot constitute explicit artistic benchmarks, just as movement labels should, within their historical context, be interpreted chiefly in terms of the music's content and meaning.
One thing is abundantly clear: speed cannot substitute the inner tension of a sequence of notes. Very fast playing is often achieved using a nimbleness which can often have an intoxicating effect, but which just as frequently distorts the musical meaning. The metronome marking and the response of the instrument therefore impose natural limits on an interpretation marked by strong internal musical tension and artistic examination of the interval in its varied forms. If an individual note is formed by the "left hand" and by the bowing arm - by playing at the optimum contact points - excessively fast playing is often revealed to be a compromise; to say nothing of an excessive eagerness to sacrifice original phrasing in favour of purely "fiddle-playing" solutions - all at the expense of overarching musical lines. The resulting faster tempo does not make up for the loss of musical substance.
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