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Federigo Fiorillo was born in 1753, at Brunswick, where his father, a
Neapolitan, lived as conductor of the opera. It seems that at first
Fiorillo was a player of the mandolin, and later on became interested
in the violin. He went to Poland in 1780, and in 1783 was conductor of
the band at Riga, which position he filled for two years. In 1785 he
played with great success at the Concerts Spirituels in Paris, and also
published some of his compositions, which were received most favorably.
Three years later he went to London, where he seems to have met with
little success as a violinist, since he only played the violin part in
Salomon’s quartet-party. His last public appearance in London was in
1794, when he performed a concerto on the viola. There is very little
known about the rest of his life, except that from London he went to
Amsterdam, and was in Paris in 1823.
Among his numerous compositions are duos for violins, for piano and
violin, and violin and violoncello; trios for flute, violin, and
tenor, for two violins and bass; quartets and quintets for stringed
instruments; concertos for the violin; concertantes for two violins,
etc. These, though somewhat dry and old-fashioned, were favorably
received, and show him to have been an earnest musician.
However, there is one particular work, his _Thirty-six Caprices_, or
_Études_, which is known and valued by every violin player, and which
for a long time will probably remain a standard. They rank with the
classical studies of Kreutzer and Rode. This work has been edited over
and over again,—most recently by Emil Kross. Spohr wrote a second
violin part, but he altered the original text to such an extent that
his work is hardly authoritative, though decidedly violinistic and
interesting.
How to Study Fiorillo.
No. 1.
Many teachers of note cling to old traditions. The earliest extant
editions of Fiorillo, by Ferdinand David and others, have no expression
marks for the _Largo_ of the first étude. This was originally played
_forte_, counting four very slowly. The tone should be full and even,
there being absolutely no variation. This is excellent practice for
those who are inclined to play with a weak tone near the point of the
bow. A broad stroke requires a fine arm and excellent bow control. The
elbow joint should be very well relaxed. Such passages as occur in the
fourth, fifth, and sixth measures should be played with some tone-color
and taste, the eighth note being cut in anticipation of the rest.
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To cultivate a broad, free bowing and a full tone, one should practice
the _martelé_ at the point of the bow, where attacks are likely to be
weak. Also the frequent practice of the second Kreutzer étude with
four notes slurred is excellent, the bowing being at the point,
middle, and heel. Then there are staccato scales, which aid the student
in securing a fine tone and freedom of style in the upper half of the
bow: 1. One down-stroke and six notes staccato on the up-stroke; 2.
Two down, at point, and two up staccato; 3. The same exercise, using
triplets. Begin with the “G” scale in three octaves. The next thing to
govern is the broad continuous tone. This can only be done by long and
arduous practice of slow scales. A Berlin teacher plays one note for
two minutes with no variation in force or intensity.