The Hermann edition requires that this part of the first étude be
played staccato. It is impossible to keep this up during the whole
exercise. The original intention of Fiorillo was that it be played
legato, with a broad, free stroke. The triplets are played in the
same manner in the upper third, or toward the middle of the bow. The
sixteenth notes must fall with evenness at the middle of the bow. This
is an exceedingly fine study for securing a flexible wrist, and should
be practiced very carefully.
[Music]
At the _Hochschule_, in Berlin, few of the teachers stress Fiorillo,
preferring the Kreutzer _Études_, followed by the Rode _Caprices_.
Fiorillo has much to offer that Kreutzer[1] does not stress at all;
therefore the études are very valuable.
No. 2.
[Music]
This étude is very frequently played in a mild manner, too slow for
the original intention of the composer. As the allegro of the first
étude is not possible at the proper tempo with the staccato bowing, so
the second étude loses its character if not played in a martial style.
_Maestoso_ means military or majestic in character, with broad bowing
and strong accents. The first two notes sweep the whole length of the
bow. The third note is also full bow, but very short. A quick stroke,
with the bow passing rapidly over the string, is the proper one. The
whole exercise is played forte. In the second measure, the bowing is
short and crisp at the point of the bow, the first group naturally
being played with the whole bow. The third measure is legato, broad and
free. Trills should be regular and of exactly the right length. All
passages like the second measure are usually played at the point of
the bow. After the first bar, some position work may be used (second
measure). Trills with the fourth finger are very difficult for some
players. Practice slow trills daily with the third and fourth fingers.
The first finger trill should be practiced very slowly and evenly,
great care being shown in string transfers at the close. In octave work
two fingers must fall at once with force and precision. The whole hand
moves. In double-stops, the fingers must fall simultaneously. Double
trills are not much more difficult than single ones. They should be
played with an even tone, and the fingers should fall with freedom.
If the fourth finger is weak, try some exercises from the Halir
_Tonleiterstudien_, repeating the exercises, faster and faster.
The measure immediately preceding the long continuous trills should be
played with a down bow. Practice this passage without the continuous
trill on C, at first (use a long smooth note and lightly dip the bow on
the D string, as if playing a little accompaniment). Let the trill be
continuous when changing from up to down bow and vice versa. Every note
should be cut shorter if before a rest. This must be observed through
the whole exercise. All chords should be played with a broad tone. This
exercise, so often neglected, should be played long and faithfully, for
it is the basis of other work which follows logically in study.
When playing the “22d Concerto” of Viotti, I always return to this
étude of Fiorillo and review it for the sake of the trills. This, with
a favorite étude of Kreutzer, aids me greatly in bringing my left hand
under control. The octaves are played near the point of the bow.
[Music]
This is one of the most artistic of the études, especially useful when
one is considering such a work as the “22d Concerto” of Viotti.[2]
Another useful work is “Je suis le petit Tambour,” by David,[3] a
composition now almost obsolete in a violin teacher’s repertoire.
Avoid a trivial style. The staccato is not absolute. The tempo and
character of a work govern that matter. The second line has been marked
in different ways by those who have revised Fiorillo. Note the Kross
bowings:
[Music]