[1] For detailed and thorough study of the Kreutzer Études see _How to
Prepare for Kreutzer_ and _The Study of the Kreutzer Études_, both by
Edith L. Winn. Published by Carl Fischer, New York.
[2] See newly revised edition by Ovide Musin. Published by Carl
Fischer, New York.
[3] See newly revised edition by Gustav Saenger. Published by Carl
Fischer, New York.
No. 3.
This étude is played in two ways: first, a staccato run, up bow;
second, the mixed staccato and legato stroke, up bow. A free arm is
desired. While the short staccato with the wrist stroke is eminently
useful, the more brilliant staccato with the arm stroke is desired.
Naturally, the wrist and forearm are free, though the lateral stroke of
the wrist is not desired. Play in the upper third or near the point of
the bow.
[Music]
No. 4.
This étude is one of the most useful in the book. A free, broad,
slightly detached stroke, in the lower half of the bow, is preferred to
a short staccato.
[Music]
Professor Halir would teach double-stops and scales in thirds in a
free, broad style, lower half of the bow (note fingering in the second
position).
The whole bow may also be used. Play the scale runs, second line, in
the manner outlined in Halir’s _Tonleiterstudien_ (G.B. or U.H. raise
the bow after each group).
[Music]
He assumes that short position movements make a more perfect scale in
thirds possible. I will outline the bowings for the next three lines.
Keep the theme prominent. Raise the bow slightly from the strings in
defining phrasing.
[Music]
[Music]
The double-stops in the higher positions naturally fall in the middle
of the bow. Attack the chords with the up bow firmly, and play three
notes together. A free, rather detached bowing in the middle of the
bow, using the artificial spiccato, occurs at the close.
[Music]
Slightly accent the slurred group of two notes; raise the bow between
strokes. Play in the middle third of the bow.
[Music]
It is not always advisable to take these études in the order in which
they occur. The same rule applies to Kreutzer and Rode. It is possible
that the student may have some weak point which requires a review of
several études of a similar nature. For instance, I recall having been
made to play the second Kreutzer étude[4] many times while studying
other works, because my forearm was not free. The eighth and ninth were
frequently reviewed. Herr Markees, in Berlin, was a great taskmaster,
and frequently sent us back to the twelfth Kreutzer. I do not recall
ever having studied the first Kreutzer, nor the famous arpeggio étude.
Leopold Lichtenberg, and several other artists, teach both of these.
The first is very useful for graduation of tone. In the seventh and
eighth Fiorillo we find material for tone graduation. Let us practice
the crescendo and decrescendo faithfully, using examples from my “Three
Octave Scales.”
We must be patient with this work. It is one of the most difficult
things in the world to produce a beautiful crescendo and diminuendo.
In connection with this let us turn to the Bach-Gounod “Ave Maria,”
and play it _as written_. The famous Bach “Aria” is another example;
also the Handel “Largo.” A question has often been asked: Does the
bow remain parallel with the bridge during such work, or at a stated
distance from the bridge? Most emphatically not. The bow is nearer
the bridge in a crescendo passage, and right over the finger-board in
the diminuendo. There is a mistaken notion among students that when
one plays pianissimo very little bow must be used. Never was there
a greater fallacy. The softest tone is produced by gliding the bow
swiftly over the strings, its entire length, without pressure and over
the finger-board, not near the bridge.
It is one of the most difficult things in the world to produce a soft,
resonant tone. It is easy enough to play loud. So it is with singing.
I have learned more about the principles of tone from voice teachers
than from violinists. While playing these études, review constantly.
Play number one over and over. Number two with the Halir thirds, in C,
must be practiced daily. Halir plays double-stops, using the second
position instead of the third, and going from second to fourth and
sixth. It requires less shifting and is very playable. Always play the
double-stops singly, then two slurred, then in groups of four notes,
and finally eight notes. After a time play a whole scale up on one
box (two octaves C) and down with the opposite bow. Very few amateurs
can play the three octave scales thus. I prefer the C scale, as it is
easier for the hand. Halir says that a student should be able to play
thus (1) or thus (2):
[Music]
No. 5.
In connection with the study of number five, let us turn to Sevcik’s
_School of Bowing_[5]. I had always believed that the importance of
bow technic had been overestimated, until these works of Sevcik proved
beyond a doubt the great advantage of systematic study of varied
bowings. The Sevcik system is wonderful. There are exercises for every
possible limitation in violin study. The great question in bustling
American life is how to abridge a system only possible in a land where
virtuosos study “from the cradle to the grave.” Many wise teachers (for
Americans are, above all, practical) have used the Sevcik works with
success, and yet have not surfeited students with the same.
Let us consider Op. 2, Book 2, Section IV. First master the
progressions, that is, learn the exercise by heart. Keep the fingers of
the left hand _ready_ for use. Practice all exercises with slurred and
single bows at point, middle, and heel of the bow. I usually suggest
to pupils to practice exercise thirty-two faithfully before working at
the fifth Fiorillo, with three notes to a bow just below the middle.
Afterwards use six to a bow; then twelve. Practice number five in
octaves at the middle (play both notes at once). After that, play as
marked, accenting the first of every group of two notes. One can go on
with the Sevcik studies indefinitely, but I urge pupils to practice
these special ones for string-transfers half an hour per day, at
least. Always cross the strings lightly. In octaves, move the fingers
simultaneously, with no crescendo or forte.
The Hermann edition uses the crescendo, forte, and pianissimo marks.
Play at first with _uniform tone_ instead, accenting slightly the first
note of a group of two. Watch the syncopated passages in the third and
fourth lines, and do not accent too strongly. The accent is on the
second note of a group of two. The legato passages of sixteenth notes
are with a whole bow; the crescendo must be artistic. There must not
be a break in the legato for the sake of the crescendo. We remember
the mastery of the subtle principles of tone graduation in Joachim’s
playing. The special accents at the close of each legato passage (sixth
line) are difficult. At the close of the eighth line, give full value
to the dotted quarter note and play it forte. The next groups of two
notes are detached, the accent being on the second one. Make the trill
long and even. Begin the sixteenth notes, last measure of the tenth
line, with up bow. Play at the middle of the bow. Move the first and
fourth fingers together in octaves.