[7] _The Art of Studying R. Kreutzer’s Études_, by L. Massart. Four
hundred and twelve examples, compiled by the advice of the author.
Revised, translated, and edited by Gustav Saenger (English, French, and
German Text.) Published by Carl Fischer, New York. Price, 60 cents.
[8] _Technic of the Bow_, by A. Casorti, Op. 50. A standard work of its
kind. Published by Carl Fischer, New York. Price, 75 cts.
[9] _Technical Studies_, by Hans Sitt, Op. 92. Part I, Exercises and
Studies for the Cultivation of the Left Hand. In three Books. $1.00
each. Part II, Exercises and Études for the Special Development of
the Right Hand. (Technics of the Bow.) In three Books. $1.00 each.
Published by Carl Fischer, New York.
[10] _The Art of Bowing_, by Emil Kross. A practical, theoretical guide
for developing the technic of the bow and for acquiring a fine tone.
Price, $1.00. Published by Carl Fischer, New York.
No. 13.
[Music]
This graceful and interesting étude partakes of the qualities of the
French school with added dignity. The _andante_ must be smoothly
played, the portamento work being given especial value through position
changes.
Strange as it may seem to the amateur, artistic phrasing begins with
études; for instance, many of the _Études Brilliantes_, by Mazas,[11]
furnish excellent examples. A natural crescendo occurs in the last four
measures of the first line. The _andante_ is graceful and dignified,
a perfect example of legato playing. Transitions from third to first
position should be made without disturbing the beauty of phrasing. It
would be well to analyze this _andante_ with students, pointing out
simple rules of phrasing. In groups of two notes, accent the first
slightly and pause between groups, closing the phrase with a slower
tempo. It is of the utmost importance that rules of phrasing should be
taught in études and applied to the standard Concertos. If études mean
anything, all that is contained in them should be brought out. This
relieves dry and lifeless study, and gives us ample opportunity to make
musicians, not machines.
The _Presto_ must first be practiced slowly until a command of bowing
and technic is possible. The octaves are played in the upper half of
the bow, with a slight accent on the first note of each group, the
groups also being slightly separated, though the bow is not raised from
the strings. Keep nearer the point than the middle of the bow. Do not
hold any note too long. Make phrasing clean-cut.
The fingers work simultaneously, and must not leave the strings during
a passage. In playing octaves, relax the wrist inward and curve the
fingers well. Keep the thumb free and in advance of the first finger.
Everything depends upon the holding of the violin with the chin, not
with the thumb and first finger. The bow-arm must be very free. The
player should not be timid, sliding the fingers into place. _The hand
and fingers move together._ The trilled notes should be played with a
sharp accent, the legato being contrasted with a short, crisp staccato
in the upper part of the bow, about two inches from the point. This
passage should be played near the upper third of the bow.
[Music]
Notes not marked staccato are to be played freely, with a forearm
stroke. Place the fingers at once in position for arpeggios. Note the
suggestions of the Kross edition of Kreutzer, in this respect. By the
time the student has reached Fiorillo, he must be familiar with all
forms of bowing. He is now to apply himself to technic.
String-transfers must be made easily. Returning to the octaves, one
must play with a free running legato in the upper third of the bow.
Note the arpeggios, which must be played staccato very crisply near the
point of the bow. There is a prevailing tendency among students to play
the slurred legato notes with a longer bow than the single detached
notes. A freer style is that of uniform length of bow throughout. When
it is possible, play a long swift stroke in preference to a short one
in passages of this kind:
[Music]
In a sudden transition to high D on the A string, the portamento is
allowed. The stroke is a forearm one. Now we return to the octaves. If
there is any trouble at this point, play the notes together until the
pitch is quite accurate. There is also another advantage. In octaves
the bow lies on two strings, and this is an aid to the mastery of a
pure legato in a passage in which the notes are not played together.
Note the almost perceptible crescendo as the octaves progress. After
several measures in which the forearm stroke is used, we come to short
groups near the point of the bow. In the fourth line from the end, we
return to the short passage, to be treated somewhat freely.
[Music]
In passing to the seventh position on the D string, avoid a nervous
jerking or undue pressure upon the bow. The portamento is naturally
desirable.
The arm should be well under the violin in the octaves on the G and D
strings.
[Music]
The last chords are not played like arpeggios. They must be full of
decision. The down-bow is used in each case.