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1973 An Analysis of Performance Techniques Required in Selected Original Works by Fritz Kreisler. Harvey Martin Olin Louisiana State University and Agricultural & Mechanical College

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Recommended Citation Olin, Harvey Martin, "An Analysis of Performance Techniques Required in Selected Original Works by Fritz Kreisler." (1973). LSU Historical Dissertations and Theses. 8154. https://digitalcommons.lsu.edu/gradschool_disstheses/8154

This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. AN ANALYSIS OF PERFORMANCE

TECHNIQUES REQUIRED IN SELECTED ORIGINAL VIOLIN

WORKS BY FRITZ KREISLER ,

A D issertation Monograph

Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the requirements for the degree of Doctor of Musical Arts

in

The School of Music

by Harvey Martin Olin B»h" Wheaton College, 1956. M.M., Eastman School of Music, 1961 May, 1973 UMI Number: DP69541

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Unpublished theses submitted for the Master’s and Doctor’s

Degrees and deposited in the Louisiana State University Library are available for inspection. Use of any thesis is limited by the rights of the author. Bibliographical references may be noted, but passages may not be copied unless the author has given permission. Credit must be given in subsequent written or published work.

A Library which borrows this thesis for use by its clientele is expected to make sure that the borrower is aware of the above restrictions.

LOUSIANA STATE UNIVERSITY LIBRARY ACKNOWLEDGMENTS

The writer wishes to express his appreciation to the chairman of his doctoral committee. Dr, Kenneth B, Klaus, and to Dr, Wallace

McKenzie for their valuable suggestions, and for the many hours of their time given during the preparation of this monograph.

Acknowledgment is also made to Carl Fischer, Inc, for granting the writer permission to include in this study excerpts from the music of Frit* Kreisler,

i i TABLE OF CONTENTS

CHAPTER PAGE

I . INTRODUCTION ...... 1

PART I . ANALYSES OF THE SELECTED PIECES

I I . CAPRICE VIENNOIS...... 9

I I I . LA CHASSE ...... 16

IV. LA GITANA ...... 21

V. LIEBESFREUD...... 2?

VI. MENUETT...... 31

V II. THE OLD REFRAIN ...... 3^

V III. PRAELUDIUM AND ALLEGRO...... 39

IX. RECITATIVO AND SCHERZO FORVIOLIN A LO N E...... ^6

X. SCHCN ROSMAR3N...... 5^

X I. TAMBOURIN C H IN O IS . 58

PART I I . ANALYSES OF THE EIGHT CADENZAS

X II. THREE CADENZAS FOR THE L. van BEETHOVEN VIOLIN CONCERTO, OP. 6 1 ...... 66

X III. CADENZA FOR THE JOHANNES BRAHMS VIOLIN CONCERTO...... 7**

XIV. THREE CADENZAS FOR THE MOZART CONCERTO NO. 3, G MAJOR . . . 78

XV. THREE CADENZAS FOR THE MOZART CONCERTO NO. 4 , D MAJOR . . . 88

XVI. THREE CADENZAS FOR THE MOZART CONCERTO NO. 5, A MAJOR . . . 95

XVII, CADENZA FOR THE MOZART CONCERTO NO. 6 , B-FLAT MAJOR . . . . 100

i i i XVIII, CADENZA FROM THE CONCERTO IN ONE MOVEMENT FOR VIOLIN AND ORCHESTRA, TRANSCRIBED FROM THE FIRST MOVEMENT OF THE CONCERTO NO, 1 IN D MAJOR OF NICCOLO PAGANINI . , • . 103

XIX. CADENZAS TO VIOTTI’S VIOLIN CONCERTO NO. 22 IN A MINOR . . . 110

XX. CONCLUSIONS...... 117

BIBLIOGRAPHY ...... 124

APPENDICES

A. GLOSSARY • • • • ...... 128 B. CHART OF BOWING TECHNIQUES...... 133 C. CHART OF LEFT-HAND TECHNIQUES...... 1 3 4

VITA ...... 135

iv ABSTRACT

Olin, Harvey Martin, B.M, Wheaton College, 1956 M,M,, Eastman School of Music of the University of Rochester, 1961 Doctor of Musical A rts, Spring Commencement, 1973 Major* Performance (Violin) An Analysis of Performance Techniques Required in Selected Original Works by Frits Kreisler Monograph directed by Professor Kenneth B, Klaus Pages in Monograph, 13^« Words in Abstract,

Besides K reisler's sixteen original violin pieces—seven of

which are included in this study—his output includes sixty-two trans­

criptions for violin, a concerto in the style of Vivaldi, a string

quartet, fifteen pieces in the style of seventeenth and eighteenth-

century composers, and cadensas for nine concertos. Eight of those

concerto cadensas are included in this studyt the ninth concerto,

the Tchaikovsky Concerto and cadensa, lies in the transcription

classification, and so is excluded from this study.

The criterion for selection of compositions to be included in

this study—other than originality—was the technical value im plicit

in each workt the compositions listed below are the most inclusive of

advanced violin techniques. It was the purpose of the writer to point

out the diverse violin techniques that a violinist must possess or de­ velop in order to perform each of these works successfully.

1, Caprice Vionnois 2, La Chasse (in the style of Cartier) 3, La Gltana k, Llebesfreud 5* Menuett (in the style of Porpora)

v 6 . The Old Refrain ?• Praeludiun end Allegro (In the style of Pugnani) 8 . Recitative end Schorsp for Violin Alone 9, Sohftt Rosnarin ' 10, Taabourln Chin ole

Cadensas

1, Concerto In D Major, Op, 61 by Beethoven 2. Concerto in D Major, Op, 77 by Brahms 3* Concerto No. 3 In G Major by W. A, Mosart h, Concerto No, h in D Major by W. A, Mosart 5. Concerto No. 5 in A Major by W. A. Mosart 6 . Coneerto No, 6 in E-Flat Major by W, A, Mosart 7. Concerto No, 1 in D Major by Paganini 8 . Concerto No, 22 in A Minor by Y iotti

The analyses are presented in a columned format with execution

techniques Identified by name and measure number, and with examples

shewn, A glossary is included in the monograph for the purpose of de­

fining terms and expressions used by the writer that are, for the most

part, not found in the common technical vocabulary of violinists today.

The common body of technical vocabulary is used in the analyses, al­

though it is not found in the Glossary,

The value of an analysis of this type lies mostly in the analysis

Itself, and not necessarily in its implications. However, sons signif­

icant pedagogical implications were drawn from this study * the salient

technical characteristic of each piece may be a rationale for a violin

teacher to assign it to a student violinist for preparation. For ex-

aiqple, La Chasse would be an excellent study for the development of the

rleoohet stroke, and the thrown bow.

The eadensas may also be used as studies, or unaccompanied etudes.

They are more difficult than most of the violin pieces, but if assigned

as etudes they would tend to develop the technical proficiency of an

v i artist calibre in a violinist* Those cadenzas* therefore* would serve

a purpose similar to that of the caprices of Paganini and Wieniavski,

The cadenzas are constructed almost completely of double-stop ma­

terial* Kreisler Invariably sets arpeggios in double stops rather than

in single notesi melodies are rarely in single notes—frequently in

tremolos* Single note velocity passages are rare* and probably are in­

serted to achieve relaxation and a contrast to the heaviness of the double-stop material*

Kreisler*s predisposition toward the interpolation of trills,

schnellers* and the use of other grace notes* might well be described as

a watermark in his music * for they are not found to this extent In the

music of other violinists since the close of the classical period*

v i i 1

I

INTRODUCTION

This monograph is essentially a compendium of violin playing tech­ niques extracted from the following works of Fritz Kreisler*

P ie c es

1. Caprice Viennois 2. La Chasse (in the style of Cartier) 3. La Gitana Liebesfreud 5* Menuett (in the style of Porpora) 6 . The OlA Refrain 7. Praeludlum and Allegro (in the style of Pugnani) 8 . Recltativo and Scherzo for Violin Alone 9. Sch&i Rosmarin 10. Tambour in Chinols

Cadenzas

1. Concerto in D Major, Op. 6l by Beethoven 2. Concerto in D Major, Op. 77 by Brahms 3. Concerto No, 3 in G Major, by W. A, Mozart 4. Concerto No. 4 in D Major, by W. A. Mozart 5. Concerto No. 5 in A Major, by W. A. Mozart 6 . Concerto No, 6 in E-Flat Major, by W, A. Mozart 7* Concerto No. 1 in D Major, by Paganini 8 , Concerto No. 22 in A Minor, by Viotti

The criterion for the selection of compositions included in this study-other than originality—was the technical value implicit in each work; the compositions listed above are the most inclusive of advanced violin techniques. It ws the purpose of the writer to point out the diverse violin techniques that a violinist must possess or develop in order to perform each of these works successfully. Besides the sixteen original violin pieces—-seven of which are

listed above—Kreisler*s output includes sixty-three transcriptions for violin, a concerto in the style of Vivaldi, a string quartet, fifteen

pieces in the style of seventeenth and eighteenth-century composers, and

cadenzas for nine concertos. The ninth concerto^-the Tchaikowsky Con­

certo and cadenza—lies in the transcription classification and so is

excluded from this study.

Performance L evel, Format, and Scope

The violin ist who undertakes the preparation of any of these

Kreisler works should be an advanced student, or at least entering his

advanced stage of development. In this case the student w ill possess at

least a good command of the basic techniques usually associated with this

level of competence: shifting, positions, vibrato, intonation, tone

production, double stops, and chordal execution. It is assumed, of

course, that by the study of these Kreisler works he w ill gain further

benefit in the development of these foregoing techniques and in his gen­

e r a l a b ilit y w ith h is instrum ent. Therefore, referen ce in the monograph

to these prerequisite skills and techniques is limited, Furthermore,

the te c h n ic a l language o f the monograph i s structured w ith th is advanced

level of string player in mind, so comprehension below this level may be

d i f f i c u l t .

The analytical material in this study Is presented In a three-

column format. The left hand column, Techniques and Related Problems.

lists the performance techniques that are required of a violinist who

is undertaking the preparation of these works, (In a few cases related

techniques are shown as sub-headings in column three,) In most cases the technique Itself is named, but when the execution technique requires a complex description, the term given in the left oolumn is a term that identifies the musical material or the problem in which that technique is im plicit. The technique is then isolated and described in column three.

The middle column, Exemplary Measures, identifies measures in the music where this technique may be found. (This column is not an exhaus­ tive reference, but only a guide to the interested reader who has avail­ able to himself a copy of the work that is being analysed.) Measure num­ bers of examples that are not included in this column are simply repro­ ductions of the same or a similar technical problem.

In the third solum . Examples and Remarks. the reader w ill find some discussion of the techniques under consideration, with examples usually given.

Although this monograph is pedagogical in nature, emphasis w ill not be placed an procedures of practicing. If suoh procedures are pointed out, it is only for the purpose of isolating a necessary technique that should be developed in order to resolve a difficulty in the execution of the musical material.

Terms and expressions used in the analyses and found as well in the Glossary w ill be marked by an asterisk. Where examples are given, ar­ rows w ill indicate—when practicable—the exact point in the measure where a particular technique is to be employed.

A glossary is located at the end of the monograph. It is a list­ ing of certain violin techniques and of types of idiomatic musical mater­ ial for the violin that imply the use of violin techniques. The Glossary

Is not a repository of all possible violin techniques, nor of all the techniques cited In this monograph. Neither is the Glossary designed to 4

Instruct the reader thoroughly In the execution of each technique listed.

However, these terms and expressions in the Glossary do constitute a sig­ nificant portion of the analysis. The terms and expressions fall into the three following categories t

1, Techniques and idiomatic terms that have teen assigned names by the w riter where names and descriptions of such techniques and terms are not a part of the body of traditional violin technique nomenclature,

2, Techniques and idiomatic terms that are commonly used, but exist without clear universally accepted definitions. Defini­ tions, then, are given to these in order to render them com­ pletely suitable for use in this study,

3, Techniques and idiomatic terms that are in use but whose de­ finitions the writer wishes to expand upon in order to lay stress upon their pedagogical significance.

Charts of bowing and left-hand techniques are also included at the end of the study to give a cumulative reference for techniques referred to in the analyses. Some ubiquitous techniques (e,g,t portamentos, strides, hair leaps, vibrato) are omitted from these charts although re­ ferences to them in the analyses are important. Even though they may ap­ pear in the Glossary attention Is given to such techniques as these main­ ly when their execution is catalytic to the other major techniques.

Previous Analytical Studies

In the four centuries of the existence of the violin, hundreds of volumes have been written on the playing of it} however, very few of these works offer complete or even partial analyses of violin works.

The first significant study of violin technique to present objective analyses of complete works for the violin was The Art of Violin Playing 5

(1930), by Carl Flesch,* Flesch, perhaps the greatest of violin peda­ gogues, approached a ll problems of violin playing In an objective and analytical manner. In 1925 Alberto Beckmann preduced An Encyclopedia of 2 the Violin, In chapter thirteen of this work Beckmann presents a cur- soiy technical analysis of thirteen major violin works, Included In that fifty-nine page chapter are analyses of seven concertos and the J. S.

Bach Chaocwne for solo violin,

A more recent pedagogical work that involves technical analysis

is Ivan Galaraian's Principles of Violin Playing and Teaching ( 1962) .3 i t

is a highly praised manual that is considered by many to be the current

standard of violin techniques however, technical analysis is only a

small, although vital, part of this work. In 1965 Joseph Szigeti pro­ duced an excellent study of the ten violin and piano sonatas of Beet­

hoven.^ Other analytical works are listed In the Bibliography,

Pedagogical Implications

Graduate student researchers have characteristically avoided this type of analysis of violin technique, perhaps because of a fear that it is too rigid and arguable. While realizing that there is some true basis in that anxiety, it is believed that the analyses which follow will provide sone evidence that these selected pieces and cadenzas of

^Carl Flesch, The Art of Violin Playing, Vol, IX* A rtistic Real­ ization and Instruction (New York* Carl Fischer, Inc,, 1930),

^Alberto Baehmarm, An Encyclopedia of the Violin (New York* Da Capo Press, 1966), p. 212.

^Ivan Galamian, Principles of Violin Playing and Teaching (Engle­ wood C liffs, New Jersey* Prentiss-Hall, Inc., 1962),

^Joseph Szigeti, The Ten Piano-Vlolin Sonatas of Beethoven (Ur­ bans, Illinois* American String Teachers Association, 1965)• 6

Frit* Kreisler may be used as didactic material for the development of student violinists. The pieces with piano accompaniment, listed above, make excellent accompanied etudes, and the cadenzas—frequently perform­ ed in concerto concerts today—make superb unaccompanied etudes.

Student violinists frequently become disdainful of the study of the standard etude literature, so often felt by some to be laden with sterile vignettes. If a teacher deems it vital for such a student to complete a systematic study of the conventional etude material, per­ haps a well chosen Kreisler piece, or cadenza, would give him at once a worthwhile change of pace and a needed technical boost. If it is not vital that the student complete the standard etude school, he can re­ ceive profitable schooling from the Kreisler works since they offer ex­ cellent technical problems together with satisfying Idiomatic and music­ al rewards.

There is no need to prove that these pieces and cadenzas are ex­ cellent violin music i they rest upon their own merit and reputation as beautiful violin works with unusually strong audience appeal. There was a period of time in the past—approximately during the second quar­ ter of this century—when the study and performance of these works was commonplace. The writer believes that those who studied these works profited greatly by experiencing a broad increase in technical profi­ ciency in a relatively short period of time. After Fritz Kreisler re­ signed from the concert stage, the learning and performing of his com­ positions by other violinists declined. This waning was accelerated by a concurrent disinclination of concert performers to include short pieces on their programs as they became increasingly disposed toward performing sonatas for violin and piano. Now K reisler's music is 7 practically unheard. This writer hopes, however, that this monograph may serve to renew interest in the study and performance of the music of the late master violinist, Fritz Kreisler. PART ONE

ANALYSES OF THE PERFORMANCE TECHNIQUES

OF THE SELECTED PIECES V)

I I . CAPRICE VIENNOIS

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1 . Accented 2,4,69.141, a. Halted Stroke*. S tro k es 105

mm. 2*3

92,9^»75»79 b. Thrown Accent*. The note immedi- 83-84 ately following must also be ac­ cented (Inner Accent Stroke*). * * ......

m. 93

c. Inner Accent Stroke** ______

m. 13

2, Bounding If67#72-73 s. Ricochet. Care must be taken to S tro k es prevent the sixteenth notes from rebounding so quickly that each note is not distinctly heard. 2f4,68,9^ b. Thrown Flying Staccato*. r ^ #%^=l ’T—** r %____,

m, 4

7^t ?8*82 e. Thrown Bow*. The Articulation* must be as crisp as possible with­ out becoming coarse• m i2 m. 7 ^

70,93.95-99 a, Spiccato.

I. 97-98

In v e rte d 9 -H D^tache*

ra. 11 nJlt i e ho 100-103 11

ft r ■ ffjri-fJ f i H ------titissstiia XT 1 mm. 101-102

5, Combination 10,12 If the bow is restrained on the initial Stroke* stroke (up stroke) the combination ba­ lances perfectly,

m, 12

6 . T ied Hook* 10,12

m. 10

7, Portato 60,6^,132,136 Almost staccato in shortness. ------nr-= rfriHf-■—A

m, bO

Normal portato, P rufiato rit. 12

8 . Sostenuto 2-3,**-5»l^ The violinist must restrain the bow 2 6 , 105-106 speed after the initiation of the stroke, and select a contact point closer to the bridge (but without coarse tone).

run, 13- 1^

20-5®,108-130 Consistency of bow pressure is needed throughout these measures to insure the lin e o f th e m a te ria l. The bow p re ssu re should be enough to "sing" but not so much th a t th e bow changes produce h arsh Articulations*.

f & c f (I f l f y » J ' p ^ \fofce, Te MSrato I I mm, 2 0 -2 1

9. Hair Leaps* 25-26 The Jump* and H air Leap* must be exe­ cuted simultaneously. The violinist should not think of them as two separ­ ate actions.

(■ m-A Xm ft ~w f V -l = f c * LLJ mm, 25-27

L e ft Hand Techniques

10, Tactile Inton- 68-69 The s in g le s tr in g octave Jump* i s an ation* important tacto-kinesthetlc technique for the violinist to acquire as a part of his fingerboard technique. In the following example, although the natural harmonic B intervenes—it can be exe­ cuted in the first position by the fourth finger with the first finger re­ maining as the lower finger in the harmonic—the sensation of the Jumping* distance is exactly an octave. 13

aim* 68-69

In th e Jump* between b a rs 43 and 44 th e violinist must leave the fourth posi­ tion end arrive in the second position entirely by tacto-klneethetie sensation*

mm* 43-44

The same i s tru e in th e Jump* between b a rs 83 and 84*

mm* 83-84

The portamento* as a tactile sensation* is a vital element in shifting that does n o t in v o lv e th e Jump** I t should be rapid* but not jerky.

mm* 126-127

In the use of the portamento* the vi­ olinist should consider the timing fac­ tor* In the case of the portamento on the Mnev finger ( # ) 11—the major use of the portamento—the left hand action (slide; should coincide exactly with 14

the change of stroke, If a change is made.

11* Double Stops 20-67,72-95 The Floating Touch* mode of execution 108-139 i« vital here, except in plaees where the left hand action is fixed (such as in the case of long notes),

»m, 130-131

or in the following instance where the holding finger (first finger) is fixed*

ill 1 • • w

— — ^ 1 m "m _ N - f S - £ - □ • * * e • a * • CLT• *

tarn, 132-133

Vibrato la necessary on all double stops. This is for warmth of tcne. Floating Touch* helps ease the atronu ousness of double-stop vibrato.

12. Harmonics 2,4,68,140- The following example requires the use 142 of the finger extension and so the low­ er finger of the pair (first finger) should be firmly fixed on the finger­ board t o p rev en t i t s being moved from place by the extension pull and by the v ib r a to . 9 t f k s ^ ^ 3 r mm, 140-141

13 , Ornaments 10,12,21,37 Double and single Schnellers* should be executed rapidly. 13

69 The trill should ba multiple cycle.

Mr :z

nm. 69-70

14. Chords 86,90-92,143- Pizzicato chords. The first or second 144 finger may be used, depending upon the preference of the Tiolinist. However, the flat, fleshy part of the finger should be used with follow-through of the hand. The best contact point for tone quality is well over the finger­ b o ard . I I I . LA CHASSE

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1. Thrown Bow (Ubiquitous) The two principal styles found are* S ty les* a . Thrown Bow*.

m. 3

b. Thrown Flying Staccato*. Indicat­ ed by the slurs with dots.

• A P = £ q SEES e — M

m. 7

In th e se bow s ty le s th e tone d u ra tio n should not be longer than the Articula­ tion* itselfi the pitoh will be carried by the Articulation*.

2 . Change of Bow- ^ » 8 #33*37 From the thrown strokes to the Halted in g S ty le S tro k e* f 17

or the Accented Dateche* stroke,

mm. 11-12

3. Ricochet (Ubiquitous) The sixteenth notes are always executed in the ricochet style.

3 p — - 1 - 0 -rm m 9-H eJ

mm, 13-1**

The two instances in which this is not true are probably printer's errors. It is justifiable, however, to execute the sixteenth notes in measure 70 s e p a ra te ­ ly and "on the string." but the six­ teenth notes in bar ?1 should be done as ricochet.

70-72

Care must be taken not to permit the sixteenth notes to be executed too rap­ idly, In this ease the pitch would be lost to the ear and the result would be a blurring of the m a te ria l. h. Execution of 21^22,81-82 The bow should not be allowed to re- Omaments bound from the double stop immediately prior to the double grace note in mea­ sure 21, The rebound would disturb the flow of the rhythm. Instead, the bow must change direction while being firm­ ly "into the string" and execute the portamento to the double-stop, arriv­ ing in the fifth position on the fourth b e a t. M, 21

Bar 22 presents a different problem. The six eighth note double stops should sound the sane length in this case, since there is no portanento and accent* The rebound should be aliened through* out the neasure.

l 2 3 . fifl 4 4 ---- l -— f w~ r » m

n . 22

5. Selection of The violinist mist discorer the best Bow Execution portion of the bow to use throughout Are* the piece. Forte passages should be executed in the loner half \ the closer to the frog the sore coarse and forte the result.

Piano material should be executed be­ tween the middle and the tlpt the closer to the tip the lighter and soft­ er the result. (The violinist, however, should avoid the extreme tip and the extreme frog.) 19

19-20,2^-25 Material in the high positions on the 78,85 £ and A strings should be exeeuted with more broAdness ef the thrown stroke in order to avoid the thin and "choppy" effeot that would result otherwise. m nun, 2*1—25

Left Hand Techniques

6. Tactile In­ The Jumping* technique is extensively to n a tio n * required in this work. The violinist must be already eapable of this ability or be Able to develops it to the extent that it is required in order to suc­ cessfully prepare this piece.

7 . Combination **-5.8,12,33- All notea longer than an eighth note Accent* Jk must be executed With this technique.

mm. 58-59

15,17,75,77 The accents found on the eighth notes exeeuted by the thrown strokes involve the bow only. The following, however, should be exeeuted with the Combination A ccent*»

o r * I m P" ■!

ere sc.

m. 75

8. Satellite 10,23,83 The thumb remains in first position as P o sitio n * the fingers advance—temporarily—to second position. 20

■ * —

T T? .

9. Fingerings The violinist should choose fingerings that afford hin the greatest ease in the physical conformation of the left hand in order to facilitate accuracy of intonation* The slse of the hand w ill, to a large degree, determine whether or not the composer's suggested fingerings a re best*

It is advisable to retain Finger Shapes* when Jumping* or shifting* This prin­ ciple will help the violinist choose the most successful fingerings* 21

IV. LA GITANA

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1. Velocity 1 ,3 .5 -7 Plenty of bow should be reserved for P assag es the conclusion of each passage in order to clarify the relationship of the pas­ sage to the final note. The bow, there­ fore, should be spent with restraint until the last several notes—-then used f r e e ly .

nun, 1-2

In the longer passage, the bow strokes may be divided freely by the violinist in order to suit the bow changes and bow pressure-speed relationship to his interpretive instincts and left hand problems. (One must cautiously remem­ ber that the more changes of stroke t h a t a re made th e le s s b r i l l i a n t th e passage becomes.)

Cadenza ad libitvm brillante m.7

2. Halted Stroke* 1,3,5-7,^3 Although not always indicated by the composer, the tied quarters in each case will be Halted* after the initia­ tion of the stroke. m* 5

15- 16,23-2^ Down strokes in a highly Articulated* passage such as this must also be H alted*.

m. 16

3* Thrown Accent* 7,?8 If the violinist elects to play the trill at the point of the bow, the Whipped Bow* nay be used in lieu of the Thrown Accent** (See measure 7, item No. 1, above.)

7 -8 ,7 9 -8 0 The accent is thrown also at the ends of bars 7 and 79, and on the first note of each following bar. si a

m m ) •flun. 7-8 k . Articulation* 10-2h Measures 10 and 18 require crisp ini­ tia l Articulation* (analogous to the consonant T in speech). A

in. 10

10-13,18-21 Tied Hook* w ith a Whipped* A rtic u la ­ tion* is recommended (bar 10) in lieu of the indications of the composer in 23

order to enhance the sostenuto of the nusieal line. (The free eighth note should be hooked to the preceding tied q u a rte r* )

nun* 11-13

Notice the Thrown Flying Staccato* in bar l l y above*

As printed, the accent signs indicate th e us© of th e Thrown A ccent*, A Whip­ ped Bow* must be used to initiate the sixteenth notes followed by the Thrown Flying Staccato*.

mm, 10-13

26-27 Throughout this cantabile portion of the piece, the Articulation* should be as smooth as possible in order to con­ trast the highly Articulated* opening s e c tio n s 9

5* Ricochet 13*23 (Thirty-second notes.) This stroke should be done in the middle or lower half of the bow, although it must not become ooarse. The up stroke is to be the Thrown Flying Staccato*, 4

m. 15

6. Combination (Ubiquitous) Every bow accent must be accompanied by Accent* a vibrato accent, 2k

7• Inner Accent 2? *32-3** *39-^1 This interpolated ornament should be Stroke* accented for clarity# 4 m. 27

33-31*,75-76 The dotted quarter note and the dotted half note must receive accent to avoid understatement• p=ppf. mm* 33-3**

8, Combination **5-**6,55-57 Combinations such as this are basic in Stroke* the cantabile portion# When executing the eighth notes (slurred or separate), the bow speed should be constantly the same. This w ill Insure the sostenuto needed here#

mm# h5-**6

L e ft Hand Techniques

9. Velocity Pas 1-7*77 The rapid speed should not begin at the sag es outset of the passage* but only after a note or two have been played at a mod­ erate speed# The clarity of line is sacrificed otherwise# 25

The shifts in the rapid passages should ha smooth and unaccented if they do not f a l l on accented notes.

The augmented interval Is most d iffi­ cult when both notes must be fin g e re d . Too great finger pressure w ill make in­ tonation accuracy unreliable.

m. 7

As velocity is increased the Floating Touch1* should be used* A firmness be­ tween the side of the index finger and the thumb w ill insure a secure left- hand hold on the instrument allowing the fingers to execute in the Floating Touch* mode*

10* I n te rp o la te d 31 A double cycle trill. T r ill* 4r

m. 31

11. Schnellers* (Ubiquitous) Should be as rapid as possible, but c le a r .

12. Portamento

M. 3

13. Tactile In- 7-8.10.l8.h0, Is vital wherever a Jump* is required, tonaticn* 48.79*80 26

■L i mm* 7*3

The following is a moot difficult ex* ample t ^ B f it* ho ♦

1**. V ib ra to Throughout the piece* It should be ad­ justed to match the intensity of the bow. (Vibrato w ill be omitted during velocity passages*) 27

V. UEBESFREUD

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1* Hooked Bow 1*9*25 Halted* type. The accented Articula­ tion* is done with bow speed only and immediately restrained. The hooked portion of the stroke requires approxi­ mately half of the total length, and is martele* in character.

0' ■ Sj • w= m. 1

37*39 Tied Hook*.

m. 37

126.1^2 Although not directly indicated in the music, the Tied Hook* should be exe­ euted in these two places. n . . ..

mm. 125-126

2 . A c c e n t e d 2.10.18 Accented Dotache*, S tro k es 4-7 Thrown Accent*. The quarter notec fol­ lowing th e e ig h th n o te s must be as l

Halted Stroke* 15.31 n m i. 14-15

85-87 4 nm, 85-86

Flying Stac­ 48*50,84,124 c a to f m. 46

113-143 Portato or flying portato eight well bh used (measures narked with slur) during this thirty-one measure portion. Thrown Bow* 113-1*0 The Articulations* should not bo coarse, but "brushed.H

n :=>- — — — ■ —. ... acn • • — 41

mm. 113-11**

L e ft Hand Technique*

Ornaments 3*11*123 a. Interpolated Trill*. Must be placed smoothly within the line. A two cycle trill is bestff but a Schnel- ler* is acceptable.

n . 123

82,85 b. Schnellers*. Must be played as rapidly as possible, with the ac­ cent placed on the Articulation* of the ornament.

Fingering Violinists with large or very large hands, should execute these parallel thirds with half step sliding fingers as shewn belowi

This technique assures the closeness of the half steps and avoids the tension eaused by the friction of tight fingers. The sound of the slide is not heard. 30

8* Tactile Intona­ ^*33»8& A minor problem in this work, tio n * t r l n i§ §

mm* 19-20

9* I n te rp o la te d 5,58 Played by either the third or fourth Harmonic finger and approached by a rapid porta­ m ento.

r~ p - ww = ■ * \ nibj±

»• 58 31

V I, MENUETT

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1, Hooked Bow (Ubiquitous) Flying Hook*, A superior variety of hooked stroke that may be applied to appropriate forte and mezzo forte ma­ terial such as this angular melody. Its advantages ares

a, articulates the short note very c le a r ly , b, automatically accentuates the long note to match the short not€* c, aids greatly in string crossing and Jumping*.

mm, 5*6

Tied Hook*, Used only in certain in­ stances where

a, the dynamic is soft.

m. 9

b, and just before the trill (trill should be Articulated* with the Whipped Bew*), m, 3

Sostenuto (Trio) Violinist must exercise great care to maintain bow pressure at the desired le v e l when th e bow i s d iv id e d In to fours, sixes, and two note groups.

mm, 65-66

Accents should be meticulously avoided In this section of the piece. Change bow without accentuation, except pos­ sibly at the beginning of measure 72

m. ?2

Halted Stroke* 113 Should be used on the half note to match the accentuation of the previous m a te ria l. $ S m. 113

L e ft Hand Techniques

Jumping* 1 Changes of position should be made dun ing th e moment when th e bow i s In th e air (Flying Hook*), In the opening phrase (restated eleven times in the co u rse o f th e p iece) a Jump* between the fifth and sixth note is probably 33

the beet way to get from third to first petition, (It avoids the use of the open £ in measure 2,)

mm, 1-2

5. Unusual 2k Because of the constant string crossing S trid e s * and alternation of two strings, large intervale can be perceived as simple Strides*. Bar 2k—when le arn ed a s a series of half-steps and a Jump*, or extension—is simplified and easier to execute accurately.

The violinist should learn to use the p rin c ip le o f Muscle Memory* when he fingers awkward passages.

m. 76

6. Tactile In- 1.5*9fl3»52# The beginning of the piece (and its re- to n a tio n * 6k statements) present the problem of Taetile Intonation*. The high D on the E string is frequently accompanied by this problem. The Tactile Intonation* ability Is not, however, taxed as great­ ly in this piece as in others. 34

V II. THE OLD REFRAIN

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1. Tone Control 1-30 All on the G string. The tone should never sound tight, thickened, nor s c ra tc h y . T ig h t sound may come i f th e bow speed is too slow and the pressure too great in the upper positions. Kill G

mm. 24-26

The tone may become thickened in any measure if the bow is too close to the fingerboard, and maintained at too slow a speed.

In any b ar a sc ra tc h y tone may come from too great a bow speed or too high a contact point.

2 . Tied Hook* 7 ,9 ,1 1 .3 9 ,4 7 The hook should be portato in character without a notieable break from the dot­ ted n o te .

1

m, 7

3 . P o rta to 9 ,1 3 ,2 1 .5 1 m, 9

4. Hail* Leap* 24,28 It is possible to use a Hair Leap* if the portamento is not desirable.

nu 28

5, Sostenuto Throughout the entire piece. It be­ comes more difficult to sustain the line in the double-stop section, but it is nonetheless important. There should be no surge of sound at the out­ s e t of th e down s tro k e , and th e sound should not die at the tip prior to the bow change,

A Combination Stroke* is found through­ out the piece. Bar 37 is just one of twenty-four examples of this particu­ lar combination.

m

m# 37

To execute the measure properly, keep­ ing the sostenuto, the violinist must be certain that all of the eighth notes receive the same amount of bow and that the entire bow is used in the course of the measure. This has nothing to do with loudness or softness. Soft mea­ sures are to be done with the Floating Stroke*, Louder measures are to be done with greater bow pressure. 36

6. Accented 22,26,52,56 Detach** l il fir r-

mm. 52-53

7. Inner Accent 5^,58,59 S troke*

m. 5^

8. Thrown Accent* 5^ >58 >59 Kust be used here because of the Jump* in the left hand*

m* 5V

9. Whipped Bow* 5^.58 Lifting the bow also helps with the execution of the left hand Jump*

m. 58

10. Bow Weight Throughout the second half of the Balance piece. The weight of the bow and hand on the strings must be divided equally between the two strings that are in­ v o lv ed . 37

11* Entire Melody Leaps must be given continuity by use on G S trin g of portamentos. (Modern violin playing prescribes that the slide usually be executed on the "new finger" in cases of ascending leaps.)

w

m. 8

Vibrato should be continuous whenever possible. Intonation is more difficult on the G string because of muscular fa­ tigue and the strain of the inward po­ sition of the left elbow. The vibrato, thereforey should be kept narrow and th e dynamics should n o t r i s e above mezzo forte. Tactile Intonation* is extreme­ ly important in material like this where Jumping* cannot be avoided.

12. Double-Stops 3&-60 In this section the violinist must do* velope dexterity in sliding fingers sideways across the surface of the strings and especially when executing descending sixths. i 39

This technique, however, is more dif­ ficult when the slide is not directly across the fingerboard, but where the s lid in g fin g e r moves up or down a semi­ tone measurement. In the following ex­ ample the second finger must slide up­ ward and downward rather than a simple lateral motion.

:"Wz

m. 1+2 38

**9»51»58 Portam ento in d o u b le -sto p s h i f t s i s tviae ms difficult as in single stopped notes, but it is executed the same way. Care must be taken to avoid excessive finger pressure* I 8 — — *— 'm- 9 ■ ^4H nfr i a a + % m. ^9

Vibrato in double steps must be con­ tinuous to prevent dullness of sound in the musical line (Vibrato Mode*). 39

V III , PRAELUDIUM AND ALLEGRO

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1. Accented De- 1-22,38-60 The up and down strokes must sound a- tachd* l i k e .

■ __H ■ r ■—f — —fr ~ H- —JL—te —r— mm, 1 -2

2, Detach/ 23-36,62-64,8$ Singing detach/, A broad style d e- S ty le s tache, executed in the upper half”of the bow and in the Vibrato Mode*, The degree of bow pressure must not vary* Slurred portions must be executed with the same Intensity as the d/tach/ in order to preserve the line. if

mm, 23-24

77-83 D^tach/ oh the broken chords must be executed in the middle of the bow to achieve balance in the stick. A A A #

» . 77

Seme s p lc c a to may be added o c c a sio n a lly for greater clarity and for variety,

86-87,90-91, Bariolage* d/taohe. This stroke must 126-142 be executed in the middle third of the bow. As the left hand ascends to the high positions on the D and G strings, the bow prossure must bo os lig h t os poooiblo to ovoid "choking1* the string. Fullness of tone must bo produced en­ tirely by bow speed in lieu of bow pressure (Floating Stroke*).

JC

6 1 ,7 3 t 109 Detache portd. A gently separated de­ tach/ stroke, The Articulations* must be as soft as possible.

Combination 6 6 , 6 8 ,7 0 The initial slur w ill begin in the mid­ Stroke* d le o f the bow and the separate strokes must be exeeuted in the upper third. The f in a l slu r (up bow) must bring the bow back to the mid-point in prepara­ tion for the splccato. Tone intensity must be the same throughout the entire measure. w f* . e “ m‘-• w e~^v. —

m. 66

/ t S p ic c a to 6 5 ,6 7 ,6 9 Must contrast the detacho that precedes and fo llo w s.

ra. 65

Mixed Spicoato* 113-120,77- The insertion of a single detache 83 stroke occasionally may help the vi- 41

olinist to achieve greater rhythmic projection and to remove choppiness. As V #in the ca se of bar 116*

n. 116

6 . Accented 85,155.161 These quadruple chords are executed Stroke* with a "dropped” beginning, the accent being applied to the upper two notes

89,93.97 The following quadruple chord is ini­ tiated from a dltach^ stroke, the ac­ cent being applied to the upper two n o tes.

W

m. 93

23,60,161,164 Halted Stroke*,

t m, 161

7# Chordal 144-147,152- Down Bow Chains*, Broadness, with min­ Execution 161 imal ties lapse between strokes, is vi- tal in this material.

a , 144

In the tri-chords the bow must not be 42

arjpogglated, but drawn directly Across *11 three strings* A contact point near the fingerboard w ill produce the beet results* In the ease of the quad­ ru p le ch o rd , th e bow must be a rp e g g ia t- ed Tory ra p id ly to avoid damage to the l i n e . n

m. 160

Coarseness must be avoided in chordal execution*

Left Hand Techniques

8. Tactile In­ There are frequent instances where the to n a tio n * violinist's ability in this technique is required* for example 1

■us* 58-59

9. Interpolated 13*50,149 Sc handlers* should be executed simul­ Ornaments taneously with the accent*

m* 13

1 1 3 -1 2 0 T rills should be the two cycle type. 43

10. Satellite b3,75,Hl The thumb should remain in the position P o sitio n * of the prior measure (first position) while the second And fourth fingers ex­ ecute the D# end F*. The hsnd then re­ turns to first position during the o- pen A* This is more satisfactory than executing the entire passage in first position, and more satisfactory than using the extension of the fourth fin­ t o ger to the F#.

i , .,-m 0 * , ^ R —~m 4=bJ PPt— ■ t mm, 62-63

11• Reiterated 86-87,90-91 Repetitious use of the 1-3-4- finger se­ Finger Pat­ quence while eliirfblng to a higher posi­ te rn s* tion for each repetition. Tactile In­ tonation* ability is demanded in this m a te ria l, H 1 * *

am, 90-91

12. Fingering 126-143 Fingerings are net suggested by the composer in this passage. The violin­ ist should choose adjacent fingers (for each broken sixth) that retain previous Finger Shapes* if possible, and those that best prepare the hand for the fin­ gers that are to follow. The passage below Is the complete excerpt and is accompanied by a suggested fingering by the writer.

The thunb of the violinist should be firmly anchored in the "turn” of the neck, easting the weight of the violin directly at his throat. This will free the fingers of the left hand from the task of holding the instrument. The violinist's tactile sensations will then be only those of Tactile Intona­ tion* and Stride* movement.

It should be remembered that the Strides* between adjacent fingers are either whole or half steps. The most comfortable system of fingering Is to separate Jumps* and Strides*. This makes the Intonation more p red icta b le.

0 ♦ O - 0 f£o to 4o 0 m

*1 »#£ ii If 3£ * ± f i i p p o mfio _*{_« o#f^o m\z.o i : o a | : o fz o p p o

M. o o

o ♦ o 1 o h . ► o m 0

1 ° d 0 # ° &+- ______0 » ' m . — ■ = LI. .. L - - . A C ^ E E i S E z d MtW ■■ L y 2 3 “ M l r i r r 1 j

j » o Z t-0 + 0 0 ^ 0 H e a* ° » i 1 : ! o 1t o m o ° ■ V f m r p f - H f — & J-L -U - L £ l s M

3 , r t e o i k ~ n l t | l o Z j ► 0 0 _ , - T ° m~r—1 W — W T f f f i l = B « = y m = ^ g 3 —— j " C U f

mm. 126-1*0

13. Vibrato The left hand should be in a Vibrato Mode* as often as possible throughout t h is work. The chords and Bariolage* section must have a slight vibrato to sound rich.

14. Floating 7^-76,97-100 The violinist must resist the tempta- Touch* tien to press heavily with the fingers In material where rapid and continuous ^5

finder action is required by the music. m s m r n m m P -P m

»m. 97-99 46

IX. RECITATIV0 AND SCHERZO FOR VIOLIN ALONE

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques (Recitativo)

1. P ortato 3,12,21,28-29

ad libitum.

m, 3

2, Arpeggiated 5-9 Must be smoothly executed* without Multiple Stops scratchy sounds.

m. 5

3, Sostenuto (Ubiquitous) Two voice counterpoint, and self accom­ paniment, The tone production must be regular and the double stops should sound organ-like, Graces must be under­ stated in relationship to the main mus­ ical material* i i - r

ra. 22

Harmonic 27 The bow speed should be greater and the pressure less than required to execute the other ("solid") notes in the tran- q u illo .

r\tT*niu«lo

m. 27

(Sc.hflg.gp)

Mixed Spiecato* 1-8 Becomes detache' where clarity is best served by th a t s ty le o f stro k e, and be­ comes spiccato where that serves to take away the heaviness often produced by the detach^ stroke.

JL 0

Down Bow 10-17 Must be played in unison, never arpeg- Chains* giated (in this Scherao). The graced broken chord of bar 50 is exception. To execute properly, the v io l i n i s t must aim the bow stroke for the middle string of the trichord and play in the vicinity of the fingerboard with rapid bow speed. Bow pressure should be re­ strained * governed only by the objec­ tive of hearing all three strings sound. k8

ram, 10-12

ft. Ricochet 22-23,^2-^9* 119-126 4> j k

fz > fif i ^ fz " mm. 12^-126

9 . Thrown F lying 2^ St&ecato*

mm. 2^-25

10. Thrown Bow* 52-53,129-130 Double stops. This technique demands the F loatin g Touch* for su ccessfu l ex­ ecu tio n .

m. 52

^5-^9 imple Thrown Bow*.

m, **5 U9

11. P ed al Open 79-97 The violinist must avoid over-sounding S trin g the open string. Most of the bow weight should be directed* therefore, at the fingered string.

V f ~ C V

mm. 83-8^

12. Harmonies 150-151 In double stops. The botr speed must be greater, and the pressure less than in "solid" note execution.

• . -A, i» 1 A—r e- W-*Z MZ- ■ - — 4 8 I mm. 150-151

L e ft Hand Techniques (Recitative)

13. Ornaments (Ubiquitous Graces should be executed clearly, but Recitative) with little duration. a. Sohnellers*. Execution must in­ volve three clearly Articulated* n o te s .

m. 1

b. Graced broken chords. These are not true grace notes, but sound to the ear like broken chords.

accel. m B. H r • v HIe - J -

m. 17 50

c . T r i l l s .

m. 20

1 ^. L e ft Hand P iz - 19,26-2? This case is a very complicated tech­ z io a to nique, involving four separate physical movements. The movements must be tint­ ed to be simultaneous with the bow ac­ cent, and vibrato accent (Combination A ccen t* )•

In the Safefic&Q* the le ft hand pizzicato must be carefully coordinated with the ricoehet bowing. The executing finger must be chosen on the basis of conven­ ience. The most flexible free finger should be used.

% nr £ m. ?6

15. Harmonies 27 Both natural and artificial. In both cases the executing fingers must be in the Floating Touch* mode. (In the case of the artificial harmonic, the lower finger should also engage the string l i g h t l y .) tranquillo I

m. 27 I t , Tremolo 22-2*+ Slight accents, at the initiation of eaeh tremolo chord, help the execution of this technique. Trilling finger muet be light in its touch.

mm, 23-2**

17, Chords 10-19,63-70 Triple stops. These must be accompan­ ied by vibrato.

pesante

m, 63—6**

18, String 30-31,79-9** Single string arpeggios using the ex- Climbing* tension principle. Intonation risks are somewhat obviated by extensions in th e upper p o s itio n s (mat, 87-9**) because of the reduced finger Strides* in the higher positions. Ascending printed fingerings may be disregarded in favor of the 1-2-3-** fingering (all exten­ sions) to achieve a smoother execution* Using the printed fingering, more shifting is involved, increasing the intonation hazard.

mm, 88-89

19. Double Stops 3**-*+1,135-136 Mixed Spiccato*, Tension in the hand and finger muscles may cause consider­ able problenis because of the extended nature of the passage. The problem may be obviated by the use of the Float­ ing Touch*. 52

iun* 35-36

26-37.79-97 Pedal open string passage. The prob­ lem is to avoid touching the open string with the executing fingers. With the left elbow as far to the right as possible, the fingers of the left hand w ill be able to touch the fingered string at the side instead of at the top of the string* Thus, unwanted con­ tact with the pedal string will be a- v o id ed .

mm, 30-31

20, Chords 42-49,119-126 Trichords, The left hand should be al­ lowed to change its donf ormatian with each finger pattern. This will reduce the muscle strain through this extended chord passage, and w ill help improve intonation predictability.

energico

mm, 42-43

21. Octaves 97-102 Accurate intonation may be made more predictable by using the Floating Touch*, and by using the 2-4 or 1-3 fingering in the extremely high posi­ tions (mm, 99-101)*

e , e ; e £ : a. kj m. kft (S # 1 J j - f c - »_ ■ ■ m * 4 —■ - -$ f4 - — —ft w~b e t?w— ff J mm. 99-100 53

22. C hrom atic 100-102 Tho semitone illusion will be achieved G lissando* if the speed of the s lid e i s evenly me­ tered. The descending slide must be divided at least once (see arrow) by a point of tactile awareness that falls on a principal pulse. 9

■#* i » g g g E )

mat. 99*102

The Floating Touch* Is required in the execution of the above material.

23. Harmonics 150-151 Natural and artificial 1 single and double-stop. The first (double stop) harmonic must be secured by Taetile In­ tonation* •

3 C I £ e

mm. 150-151 9 *

X. SCHCN ROSMRIN

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1. Mixed Stac- 7-8 , 16,26 ,**8, May be the firm staccato, flying stac­ cato* 80 cato, or portato depending upon the part of the bow that is available, and upon the clarity desired. In the following example the firm staccato is b e s t i

ra» 2

In this example a mixture of firm and flying staccato is best, due to the length of the passage.

i- C ik t,' J%TH mm, 7-8

For variety, later in the piece, por­ tato may be appealing in place of the firm staccato.

m, 80

2. Spiccato 4-7,12-14,20- 22 Mixed Spiceato* is also allowable when I t does n e t make th e m a te ria l heavy.

qua. 11-12

T ied Hook* 33-78 A gentle hook is probably the best style to use in this section. The hook should be Articulated* smoothly and with an increase In bow speed, rather than increased pressure. 4f t m. 35

Sostenuto 33-79 Care must be taken to maintain a quasi- sostenuto manner throughout this sec­ tion. The hooked stroke should not c o n ta in a s i l e n t moment} th e sound should be continuous. The accents should be only gentle bow surges, and should be considered mainly as vibrato a c c e n ts . 4£ mm. 36-37

Inner Accent 3.11*27.83 This particular stroke is actually be­ spoke* gun as a Thrown Accent*, but instead of the main acoent appearing synchronously with the drop, the aaeent is executed following the trip let ornament. 56

m. 27

The accent in measure 33* however, must be given to the Schneller*. and not to the dotted quarter note. ip]

m. 33

6. C ombination 1-78 The middle section is actually con­ Stroke* structed upon this combination use of the bow* It consists of two hooked strokes separated by an up and a down stroke, with a rest in the middle.

mm. bl-4-2

L e ft Hand Techniques

7. Fingered Chro­ l,18,6*f,52 Fingering this passage provides great­ matic Passage er clarity in the execution than slid­ ing d e e s. a. Descending. &

m. 18

b. Ascending

m . 6k 57 ft. Vibrato Must accompany all accents. Also, it should ba used as background hand mo­ tion throughout the two ^rasioso sec­ tions (Vibrato Mode*), This"will add vitality to the staecato and spiccato sounds. In the middle section, the vi­ brato must appear to be continuous to the eart all quarter notes and longer must be vibrated.

9. Schnellers* 33.35»i*1.^9 Should be executed as rapidly as pos­ sible, without interferring with their clarity. The upper finger may gain in dexterity if It moves with the Natural Finger Motion*,

m, ^9 XI. TAMBOURIN CHINOIS

Techniques And Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1. Thrown Flying 3-*•23-24,113 S taccato *

2, Unequal Bow* 7-8,17-18,72- Must be done in the upper third of the 7 5 * 105-106 bow in order to utilise the forearm. Constant pressure must be maintained. The separate sixteenth-note stroke is faster than the other, therefore ac­ cented, Accents, than, fall on the first and fourth notes of each group, as fol­ low s:

mm, 7^-75

3. Halted Stroke*8,11,55,^7-^8 mk mm, 10-11

Thrown Bow* ^7-48 Whipped Bow* 9 More Articulate* than a simple accented s tr o k e .

ferf: i

mm, 9-11

Thrown Accent* 2,12,22 *u v/ i y v v

mP m mm, 2*3

Inverted De- 20 tach£*

mm. 20-21

Mixed Spicoato* 29-^6,51-5**, It is not desirable to use simple spic- 81-88 cato or simple dotachd exclusively due to o c ca sio n al s tr in g c ro s sin g and bow attitude problems. Note the measure following. The D after the slurred triplet must be Articulated in a deta- che manner, then spicoato may be al­ lowed afterward. Spicoato aids in the string crossings since it Articulates better than detache, especially in the high positions. m ra. 35

Detache', on the other hand, projects better in other instances, such as: m* 30

Spiceato, however, projects better on the repeated G#,

h a a Hi£ •► 1£; £■ £;£;t' £ £; £ fW*~

mm* ^ 3 - ^

Spiccato#also clarifies the Chromatic Glissando immediately followings

iL l* 1 ■ £

mm, 45-^6

9 . M artele 57-62

10. Ricochet **9*65 £fe m# **9

11 Tied Hook* 95*9«-99 61

12, Long Slurred 106,122 Problem: not to expend the bow too P assage soon. The solution is to conserve the bow after the initiation of the stroke until the last third (approximately) of the passage. P m. 106

13. Floating 91 A quick up stroke is necessary to pro­ S troke* duce this double-step harmonic.

m. 91

L e ft Hand Techniques

Trill Inter­ 2^,28 p o la tio n *

ram. 28-29

15. Modulating 20 Scale on One S trin g IV2

mm, 20-21 lb . Double-Stop 22-29,77-8** Reiterated Finger Pattern* using the Passage 3-2 finger pattern on various pairs of strings, and in various positions. a, fifth position (A-E strings) b, second position (A-E strings) c, second position (D-A strings) 62

m

mm. 2 2 .2 7

17, Fingered Chro-3^,106

m. y+

IB. Extension 31,35 Fourth finger extension (minor third between the third and fourth fingers).

S: : i g— 1 rn 3 VbWJu U v 7 i_irzrpL_, eJ m, 31

19• Chromatic Glis- ^5-^6 Third finger used. The violinist must sando* create the illusion of semitones, and sto p on th e c o r r e c t p itc h , C#. The latter is a problem of the musical ear,

3

20. Shift During 51,82,87-88 The distance of the shift is unusually Spiccato Pas­ large in bar 51. sage JL to

21, Left Hand 89-90 P iz z ic a to + m------fv- 1 P _ 1 _ n = * = \ t r f m

mm. 89-90

22, Double-Stop 91 Harmonic ^ t w ^

y mm, 91*92

23, Glissando to 92-93 To great finger pressure during the Harmonic glissando will cause failure of the harm onic•

mm. 92-93

2**. Schnellers* 102 Augmented second interval. Should be executed rapidly.

m, 102

2% Augmented 85,106 The inclusion of an augmented second in Second in Ve- a velocity passage can cause tension in locity Passage the hand and, therefore, faulty place­ ment of the fingers.

w m. 85

26, inharmonic 121-122 This constitutes a dactilo-visual prob- Transposition lem. Tension and inaccuracy are pro­ duced thereby until it is resolved. ram* 121*122

27* Vibrato Flexi- 47-48,55*97 Vibrato intensity must agree with the bility variations in tone intensity, and with a c c e n ts.

4 . * PART TWO

ANALYSES OF THE PERFORMANCE TECHNIQUES

OF THE EIGHT CADENZAS XIX. THREE CADENZAS FOR THE L. van BEETHOVEN

VIOLIN CONCERTO, OP. 61

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques (Movement I)

1. Accented De- 1-2,29-32,Hi­ ta c h i* 42 e-- ; y r •-> r- mm. 1—2

2. Inner Accent 12,24,3**,36-39* Stroke* 43-44

1 *T:

m. 12

m. 24

3. Sostenuto M elodic th re a d s sptan out in th e begin­ ning must be sustained, and not "squeezed" out* Double-stops must be sustained.

h ~ . J-r J L — 3— -3 4 tcfrrTr|[ffrf 3 m. 13

Hair Leaps* 23•38

- / t H -r! ^ » tlfkl^ l d 3 £ r — m. 38

Two V oice **5-5** Problem* to sustain both voices with Counterpoint equal pressure of the bow. Melody and countermelody must sound equal to the ear. This is most difficult at the t i p . ■ k-i j ^

i } ^ t j J 1 f //'

Chords 39 Smoothness is required during the change of plena from the lower two strings (lower two notes) to the upper two strings. 2 h - -a M 3 >-* a 1 $ 3 f e t N f H a t r t i ». 39

(Movement II)

Accented Do— 7 tach4*

* 4 n - j y j a . 7

(Movement III)

Halted Stroke* 1 The Halted Stroke*, and the hooked stroke are the dominant strokes throughout this eadensa. m m m. 1

Bariolage* 35-^0 69

10. Inner Accent 9 1’tro k e* t ’v m 4 P m. 9

11* Detache* 21-22,27-34

mm. 28-29

12. Mixed Spic- 23-26 eato *

■± 4 1 ^ 1 ^ # - m. 23

13. Accented Do- 35-40 Bariolage*. tachtf*

o o 0 o o o 0 0___ 0 0 0 0 Hi

mm. 38-39

14. Harmonics 45-51 Natural type. The bow must flow rapid­ ly. and lightly orer the strings during the harmonic execution. motto marcato o 3 " 0

& s E 4 i : —*— o o I Tj- mm. 45-46 70

L e ft Hand Techniques ( Movement X)

15. Octaves 1-2 a V, 2 £ - i ■>»>f•• 1 Ks>f - »

ma, 1-2

16, Double Stops 21 am* A difficult unison stretch. ( t o t a l ) dolce e espress.

The Jumping41 type. jL ± —*

JL ~ 3T ^ »• 38

17. String Climb- 1^,16,18,20, Single string arpeggios, up to the lag* 22 tenth position.

18, Broken Thirds 25-31

« . 27 71

19• Tremolo 4 mm. Simple type (non-iselodic) (to ta l)

m. 30

20. Measured Tre- 37-39.41-44 molo Arpeggios

21. Chords Triple and quadruple. These are used to punetuate the climax of the cadenza. Ordinary finger patterns are used with only one posing an exceptional problem. Note the shift from see end to fifth po­ s itio n s .

m. 41

22. Two Voice 45-54 Problems to sustain and d elin eate two Counterpoint distinct, equal, and independent voices, Fingers must more independently, while maintaining vibrato and perfect intona­ tio n . 4 mm. 45-46 72

(Movement II)

23* Velocity Pas- 1 Free arpeggio. The first note of the s*g« arpeggio must stand out clearly, either ty lengthening or accenting it. t e j gf^e

a , 1

2h. Extensions Downward and upward, on th e G s tr in g . This measure should be done with a min­ imum of Jumping*, A small hand, hov­ er or, must use Jumping*, along with extensions.

piu vivo ,10 1 2 0 1 2 0 1 w m m m, 2

25- Awkward F in g e r 5 Repeated use of the first finger. This Movement can cause rigidity. The lower finger­ ing may reduce the difficulty.

u 0 a 0 1 1 3 < 1 i 2 ¥ " ■ —-e*k

(Movement III)

26, Double Stops 2-20 ,*>1-52 Opening motive is in sequential chains, and in double stops.

mm, 2-3 73

27. Jumping* 4 ,4 4 Tactile Intonation* is prerequisite to the playing of such measures as this. i t 'M ft f * £ 3 p $ £I m. 44

28. Velocity Pae- 21-40 Passages such as this should be learn­ sage ed with lightness of touch. This in­ creases the sensitivity of the tactile memory, and Muscle Memory*.

4

2 9. Vibrato in Pas- 21-40 Notes of stress and accent should in­ sage Work volve not only the bow, but the vibra­ to (Combination Accent*). i £ 4 ^ 1 4 1 m. 22

This Barlolage* section must be per­ formed with vibrato on the accents.

2 — 4 c . 4 K. i : 3 2 e - m ------= $ : _ i . f - f = m j SL o ——Ttr~ - ^ jy- * r gmm \ ■ ■ m w~wr~ ^ f 1 u / L u - E J = ^ ~ _ £ | 0 0 0 0 0 0 0 o o sH 0 0 2 0 1 0 m*. 35-36 7^

X III. CADENZA FOR THE JOHANNES BRAHMS

VIOLIN CCNCERTO

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques

1, Hair Leaps* 15 Must be timed to the Jumps* of the left hand, without loosing the line of th e m usic.

m. 15

2. Down Bow 3 3 - ^ All strings of the chords should sound C halns* simultaneously (common practice). In the case of the trichords this must be done near the fingerboard where the middle string will yield downward, en­ a b lin g th e bow to draw on a l l th re e strings at once. Bow speed must be ra pid to prevent "crushing" or forcing th e to n e .

An exception to the simultaneous pro­ duction rule is where the chord is sus­ ta in e d . Accented De- 62 taeh e*

ft 9 1 n e - • f t------: 9 ^ •— 9 e — --- = # ¥ n 9 9 m— 1— P 0 j b > - 4 1 0 a m, 62

Inner Accent 45 Strok**

Halted Stroke* 62,63,46,37

m. 46

Inverted Do- 68-72 Singing Detach^, Vibrato must accom­ tache* pany thi» stroket It is more melodic than common d4 tache'. 76

L e ft Hand Techniques

7, Tactile Inton- 7.11,25 Extensive multiple-*top material fre­ ation * quently contains links that require Junping*.

brillante n ^ §

nw 7

8. Chords 33-^ arco

ram, 33-3**

9. Wide Leaps ^5 These are not Jumps*, but involve portamento*♦ This relieves the necessi­ ty of calculation based soley on Tac­ tile Intonation*,

— f l j n £ : U J - - * “ 1 ' S J o

m. ^5

10, Fedal Double- 51 *53,55 Using Bariolage* bowing. Stops* p \ f ! sc I m , 51 77

11. Broken Chord* 57-61

1—i—L J :r r

m. 58

12* Ornamented 7*11*15-18 These night be celled measured tremolos. Double-Stop Natural Finger Motion* (highest finger Arpeggios in each triplet group) is probably best In this ease because of the extended nature of the passage.

m m

i». 15

13• Tremolo* 19-32 In this type of technique* the trill finger motion (uppermost finger) is best because of the repetition of the trilling finger. This is a very taxing technique* and the trilling finger must operate in the Floating Touch* mode.

mm. 23- 2^

H*. Vibrate Vibrato Mode* is needed throughout the cadenza to prerent dullness of tone and stlffbess of hand muscles. Even during the playing of the most complex tech­ nique* the vibrato motion—however slight—is needed* (The tremolo pas­ sages are an exception to this rule.) ?B

XIV. THREE CADENZAS FOR THE MOZART

CONCERTO NO. 3 , G MAJOR

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques (Movement I)

1. Sostenuto Throughout th e cadenza where th e music* al line is vital. Constant bow pres­ sure must be maintained during the change of bov.

ra. 2

During the playing of broken chords, the sostenuto can be maintained if care is taken to Articulate* all of the highest (principal) notes of the chords at the same dynamic level.

J T 's ■ff—F=fi'-P— - -- .. i ------A------n s y] ® T I Y m ^ ___' y y

2* Inverted De- 5-6 Care must b© taken to maintain a con- tache* stant bow pressure throughout this pas- sage, until the high D is reaehed. The natural tendency to understate the D p e d a l, on th e down bow, must be c o r­ r e c te d . Broken Chord 8-12 Accompanied by a Heir leap*. on Up Bow AM ip m f t - u i P mm, 8-9

Spiceato 15

-J t h —-J- 3 = s -J ~9

m* 15

Thrown Strokes 16,18,22,23-2** May be all up strokes, or alternated up-down. Articulations* must not be c o a rs e .

' m m. 16

Loure or portato may be used for vari­ ety in successive presentations of this figure.

6. Tremolo 25-28,31-3**, Bow contact must be firm yet free 36-**l flowing to stimulate the pitch re­ sponse without choking the string. Connections between chords must be smooth. 80

mm, 27-28

7* Accented De- 53 tac he*

m. 53

8. Halted Stroke* 5^

19 - A& 9 ----- 9 ---- # = = w m, 5^

9* Down Bow 46-49 The problem is to keep the sostenuto, Chains* and to avoid the choppy sound. The solution is to use long strokes and rapid "retakes,"

m «U 4 4 * 1 4 - * Tt f t m, 46

(hovement II)

10. Down Bow 2-4 The fast retake is needed here in or- Chains der to preserve the line. Rests must be minimised, Articulation* must not be coarse*

mm, 2-3 81

11- Accented Do- 11,18 tach^*

> . > ,> -k 2 E P 553553 t = & m. 18

12, Halted Stroke’*' 11

* > b 4> m— — e PM ■ F -w _ a . J i) p = 3 a L_

13* Sostenuto A basic necessity throughout the ca­ dent*- Technical problems must be sol­ ved within the context of sostenuto. The obviousness of leaps and bow changes must be minimized.

3 m. 10

Time spent on the lower notes of bro­ ken chords should be minimal.

j w

m. 7

(Movement III)

1^- Thrown Bov* Throughout cadenza- 82

P f P S P mu. 24*25

The trill is always begun with a drop­ ped stroke in order to Articulate* the trill clearly. f ran. 18-19

1 5 . Bariolage* 34-4$

jT N - 1 ^

16. Accented d£ - 34-49 tach^* t* = , m. 42

L e ft Hand Techniques (Movement I)

17. Inverted Half 1 The diminished fifth played on adjacent Step Stride* strings is, in fact, a half step Stride*. However, the overlapping at­ titude of the fingers—caused by the fact that the higher note is played by the lower finger—can only be aohieved with good intonation by considerable flexibility of the fingers involved. The natural tendency of the violinist is to play the lower note sharp. For good intonation the tendency should be in the other direction, that is, as 83

close as possible to the perfect inter­ val*

m. 1

18* Rapid P orta- 3 Large leaps must be accompanied by a men to portamento, not long in extent nor in duration* If there is no portamento, a gap w ill be heard in the line* The portamento gives the illusion of a con­ tinuous line* There is a slight break even with the portamento, but it is not perceptible* If the portamento is long it produces an undesirable reaction in the listener*

i £ m. 3 p

19. Fingering 16 Recommended fingering increases the Problem closeness in the principal pltehes, and their lower neighbors*

m. 18

20. Double Stops 37 Throughout cadenaa. These portions ( to t a l) are of moderate difficulty.

21. Inverted Fin- 11-12 A finger shape that neither resembles ger Shape* a convex curve, nor a straight line, but where the third knuckle joint Is in a concave bend* This Finger Shape* frequently helps in achieving truness of intonation in executing perfect f i f t h s . m

:ez

m. 11

22, Tremolo 16 ram. The problem is muscle fatique. The (total) solution is to develop® the ability to hold the instrument securely with the static fingers (lower two fingers) while keeping the trilling finger light and independent. Also, the player should choose lower numbered fingers often to avoid overtaxing the fourth finger muscles (weakest finger). This latter suggestion increases the fre­ quency of Jumps* between tremolo chords, but if the Jumps* (and Hair Leaps*) are done skillfully breaks in the line will not be heard. The gain is great In stamina increase, and there is no loss unless Tactile Intonation* ability is not present.

Double tremolo is twice as taxing on the muscles. Lightness of trilling fingers is desirable here.

m, 55

23. Broken T h ird s **2-43 Bow pressure must be constant. The o- pen D string should receive less pres­ sure than the stopped string, otherwise it w ill be too loud.

A i £ Lf U T~F m, 43 ^5

24. extension 44 Required in this ease. The extension may be either of the fingerings in the following example*

$ m. 44

25. Chords 4 6-^9 Diminished, whole step chords (finger Strides4’ are whole steps).

a- tL :0- m r- *1 W' V e y e—N a— »------0~•- e—■—e- ■—

m. 1*8

26. Trill Inter- 35 A Schneller* w ill do here p o la tio n *

m. 35

2 7 . Tactile Intena- 40 In places like this (finger Strides41 tien*f and and hand position change completely). M uscle Memory41 the kinesthetic and tactile senses of the player must become predictable and reliable tools.

j j

tJ m, 40 86

(Movement II)

28* T a c tile In ­ 2 - 4 This passage would be awkward and un­ to n a tio n * predictable without a strong sense of Tactile Intonation*,

1 g g ¥ i I BEE* 1 no, 2-3

29, Measured 3*8 Tremolo

m. 5

30. S h if t 7-8 During the playing of a four note bro­ ken chord, a slight portamento must fill in the gap during shift.

b 0 ~m p f»er

m, 7

31. Double Stops The cadensa is constructed entirely of double stops—mainly thirds, sixths, and tenths. When learning double-stops the violinist must not slide the fin­ gers back and forth on the strings to achieve accuracy of intonation. The Strides* between the fingers must be grasped mentally before the muscles are set in motion. Slow, thoughtful prac­ tice is the only successful technique* All double stops can be perceived as multiple Strides*, therefore becoming more predictable. «7

Double Tre- 19-20 Lightness of the trilling fingers is molo most desirable*

m. 19

(Movement III)

33# I n te r p o la te d 18-31 §ctinsilfir*e The trill should be exe­ T r ill* cuted on the bbst finger* if possible. (Upper fingers are usually the weaker fingers and so cause nuacular rigidity when over used.) Using a poor trilling finger is not in itself enough justi­ fication for avoiding a shift* or a Jump*.

m. 18

3*». Pedal Double 3b-45 The Vibrato Mode* is needed on a ll of Stops* these double stops.

p i 1 p i

pH. — a w= y j FM mm. 35-36

35. Shift During 50-52 At sone point a shift must be made to S p io c a to the lower position* It nay be done on an accented or an unaccented note, but precise timing is essential.

_ a a -ia- a e -a : > m—1p m— - f H P •— ^ W - SB N h r"—> > mm. 50-52 XV. THREE CADENZAS FOR THE MOZART

CONCERTO NO. D MAJOR

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques (Movement I)

1. Sostenuto 1-7 The musieal line most not be interrup­ ted by changing bow pressure during the bow changes. The slurs themselves give the desired character to the long line.

IS? m ? j J I J m m t mm. 2-3

2. Detache and 7-12 Detache'. when properly executed, has Mixed Spiccato* a sostenuto feeling as regards the bow pressure. When the sound of a rhythm emerges (accenting every other note) a constant pressure is not being held. This condition must be corrected.

p- T p—9- —(•- r f > i, . i^^^SSBSS■ -+--r r- m. 8

1 9-20 Mixed S p iceato * . 89

Accented De­ 13-16,18*28 Always on the double stop of Pedal tache* Double Stops*, quite regardless of whe­ ther or not aooenta are Indicated by the composer.

. 0 » , m~\ b< :T>,

a n . 13

Accents indicated by the composer can be realised by slightly elongating the note so indicated.

f t 4 a a a j a a j a a a 9—e------a— m— e— 9—9------■_SL1~ t f = «• 25

Inner Accent 18 Stroke*

a . 18

5, Halted Stroke* 31-32 Although It is net indicated with an accent, the bravura nature of the con­ clusion of this eadensa requires the Halted Stroke* throughout these two m easures• * * X to- tr —^ J r & it o• f —t . a ' _ o £ rr ~ J

mm, 31-32

6 . Harmonics 29-30 Should be played with a rapid. Floating S tro k e* • ( Movement I I )

Sostenuto Throughout the entire cadenaa. Lower harmonic grace notes must be played with smoothness of Articulation*, and usually with very little duration.

in* 10

The musical line must not be broken up Into dmall units, and accents should not be found in the bow strokes of this cadenza.

(Movement III)

Articulation* 1-8 Should be clean, not coarse nor too smooth* (The Articulation* should re* semble the speech consonant sound B,)

mm, 1-2

T ied Hook* 6-8 Care must be exercised to begin each triplet group with the same quality and dynamic• 91

10. Halted Strok** 12-13 Should bo used horo for the tamo reason as given in item No. 5* above, /jJs £ j jp ^ ^ M r i f

am. 12-13

11. Velocity 9-11 Away from and returning to the dominant P assag es tone (A). These passages should be executed with little bow pressure, and little bow speed. Bow speed should in­ crease slightly at the highest notes of the passages in measures 9 and 10.

m V mm. 9 -1 0

Bow speed should Increase toward the end of this scale passage: P m. 11

Loft Hand Techniques (Movement I)

12. Double Stops 3-7 Broad and melodic. In order to prevent extra sounds, and interruptions in the line when executing descending sixths, the fingers should bo withdrawn side­ ways from the strings (Natural Finger M otion*). 92

13-28 Pedal Double Stops*, This technique a ffo rd s much o p p o rtu n ity fo r re la x in g tired muscles in the left hand and arm. Double stops must be accompanied by at least a slight vibrato (Vibrato Mode*),

> >

4 f a m te a m, 22

23-28 Pedal Double Stops*, Tactile Intona­ tion* is required here.

* ¥ >■ ft 5 t 5 I ; ft. ' i " l — a z a r> e- »------: F ? ------: ► -Vt>— - e . ... w — . . r . u bMs £ s s L=h *. 27

13. Extension 1^ This fingering is better than of the alternatives since it keeps the flow and the sane tone quality for the B- f l a t . * t

* 3 m. lh-

Natural type

m, 30 93

(Movement II)

15. Jump* 19 Within a tremolo chord. It must bo done without en audible interruption between the lower and upper parts of 4 the chord. Hd4 i jPi§-“ p f]r -tf J —w m* 19

16. Fingerings The chief problem is to choose finger­ ings that afford relaxation for tired muscles, since the cadensa is construc­ ted entirely of double stops. The vi­ olinist should avoid over-use of the fourth finger. His energy should be balanced between the left and right hand action* and he should have the sensation that his energy is all being converted into sound. He should strive to realise these kinesthetic images during preparation.

The lower fingering would be less in­ clined than the upper to produce fa- tiq u e .

m X • ' * . i 3 * 4 m. 8

(Movement III)

17. Tactile In­ This measure is quite impossible to to n a tio n * execute with clean accuracy without considerable reliance upon Tactile In* to n a tio n * .

$ ’ • U j : [ y ^ E ^ p

ra. 7 9^

IN. bouble Stop* 1-8 Moderately difficult, but must be per­ formed with vibrato in a relatively continuous mode.

19. Velocity Pas- 9-11 As fingers increase action to a speed sag es where each finger impulse cannot be se­ parately triggered in the mind, the fingers should operate in the Floating Touch* mode.

m. 11 XVI. THREE CADENZAS FOR THE MOZART

CONCERTO NO. 5, A MAJOR

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques (Movement I)

1. Accented De- 5 Trills (Schnellers* in this case) must tach^* be Articulated* with a gentle accent of th e bow. m

2 , Tied Hook* 17 In this case the beginning of the stroke is the Halted Stroke* and the conclusion is the hook. In order to adequately separate the hooked note (indicated with the bowing mark) from the tied note, the hooked note is best executed with an increase in bow speed, but without a stop. + V

■>. 17

3 . F ly in g Hook* 15 In this case the hook is better exe­ cuted from the air since the bow must change from the upper two strings to the lower two strings during the stroke; 1,2,7 A leap of the bow should be executed synchronously w ith a Jump* of th e f i r s t finger from the G string to the E s tr in g , th e bow executing the F# w ith a soft Articulation*.

» . 7

S oatenuto A smooth and unaccented sostenuto should be the characteristic manner of executing the entire cadenza.

In bar 10 the bow should be used most sparingly, saving plenty for the G^-B eighth note on the third beat.

m. 10

S e lf Accom­ 7-8 The bow must touch the upper string on panim ent the eighth notes. Care must be taken not to change the bow speed and pres- sure on the tremolo.

*

m. 7

(Movement II)

Combination 6 Indicated by the bracket. The slur S troke* must be initiated at the extremity of the bow so that the following up stroke and d o u b le -sto p down stro k e can be ex­ ecuted with freedom. All parts of the 97

stroke must, sound fully and freely. (The second half of the measure is a reversal of the first half.) If any of the preceding parts of this Combination Stroke* are improperly executed, the G#-B at the end w ill be choked.

H * ■ ■ * * - ‘W f ■» fif » , ^ L m* 6

ft. Sostenuto A vital aspect of control needed in this cadensa, and also in the very short cadenza to the third movement.

L e ft Hand Techniques (Movement I)

9 . Jump* 1 -2 Must be made w ith care so t h a t abso­ lutely no break is audible.

1 PC JrlYJC i E 3 3 m3 ■■ m, 1

10. Trill In- 5 A Schneller* is acceptable, terpolation*

m. 5

11. Tremolo 7-lh The trilling finger must touch with lig h tn e ss* A Jump* to second p o s itio n for the D# diminished tremolo would probably relieve the hand of the bur* den o f te n sio n th a t would come i f i t were executed in the first position. 19-20 Double tremolo. This Is a difficult technique. Undesirable hand tension can be obviated only by lightness of both trilling fingers.

(Movement II)

12, Double-Stops Used throughout the entire cadensa. Fatigue can be prevented by restraining pressure, and the use of vibrato throughout (Vibrato Mode*),

13* Double Tremolo 10-11

R, 10

(Movement III)

Trill Inter- 2-5 The two cycle trill should be used, ex- polation* cept if an accelerando is applied in m easures b and The proper finger must be chosen for each trill. This may necessitate a shift on the note prior to the trill. 99

A half atep slide would not be objec­ tionable here if a Ju*p* to second po­ sition proved to be unreliable. 100

XVII. CADENZA FOR THE MOZART

CONCERTO NO. 6 , E-FLAT MAJOR

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques (Movement I I )

1. Hooked Bow 1-5 Most of the hooks in bars 4 and 5 should be the Flying Hooks*. The hooks, however, must be softly Articulated*, and b road.

2. Velocity Pas- 9-1? The bow should be used s p a rin g ly a t th e sag es beginning of each of these rapid groups—more freely toward the ends. m m. 11

Slight accents at the mid points may h elp in th e bow d is tr ib u tio n and o r­ ganisation in bars 15-17. Bow contact must bo firm, but without much speed and without a coarse sound.

Left Hand Techniques (Movement I I )

Double Stops 1-6 Moderately difficult. A Jump* is re­ quired in bar **-.

Schneller* 8 Rapidly executed.

W*

m. 8

Trill Inter- 10-13 The tr ill should be begun with the polation * and upper note. The remainder of the group Velocity Pas- following the tr ill should flow with sage lightness of finger pressure, and only when the balance of the unspent bow Is the proper length with which to execute i t .

m, 11

Shifts, when not found on a pulse, should be smooth and unaccented with slight port*mentos# 103

X V III. CADENZA FROM THE

CONCERTO IN CNE MOVEMENT FOR VIOLIN AND ORCHESTRA,

TRANSCRIBED FROM THE FIRST MOVEMENT

OF THE CONCERTO NO. 1 IN D MAJOR

OF NICCOLO PAGANINI

Techniquea and Exemplary Related Problems Meaaurea Examples and Remarks

Bowing Techniques

1* Double-Stop 1-7,^8-55 Involving frequent Hair Leaps*. P assages * t z »

a . 3

Line sostenuto is always of the utmost Importance in double-stop melodies.

2 . Chords 60-67 Interspersed throughout the cadenza. The problemst

a. to keep sostenuto of line, b. smoothness of sound, c. and to use fullness of bow in the Down Bow C hains*.

Lightness of bow pressure must be used 104

on the upper two strings during the ex­ ecution of quadruple chords to prevent choking of the sound (this is contrary to the natural inclination)*

n •V iti t e> *- ' 8 77 C t e, ------— »------/ * e J m. 5

3* Tremolo 9-22 Sostenuto of line is the greatest prob­ lem here*

» j j 1 t j ^ fer t f ¥ ¥ a m. 17

4. Velocity Pas- 23-26 Bow must be used at a slower rate on sages the thicker strings* Breaking up a long bow stroke into shorter ones is considered the player's privilege in cadenzas*

m. 26

5. Slurred Roll- 29-47 The melody is presented in the lower ing Arpeggios* notes throughout these measures. The bow must emphasize these with a gentle Combination Accent*. 105

w m

«• 29

The upper note (upper string) must sound twice. Without great care„ the upper string w ill only sound ones* The result is a loss in the quadruple or triple rhythm, whichever is in effect at the time.

£ A 1 0------0 F mm, 35-36

6, Inner Accent 5^ Stroke*

P m.

7m Halted Stroke* 1,5#56-59

> - [V—Ono i* -----/T > r,------#1 r — 91,,, ----- n ------pf. -

m, 56

8 , Accented De- 55 ta e h l*

». 55 106

9, Bariolage* 6 8 -6 9 In double stops,

m, 69

10. Har non 1c 71 Bow must be thrown at the tip on the open A and D s tr in g s , and then used quickly and lightly as in the normal harmonic fashion.

3E E f * . 71

Left Hand Techniques

11. Passages In 1^ ram. Arpeggios. Double Stops (total)

t i n

i " i m. 50

D ia to n ic.

». & 107

Involving Jumps*. *

m. 6

Lightness of fingers is always desir­ able In double-stop execution.

12* Chords 1-2 Tactile Intonation* is prerequisite to execution of these three chords. * V n

ram. 1-2

13. Tremolo 14 mm. The player must be sure to use the (total) trilling finger very lightly to pre­ vent rigidity in the muscles. (Fail­ ure in tone production should net be assumed to be the fault of the left hand* b u t to be a bow c o n ta c t problem .)

m. 15

14. Extensions 27 Involving the fourth finger. Accuracy of intonation is the chief problem in this example. 108

IV ...... /hho n jtoco ft fhtrgu n do H i IrJ j tJ J ^ J m. 27

15. Velocity Pas- 23-26 To prevent rigidity of muscles, light- sages ness of touch is needed. Shifts must be of a smooth nature so as not to pro­ duce a false muscular rhythm in the flow of impulses. The muscle rhythm, and the musloal rhythm should agree if p o s s ib le .

m. 25

16, Slurred Roll- 29-M7 The problem: high fingerboard post­ ing Arpeggios* tions are used. About half of the ar­ peggios are in high to extremely high positions. In the preparation of these high arpeggios one continuously en­ counters mental and physical exhaustion while learning the correct notes in the necessarily cramped hand position.

The most difficult of the arpeggios a re t a , when th e melody lin e (low er n o te ) changes at the final note of the a rp e g g io ,

m. 33 109

b . and when the Arpeggio 1b in the high range (eleventh position).

17. Harmonic 71 Lightness of touch in both fingers producing an artificial harmonic is a dominant factor in this technique. (The common rule of the solid lower finger is a frequent cause of harmonic failure, and in the inability to learn difficult harmonic passages,) |b i

m. 71

18. Vibrato Vibrato throughout is desirable for tonal warmth and prevention of rigidi­ ty of the muscles (Vibrato Mode*). 110

XIX, CADENZAS TO VIOTTI'S VIOLIN

CONCERTO NO. 22 IN A MINOR

Techniques and Exemplary Related Problems Measures Examples and Remarks

Bowing Techniques (Morement I)

1. Accented 9 #h6-h>9 Halted Stroke*. S tro k es

jjl; n I 3

m. 9

10 Inner Accent Stroke*. Unaccented notes should be executed with a rather light bow p re s su re .

o o o o o o

m, 10

1R Accented legato. These should be al­ most Halted Strokes*, but the singing nature of the music must not be lost. Furthermore, the graces must consume as little time as possible.

SKa '(% C t i ra. 18 37 Quadruple chords should be accented.

¥ 4 mm — ♦

— a E— r \ p ------;A : ■ ^ ■ " « r f r l ----- < £ _ H f J 5 1 . J 1 u - i - i ------#— "4 J ♦ n r m. 37

Sostenuto 1-8 Should be free of accents •

u n j 7 ram, 1 -2

12 In spite of the graces, the line should appear smooth and unaccented,

©- E ■ ./I (\ 3' ■PW------1C“ -j -J* - -WHH ------J r l 0

m* 1 2

19 The measured tremolo, and the double stops should be presented in an un­ accented manner*

m, 19

Chords 37-38,**5 The three string chords should be ex­ ecuted in a non-arpeggiated manner. The bow c o n ta c t must be n e ar th e f i n ­ gerboard, Greater pressure must be applied here than on the preceding double-stop measure* 112

MM

C\r - ^ - a —a f = M s r -'if 1 t in n.. ■ _WZ, ----- — i —7 « — m —si 4 J J

mm. 37-38

(Movement I I ) if. Arpeggios 1-2 The problem: bow distribution. Large­ ness of sound must not be sought after here. The left hand technique must defer to the needs of the bow. Bow pressure must be minimal, and bow speed should remain constant regardless of the left hand rubatos.

poco piu mosso

m, 2

5, Sostenuto 3-11 The line should be characterised by restraint and smoothness regardless of the technical problems of the left and right hands.

a tcmpo V P~ '■ 3 3 r ------Mi0--- p rfr. »■* ■ ■ ¥ = f e * r------1 ------*— ------P l 3 3 L-jf3 2 2 m. 5

6. Accent Usage 1.2.10 Trills may be Articulated* with ac­ cents. (See exanqple under item No. **-, above.)

The accents here should be understated in order not to disturb the sostenuto of the material before and after it. 113

m. 10

Halted Stroke* may be used to good ad­ vantage In measure 1,

Andante

m, 1

The free trills in the example below should also be executed with the Halted S tro k e* ,

m. 11

7. Hair Leap* 3-5*9 Found frequently In this cadensa be­ cause of the large Jumps* used.

ra. 5 Left Hand Techniques (Movement I)

Tactile In- 7-8 This cadensa is constructed in such a tcmation* way that Tactile Intonation* is an im­ perative technique to have acquired in order to execute the music successfully. Instances requiring the use of this s k i l l a r is e in p r a c tic a lly every mea­ su re . The Jump* between m easures 7 and 8 serves as a good example.

m u ltip le This cadensa is constructed completely Stopping of multlple-stop material (except for bars 1 and 3)# The violinist should approach this, and all multiple-stop material with Strides* as the basis of his preparation technique. This, of course, implies his thinking in terms of pairs of fingers instead of individ­ ual fingers (pairs of finger Shapes* instead of individual finger Shapes*),

Finger pressure must be kept minimal during the learning process in order to increase kinesthetic and taetile re­ sponses .

10 mm. Double-stop arpeggios. The problems ( t o t a l ) in this technique are fatigue and shifting. Lightness of fingers, and the use of the Vibrato Mode* w ill re­ move much o f th e form er problem . One must develop stamina to deal with the balance of this difficulty. The solu­ tion of the latter problem lies in the use of the minimal portamento and the application of the Stride* principle. m

10. Extensions 12,17 Found infrequently throughout the ca­ dence. An extension implies the reten­ tion of the sensation of the basic po­ sition from which the extension is de­ rived. In the following example, the fourth finger extension should not disturb the first position sensation, so that the first finger can continue the musical line without interruption on the B, fourth beat.

2 o A a W f

a . 17

11. Chords In the case of triple and quadruple ehordal formations, it is a helpful technique to reta in no more than the upper two fingers through the duration of an arpegglated, or broken chord. Retention of non-sounding fingers tends to develop rigidity in the ara and fin­ ger muscles. In bar 14 f for example, after the graces have been played, the fingers that executed those notes should be removed from the string. This practice also gives flexibility to the vibrato.

— - _ _ — ~ — f lf i if i f 3 f . -s l j - i ijffi — ------1------f ? £ = 4 = IT o +W- m. 14

(Movement I I)

12. Floating 1-2 Lightness of touch—especially with Touch5* the third and fourth fingers—is needed in these passages. 116

Andante

13. Tactile In- 3-5.9 Jumps* throughout these measures neces­ tc n a tio n * sitates the use of this ability*

a tempo

m. 3

1^« Double 9 sun* Lightness of touoh and vibrato must Stops (total) be balanced with bow energy in these measures* When the energy consumed by both left and right hands feels balan­ ced, then a good energy distribution has been achieved* 11?

XX. CONCLUSIONS

In t h is monograph the w riter has id e n tifie d th e sundry perform­

ance techniques that are inherent in these selected works of Frits

Kreisler. This purpose has been achieved in Part One and Part Two.

The P ieces

A concomitant desire of the writer , as expressed at the outset of

this study, is to show how these Kreisler violin works might be used to

fu lfill pedagogioal purposes. The foregoing analyses have brought into

focus speciflo didactic uses for these eighteen works. Some of the violin pieces are found to be mainly constructed from a salient bowing

technique, or a left hand-technique, placing them in the category of

etudes. The technical problems that must be resolved by the violinist vary considerably in these works. The student who masters these ten

pleoes by Frits Kreisler w ill have achieved a significant advancement

in his technique of violin playing.

The Caprice Vlennols is an excellent study for the development of variety in bowing strokes and tone production in double-stop execution.

La Chasse is a superb study for the development of the ricochet

stroke, the Thrown Bow*, double-stop execution, and Jumping*.

La Gltana is a violin adaptation of an Arabo-Spanish song of the

eighteenth century.1 Its virtuoso nature and its brevity make it an

^ h is information appears on the printed violin music. 118 excellent piece from which the student violinist may learn the accen­ tuated, bravura style of execution,

Llobeafreud is apparently modeled after the old Austrian peasant dance, the Landlor, and is reducible to a single harmonic structure with co n tra stin g m elodic v a ria n ts unfolding in an arch form* The p iece i s not taxing on the violinist's energy, but is excellent for its use of splccato, staccato, hooked bow, and singing sostenuto*

The Menuett is a study In the use of the Flying Hook* stroke.

However, the trio section contains important hidden obstacles to be overcome j th e commanding problem in th ese middle th irty -tw o bars of sixteenth notes is to understand the material as a Hspun-out" melody.

This piece is valuable largely as an etude since its audience appeal is lim ited*

One of Kreisler** earliest works. The Old Refrain, is an adapta- o tion of the old folk melody. Per alte Stephansdom. It is especially excellent material for developing such techniques as the execution of a single string melody, continuous melody in double stops, continuous vibrato, and for the development of the stamina that is demanded by these techniques*

The Praeludium and Allegro can be of great value to the student violinist in developing the varieties of the detaehe stroke, and in developing eontrol in his spiceato and chordal execution* Preparation of this work w ill also stimulate the development of stamina.

The R e clta tiv o and Scherao i s among the most d i f f i c u l t of

Kreisler*s violin works, and the violin ist’s stamina is heavily taxed

2Louis Loehner, Frits Kreisler (New York* MacMillan Co,, 1950). p* 15« 119 while executing it. It requires extraordinary physical flexibility and

subtlety in the application of playing techniques. The rewards to the student* however* w ill prove to be as great as its difficulties if he w ill prepare the piece with the care and patience it demand a. The

Rsoitativo and Scherso has mueh audience appeal and deserves to be pro­ grammed often. Presently it is heard only occasionally, usually as an en core.

Schcn Rosnarin was obviously inspired by a particular person known to the composer* although her identity* other than her given name* is no longer known. This delightful piece nay be used as an etude to de­ velop staccato* spiccato* the Combination Accent** Combination Stroke* dexterity* as well as general technical facility. It is one of the easiest Kreisler pieces and can be given to a student in his p re-advanc­ ed stage of development.

Tambourin Chinois* copyrighted with four other pieces in 1910, abounds with virtuoso techniques. As in most of K reisler's music, the l e f t hand execution in the Tambourin lies* for the most part, under the player's fingers, and is an excellent piece for an advanced student to study in order to press forward his technical frontiers. Probably the most difficult aspect of this work is its physical stamina requirement.

Although the playing lasts only about four minutes, the Presto portion that opens and closes the piece is In a quasi-perpetual motion idiom demanding a continual output of controlled energy from the violinist.

In the Piu Lento section he is constantly occupied with the critical ta sk s o f m aintaining the sostenu to and o f tone production. Tambourin

Chinois is a rare pedagogical treasure. 120

A singular preceptive benefit of most of Kreisler*s pieces is that their most distinguishing technical features must be assimilated reasonably well in order to be played successfully*

The Cadenzas

The cadenzas give evidence of Kreisler *s strong inclination to­ ward the use of double-stop material. Kreisler invariably sets arpeg­ gios in double-stops rather than in single notes* Melodies are rarely in single notes—frequently in tremolos. Single note velocity passages are rare and probably inserted only to achieve a relaxation and contrast to the heaviness of the double-stop material*

The Kreisler cadenzas are more difficult works than most of his violin pieces, and so they should probably not be attempted by the student until he has successfully prepared the majority of the ten se­ lected pleees* Almost all of the cadenzas are physically taxing to per­ form* The nature o f th e l e f t hand execution i s gen erally com fortable in that the execution techniques lie "under the hand".

The three cadenzas to the Beethoven Concerto (me cadenza to each of the three movements) are among the most widely used of

Kreisler*s cadenzas. The most prominent melodic material of the con­ certo is foundational, and the first and last movement cadenzas are the most lengthy—the former being sixty-six measures and the latter being fifty-two measures. These cadenzas are a comprehensive repository of violin techniques, and rank among Kreisler*s greatest and most difficult works* With the exception of the few scattered detache measures, the cadenza to the Brahms Concerto consists entirely of double, triple, and quadruple stops, and tremolos. The finger patterns of the left-hand 121

technique lie very well under the violinist's hand* Tactile Inonation*

must be acquired prior to the study of this cadenza, and will be de­ veloped further during its preparation* (The length of time taken to

prepare the cadenza w ill be determined, to a large degree, upon the

proficiency of the violinist as regards this technique.) Because of the large amount of raultiple-stop material, Jumping* is im plicit and

is a technique vital to the successful preparation of this cadenza. A

bowing problem in this work is typically that arising from the execution

of multiple-stopst sostenuto without harshness of tone. This applies

as well to the Down Bow Chains* as to the double-stop melodies and ar­

peggios. As with a ll of K relsler's cadenzas, the Brahms Concerto ca­ denza is in the bravura style, and so requires considerable use of the

Combination Accent*, and tasteful rubato.

The cadenzas to the Mozart concertos contain little or no finger­

ings by Kreisler. The execution of these cadenzas should be charac­

terised by the restraint that is properly conjoined to all music of this period. A somewhat narrow vibrato, a restricted use of portamento, and smoothness of melodic line are especially important aspects of exe­ cution in the classical style. Kreisler’s extensive use of the tremolo

in these cadenzas is probably the reason why they are not as frequently

perform ed as are his cadenzas to the Romantic concertosH ow ever,

^The tremolo is usually considered to be a romantic virtuoso de­ vice, however, it is found in eighteenth-century violin works occasion­ ally (e.g ^Les Vingt-quatre Matinees, by Pierre Gavlnies, 1728-1800), 122 these cadensas ape beautiful end ape excellent material for the devel­ opment of the most advanced violin techniques*

The three short cadensas to the Concerto In A Major, by Mozart, ape of moderate difficulty requiring minimal use of Tactile Intonation* and the accented style of execution that is so common in the Romantic cadensas*

The eadensa to the Paganini Concerto in D Major is in the same bravura style as are K reisler's cadensas to the Brahms and Beethoven concertos* The material consists of juxtaposed sections of idiomatic violin techniques* and concludes the first movement of the Concerto.

A most unusual feature of this concerto is that this first movement of the complete three-movement work is very often performed alone with the eadensa* Kreisler carefully avoided the overuse of the Slurred Rolling

Arpeggios* in his music* (This impressive idiomatic technique can be­ come offensive if used habitually*) His only extended use of this de­ vice is in this eadensa to the Paganini Concertot it would have been anachronistic in any of the others*

Of the twenty-nine violin concertos that V ietti composed, few have remained in the repertory of violinists today. Of these few the twenty- second Concerto is probably the best known* K relsler's cadensas to this Concerto—one each for the first and second movements—were com­ posed very faithfully to V iotti's style i a preponderant reliance upon double-stops *

Finally* one is compelled to notice in Kreisler*s works that he has a predisposition toward the interpolation of trills* Schnellers** a n d the use of other grace notes* This* his watermark* is found in all of the violin pieces* and frequently in the cadensas* BIBLIOGRAPHY 124

BIBLIOGRAPHY

Books Containing Technical Analysis

Althaus, Basil. Salaeted Violin Solos and How to Play Them. London: Charlos Scribners andSons, 1905•

Auer, Leopold. Master Violin Works and Their Interpretation. New York: Carl Fischer, Inc., 19&5*

Bachaann, Alberto. An Encyclopedia of the Violin. New York* Da Capo Press * 1966 (original edition. New York* D, Appleton and Com­ pany, 1925).

Bcyden, David. D. The History of Violin Playing from Its Origins to 1761 and Its Relationship to the Violin and Violin Music. London* Cstferd University Press , 1 9 6 5.

Cutter, Benjamin. How to Study Kreutser. Boston* Oliver Ditson Co*, 1903.

Flesch, Carl, The Art of Violin Playing. Translated by Frederick H. Martens, 2 vols. New York* Carl Fischer, Inc., 1930*

Galamlan, Iran. Principles of Violin Playing and Teaching. Englewood C liffs, New Jersey* Prentiss-Hall, Inc., 19^2.

Ssigeti, Joseph. The Ten Plano-Violin Sonatas of Beethoven. Urbana, Illinois* American String Teachers Association, 19^5,

Winn, Edith L. How to Prepare for Kreutser. New York* Carl Fischer, 1910. Winn, Edith L. How to Study Florillo. New York* Carl Fischer, 1922,

Winn, Edith L. How to Study GavinAs. New York: Carl Fischer, 1923.

Winn, Edith L, How to Study Kreutser. New York* Carl Fischer, 1910.

Winn, Edith L. How to Study Rode. New York* Carl Fischer, 1912.

Books On Musical Science polnauer, Frederick F. and Marks, Morton, Sonso-Motor Study and Its Application to Violin Playing. Urbana, Illinois 1 American String Teachers Association,1964, 125

Seashore, Carl E. Psychology of Music. New York* McGraw-Hill Book Company, In c * , 193^*

Biography

Lochner, Louis* Frits Kreisler* New York* MacMillan Co., 1950.

Music

Seyoik* Otakar. Brahms Viollnkonzert Opus 22, Studie und Taktwelse Analyse* Leipzig* Hug und Co*, 19^1.

Sevcik, Otakar* Mendelssohn Violinkcnzert Opus 6bt Studie und Analyse* Leipzig* Hug und Co*. 1931.

Sercik, Otakar* Paganini Violinkonaert Opus 6, Studie und Analyse. Leipzig* Hug und Co* * 1931. Sercik, Otakar, Tsehalkowsky Violinkonaert Opus 35• Studie und Analyse. Leipzig* Hug und Co*, 1931*

Sercik, Otakar* H* Wisniewski II* Kcaizert Opus 22, Studie und Analyse, Leipzig* Hug und Co., 1931.

Suzuki, Shinichi, Suzuki Violin School. Vol. IX* Rerised edition. Tol^fo* Zen-On Music Publishing Co. Ltd., 1955.

Music of Frits Kreisler

Kreisler, Frits* Caprice Viennois. New Yorki Carl Fischer, Inc,, 193&

Kreisler, Frits* La Chasse* New Yorki Carl Fischer, Inc., 1938.

Kreisler, Frits. La Gitana* New York* Carl Fischer, Inc., 1938,

Kreisler, Fritz* Liebesfreud* New York* Carl Fischer, Inc., 1937.

Kreisler, Frits. Menuett. New York* Carl Fischer, Inc., 1938.

Kreisler, Frit** The Old Refrain* New York* Carl Fischer, Inc., 19^3. Kreisler, Frit*. Praeludlum and Allegro. New York* Carl Fischer, Inc., 1910*

Kreisler, Frits. Recitatiro and Scherzo* New York* Carl Fischer, Inc., 1938.

K re is le r, F r i t z . Schcin Rosm arin. New York* C arl F isa he r. I n c ., 1937. 126

Kreisler, Frit®, Tambourin Chinois, New York: Carl Fischer, Inc., 1938, Kreisler, Frit®, Three Cadensas for the L. van Beethoven Violin Con­ c e r to , Op, 6TI New York: C a rl F is c h e r, I n c . , 1^28,

K reisler, Frit®, Caden®a for the Johannes Brahms Violin Concerto, New York: Carl Fischer, Inc., 19^5,

K reisler, Frit®, Three Cadensas for the Moaart Concerto No, 3» G Major. New York: C a rl F is c h e r, In c . , 19^6,

Kreisler, Frit®, Three Cadensas for the Moaart Concerto No. D Major. New York* C a rl F is c h e r, Inc , , 19^6,

K reisler, Frit*. Three Cadensas for the Moaart Concerto No. 5, A Major. New York* Carl Fischer, Inc,, 19^6.

K reisler, Frit®, Cadensa for the Mosart Concerto No. 6, B-Flat Ka.lor, New York* C a rl F is c h e r , I n c . , 19^6,

K reisler, Frit*# Concerto in One Movement for Violin and Orchestra, Transcribed from the Fiirst Movement o^1 the Concerto No. 1 in D Major of Nlccolo Paganini. New York: Carl Fischer, Inc., 196$.

Kreisler, Frit*. Cadensas to Vlotti*s Violin Concerto No, 22 in A Minor, New York* Carl Fischer, Inc. , 19^6• APPENDICES

GLOSSARY

CHART OF BOWING TECHNIQUES

CHART OF LEFT-HAND TECHNIQUES 128

GLOSSARY

Bowing Technique*

Accented detache (articulated detache). A broad detach© stroke charac­ terised by a sudden thrust of horiaontal notion across the string at the beginning of each stroke. It utilises no more than one-third of the available hair and only the smallest fraction of the duration of the entire stroke. There is no time nor Articulation* separation between the strokes. (Vibrato is implicit in this stroke.)

Articulation. In string playing, the moment of excitation of the string by the bow (occasionally by the left hand fingers also). Bow Arti­ culation occurs when the hair touches the string, or ehanges direc­ tion on the string, and can be expressed as a continuum from soft to hard, or from smooth to coarse. This continuum is similar in sound and function to that of the consonants in speech, and may be visualised as follows*

Soft or smooth.,.1. H (as in Head) 2, P (as in Pork) 3 . T (as in Tell) SH (a s in SHoe) Hard o r c o a r s e .5* CH (a s in CHop)

Barlolage. An extended and cyclic alternation of strings where one of the strings is unflngered (open). The stroke may be slurred or de­ tach* , and may involve only two or three, or all four strings,

Co"*Mnaticn stroke. A eomplex stroke that is actually several strokes linked together by a certain interdependence. For its own execu­ tion, each of the strokes in the combination requires that the pre­ ceding stroke be done properly, using the correct amount of hair in the correct time duration. The true Combination Stroke involves both separate and slurred notes as part of the complete stroke.

Down bow chains. A series of down bows required for the execution of a passage (usually chords). To prevent a choppy, broken result, one must draw as much hair across the strings as possible on each stroke. This single fact makes this dynamic, bravura bowing a difficult and physically taxing stroke when used in an extended passage.

Floatlnz stroke. A rapid detache stroke with very light bow p re s su re . The stroke may be accompanied by the sensation th at the bow is floating over the string (in contrast to being played " in to th e s trin g ” ) • The tone is produced by a portion of the la te n t bow- weight friction, and the bow’s speed. 129

Flying hook, A hooked stroke where the hooked note is whipped from the air, but without & bounce.

Hair leap, A leap of the bow that is precisely timed with a leap of the left hand (Jumping*) as the latter leaps for change of position, or change of strings. The leap requires only the minutest separation between the hair and string with such shortness of duration that the Interruption In the musical line is imperceptible to the ear.

Halted stroke* An accented stroke taken on a relatively long note neces­ sitating a halting, or restraining of the forward motion of the stroke Immediately upon the inception of the accent. The stroke can be either up or down, (Vibrato is implicit in this stroke,)

Inner accent stroke, A stroke containing an accent (thrust) at some point during its course after the stroke has begun. Usually, this stroke Involves two or more notes, the second or another subsequent note being accented and not the first, (Involves the inclusion of the Combination Accent*,)

Inverted detach^, A stroke so named because the up portion of the stroke is executed on the pulse and the down portion is unaccented, giving a sensation of temporary awkwardness to the player.

Mixed spiccato, A mixing of spiccato and detache,

Mixed staccato, A mixing of staccato and portato.

Slurred rolling arpeggios. Multiple string arpeggios where only one note is played on each string in its turn. The bow is slurred from the lowest string to the highest, then reversed, and is slurred from the highest to the lowest.

Sustained stroke (sostenuto), A sustaining of equal pressure of the hair against the string, regardless of the location of the point of contact (lower part of bow or at tip). The implication is, further­ more, that there also be sustained pressure, or at least the illu­ sion of sustained pressure, during the change of the stroke. The be­ ginning of each new stroke must be at the same dynamic level as the ending of the previous stroke.

Thrown accent. A dropped (thrown) Articulation* at the frog giving the stroke a brilliant, or bravura character.

Thrown bow. The slowest of the spiccato bowings, sometimes referred to as the "singing spiccato". Its name is derived from the deli­ berate throwing motion of the hand for each stroke.

Thrown flying staccato, A slow version of the flying staccato but characterised by a more exaggerated and deliberate hand motion for each note (each bounce).

Tied hook, A hooked bowing where the hair always remains In contact with the string—in contrast to the Flying Hook*, 130

Unequal bow- A down-up stroke in which the tins duration of either the down or the up is less than the other. For all practical consider­ ations the both strokes use the same amount of hair, but the quick­ er of the two must use it in less time.

Whipped bow (fouette). A thrown accent at the tip of the bow executed by a sudden release of pressure when reaching the tip (supported by a gentle lift as well) and immediately followed toy striking the bow downward onto the string as the up stroke is begun. This stroke has the same sound as the Thrown Accent* at the frog.

L e ft Hand Techniques

Chromatic glissando. A glissando (downward) executed by a single fin­ ger, and performed with a certain muscular rigidity in the left arm causing a simple vibration of the forearm. This vibration, in turn, causes the fingertip to go through many start-stop cycles dur­ ing Its descent, giving the illusion of a chromatic scale.

Combination accent. A combined manner of le ft hand and bow hand execu­ tion characterised toy the simultaneous accenting of the vibrato mechanism and of the string excitation toy the bow (Acoented De- t a c h i ) . —

Double trill. A rare and difficult trill execution being a trill upon both notes of a double-stop. It must be distinquished from refer­ ence to the double-stop trill which Indicates a trill on only one note of the double-stop—a much less difficult trill execution.

Finger shape. The direct result of the degree of muscular contraction in the finger• The finger is capable of assuming a vast number of shapes from a straight line to the boxed shape. According to the principle of Muscle Memory*, intonation may be learned and pre­ dicted partly by the learning and recall of the sensation of Finger Shapes, Each player—depending upon the size of his hand and the length of his fingers—learns, by habit, several distinct Finger Shapes that he associates with preciseness and predictability of intonation• These several shapes can be gathered together into three general, or basic groupst

1. the elongated shape 2. the curved shape 3. the boxed shape

(The w riter's observations of violin students and professionals have led him to believe that these Finger Shapes are learned sub- llainally, and that conscious awareness of them may well increase the violinist's learning speed and recall ability.)

Floating touch. An expression applied to that sensation received from the fingers in action as they aim for the string Itself, and not for the fingerboard beneath the string. (This touch is sometimes referred to as "light fingers*' and also has been described as "play­ 131

ing as if the notes were harmonies.*') This touch applies more to th e v io lin and v io la than to the e e ll o and bass where the Immense vibrating energy In the string is not as easily stopped by the mass of the finger flesh as it is In the ease of the violin (except, per­ haps in the high thumb positions).

Jumping. Shifting, without portamento, when the hair of the bow has released the string (Hair Leap*). Both left hand and bow execu­ tions are done instantaneously and simultaneously so that it is not aurally perceptible.

Muscle memory. That tendency of musoles to return to or remain in a known or recently experienced position or contraction, rather than assume a new or different one.

Natural finger motion. That eye lie motion of the finger, as in left hand piaslcato. This motion, being circular, does not necessitate the reversal of muscles as the trill motion requires. (The trill motion is dependent solely upon musoular activity directed at the palm-knuokl* joint, the finger muscles remaining relatively fixed, or at least affecting only Finger Shapes*,) The Natural Finger Mo­ tion is an organization of muscular activity which—though it in­ deed is the fully natural finger motion—is not a common finger motion to the average student in his violin playing. The student must learn to use this motion when its use will give him an ad­ vantage in the execution of a passage. In this motion the finger approaches the string from above and leaves the string from the side toward the palm of the hand.

Pedal double-stops. A double-stop passage where the double-stops are alternated with a recurring single note (usually lower than the double-stop) giving the effect of a pedal.

Reiterated finger patterns. The repetition of a finger pattern in a lateral or vertical direction to the fingerboard. This technique is frequently employed in idiomatio passagework, and,because of the Muscle Memory activity, affords a certain ease and relaxation to the left hand.

Satellite position. That condition of the left hand where the thumb re­ mains in a previous position, but the fingers—with the main body of the hand—temporarily assume a position a tone or semitone h igh er.

Schneller (inverted mordent), A single cycle trill.

Strides. That relationship between any two fingers of the playing hand. The term, as used by the writer, refers to the distances between fingers that w ill produce harmonically true intervals of

1. the whole step, 2. the half step, 3 . the small third (step and a half), 132

b. the largo third (two whole stops), 5. and tho octavo*

Those relationships may bo thought of as tho same regardless of whether the pair of fingors is functioning on the same string, or not. For example, a minor sixth (on adjacent strings) is a half step sensations a major sixth is a whole step sensation.

String climbing. This expression refers to a technical requirement that the execution be done all on one string, or possibly on two adjacent strings. The pitch level of the passage may be ascending or descending, or both.

Tactile intonation. A sense of precise intonation both reliable and predictable, based entirely upon the sensation of the hand and fin­ gers against the instrument. Usually, intonation accuracy is large­ ly the result of finger relationships—that is, finger spacing, or finger Strides*—however, when the technical requirement is a Jump* on the fingerboard, the calculation must be achieved without these finger muscle sensations, and the violinist must rely mostly upon the remaining touch sensations of the hand and fingers.2

T rill interpolation. The imposition of a trill on one of the notes in passage work.

Vibrato node. That continuous motion of the left hand, conventionally described as vibrato. When this activity is to be coincidental with passagework activity of the hand and fingers—the impulses of the vibrato cycles coinciding with the dactyl impulses—the expression Vibrato Mode w ill be applied.

This ability is part of a broad catagory of psycho-sensory capa­ b ilities termed kinesthetic imagery by Carl Seashore in his Psychology of Music (New York and London* McGraw-Hill Book Company, Inc., 1938;, p . 6. 133

CHART OF BOWING TECHNIQUES

■8 H g to h C « U'WO *H Is a 2^3^ t

■—— ------— — ■ ■■ ■'.ii.-tt Accented Legato X Arpeggiation (Rolling)* *j ; ! ! j 1 1 ; I* V, Articulation* j ] ... u *(*j i i. ,M V * A ] [ B ariolage* 1 ' ! ■>:. 1 ! x (*. ^ ■ | | Brushed Stroke - i 1 ,*ti C ombination Stroke* t \ * . 1 ...... : \* Counterpoint Detache xl . ■ x 1 x ;X ' r accented* ;v % x> ***.;** i t b ariolage { A . ' 1 ! inverted A: , , % ’ x ; ; porte f , sin g in g 1 ! . < ' ! *' ' Down Bow Chains* A A * a; a Floating Stroke* i i : 1 ' ! ’ if 1 i ' i « ; I ' - Halted Stroke* Hair Leap* X: ; ■ ' * : < ** > « * Hooked Bow * * * ; % 1 ! A' fly in g * tied * » ;•« * * : ' m l * ...... Inner Accent Stroke* *

Martel^ , i " - 1 1 P ie s ic a to * , I , — ■, , - J - - ■*- P ortato X : x ' * * — 1_____ fly in g : i * ; . . ; R icochet X X x' .! > . ' j i S e lf Acc ompan iment ■ 1 < -■ . . : . . j v ...... - Sostenuto V *c. ] a a V * ; \x v a •*». a w S p iccato * j ' - >'*!* ■% ! *; 1 . mixed* ! ! ■ * Jr X :* . vj : * . : S taccato ii Jm—im itt» firm i i . i fly in g » ; ! ;«i i mixed* a ; i 'i x a X * !i ' Thrown Aecent* , 1 ; K a 1 1 a ! v bow* * %H a 1 flying staccato* X i * Unequal Bow* X W h ip p e d Bow* X A 1 1 < 1 134

CHART OF LEFT HAND TECHNIQUES

o o •g U M 10 hp h *H •H «H Cj © ©. •5 I 1 I • C O <0 « +> fl H 43 3 t 4^ 4* 4^ 4^ © flj r~H O P H It Ph p U < CO I jg ° C 5 _ © 3 a © S £> V t 8 *rt © © © P S © • • O # 9 s 9 8 8 1 Sf5 --T C ombination Accent* A a \ E xtension * a ft ft ft < ft X Finger Shapes* ft ft ft ft Floating Touch* a a ft a * ft X G liasando a chromatic* a ft Harmonic * *1 ft ft ft Muscle Memory* a ft ft Natural Finger Motion* ♦ * X Pedal Double Stops* ft ft ft Pissieato (left hand) *r ft Reiterated Finger Patterns* a ft Satellite Position* a String Climbing* ft ft Tremolo a ft ft ft ft ft double ft ft a * T r ill ft © * ft ft ft ft double ft ft ft ft sch n eller* X * * a H ft ft ft V ft ft i# S' V ibrato Mode* a ft ft 135

VITA

Harvey Oltn waa bom In Buffalo, New York on May 21, 1930* He

attended the public schools In Buffalo beginning the study of the vi­

olin at the age of eight, and graduating from high school in 19^8.

The same year he enrolled as a day student at the Buffalo State

Teachers College, transferring to Oberlin College in 19**9 with a partial scholarship* There he began his college musia training as a violin major in the Conservatory of Music*

In 1951 he entered the m ilitary service (Air Force) where he attained the rank of Airman First Class* He was honorably discharged

in 195** after the termination of the Korean war*

In 199* he enrolled in the Wheaton College Conservatory of

Music as a sacred music major* While at Wheaton he studied the vi­

olin and performed frequently as soloist* He was graduated with the

Bachelor of Music Degree in 195&# and was married to Esther Clark

the same year*

He accepted an appointment in 1956 as M inister of Muslo and

Christian Education at the Marquette Manor Baptist Church of Chicago 9

Illinois. He held this position for one year while his wife finished her education at Wheaton*

In 1957 he accepted the position of Instructor of Music at

Malone College, Canton, Ohio, and became the assistant conoertmaster

of th e Canton Symphony* D uring th e same y e a r he organised and became

the conductor of the Canton Youth Symphony. 136

Harvey received a full graduate assistantshlp at the Eastman

School of Music in I960, graduating with the Master of Music Degree

In Musie Literature and Violin in 1961#

The same year he enrolled at Indiana University School of Music as a violin performance major in the Doctor of Music degree program, having been awarded a graduate assistanshlp there. As a student at

Indiana University, he studied violin with the eminent pedagogue

Josef Gingold, managed the Indiana University Symphony Orchestra, and conducted the Training Orchestra of the School of Music, His study at Indiana University was interrupted for one semester in 1962, while he served in a sabbatical leave replacement position at Lebanon

Valley College, Annville, Penna. His rank was Assistant Professor of

Strings and Conducting, He returned afterward to resume his resi­ dence and studies at Indiana University, and during the 1963-196**

season he served as first violinist in the Indianapolis Symphony,

In 196*1* he accepted the position of Instructor of Strings and

Orchestra at Central Michigan University, Mt. Pleasant, Michigan, a post which he retained for one year.

During the summer of 1965 Olin toured in Illinois and New York

giving guest artist solo recitals, and toured as first violinist of

the Festival-On-Wheels Orchestra in Michigan.

He accepted the position of Associate Professor of Music at

Bethany College, Lindsborg, Kansas In 196$. During his three years

at Bethany he toured Kansas and nearby states presenting violin re­

citals, and string clinics.

In 1 9 6 8 Harvey accepted a first violin position with the New

Orleans Philharmonic Symphony, appearing as violin soloist in 1969, 137

D uring th e summer a f 1969 ho served as violinist in the Sant* Fe

Opera orchestra, Santa Fe, New Mexico.

He enrolled in the Doctor of Musical Arts program in performance at Louisiana State University during the summer of 1970, and served as f i r s t v i o l i n i s t in th e Baton Rouge Symphony from 1971 to 1973.

While studying at Louisiana State University, Harvey served as graduate assistant string teacher, and in 1972 was selected for merrt- b e rsh ip in th e P i Kappa Lambda honorary music s o c ie ty . EXAMINATION AND THESIS REPORT

Candidate: Harvey Martin Olin

Major Field: Music Performance

Title of Thesis: An Analysis of Performance Techniques Required in Selected Original Violin Works by Fritz Kreisler Appr<

Major Professor and Chairman

Dean of the Graduate School

EXAMINING COMMITTEE:

frctdjju* ^* 7 /

Date of Examination:

April 27. 1973