Technical Analysis on Heinrich Wilhelm Ernst’s Six Etudes for Solo Violin in Multiple Voices

In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS

in the Performance Studies Division of the College-Conservatory of Music Violin

by Shang Jung Lin

M.M. The Boston Conservatory

November 2019

Committee Chair: Won-Bin Yim, D.M.A.

Abstract

Heinrich Wilhelm Ernst was a Moravian violinist and composer who lived between 1814-1865. He was a friend of Brahms, collaborator with Mendelssohn, and was admired by Berlioz and Joachim. He was known as a violin virtuoso and composed many virtuosic works including an arrangement of Schubert’s Erlkönig for solo violin. The focus of this document will be on his Six Etudes for Solo Violin in Multiple Voices (also known as the Six Polyphonic Etudes). These pieces were published without opus number around 1862-1864. The etudes combine many different technical challenges with musical sensitivity. They were so difficult that the composer never gave a public performance of them. No. 6 is the most famous of the set, and has been performed by soloists in recent years. Ernst takes the difficulty level to the extreme and combines different layers of techniques within one hand. For example, the second etude has a passage that combines chords and left-hand pizzicato, and the sixth etude has a passage that combines with double stops. Etudes from other composers might contain these techniques but not simultaneously. The polyphonic nature allows for this layering of difficulties in Ernst’s Six Polyphonic Etudes. There are many more examples like these that can be found in the etudes. The purpose of this document is to help performers master these layers of technical challenges in a systematic way.

ii

iii Purpose of Study

Learning etudes is an important step for violinists to conquer different technical obstacles at different stages. They are useful for strengthening one’s technical abilities to more effectively perform standard repertoire. Based on Peter Ferreira’s The Violin

Companion, there are ten levels of etudes indicating different levels of difficulty. Ernst’s

Six Polyphonic Etudes fall into level ten, the highest difficulty level, alongside Paganini’s

24 Caprices, Op. 1, Wieniawski’s 10 Etudes-Caprices for Solo Violin, Op.10 and Etudes-

Caprices, Op. 18.1

Ernst’s Six Polyphonic Etudes combine several technical challenges due to their polyphonic nature. In order to achieve this high level of difficulty, a violinist is not only required to conquer the technical obstacles but also sing the multiple lines musically. It is important to understand the complexity of each specific techniques. This document will discuss the techniques of this set of etudes in depth.

1 Peter Ferreira, The Violin Companion (Cambridge: Cambridge University Press, 1992), 53-54.

iv Contents

Historical Background ...... 1

Etude I- Ferdinand Laub ...... 3

Etude II-Prosper Sainton ...... 18

Etude III- ...... 25

Etude IV-Henry Vieuxtemps ...... 32

Etude V- Joseph Hellmesberger ...... 37

Etude VI- Antonio Bazzini ...... 41

Summary/Conclusion ...... 53

Bibliography ...... 55

v Historical Background

Heinrich Wilhelm Ernst (1814-1865), a Moravian violinist and composer, was known as “one of the most brilliant virtuosos.”2 Ernst closely followed Paganini and attended many of his performances and rehearsals, and later saw himself as the

“legitimate heir of Paganini.”3 His virtuosity was deeply influenced by Paganini.4

Ernst showed his outstanding talent when he was little and performed in public when he was ten.5 Later he entered the Vienna Conservatory to study violin and composition.6 He played for Paganini four years later when he was fourteen and started following Paganini and his Italian aesthetic.7 Later Ernst and the master performed together in Marseille in 1837.8

After Ernst retired from the stage, he dedicated his late life in composition.9 He spent his last seven to eight years in , focusing on composition.10 The Six Polyphonic

Etudes were composed during this time.11 He was dedicated to exploring polyphonic composition on the violin—a melodic instrument.12 Ernst’s composition is filled with extreme technical difficulties.13 The Six Polyphonic Etudes are considered “the most

2 John S. Dwight, ed., "Heinrich Wilhelm Ernst," Dwight's Journal of Music, A Paper of Art and Literature XXV (1867), 138. 3 Franco Sciannameo, Experiencing the Violin Concerto: A Listeners Companion (Lanham: Rowman & Littlefield Publishers, 2016), 57. 4 Ibid. 5 John S. Dwight, ed., "Heinrich Wilhelm Ernst," Dwight's Journal of Music, A Paper of Art and Literature XXV (1867), 138. 6 Stephen Samuel Stratton, "Nicolo Paganini: His Life and Work," The Strad XVII, no. 17 (1907), 80. 7 Franco Sciannameo, Experiencing the Violin Concerto: A Listeners Companion (Lanham: Rowman & Littlefield Publishers, 2016), 57. 8 Ibid. 9 Christine Hoppe, Melanie Von Goldbeck, and Maiko Kawabata, eds., Exploring Virtuosities: Heinrich Wilhelm Ernst, Nineteenth-Century Musical Practices and beyond (Hildesheim ; Zürich ; New York: Georg Olms Verlag, 2018), 41. 10 Ibid. 11 Ibid. 12 Ibid, 42. 13 Stephen Samuel Stratton, "Nicolo Paganini: His Life and Work," The Strad XVII, no. 17 (1907), 79.

1 difficult works ever conceived for the instrument” by Franco Sciannameo.14 Some of

Ernst’s compositions were too difficult even for him to play.15 For example, Ernst never played his Six Polyphonic Etudes in public because he himself might not have been able to play it satisfactorily.16

Ernst’s Six Polyphonic Violin Etudes, composed with two-, three-, and four-part harmony is a set of six.17 Each etude is dedicated to a different violinist, and each has a different technical purpose based on the dedicatee. The first etude is dedicated to

Ferdinand Laub, the second to Prosper Sainton, the third to Joseph Joachim, the fourth to

Henry Vieuxtemps, the fifth to Joseph Hellmesberger, Sr., and the sixth etude is dedicated to Antonio Bazzini.18

Ernst’s Six Polyphonic Etudes are still well known today. The sixth etude, known as the “Last Rose,” the most famous of the set, is included in Hilary Hahn’s practice routine.19 It is in variation form and is based on an Irish tune that commonly sets the poem by Thomas Moore called “The Last Rose of Summer.”20 She describes the Ernst pieces in an interview as “good pieces,” and she works on them for technical studies.21

14 Franco Sciannameo, Experiencing the Violin Concerto: A Listeners Companion (Lanham: Rowman & Littlefield Publishers, 2016), 57. 15 Henry Charles. Lahee, Famous Violinists of To-day and Yesterday (Boston: L. C. Page and Company, 1899), 146. 16 Musical Courier: A Weekly Journal Devoted to Music and the Music Trades 57 (1908), 5. 17 Peter Ferreira, The Violin Companion (Cambridge: Cambridge University Press, 1992), 53-54. 18 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 288. 19 Mary VanClay, ed., Violin Virtuosos (San Anselmo, CA: String Letter Pub., 2000), 98. 20 Ibid. 21 Ibid.

2 Etude I

Introduction of dedicatee - Ferdinand Laub

Ferdiand Laub, a Czech violinist and composer, lived 1832-1875.22 Laub was a well-known violinist during his life.23 He was the concertmaster of the Weimar Orchestra after Joachim, where he and Liszt played chamber music together.24 Laub was an organizer of chamber music events.25 (Hellmesberger, the dedicattee of Ernst’s fifth etude, was also organizing chamber events at the time.)26 Laub performed with many of the great performers of the time including Clara Schumann, Anton Rubinstein, and

Joseph Joachim.27 He also attracted the attention of H. W. Ernst and Berlioz.28 Laub had a great technical repertoire including concertos by Mendelssohn, Joachim, Ernst, and

Paganini.29 Tchaikovsky dedicated his third to Laub in return for Laub’s performances of his first two string quartets.30 Laub was famous for his gorgeous tone and virtuosity.31 In a public performance at age nine, Laub received a compliment from

Ole Bull, a famous Norweigian violinist, for his virtuosity.32

22 Alena Němcová, “Laub, Ferdinand,” Grove Music Online (Oxford University Press, 2001), https://doi- org.proxy.libraries.uc.edu/10.1093/gmo/9781561592630.article.16088 23 Ibid. 24 Ibid. 25 Ibid. 26 Ibid. 27 Ibid. 28 Ibid. 29 Ibid. 30 Ibid. 31 Ibid. 32 Ibid.

3 Characteristics and Structure

Ernst marked the first etude “Rondino scherzo” and “Con spirito.” It features dotted rhythms in a 6/8 meter with a light-hearted, dance-like atmosphere.

Left Hand Specific Topics

§ Chords with awkward finger stretches due to the position of the second finger

§ Passages that require clarity of articulation must be played with unavoidable

sliding fingerings

Right Hand Specific Topics

§ Alternating quickly between one down-bow chord and two up-bow staccato

strokes

§ Subtle adjustments of the bow angle due to the complexity of multiple voices in

oblique motion

Technical Analysis

This etude is divided into two sections with contrasting moods and technical demands. The A section, mm. 1-34, returns at m. 72. The B section, mm. 35-71, returns at m. 112. This etude ends with a coda combining the materials of sections A and B. This document will discuss technical challenges section by section.

In the A section, many double stops and chords feature the same technical stretch of second finger in this beginning passage. In order to smoothen the melody without breaking the line by switching fingers or shifting, stretching the second finger is often unavoidable. However, this also raises the level of difficulty for intonation in the left hand.

4

Example 1. Ernst Six Polyphonic Etudes No. 1, mm. 3.

For instance, in m. 3, see example 1, the F in the boxed chord requires a large stretch of the fourth finger. It is accompanied by a third in the accompanying voice. The left hand position should be based in the third position, yet at the same time stretches the fourth finger to the fifth position. Theoretically, the bottom Bb would be played by the third finger if it was simply in the third position. However, this stretch between the fourth and third fingers would be uncomfortable and would negatively affect intonation.

Therefore, using the second finger for the Bb is a more realistic way of fingering this chord. However, this tends to cause tension in the muscle between the first and second finger.

In this hand replacement, the second finger and fourth finger are spaced as if an double stop, but two strings apart. Both double stops in this chord require a stretched fingering.

5

Example 2. Ernst Six Polyphonic Etudes No. 1, m. 7.

Another example of a stretch between the second and the fourth finger is in second beat of m. 7. See example 2. Since the preceding F in the soprano voice is in the first position played by the first finger, the first finger can not be part of the following chord because it is out of position to prepare for the next chord due to the speed of the etude. It is unrealistic to include the first finger in the chord, which would require relocating it within the gap of two sixteeth notes. Therefore, in order to make the melodic line more connected without interruption, playing the B note in the chord with the second finger is a better solution. Furthermore, since the second finger is used for the B in the chord, the following single G note would be played by the third finger, instead of the second finger. Playing the boxed chord in the first position, with the fingering 3-2-1 in the soprano line, is easier for the chord, but relocating the left hand will interrupt the melodic line. In this case, all four fingers are unusually close together, especially the first, second, and third fingers, which are almost overlapped in this moment. Due to the speed of the etude, one finger must move out of the way of the other. On top of that, this gesture occurs in the first position where the distances between intervals are the largest on the instrument. This makes the intonation more difficult to control due to the stretched position of the left hand.

6 In the second beat of m. 13, see example 3, the first boxed chord also requires a stretch between the second and the fourth fingers. The A-A octave is played by the second and fourth finger since the first finger in this case is occupied with the bottom C note.

Example 3. Ernst Six Polyphonic Etudes No. 1, mm. 13-14.

In the next bar, m. 14, both chords require stretching the muscles between the fingers. The first chord, for instance, is built of two double stops, G#-E, and D-B. Both of the double stops are in first position. However, to combine them is more challenging. It includes two simultaneous stretches: the stretch between fingers one and four, and the stretch between two and three. The stretch between the second and third fingers makes the first and fourth fingers move out of a relaxed hand position. Again, this requires the left hand to need to work harder to play in tune.

7

Example 4. Ernst Six Polyphonic Etudes No. 1, mm. 1-2.

Regarding the right hand in this section, there are many possible versions of bowings depending on what the performer values in his or her interpretation. The suggested bowing for this document is shown in the example. See example 4. In the first edition of the score, the first beat of each measure contains three staccato marks but no slurs. Therefore, the given bowing adds slurs indicating that the second and third notes should be played by up-bow staccato in order to have the right articulation. The bow arm in this passage needs to alternate rapidly between chords and up-bow staccato due to the fast tempo of the etudes and this needs to sound consistent whether the chord contains three or four voices.

First, in order to fit the chords within the scherzo character of the etude, all of the notes of a chord must be played nearly simultaneously to prevent dragging of time in order to maintain the light-hearted characteristic of the piece. See example 4.

Secondly, to achieve chord strokes in this etude, up-bow chords are more challenging because they have to be played against gravity and the weight of the bow arm. In some cases an exaggerated lift of the elbow is required. When playing these chords on a down-bow, the elbow falls along with gravity naturally, arm weight helps with these fast chord strokes. On the otherhand, up-bow strokes require the same speed as the down-bows yet the elbow needs to move against gravity.

8

Example 5. Ernst Six Polyphonic Etudes No. 1, mm. 13-14.

Looking at example 5, the preceeding notes being on the E string requires a rapid elbow lift for both of the chords, and both chords require an elbow lift before playing the chord. In this case, the up-bow chord stroke has to project the sound right after the elbow lift and start on the G string with an up-bow motion.

The first boxed chord in example 5 is an up-bow stroke and is not on the down beat, while the second boxed chord is a down-bow and is on a beat. The down-bow chord here will be less challenging to play than the up-bow chord because of gravity and weight of the bow arm, and its metric position.

Thirdly, having a preceeding note that lands on the E string requires an elbow lift prior to playing the chord.

Example 6. Ernst Six Polyphonic Etudes No. 1, mm. 5, 13, 16, 22, 26.

9 These up-bow chord stroke cases occur only in the third or sixth eighth notes of the bar if the bowing pattern established in example 4 is observed. There are five specific places that up bow fast strokes happen in this beginning passage of Etude I. See example

6.

For example, the preceeding note is on the G string in chord 4, which doesn’t require an elbow lift before playing the chord. The performer can start the chord right after the preceeding F note on the G string without the need for a large string crossing.

The radian of the elbow lift will depend on the location of the preceeding note. If the previous note is on the E string, then the radian of elbow lift will be wider compared to the other strings, because chords are played from the bottom up, see chord 1.

Compared to chord 4, the preceeding note is on E string. Chord 1 starts with the D note on the D string in the fourth position. The elbow lift before playing chord 1 needs to re- angle the bow from the E string to the D string. Compared to chord 4, where the previous note was already on the G string, chord 1 requires a large elbow lift prior to the chord stroke, since the previous note was two strings away.

Fourthly, the performer needs to find the right sounding point, the placement of the bow on the string in relation to the bridge, when a chord is played in a higher position due to the shortened distance between finger board and the bridge.

The sounding point generally moves closer to the bridge if your left hand moves into higher position. The sound of the violin becomes more projected and penetrating when the sounding point is closer to the bridge, yet harder to control. Performers usually choose where the bow should be placed in order to produce the sound they want, but this case, to play the fast chord stroke crisply, it is necessary to locate the bow closer to the

10 bridge. To illustrate, in example 6, chord 1 is fingered in the fourth position whereas chord 2 is played in the first position. The chords are both formed on the D, A and E strings, however in fourth position, the distance between finger board and the bridge is shortened. Therefore, the resonant range of the strings in chord 1 is much shorter compared to chord 2, requiring a closer-to-the-bridge sounding point in order to project the sound. Hence, in addition to the bow arm’s elbow lift, finding the sounding point for a fourth position chord quickly is much more difficult than one in first position.

In the B section, string crossing happens to be an obstacle for smooth phrases because the sustained melody creates double stops and chords when combined with the accompanimental line. It requires subtle yet precise string crossing adjustments to hit the right notes due to the complexity of multiple voices in oblique motion.

The B section is a lyrical melodic line with lower running semiquavers as accompaniment. The right bow arm here has to sustain and save bow in order to sing the long notes within one bow. However, the bow must play both the melody and the accompaniment simultaneously. In this section, it is important to smoothly play the string crossings to avoid breaks in either the melody or the accompaniment, which should be even and steady.

Example 7. Ernst Six Polyphonic Etudes No. 1, mm. 59-62

For instance, in m. 61, the boxed bar in example 7, the bow arm has to reangle multiple times. After playing the first chord, the angle of the bow must switch from the A

11 and E strings to the D string. After a big elbow lift, the following three notes are on the D string, Ab-Bb-C. After playing these three notes, the bow arm has to constantly switch between the angles of the A-E double stop and the angle of the A string alone. In this case, it is challenging because it requires a very subtle change, half the angle of switching between one string to another. While playing on the E and A strings, the bow arm must move smoothly, yet apply more weight to the E string, which contains the melody.

The left hand in the second section, on the other hand, takes responsibility for the clarity of the articulation. The challenge for the left hand is to sustain the melodic notes while playing the accompaniment. This is challenging because it obligates the fingers to stay on the finger board in order to maintain the melodic line. Simultaneously fingering both voices stretches and tenses the muscles, creating intonation challenges because the left hand is not in a natural position, and the fingers overlap. Furthermore, when the same finger plays consecutive melodic note it needs to slide on the finger board, which can create an unintended slur.

Example 8a. Ernst Six Polyphonic Etudes No. 1, mm. 35-36.

In some cases, there are consecutive notes that share the same finger or two fingers. They overlap each other due to the shape of the left hand that’s holding both voices. For instance, in mm. 35-36, see example 8a, the tenth between Ab-C stretches the left hand fingers. The first and second notes, Ab and Bb, of the accompanying voice must both be played by the first finger due to the sustained C note in the top voice. Although it

12 would be better for the lower voice to have a separate finger for each note, it would not be realistic to play the Bb with the second finger because the stretch between second and fourth fingers would be too uncomfortable. Therefore, it is necessary to repeat the first finger for the Bb note.

There are two points of view with regard to fingerings that are suggested for these two bars. 8a prioritizes ease by allowing the performer to change strings, but it sacrifices timbral uniformity. On the other hand, the fingering in 8b sacrifices ease in order to keep each line on the same string.

Example 8b. Ernst Six Polyphonic Etudes No. 1, mm. 35-36.

The first fingering, in example 8a, prioritizes ease by staying in the first position.

This is an easier fingering for the left hand, yet breaks the melodic line into two different timbres by splitting the melody between different strings—the D and A strings. The second fingering shifts the second C note up to the fourth position. This keeps both the melody and accompaniment on each their own strings, without breaking the melodic line.

However, playing in higher positions, especially with double stops, always takes more effort than playing in lower positions.

13

Example 9a. Ernst Etudes No. 1, mm. 35-36, first edition.

Move on to the next bar, see example 9a, m. 36, the challenge here is to figure out a set of fingerings to smoothen the bottom F note, the fourth sixteenth note in the first beat, which creates a perfect fifth to the upper voice C. Normally if there was only the bottom chromatic line, the E natural would be played by the third finger. The bottom line would use the fingering 1-2-3-4-3-2-1. However, in this case, the third and fourth fingers are already occupied playing the sustained soprano note. See example 8a.

Example 9b. Ernst Etudes No. 1, mm. 35-36, Theodor Schafer’s suggested fingerings.

It is a challenging spot, and every editor tried to figure out the best way to play this bar. There are four different editions and each suggests a different fingering. In the first edition, see example 9a. Ernst suggested this passage to be played in the third position. He left the rest of notes blank, left up to the performaers preference. The second edition, by Theodor Schafer, appears to agree with Ernst’s indication to play this passage in the third position. See example 9b. He sugguested the fingering in the lower voie, 2-3-

2-3-2-3. This way the perfect fifth between F and C note is played by the third and fourth

14 fingers. These two fingers will be overlapped and need to cooperate with each other within the limited space between D and G strings.

Example 9c. Ernst Etudes No. 1, mm. 35-36, William Henley’s suggested fingerings.

A newer edition, William Henley, the editor for Augener edition, suggested this spot to be played in the fourth position. See example 9c. This forces a slide between the second and third notes by playing both of them with the second finger. The overlap of the fifth will be between the third and fourth fingers.

Example 9d. Ernst Etudes No. 1, mm. 35-36, Franz Schmidner’s suggested fingers.

In the newest edition, perhaps influenced by the previous editions, Franz

Schmidtner suggested this section to be played in the fourth position. See example 9d. It suggested the accompanimental line to be played 1-2-1-2-1-2 for the first bottom six notes in the first beat. This fingering also avoids unintentional slurs.

In m. 36, the soprano C note creates a perfect fifth with the bottom F note in the accompanimental line. A fingered perfect fifth is usually played by one finger covering two adjacent strings because each note is on the same spot on the finger board. In this case, the perfect fifth is played by two fingers, which need to momentarily occupy the

15 same small space. Therefore, when playing the C note in the melody, the third finger should be slightly to the right side of D string, which means the third finger is located in between the D and A strings. This way the third finger is not in conflict with the second finger playing F on the G string.

Example 10. Ernst Six Polyphonic Etudes No. 1, mm. 38-40.

Example 10a. Ernst Six Polyphonic Etudes No. 1, mm. 38-40, hypothesis fingering

Another example of fingerings that have a tendency to create slurs are in mm. 38 and 40. See example 10.

In m. 38, the second, third and fourth notes, Eb-D-Eb, must share the first finger.

The reason for this fingering is to keep the left hand gesture without stretching the muscle between the second and third fingers, which may affect the whole shape of the left hand.

If the fingering of these three notes was 2-1-2, for example. See example 10a. Instead, to stretch the first finger an extra half step solves the problem.

Likewise, in m. 40, the first two notes, following the last F-sharp in m. 39, share the third finger. See example 10. This is the same idea as in m. 38 where stretching a half step from G-F#-G avoids the left hand from needing to change the hand shape.

Above all, it is most important to project the melody while letting the accompaniment part remain secondary. It should be precise and in tempo in the first

16 section, and remain clean and subtle to fulfill the accompanimental role in the second section. It is also important to show the contrast between the two different sections: rhythmic and energetic in the A section versus the lyrical melody with continuous sixteenth note accompaniment in the B section. This etude requires a great deal of technique and finger strength, one of the hallmarks of Ferdinand Laub’s violin playing, and probably the reason that Ernst made this dedication.33

33 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 251.

17 Etude II

Introduction of dedicatee – Prosper Sainton

Prosper Sainton, a French violinist and composer, lived 1813-1890.34 Sainton was educated in Toulous, and later when he turned 18 years old, he started studying at

Conservatory and played with orchestras of the Société des Concerts and the Opéra.35

When he was 32, he settled in London and dedicated fourty-five years to the Royal

Academy of Music.36 His friends of his late period founded the Sainton scholarship in memory of his dedication to the school.37 The funding was used to help the study of chamber and orchestral music, and to sponser the growing local orchestras in the United

Kingdom.38

Characteristics and Structure

This short piece is marked “Allegretto” and “Con grazia.” It features off-beat accompanimental chords and graceful dance-like atmosphere.

Left Hand Specfic Topics

§ The staccato articulation creates space for the left-hand fingerings and makes it

less exposed

§ double stops

§ Simultaneous arco and fingered left-hand pizzicato (requires three fingers to

stretch)

34 George Grove, “Sainton, Prosper ,” ed. Robert Pascall, Grove Music Online (Oxford University Press, 2001), https://doi-org.proxy.libraries.uc.edu/10.1093/gmo/9781561592630.article.24330. 35 Ibid. 36 Thomas Threlfall, “The Proposed Sainton Scholarships” Musical news; London Vol. 1, Iss. 2, (Mar 13, 1891): 35-35. 37 Ibid. 38 Ibid.

18 Right Hand Specific Topics

§ Downbeats played by unintuitive up-bows, reversed bow direction because of off-

beat accompanimental chords

§ Differing bow pressures for harmonic double stops

§ Accented consecutive down-bow chords

Technical Analysis

The texture of this etude is a melodic line accompanied by off-beat chords. The structure is ABA form. The A section, mm. 1-16, features staccato eighth notes in the melody with a steady rhythm. The B section, mm. 16-43, is more lyrical with a more vocal quality, yet keeps the rhythmic off-beat accompanimental part. When the A section comes back in m. 44, the main theme repeats twice. Ernst adds another layer of technique to the repeated A section—left-hand pizzicato.

Etude II ends with a playful coda. It puts the melody in the bottom voice with the same off-beat accompanimental chord texture. It also has consecutive chords in fortissimo which intensifies the ending. In the last two bars, the piece ends with harmonics and pizzicato, which is a stark dynamic contrast to the fortissimo earlier in the coda, and sums up the main technical challenges found in the piece. This piece starts and finishes with a “balletic nature,” with a playful and light-hearted rhythm.39

39 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 251.

19

Example 1. Ernst Six Polyphonic Etudes No. 2, mm. 1-9.

In the A section, fingerings for the left-hand chords are more forgiving due to the staccato bowing. As opposed to the first etude, the same finger can be used for consecutive chords here with less problems because there is a separate bowing for each note. See example 1. In this excerpt for instance, in mm. 2, 5, and 6, the same finger plays consecutive notes, yet does not create unintentional slides because the left hand’s repositioning motion is not sounded by the bow.

On the other hand, downbeats are played up-bow because of the need to play down bow for the chords on the off-beats. The right bow arm plays the downbeats with up-bows, and off-beats with down-bows because it is more natural to play chords with down-bows. Furthermore, Ernst played with the meter because the off-beat accompanimental chords, if not performed carefully, tend to sound like downbeats, which can deceive the listeners’ ears. Even though the right bow plays the melodic and accompaniment chords with reverse bows in relation to the meter, it has to maintain the correct rhythm and pulse. The chords should sound crisp and clean, yet not overpower the melodic line.

20

Example 2. Ernst Six Polyphonic Etudes No. 2, mm. 33-36.

Another challenge in this etude is harmonic chords. See example 2. The two boxed chords contains harmonic note for the soprano voice. This harmonic relieves the left hand from shifting up high to the actual note, because it is impossible to achieve while playing the bottom notes. However, in chord 1, the pressure of the three individual fingers on the fingerboard must be different because the nature harmonic note requires a different pressure on the string. The two bottom notes must be firmly pressed down on the the fingerboard, while the harmonic note must be played with gentle pressure—just enough to make the note vibrate.

On the other hand, the challenge for the right bow arm is to accommodate the bow pressure and sounding point between the fingered notes and the harmonic. Chord 1, when rolled, is split into two parts: the bottom accompanimental double stop and the harmonic in the soprano. This way, there’s enough time to switch the sounding point between the double stop and the harmonic in the top voice.

Chord 2, contains a bottom note and a double-stop open E and harmonic E note.

The sounding point of the top double E notes is more challenging to find because one of them is a natural harmonic. The bow has to find a perfect sounding point that will let both

E notes ring, which will be different on different violins. Even though the sounding points for these two E’s are different, we can thank Ernst for writing the other E note on

21 an open string, where its sounding point is much easier to find than a fingered note.

Example 3. Ernst Six Polyphonic Etudes No. 2, mm. 51-62.

The most famous passage of this etude, mm. 51-62, requires simultaneous arco and fingered left-hand pizzicato. It requires, at most, three fingers on the string for the top voice and fingered pizzicato, except the cases when the pizzed notes are located on an open string. See example 3, all left hand pizzicatos are only two-note chords, but require three fingers. All except the boxed chords, which only require two fingers for the chord— one for the soprano voice, and one for the bottom open string pizzicato.

When playing the chords which need three fingers, the left hand must stretch while playing both voices. There are two stretches in these cases. One of the stretches is between the soprano and the bottom note, and the other stretch is between the soprano and the finger that plucks the bottom note. This passage trains the coordination of the left hand for combining pizzicato and chords in the accompanying voice.

22 Fingerings for this passage are also note-worthy. Ernst did not include fingerings for the bottom pizzicato, instead, he left it open to each interpreter. Schafer and Henley, on the other hand, both gave suggestions as to which fingers to place on the fingerboard for the bottom pizzicato notes. However, they did not include the fingerings that are used to pluck the bottom note. Schmidtner included both in his edition. He indicates specifically which finger to “pluck” the pizzicato.

Example 4. Ernst Six Polyphonic Etudes No. 2, mm.25-36.

Accented consecutive down-bow chords in example 4 is another technical challenge for the bow arm worth noting. Ernst did not specify a bowing, marked the chords with accents in his first edition. All of the rest of the editiors, Schafer, Henley, and

Schmidtner, suggested the chords to be played by consecutive down bows.

While playing the downbow chords, similar to the chord strokes that were discussed in the previous etude, all notes should be played almost simultaneously. In this case, since the soprano note is also part of the chord, and the dynamic is increasing to fortissimo, the bow speed and bow pressure should increase when the bow touches the top note, to make the soprano line stand out.

23 To sum up, even with all the technical topics that are discussed above, it is important to integrate all the techniques into a delightful, ballet-like character in this etude.

24 Etude III

Introduction of dedicatee - Joseph Joachim

Joseph Joachim, an Austro-Hungarian violinist, composer, conductor, and a teacher, lived 1831-1907.40 Joachim was a well-known violinist during his life.41 His talent was recognized very early, at age 12.42 He was taught by Bohm and Viotti, both of these teachers were proponents of the classical French school.43 From 1853-1868,

Joachim was the concertmaster of Hanover Court.44 Joachim was also a close friend to many composers, which might be the reason that he was considered the best interpreter of the second half of nineteenth century.45 Joachim’s “subtle command of rubato,” “long- arched phrasing”, and his “sparing use of vibrato” could be found in his recordings.46

These elements are required in this etude, and could be why Ernst decided to dedicate the work to Joachim.47 Ernst thought this etude was the best of this set of studies.48

Characteristics and Structure

Ernst marked “Allegro moderato e tranquillo ” and “Terzetto” for Etude III. It features paralled third and sixth double stops, and a very lyrical and aria-like melodic line. It is a love poem from Ernst to his dear friend, and former student Joachim, in which he showed his great appreciation.49

40 Beatrix Borchard, “Joachim, Joseph,” Oxford Music Online Grove Music Online (Oxford University Press, 2001), https://doi-org.proxy.libraries.uc.edu/10.1093/gmo/9781561592630.article.14322. 41 Ibid. 42 Ibid. 43 Ibid. 44 Ibid. 45 Ibid. 46 Ibid. 47 Ibid. 48 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 251. 49 Chia-Chien Goh, "The Complete Solo Violin Works of Heinrich Wilhelm Ernst." DMA diss., University of Wisconson.

25 Technical Topics

§ Consecutive double stops in the style of “horn fifths”

§ Bow arm sustain for lyricism

§ Full chords played by natural change of bow—down, up, down, up to express the

vocal quality of the melody

§ Two themes were introduced separately and brought together at m. 26, like a duet

played by one violin

Technical Analysis

Example 1. Ernst Six Polyphonic Etudes No. 3, mm.35-37.

Consecutive double stops are relatively common in violin virtuosic show pieces.

In this case, Ernst styled the consecutive double-stop pattern after the “horn fifth.” See example 1. It requires smooth and subtle left hand finger changes in order not to reveal the gap between the fingers when they lift between double stops, which might cause the open string to sound when accidently played by the bow. For the change to be smooth and clean, it is necessary to place both fingers on the string simultaneously.

26

Example 2. Ernst Six Polyphonic Etudes No. 3, mm.44-49.

Sustaining the motion of the bow arm is one of the signature challenges of this etude. Due to its moderate speed and lyrical quality, the bow must be saved. Double stops and chords always require more bow than a single note when they are the same value. In this case, that consecutive double stops and chords are part of the lyricism makes sustaining the bow even more challenging. For instance, see example 2, the boxed bar, m.

44, takes a full bow for playing half bar. By the first glimpse, it does not look like anything extraordinary, however if you look closely, the first chord must be rolled up and back down because the melodic line is in the bottom. This means the bow has to spend time rolling two chords as well as finish the rest of sixteenth notes.

Move on to the second half of the bar, finishing a single note plus two chords with one bow is not surprising at first glimpse. However, it is deceptively difficult to precisely distribute one bow for the the harmonic and two chords. The G note is a fingered harmonic in a high position on the fourth string, which means it not only requires faster bow speed but also much more bow. Additionally, the same bow must finish the next two chords, including a dotted rhythm, within the same stroke. This means one must distribute the up bow precisely to make the harmonics ring and roll out the two following chords with one of them in legato dotted rhythm.

27 The same thing happens at m. 47. See the same example, the up bow needs to sustain three beats in a moderate tempo. Not only that, it requires strings crossings for double stops, and requires shifting in between each beat. This means the up bow needs to be sophisticatedly distributed in order to produce the music as it is written.

Most of the consecutively accented chords seen so far in this set of etudes have been suggested to be played by consecutive downbows. This is because a downbow is a more natural bowing to play chords. Besides that, consecutive downbows also match the interpretation of the accents. In this etude, two of the editors, Henley and Schmidtner suggested these chords to be played by natural changes of the bow—down, up, down, up, to express the vocal quality of the melody. Ernst, as usual, only marked it with accent markings and left the bowing open to different interpreters.

Example 3. Ernst Six Polyphonic Etudes No. 3, mm.66-69.

Look at example 3, the boxed consecutive chords, are marked accents and fortissimo by Ernst. By playing them with natural bow changes allows the melodic line to be continuous, uninterrupted by retaking the bow if played by consecutive down bows. In this case, just as discussed in Etude 1, all the up bow chords require a big elbow lift prior to playing the chord because all the chords end on the E string and must reangle to the bottom note to start the next chord.

In the last chord of the the second box, the chord shifts up to eighth position, which makes the distance between the left hand fingers and the bridge very short. This

28 chord must be played close to the bridge and a performer has to find the perfect sounding point for such a high position.

Example 4a. Ernst Six Polyphonic Etudes No. 3, mm.1-7.

Example 4b. Ernst Six Polyphonic Etudes No. 3, mm.12-22.

29 This etude is made of two main themes. See example 4a and 4b. Two themes are introduced separately and brought together at m. 26, like a duet played by one violin. One of them is the beginning tune and the other occurs at m. 14. Each theme could function as a melody or accompaniment and vice versa. If just listening to the recordings without looking at the score, it sounds like two violins accompanying each other, one playing the top double stops and the other playing the bottom running sixteenth notes. Ernst, however, pushed the possibilities of polyphonic textures on a melodic instrument.

Example 4c. Ernst Six Polyphonic Etudes No. 3, mm.23-28.

Look at example 4c, m. 26, the first chord should be played downwards because the bottom notes are the starting note of the running sixteenth notes theme. When reaching to the second half of the bar, a lot of rolling and reangling happens. All the notes of the chords must be played nearly simultaneously to not drag time of the bottom running theme. The chords must be played rolled up and back down in order to include the bottom notes in the bottom melodic line. This passage requires the elbow to reangle rapidly and is therefore one of the most challenging passages in this etude.

To sum up, this etude demands high level refinement from both hands. It overall requires a gentle touch to the piece. Just like what Joachim said, “technique should serve

30 the music instead of the other way around.”50 This etude should prioritize the musical sense more than the technical, just like its dedicatee—Joseph Joachim, Ernst’s good friend and former student, for whom he wrote this beautiful lyrical song full of appreciation.

50 Chia-Chien Goh, "The Complete Solo Violin Works of Heinrich Wilhelm Ernst." DMA diss., University of Wisconson.

31 Etude IV

Introduction of dedicatee – Henry Vieuxtemps

Henry Vieuxtemps, a Belgian violinist and composer, lived 1820-1881.51

Vieuxtemps studied with his father at age four.52 His father was an amateur musician and a strict supervisor of Henry’s violin studies.53 Vieuxtemps made his first public performance at the age of six.54 He kept his performing career throughout of his life and traveled worldwide, becoming quite famous in Russia and London.55 After his return from the USA in 1871, he accepted a professorship at Brussels Conservatory and was a key figure in the development and success of the Belgian violin school.56 Ysaÿe, one of his most famous apprentices, is representative of this success.57 Vieuxtemps was famous for the evenness of his fingers and tone.58 He was able to achieve “chiseled exactitute”59 and play more notes in a bow than other violinists.60 This was perhaps the reason that

Ernst had chosen Vieuxtemps as the dedicatee of the fourth study of this set.

Characteristics and Structure

This etude is marked “Allegro risoluto.” It features running sixteenth notes in an arpeggiated pattern.

51 Boris Schwarz and Sarah Hibberd, “Henry Vieuxtemps,” Grove Music Online (Oxford University Press, 2001), https://doi-org.proxy.libraries.uc.edu/10.1093/gmo/9781561592630.article.29341. 52 Ibid. 53 Ibid. 54 Ibid. 55 Ibid. 56 Ibid. 57 Ibid. 58 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 252. 59 Ibid. 60 Ibid.

32 Left Hand Specfic Topics

§ Articulation— “chiselled exactitude” for running sixteenth notes61

§ Intonation for arpeggios include repetition of broken chords

Right Hand Specific Topics

§ In chords where the pitches do not match the order of the strings, the bow needs

to play the strings simultaneously

§ Ricochet for broken chords

Technical Analysis

A common challenge for violinists is to play rapid running notes with clean articulation. When many notes are played legato by one bow, as opposed to detache, the clarity will have a tendency to be insufficient. For example, if twelve notes are to be played by one bow stroke, the bow needs to be divided into twelve portions with each note played by 1/12 of the bow. With such a limited portion of the bow being used to project each note, it can blur the individuality of each note unless the left hand fingers are played precisely and deliberately. Therefore, the articulation and clearness of the left hand is crucial.

The left hand must lift each finger as it finishes playing each note in order to avoid any overlapping. This trains the left fingers’ independence, preventing the running notes to sound blurred together.

Intonation is another challenge for this passage. The entire etude is mainly composed by arpeggios. Intonation for arpeggios is crucial because arpeggios are the division of chords, and will therefore resonate and project as the sound of a chord. If the

61 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 252.

33 intonation is not as precise as possible, intonation mistakes will be amplified because the notes are in the form of arpeggios.

There are many moments that require the left-hand fingers to stretch out of their natural positions. For instance, in example 1, the boxed intervals in mm. 21 and 26, contain stretches between the third and fourth fingers. In m. 22, the boxed interval has a stretch between the first and fourth fingers. This forces the left hand to switch hand shapes within the running arpeggios, which adds another obstacle to good intonation.

Example 1. Ernst Six Polyphonic Etudes No. 4, mm.15-28.

In m. 17, there are three repetitive broken chords that stretches the third and fourth fingers. Besides the stretch, the intonation is extraordinarily important in the repetition. It is difficult for the left hand to consistently land on exactly the same spot for the same notes. Therefore, the intonation of this place has to be precise and exactly the same in the three broken chords, otherwise the repetition of those chords will emphasize the difference of intonation in each broken chord.

34

Example 2. Ernst Six Polyphonic Etudes No. 4, mm.24-28.

Chords played by string instruments are usually built from lower string to higher string. Yet sometimes the notes need to be played “out of order” of the strings. For instance, the first boxed chord in m. 28, the notes are not played in the order of the pitch.

The A is played on the open string. The D note is played on the D string in the sixth position. In this case, if the bow rolls the chords in two separate double stops, as is commonly done for four-string chords, the second double stop will be the bottom and top notes instead of the middle and top notes, it will be A-F#. This will make the chords sound odd. Therefore, it is important to play the three notes simultaneously to project the chord. This requires substantial bow speed and bow pressure in order to make it happen.

The next boxed chord requires the same right bow technique. It contains four notes. The right bow here has to add more weight to the violin than the previous three- note chord. The bow has to play four strings at the same time, which is against the arch of the violin surface and bridge. Therefore, the bow has to try to press the two middle strings, the D and A strings, to make the four strings as horizontal as possible. Yet, the bow still has to relieve the pressure after the first grip to the strings to make the chords project and ring. Therefore, to have a great first grip of the string and immediate relief of bow pressure is very crucial.

35

Example 3. Ernst Six Polyphonic Etudes No. 4, mm.69-77.

The ricochet in the broken chords needs to be controlled by the right hand evenly and steadily. It must have even bow distribution for the four notes, and bounce the same height for all the notes. In the case of Etude IV, it is trickier because Ernst’s composition indicates the last note of each bar to be played by up-bow. This disturbs the pattern of continuous ricochet bowing and forces the right bow arm to reangle after each up bow from the E string to the G string.

In m. 75, the ricochet bowing becomes continuous. However, where ricochet passages in the pieces of other composers are mostly written so that the notes follow the shape of the bowing which is an arch across the strings, Ernst’s ricochet passage here requires the bow to be reangled from the highest string to the lowest string, while alternating between up-bow and down-bow.

As this etude is designed, the discussed pattern basically applies through the whole piece. Therefore, if a performer understands the places discussed above, the theory behind it can be applied to the entire etude.

36 Etude V

Introduction of dedicatee – Joseph Hellmesberger

Joseph Hellmesberger, a Viennese violinist and conductor, lived 1828-1893.62

Hellmesberger studied with his father at the Vienna Conservatory.63 At the age of seventeen, he was a soloist of the Hofoper Orchestra.64 When he was twenty-one, he founded the leading Viennese string quartet, the Hellemesberger Quartet, and collaborated with many famous composers, such as Brahms and Bruckner.65

Hellmesberger was also a famous teacher, many of his students are well-known violinists including Auer, Brodsky, Grädener, Nikisch, and many more.66

Characteristics and Structure

This etude is marked “Air de ballet” and “Allegro con giusto.” It features chords and double stops in nearly all the downbeats in a dance-like atmosphere.

Left Hand Specfic Topics

§ Left hand chord gesture repositioning for every beat

Right Hand Specific Topics

§ Arm bow reangling for chords in each beat

§ Bow pressure has to land on the melodic line that is played in a high position on a

lower string, accompanied by a higher open string

62 Richard Evidon, “Joseph Hellmesberger,” Grove Music Online (Oxford University Press, 2001), https://doi-org.proxy.libraries.uc.edu/10.1093/gmo/9781561592630.article.12740. 63 Ibid. 64 Ibid. 65 Ibid. 66 Ibid.

37 Technical Analysis

Example 1. Ernst Six Polyphonic Etudes No. 5, mm.1-17.

In Etude V, the challenges are much less than the other etudes. To quote M.

Rowe, the fifth etude of this set is “the least inspired and technically interesting of the set.”67 This etude requires the left hand to reshape the left-hand gesture in every beat. The chords in every beat have different requirements of left-hand position, shape, and fingerings. Therefore, the left hand has to reshape and reposition in every beat within a short, limited time. This is the primary challenge in this etude.

The bow arm has a similar challenge to it in this etude compared to the left hand.

The right bow arm has to reangle in every beat because the chords finish at upper strings and begin again from the lower strings. Therefore, after finishing every beat, the right bow arm has to go back to the lower strings to begin the next chord.

In passages like the boxed bar, m. 7, in example 1, the chords occur on every eighth note, causing the right arm to need to reangle after playing each eighth note chord.

Not only that, the reangling happens in the middle of one bow. Therefore, for passages

67 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 252.

38 like this, the right arm must precisely land on the string after reangling within a limited time slot in between each chord, due to the quick tempo of the piece.

Example 2. Ernst Six Polyphonic Etudes No. 5, mm.108-118.

Notes in the higher strings and lower positions are usually more projecting because of the vibrating distance. However, in some cases the melodic line is forced to be played in lower string and higher position, which is against the fact that it has to project better than the accompanimental line. In example 2, m. 110, the boxed arpeggiated melodic notes are played on the D string while the accompanimental A notes are open A on the A string. This makes the accompanimental line have a tendency to be louder than the arppegio line, which has to stand out. Therefore, distribution of bow pressure of these two strings are crucial.

When the arpeggio start from the top E note, it naturally stands out because of the register and it is on the E string. The bow can land on the two strings with even pressure.

When the arppegio descends, in m.10, the bow pressure has to land on the D stirng more, and lightly touching the A string to avoid the open A overpowering the arppgiated line.

The arppegio is on the D and G strings started from the sixth position. It later turn into first position and goes to the bottom G string. The projection of the line goes to lower and

39 lower string. Therefore, avoiding overpowering A accompanimental line and lean the bow pressure to the arppegio is specifically crucial here.

To sum up, the fifth etude might be seen as the least challenging and complicated etude among these six, however, it still demands a great deal of cooperation between both hands.

40 Etude VI

Introduction of dedicatee – Antonio Bazzini

Antonio Bazzini, an Italian violinist, composer, and teacher, lived 1818-1897.68

Bazzini was encouraged by Paganini to start his performance career from an early age.69

He was admired by Schumann and Mendelssohn when he traveled to Germany.70 He performed around the world and traveled a great deal including Denmark, ,

Palermo, Spain, Paris, and the Netherlands, where he ended his performing tour.71 He then returned to his hometown, , where he dedicated the rest of his life in composition.72

Characteristics and Structure

The sixth etude, The Last Rose of Summer, sums up the techniques discussed in the previous etudes and expands them to the peak of difficulty. It is in theme and variation form, structured as introduction, theme, and five variations. Each variation has its own characteristic, which reflects its particular technical challenge. Ernst marked the introduction “Moderato” and the theme “Andante non troppo.” They feature lyrical folk- song-like melodic lines and introduce the coming variations.

68 Giovanni Carli Ballola, “Bazzini, Antonio,” ed. Roberta Montemorra Marvin, Grove Music Online (Oxford University Press, 2001), https://doi- org.proxy.libraries.uc.edu/10.1093/gmo/9781561592630.article.02403. 69 Ibid. 70 Ibid. 71 Ibid. 72 Ibid.

41 Left Hand Specific Topics

§ Switching sustained top note in a two-voice texture that creates group double

stops sharing the same top note (intonation)

§ Rapid consecutive and tenths

§ Left hand pizzicato on top of the main melodic lines

§ Pizzicato melodic lines, and later melodies built with harmonics, accompanied by

arpeggios

§ Harmonic double stops

§ Fast scales on the same string

§ Rapid arpeggios that climb up to high positions

§ Rapid harmonic scales

Right Hand Specific Topics

§ Right bow switching between legato and ricochet for broken chords that must

state a hidden melodic line

§ Consecutive down bow chord strokes

§ Sounding point for harmonic double stops

§ Up-bow staccato for harmonic scales (sounding point)

§ Rapid string crossings in harmonic scales

Technical Analysis

There are hidden challenges in this piece, many of which look innocuous at first glance. In m. 14 of example 1, the melody consists of quarter notes with a sixteenth-note accompanimental line. These form double stops which require the left hand to switch fingers in order to maintain the sustained top notes. See example 1. The top quarter note

42 must be heard through the entire beat while the bottom four notes are played. However, due to the limitations of the violin, the top quarter notes need to be played in two different places. This is because double stops must be played on adjacent strings, which is not possible while maintaining a single finger position for the quarter note melody.

Furthermore, when the same pitch is played on different strings, the intonation needs to be extra accurate because the timbre of the different strings will exaggerate any difference of pitch.

Example 1. Ernst Six Polyphonic Etudes No. 6, Introduction, m.13-15.

In the same example, the top E note played by fourth finger has to be extremely accurate because the second E is played on the open E string. The intonation needs be perfect to disguise that the E note has been switched. The second box in example 1 applies the same technique. The F note played by a stretched fourth finger on the A string needs to sound exactly the same as the second F played by the first finger on the E string.

Example 2a. Ernst Six Polyphonic Etudes No. 6, Variation 1, mm. 10-12.

43

Example 2b. Ernst Six Polyphonic Etudes No. 6, Variation 3, mm. 11-16.

Rapid consecutive octaves or tenths are quite common in most of the virtuosic pieces. As expected, it appears in Ernst’s virtuosic etudes as well. See example 2a and

2b. The consecutive octaves and tenths require both notes to move by the same fingers accurately.

The octaves are more demanding for intonation compared to the tenths because they are the same . The unison exaggerates the mistakes of intonation even if it would normally be forgivable. On the other hand, the tenths require the left hand to be simultaneously stretched and relaxed. It must be stretched enough to cover the interval yet relaxed enough to adjust the difference of the stretching distance since the distance between the fingers get smaller when the position moves higher on the violin.

One of the tricky parts for the right bow arm in this etude is to switch between legato and ricochet for broken-down chords. In the meantime, the melody of the theme is hidden in these broken chords yet must be projected out. See example 3, the circled notes are the hidden theme. In this passage, all the legato pickup notes are played downbow.

The up bow staccato requires the right bow wrist to have a more solid grip because it moves against gravity.

44

Example 3. Ernst Six Polyphonic Etudes No. 6, Variation 2, mm. 1-5.

Also, to give the first note an accent demands the bow to “grip” the string at the beginning of each ricochet. Therefore, to grip every up-bow staccato in order to emphasize the theme, it gives this entire ricochet passage a more challenging task for the bow arm, because it requires more control.

At the end of variation 2, when the bow no longer has the mission to state out the theme, Ernst cleverly added another mission to the left hand—left hand pizzicato accompanying the ricochet chords. While placing the fingers on the fingerboard for the broken chords, the fourth finger of left hand plucks the accompanying part as well. This requires coordination between the two hands—the ricochet by the right hand and pizzicato of the left hand because they happen simultaneously with each semi-quaver.

Example 4. Ernst Six Polyphonic Etudes No. 6, Variation 2, mm. 38-41.

Ernst designed Variation IV with a plucked melodic line and arpeggiated accompaniment, and later the plucked melodies change into harmonics. The technique in

45 this passage can be divided into two main parts—the arpeggio accompaniment and the plucked/harmonic main melody. The left hand has to focus on the arpeggios, while simultaneously placing the finger on the melodic line, also plucked with left hand.

Example 5a. Ernst Six Polyphonic Etudes No. 6, Variation 4, mm. 1-5.

Look at example 5a, when the melodic line appears in every quarter beat, the left hand has to place at least two fingers on the finger board in order to complete both voices. When one of the voices is on an open string, the left hand only needs to place two fingers on the finger board.

For example, in measure 1, the first note, the bottom G that is part of the arpeggio, is on the open G string. Therefore, the left hand only needs the third finger to place on the top B and the fourth finger to pluck it, while the bow plays the open G string. On the other hand, look at measure 2, the second beat, both notes are fingered, so the left hand has to place a finger for each note, plus one more finger to pluck the pizzicato notes.

In this example, the left hand is being stretched in two ways, the stretch between the first and fourth fingers, and the stretch between the third and fourth fingers. While the left hand is placed in the first position, the fourth finger is stretched to the third position.

46 After the left hand places both fingers, the third finger’s job is to pluck the bottom B note on the A string. This makes another stretch between the third and fourth fingers, even though they are just one string apart, because the third finger needs to go across the A string in order to make the plucking motion.

This passage requires both hands to be coordinated. On top of the mission of the left hand that has been discussed previously, the right hand has to target the correct note that is written arco instead of the one for pizzicato. Trained as a violinist, the right hand has the instinctual reaction to play whichever note that is being fingered by the left hand.

In this passage, the left hand is fingering notes for two different voices, but only the accompanimental arpeggio should be played by the bow. Therefore, targeting the correct voice is important for the right bow arm, even if counterintuitive.

Example 5b. Ernst Six Polyphonic Etudes No. 6, Variation 4, mm. 9-12.

The other section of this variation replaces the plucked main melodic line with harmonics. See example 5b. The harmonic melodic line results in double stops that contain one harmonic. As discussed in etude II, the left hand is required to place fingers on the finger board with different finger pressures—place the finger firmly on the

47 accompanimental note, and lightly for the harmonics. If the double stops include a natural harmonic, and the accompaniment voice is on an open string, the left hand only needs one finger for the harmonic. See example 5b, mm. 10, 11. If only one of the voices is on an open string, either a natural harmonic or open string in the arpeggio voice, the left hand only has to place two fingers on the string. See example 5b. If the accompaniment voice is not on an open string, and the main voice is an artificial harmonic, the left hand must place three fingers on the finger board—one for the accompaniment, two for the artificial harmonics.

The left hand technique for fingered pizzicato and artificial harmonics are analogous because the performer needs two fingers to play one note. In the case of the pizzicato, the plucking finger can pluck anywhere on the string, but requires more muscular strength. In the case of the artificial harmonic, the finger requires less strength, but must be placed precisely in order to create the harmonic.

The right bow arm also has to differ the bow pressure for the double stops that contain a harmonic. Similarly to the left hand, which needs to place different finger pressure for the double stops, the right bow arm also needs to apply different bow pressure for the double stops because harmonics require different finger pressure and bow pressure than regular fingered notes. The harmonics require a closer-to-the-bridge sounding point, lighter bow pressure, and faster bow speed in order to make it project.

Therefore, when a double stop contains one regular note and one harmonic, the right arm has to find a sounding point that can make both notes ring, which can differ from instrument to instrument.

48

Example 6. Ernst Six Polyphonic Etudes No. 6, Finale, mm. 1-3.

Ernst’s Finale of the sixth etude is like a summation of violin technique, reaching the highest peak of violin virtuosity.73 Fast scales on the same string require the left and right hands to coordinate as the notes go up to higher positions. See example 6. Given how the violin was designed, the distances between notes are shortened in higher positions as the resonant length of the string shortens. Therefore, when the fast scale goes up to higher positions within the same string, the left hand has to shorten the distance between each note and the right hand has to adjust the sounding point closer to the bridge.

This fast scale ends in a harmonic note, which requires more bow and faster bow speed. That is, when playing these rapid scales within one string, the right bow arm not only has to adjust the sounding point, but also has to save bow throughout the scale in preparation for the last harmonic note. The scales are also marked crescendo, therefore, careful bow distribution is crucial. The bow must start with smaller bow distribution, and start adding more gradually, yet still have enough remaining for the last harmonic note at the top. Meanwhile, the sounding point of the bow has to move gradually closer to the bridge because the left hand is climbing up to higher positions.

73 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 254.

49

Example 7. Ernst Six Polyphonic Etudes No. 6, Finale, mm. 8-12.

Ernst also composed and played with rapid scales in the form of harmonic notes.

Look at m. 8 of example 7 where the descending scales are in harmonics. Unlike the rapid scale that was discussed above, this scale is not played on the same string.

However, Ernst added another layer of difficulty by making it a rapid harmonic scale.

The left hand has to find each harmonic within a limited time frame. The left hand has to place two fingers, first and fourth, for the artificial harmonics, and the third finger for the natural harmonics.

This passage not only trains the left hand but also gives the right bow arm a challenge—up bow staccato. It is not just a virtuosic rapid up-bow staccato, but also staccato on the harmonics. The harmonics requires the sounding point to be closer to the bridge, more bow and faster bow speed. However, the one up bow contains fifteen notes.

Therefore, precise bow distribution is required. The up bow not only has to distribute the bow precisely and save bow for all the notes in the scale, but also have enough to make the harmonics project.

50

Example 8. Ernst Six Polyphonic Etudes No. 6, Finale, mm. 13-16.

The final technical topic to discuss is also a harmonic scale—ascending and descending within an octave. It has never appeared before this etude and was original and iconic of Ernst’s.74 It looks like a group of harmonics ups and down in the score.

However, after playing it, it is revealed as simply a G . See m. 13, example 8.

While playing a scale, a string player will have a tendency to think of the right bow arm playing on the instrument as an arch, from lower strings to higher strings.

However, in this case, it is not in the form of arch. The right bow arm has to constantly cross strings to fulfill Ernst’s composition. Look at the example, the right bow arm switches between the strings that are indicated above the note. This does not match the pattern of the scale because of the nature of harmonics.

There are some advantages to this new type of harmonic scale. Ernst gave the left hand a break from shifting by setting them in the third position. Therefore, surprisingly, the scale is easier to play in a sense. Also, the left hand stays in the same position which results in similar resonant lengths for all the harmonic notes. This gives a consistency and fullness to the sound.

74 M. W. Rowe, Heinrich Wilhelm Ernst: Virtuoso Violinist (New York: Routledge, 2016), 254.

51 The scale is composed of twelve natural harmonics and three artificial harmonics.

Therefore, the sounding point for them will also be different between the bridge and the fingerboard. While playing the artificial harmonics, the sounding point has to be closer to the bridge, and more precisely placed, in order for the harmonics to be resonant. That is, while playing these harmonic notes, the right bow arm has to cross strings while changing the sounding point, and at the same time, play a scale that is against the nature of the bow direction of a typical scale.

If a scale is going up and down along the strings of the instrument, the right bow arm can follow the direction of an arch. However, the string crossing pattern here stops the bow arm to move with a natural arch. Therefore, a sophisticated control in these multiple aspects for the right bow arm is necessary.

52 Summary/Conclusion

After an analysis of Ernst’s Six Polyphonic Etudes, it is clear that Ernst combined several layers of technical challenges due to their polyphonic nature. This document serves as a guide for practicing this set of etudes by distinguishing the difficulties of each virtuosic passage and the purpose of each technical passage. Many of the techniques are seen in the virtuosic violin pieces by different composers. Yet, in this set of the etudes,

Ernst layers multiple technical challenges in a complex way.

In Etude I, the right bow arm has to make subtle adjustments of the bow angle due to the complexity of multiple voices in oblique motion; meanwhile, the left hand has to stretch fingers for double stops and chords created by the two voices. In Etude II, left hand has to play arco notes and fingered left-hand pizzicato simultaneously, requiring three fingers to stretch, while the downbeats are played by unintuitive up-bows. In Etude

III, while the left hand is playing both themes at the same time, and later, consecutive double stops and chords, the right bow has to sustain a long bow and distribute the bow precisely.

Etude IV demands the left hand to be very careful of intonation in the arpeggios and articulation while the right bow arm has to sustain for the whole bar and constantly cross strings in the running arpeggios. In Etude V, while constantly relocating left hand for chords, the right bow arm has to reangle the bow back to the bottom string on each beat.

Etude VI, the combination of virtuosic techniques was pushed to the maximum of difficulty by Ernst. For instance, in Variation II, the right bow has to switch between legato and ricochet for the broken chords that state a hidden melodic line. In Variation

53 IV, the left hand has to pluck the pizzicato melodic lines, and later, the melodies are built with harmonics, accompanied by arpeggios. In the Finale, a full up-bow staccato has to finish a harmonic scale. Moreover, Ernst’s original harmonic scales are played with constant sting crossings for the right bow arm.

After the technical analysis of Ernst’s Six Polyphonic Etudes, it is clearly shown that Ernst had pushed the limits of a melodic instrument to the maximum of its function.

He made this set of etudes sophisticated, complicated and challenging. Nowadays, violinists often use them for performing, especially the last etude, The Last Rose of

Summer.

This document would be helpful to provide a guide to help violin players achieve this set of virtuosic etudes, which requires in-depth analysis and understanding of the violin.

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