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HOW TOSTUDY FIORILLO
HOW TOSTUDY FIORILLO
A DETAILED, DESCRIPTIVE ANALYSIS OF HOW TO PRACTICE THESE STUDIES, BASED UPON THE BEST TEACHINGS OF REPRESENTATIVE, MODERN VIOLIN PLAYING BY EDITH L. WINN NEW YORK CARL FISCHER 1913 Copyright , 1910, BY CARL FISCHER International Copyright Secured Respectfully Dedicated TO W. Davol Sanders...
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FIORILLO.
FIORILLO.
FEDERIGO FIORILLO was born in 1753, at Brunswick, where his father, a Neapolitan, lived as conductor of the opera. It seems that at first Fiorillo was a player of the mandolin, and later on became interested in the violin. He went to Poland in 1780, and in 1783 was conductor of the band at Riga, which position he filled for two years. In 1785 he played with great success at the Concerts Spirituels in Paris, and also published some of his compositions, which were received most favorably. Three ye
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No. 1.
No. 1.
Many teachers of note cling to old traditions. The earliest extant editions of Fiorillo, by Ferdinand David and others, have no expression marks for the Largo of the first étude. This was originally played forte , counting four very slowly. The tone should be full and even, there being absolutely no variation. This is excellent practice for those who are inclined to play with a weak tone near the point of the bow. A broad stroke requires a fine arm and excellent bow control. The elbow joint shou
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No. 2.
No. 2.
[Listen] This étude is very frequently played in a mild manner, too slow for the original intention of the composer. As the allegro of the first étude is not possible at the proper tempo with the staccato bowing, so the second étude loses its character if not played in a martial style. Maestoso means military or majestic in character, with broad bowing and strong accents. The first two notes sweep the whole length of the bow. The third note is also full bow, but very short. A quick stroke, with
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No. 3.
No. 3.
This étude is played in two ways: first, a staccato run, up bow; second, the mixed staccato and legato stroke, up bow. A free arm is desired. While the short staccato with the wrist stroke is eminently useful, the more brilliant staccato with the arm stroke is desired. Naturally, the wrist and forearm are free, though the lateral stroke of the wrist is not desired. Play in the upper third or near the point of the bow. [Listen]...
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No. 4.
No. 4.
This étude is one of the most useful in the book. A free, broad, slightly detached stroke, in the lower half of the bow, is preferred to a short staccato. [Listen] Professor Halir would teach double-stops and scales in thirds in a free, broad style, lower half of the bow (note fingering in the second position). The whole bow may also be used. Play the scale runs, second line, in the manner outlined in Halir’s Tonleiterstudien (G.B. or U.H. raise the bow after each group). [Listen] He assumes tha
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No. 5.
No. 5.
[Listen] In connection with the study of number five, let us turn to Sevcik’s School of Bowing [5] . I had always believed that the importance of bow technic had been overestimated, until these works of Sevcik proved beyond a doubt the great advantage of systematic study of varied bowings. The Sevcik system is wonderful. There are exercises for every possible limitation in violin study. The great question in bustling American life is how to abridge a system only possible in a land where virtuoso
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No. 6.
No. 6.
[Listen] Andante sciolto means about the same as Andante commodo (as slowly as you please). At the middle, or upper half, of the bow, cut the notes lightly and accent trills. The second four measures require grace and ease in the upper half of the bow. Remember to discriminate between the short staccato at the point of the bow and the broader detached stroke. Be very careful of intonation at this point. [Listen] The opening measures in the seventh line may be played with a raised bow stroke, mid
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No. 7.
No. 7.
While allegro with the old composers was not like our modern allegro , an adagio was practically the same as at present. Full bowing and a broad, free tone, as well as great dignity, were demanded. I do not believe that the early violinists played with as great warmth of tone and freedom as is now secured by artists. The old masters played correctly and classically; they used the crescendo and diminuendo, and were masters of tone graduation, but they did not give the emotional treatment to their
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No. 8.
No. 8.
[Listen] This is a dignified and stately étude which requires very much shading. It is one of the most artistic of all, similar in character to the first part of number one. The teacher may count eight instead of four, if desirable, as we sometimes do in the andante of a Mozart quartet. Give the dotted sixteenth note a little more time, to suit the nature of the work. Again I would call attention to the second Kreutzer [6] étude, and slow scales with the crescendo and diminuendo four times on on
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No. 9.
No. 9.
[Listen] This étude is marked allegro . It is not so rapid a movement as to interfere with a free forearm stroke. The martelé , or even a slight staccato stroke, is not as useful as a broad, free bowing in the upper half of the bow. The student will observe that while some modern editions suggest the staccato, it was not true to the traditions of Fiorillo’s time. Begin with the upper half or upper third of the bow. A free swinging stroke is desired. At the beginning of the sixth line play lightl
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No. 10.
No. 10.
[Listen] This étude is similar in style to number nine. It should be played in the upper part of the bow, forte . In taking the fifth position on the last note, first measure, the first finger passes at once into place and remains there. It is a very common fault, and entirely opposed to a fluent left hand technic, to allow the first finger to be released when playing in the higher positions. Note the Halir exercises for sliding quickly from the third to the fifth position and back. One must rem
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No. 11
No. 11
[Listen] Many teachers claim that this étude should be practiced at or near the point of the bow. A somewhat broader and freer forearm stroke is more useful. As in other examples previously analyzed, the staccato is not wholly desirable. The trill should be accented, and there should be no variation in the equality of notes because of the trill. Hardly more than two trills are possible. The student should read a whole measure at a glance, and place the fingers at once in position. Perfect freedo
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No. 12.
No. 12.
Few of the Fiorillo Études are played by the student strictly according to metronome time. Not so with Rode. His Caprices are often studied abroad for three years; and, by the time the student has completed them, he plays them like finished pieces, at metronome time. Often, too, the Rode Caprices are memorized, but the Fiorillo Études rarely are. The Berlin school neglects Fiorillo to a certain extent, but Halir, one of its best exponents, spends considerable time in the study of them, giving to
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No. 13.
No. 13.
[Listen] This graceful and interesting étude partakes of the qualities of the French school with added dignity. The andante must be smoothly played, the portamento work being given especial value through position changes. Strange as it may seem to the amateur, artistic phrasing begins with études; for instance, many of the Études Brilliantes , by Mazas, [11] furnish excellent examples. A natural crescendo occurs in the last four measures of the first line. The andante is graceful and dignified,
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No. 14.
No. 14.
[Listen] It is an erroneous idea that those outside of the French school sometimes entertain concerning the nobility of tone of that school. In cantabile work, tone-color and proportion are sought and obtained. Brilliancy, vivacity, and piquancy belong to the French temperament, but depth, dignity, and nobility are possible, even in a Frenchman. Hence it is that such exponents of the French school as Thibaut, Kreisler, and Marteau play an Adagio with beauty and nobility. The German school, while
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No. 15.
No. 15.
[Listen] You will observe that the older composers of technical works used easy keys. They themselves were players of the violin, and knew how to write in a violinistic manner. You will also observe that two methods of playing this étude are indicated. As a special daily exercise, in connection with this étude, I would suggest Sevcik’s 4,000 Bowings , Op. 2, Part 2, Sections III and IV, two and three string transfers. After playing these exercises for an hour, including the Halir legato studies,
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No. 16.
No. 16.
Again, the term Allegro is a somewhat elastic one. The stroke is at or near the point of the bow, the first note covering enough space so as to allow a longer bow for the three slurred notes. This group should be sharply accented. Play forte throughout. Play the longer staccato groups in the second and third line near the point of the bow, using as little space as possible, until we come to the last two notes. Owing to the modulations in this étude, I frequently ask students to memorize it. We u
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No. 17.
No. 17.
[Listen] A brief glance at this étude would naturally give one the impression that it is played in a light manner. It is, however, one of the most interesting Adagio studies in violin literature. The Fiorillo études are not single detached studies. They flow into each other, as it were, naturally, and with sufficient variety as to tempo and themes to make them fascinating and agreeable. This étude leads into the more rapid eighteenth étude gracefully and with dignity. Both études are usually tak
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No. 18.
No. 18.
[Listen] For finished studies, using double-stops, études seventeen and eighteen are unexcelled. The latter, like the twelfth Kreutzer, may be played for years with profit. The student should not enter upon this study untrained. Beside the preparatory work of Kreutzer and Sitt, there are excellent double-stop exercises of Wilhelmj Hřimaly, and especially of Halir, used so little as yet in America. Halir’s idea is to teach double-stop scales in sections, beginning with the C scale. This étude sho
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No. 19.
No. 19.
[Listen] This étude begins lightly spiccato at the middle of the bow. With the crescendo the necessity for a broader stroke arises, and we dispense with the spiccato. The following passage is played toward the middle of the bow the stroke becoming a spiccato: [Listen] Keep in the upper third of the bow when the tied notes are alternately long and short. In the seventh line, second measure, play the staccato run at the point of the bow:...
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No. 20.
No. 20.
[Listen] As an example of string-transfers in the positions, especially upon four strings, this étude is unexcelled. Play lightly near the point of the bow. Prepare for each change of strings and for rapid position changes by reading in advance. Always keep the bow well over two strings. If four strings are to be used, raise the arm, the entire arm being in the same plane. A running legato at the point of the bow is desired. Raise the arm out from the side, the whole arm moving in the same plane
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No. 21.
No. 21.
[Listen] Several editions of Fiorillo suggest varied bowings for this étude. We have practiced varied bowings with Kreutzer, Sevcik, and other works. One should be familiar with bowings before the study of Fiorillo. The content of the étude must only be considered. Use a light legato bowing near the point. The question has often been asked, “Does the thumb bend in the fifth position?” After we leave the 3d position, the thumb becomes flat under the neck of the violin. Be very careful of intonati
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No. 22.
No. 22.
[Listen] The twenty-second étude is one of the most beautiful adagio studies in violin literature. It is particularly useful to those who are studying the Bach Sonatas and the Spohr Duos . There is no need of playing the first note timidly. One should be able to think A , because of the knowledge of absolute pitch. The position of the note is naturally difficult. The thumb must lie well under the violin neck, in order that the passage on the A string may be played with ease. Do not pull the A st
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No. 23.
No. 23.
[Listen] The bowing suggested in the twenty-third étude is one of the most frequent and natural ones in concertos. It is adapted to an allegro movement, and while it may be satisfactorily played near the point of the bow, the forte would indicate a longer bow, possibly the upper third. A free, undulating movement of the wrist, with only a slight arm movement, in two-string transfers is desired. Again, the student must be cautioned against raising the fingers too quickly. All fingers must take th
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No. 24.
No. 24.
[Listen] In somewhat decided contrast as to style, this étude is played with a short staccato stroke; the position work, with the fourth finger in the lead, must be free, the thumb and first finger perfectly relaxed, the violin being held firmly with the chin. Double-stops require perfect freedom and uniformity of finger action; the fingers move with the hand, and the thumb and hand move in the same plane. The octaves are played in the upper part of the bow, with as broad a stroke as the tempo p
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No. 25.
No. 25.
[Listen] This étude furnishes an excellent example of phrasing and style. Before beginning the study of it one might well play Halir’s runs up and down each string for the pure legato and position work. The student gains freedom in this way. Do not press too heavily on the bow-stick for the higher positions, as a rasping sound results. The crescendo and legato must not be sacrificed. Note the reappearance of the theme on the E string. As broad a bowing as possible is desired. The sixteenth notes
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No. 26.
No. 26.
To be played with the upper third of the bow: [Listen] You will observe that Fiorillo makes decided contrasts in his études. The twenty-sixth naturally assumes a more lively character. It opens with a crisp, bright staccato in the upper third of the bow. The last two measures of the first line are naturally played somewhat near the point of the bow. Perfect freedom of wrist and forearm is desired. The form of the second line is like that of the first line, and the same bowing is used. Now we con
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No. 27.
No. 27.
[Listen] This étude should not be played too rapidly, a light stroke in the upper third or upper half of the bow being somewhat easily secured. The first note of the groups of three notes must be played without pressure upon the bow. It is a light staccato. The bow lies well over two strings. Take the second position at once. Do not try to make the bow-strokes uniform in length. Freedom is at first secured at or near the point of the bow, the wrist being very supple. Do not release the fourth fi
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No. 28.
No. 28.
With the middle. [Listen] There are no new principles of bowing to be presented in this étude. A running light legato at or near the point of the bow is desirable. Keep the bow well over two strings. If by this time the legato is not free, analyze each measure and introduce chords. Also practice in the middle of the bow. This practice gives the bow poise upon the strings, and enables the student to understand the fundamental basis of string-transfers. Another excellent plan is to play each group
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No. 29.
No. 29.
[Listen] We have now had so much practice in double-stops that this étude offers little that is new or interesting; nevertheless, it is valuable. Do not allow the accompaniment to stand out too prominently. Keep the theme as an example of pure legato playing. The bow must lie well over two strings, and no note in the accompaniment should be held too long. Notes must fall simultaneously, if so written. The tempo must be maintained throughout. The movement is earnest, yet not adagio. Grave refers
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No. 30.
No. 30.
[Listen] As a preparation for this étude, use the Schradieck and Sevcik works. I find Schradieck’s Technical Exercises and Scales and Arpeggios valuable, though I prefer the method of playing scales as advocated by Halir, because Schradieck repeats the fundamental note, thereby making a perfect legato well-nigh impossible. The order of Schradieck’s scales I do not deprecate. The stroke here used is a short staccato in the upper third or a martelé in the middle of the bow. I have already explaine
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No. 31.
No. 31.
[Listen] As we have played several études of this type, I use varied bowings. [Listen] From a technical standpoint this étude is not as difficult as some that precede it. At the fifth line it would be wise to play a rather short stroke near the point of the bow. Show the pupil examples of similar bowings in the 8th Rode “Concerto,” the 22d and 23d Viotti, the Bach “A Minor,” etc. As an example of the pure spiccato, refer to the “Perpetual Motions” of Ries and Bohm. As a type of running legato us
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No. 32.
No. 32.
[Listen] This étude must be played with a singing tone, the accompaniment being clear, smooth, and elegant, as in étude number two. The lower notes must strictly be in time and of proper duration. This type of accompaniment, found in the Bach unaccompanied “Sonatas,” the solos of Paganini, the “Twenty-second Concerto” of Viotti, and other works, is one of the most interesting forms in solo violin playing. While it is free, graceful, refined, and elegant in the sonata and concerto, rhythmic aband
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No. 33.
No. 33.
[Listen] Students ask, “Is this a short staccato? Where do I play such a passage?” The value and tempo of a work govern bowing. Avoid meaningless bowing. Play broadly when possible. One must study the classics and discriminate between the style of different schools and periods if one is to judge of methods of bowing. In this case, play with a free, somewhat broad tone, in the upper part of the bow. Produce a resonant, singing tone. Do not decrease the tone in an ascending passage. It is a good p
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No. 34.
No. 34.
[Listen] There are three methods of playing the first part of this étude. One is a broad detached stroke, middle to point. The second is a short staccato stroke near the point of the bow. The third is the spiccato at the middle. As the position changes are difficult, use the most easily acquired bowing at first. That would be a forearm stroke. Practice the sixth position passage separately until mastered. Each position change should be mastered before going to the next. It might be well to selec
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No. 35.
No. 35.
[Listen] There are so many double-stop études of more practical value than this one that it is wise to review the excellent double-stop études of Kreutzer, Sitt [23] and Dont, [24] although the last named are the least practical. However, if one is to teach Fiorillo, one must use this étude. A few rules may be useful: 1. Read in advance of the measure played. 2. Strive for a pure singing tone. 3. Keep the theme prominent, the accompaniment legato. 4. Use a broad free style of bowing. 5. The fing
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No. 36.
No. 36.
[Listen] [Listen] Different Arpeggios for Playing the Preceding Chords. [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] [Listen] Before beginning this étude, review the chord studies of Sitt [25] and Kreutzer, using with the first Sitt study the following bowings: I prefer this study to the Sevcik 4,000 Bowings , Section V. I would, however, use the Sevcik studies for securing a flexible wris
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