of
Szig Sziget et
th
ioli ioli
O SE SE P
SZIGETI
Z IG IG E T I
on t h e V I O L I N
With With aNew Preface
SpikeHughes
D O V E R P U B L C A T IO IO N S N C .
..-...
TH
DO ER EDITIO
WHEN osep osep Szig Sziget et died died on Febr Februa uary ry 1973 1973,I ,I real realiz ized ed that that we ha been been fr ends ends fo xa tl fort fort of hi eigh eighty ty ye rs half half hi life life an five five-e -eig ig th of mme, Bein Bein frie friend nd with with wand wander erin in virt virtuo uoso so viol violin inis is isn' isn' easy easy howe howeve ver; r; in
Copyright 1979 1979 by Dove Dove Publ Public icat atio ions ns Inc. Inc. Ccpyright 1969 1969 by Jose Joseph ph Szig Sziget eti. i. l l i g t s r es es e v e u nd nd e P a m er er ic ic a a n n te te rn rn a tional tional Copyri Copyright ght Conven Conventio tions. ns. Publ Publis ishe he in Cana Canada da by Gene Genera ra Publ Publis ishi hing ng Comp Compan any, y, Ltd. Ltd. 30 Lesm Lesmil il Road Road Do Mill Mills, s, Toro Toront nto, o, Onta Ontari rio. o. Publ Publis ishe he in th Unit United ed King Kingdo do byConsta byConstabl bl an ComCompany pany Ltd. Ltd. 10 Oran Orange ge Stre Street et Lond London on WC2H WC2H 7EG. 7EG. hi v e e di di titi o ir u bl bl is is he he d i n 1 97 97 9 i s a n n abri abridg dged ed an unalt unalter ered ed repu republ blic icat atio io ofthe work work orig origin inal ally ly publis published hed by Cassel Cassel Co., Co., Ltd. Ltd. Lond London on an Fred Freder erick ick A. te speci special ally ly fo th pres presen en edit editio io by Spik Spik Hugh Hughes es Intern Internati ationa ona Standa Standard rd Boo Number Number.' .' 0-4860-486-237 2376363Librar Librar of Congre Congress ss Catalo Catalo Car Number Number.' .' 78-680 78-68000 00
Manu Manufa fact ctur ured ed in th Unit United ed Stat States es of Amer Americ ic Dover Dover Public Publicati ations ons Inc 18 Vari Varick ck Stre Street et Ne York York N.Y. N.Y. 1001 1001
hi
unti unti
went went toNew York York
Febr Februa uary ry 1933t 1933t staywi staywith th ohnH ohnHam ammo mond nd
twen twenty ty-f -fir irst st birt birthd hday ay ha rece recent ntly ly been been cele celebr brat ated ed in th sple splend ndid id gilt gilt musi musi se st wi wa neve neve qu te th same same ft th t. annu annual al Carn Carneg egie ie Hall Hall reci recita tal. l. It wa an unex unexpe pect cted ed expe experi rien ence ce fo ther ther wa no en oura oura of an gers gers ge ts of us ing, ing, ia ondond- eckl eckl ce host hostes esse ses, s, no ft r-co r-conc nc rt rand randne ness ss Inst Inst ad of driv driv ng wa fr th us Szig Sziget et an hi Russ Russia ia wife wife Wand Wanda, a, hi acco accomp mpan anis is Niki Nikita ta Maga Magalo loff ff oh Hamm Hammon ond, d, Prof Prof ss Leon Leon Theremin quie quie litt little le Russ Russia ia scie scient ntis is of Fren French ch desc descen en wh ha inve invent nted ed an elec electr tric ic musi musica ca inst instru rume ment nt orig origin inal ally ly call called ed an Ethe Ethero roph phon on an late late know know asthe Ther Therem emin inov ovox ox whic whic he ha called 'Music from from he th r'
nd me hold hold ng betw betwee ee
kn es Szig Szig ti
warm. Ou nvit nvit tion tion fr
wa
ot re rd
rreg rregul ul
by hi
ol ea ues; ues;
usic usicia ians ns whic whic cuts cuts acro across ss al diff differ eren ence ce of nati nation onal alit ity, y, colo colour ur soci social al an musi musica ca clas class. s. Joska Joska wa intr introd oduc uced ed asa viol violin inis ist, t, ~n th fact fact that that ~e.p ~e.pla laye ye ther theref efor or ie h-bi h-birt rthd hd
trib tribut ut
th
pl as
st
as of 19
here here he wa
On this this part partic icul ular ar 1933
ad char charac acte teri rist stic ic ve
whic whic
were were also also char charac acte teri rist stic ic of hi geni genius us as
musi musici cian an
wa th
er wa no
he
om il d.
ri nd with with tw
th sist sist rs
th
ondo ondo
uc
ende ende ou
ight ightin in
arle arle
youn youn
it er bu here here wa
role role aria aria
ough ough
ha alwa alwa
iden iden ad es
st succ succ ss ul
ea
re ular ularly ly visi visi prepre-wa wa conc conc rt
ls show show sp ci wkwa wkward rd He
lo
hi if
fo he
xt
ve
irty irty
pr sano sanos, s, Ha ol nc rn fo th boy' boy' de ow ke sc e-
Duri Duri hose hose ye rs oy in ondo ondo Jos ha le ty ~po. ~po. tun1 tun1ty ty to ndul ndul in hi nqui nquisi siti tive ve ss it whic whic he n?:" n?:" ll ti t~ly t~ly ha ngly ngly so or na ve li ys f, wh fo nd th he smng smng fore foreig igne ne
opul opul tion tion
se so
th ng ha se
Jo
Jos
inte intere rest st in im nd is we fare fare pl tfor tfor nn r, wh ch wa sh
ft hi
enue enue it le furt furthe he town town from from he ou Sa oy Ba lroo lroo en ther ther at th sugg sugges esti tion on of th eigh eighte teen en-y -yea earr-ol ol pian pianis is call called ed Roge Roge Amer Ameres es
ntsnts-
no less less welc welcom ome. e.
first-growth
ha li
ap in
er in is Fr
Karn Karn
ay
th fa
us
ak r'
th
ller ller th icto icto ia Jos
alla allace ce Coll Collec ecti tion on nd lber lbert. t.
in
xu
xi
ar
or
cade cade
li
th Brit Britis is
ht
it
to
ll ti
ve
it
ha
in tr ts o n t en en d t h wan.joska's natu natu al adve advent ntur urou ousn snes es ha le hi idel idel thad thad an of hi cont contem empo pora ra ies. ies. as fasc fascin inat ated ed th to
arke arket, t, th thre thre grea grea conc concer erto to of Beet Beetho hove ven, n, fo th ngli nglish sh Colu Columb mbia ia labe labe unti unti then then only only
in lw
dy
gh
t~
able able to grab grab th conc concer ertm tmas aste ter' r' bo owed owed inst inst umen umen
al in
as ve
viol violin in quic quickl kl pale pale an
of
ha
ll
nc
up
la
an fini finish sh th perf perfor orma manc ncee-
emot emote. e.
reci recita tals ls of cour cour e, Jo ka
ondo ondon. n. he
to
ende endels lsso sohn hn an Brah Brah eisl eisler er ha ever ever reco record rded ed
ik play played ed befo before re i m t an an t ti
Mu eum, eum,
in D es e s er er t I sl sl an an d D is is cs cs , still
nd
tr
nt to tr ve
J o sk sk a
th Ro al
in io
ll
il
on ti
or
im th
io if
is soiree soiree musicale, musicale,
to ta
outi outine ne nl
tr
ti t. Jos lm oc he shav shaved ed diff differ eren entl tl very very mo ning ning om body body it rema remark rkab able le emor emor of cour course se
iv
(cantabile)
he
ir
Jo
ve
ou
ould ould emem emembe be
Jo
could
point!'
io
io
mo ning ning
he
in
th hi
nd
knew on drove
oska
home
oska
or
p ri ri v
hi
ld
beco es incr increa ea ingl ingl oska, it beco
oc
om
on
uc
Th Magi Magi Flut Flut
is
tz
h.
he
tt
la
ha prev previo ious usly ly know know
hi
bu
orki orking ng
ur
No. Mend Mendel elss ssoh ohn. n. alto alto as incl inclin ined ed to agre agre an by th en of ou ifty ifty mile mile jour journe ne back back to Lond London on thro throug ug ores orests ts an oods oods fill filledwi edwith th nigh nighti ting ngal ales es oska
concerto.
Czec Czecho hosl slov ovak akia ia th
th BB broa broadc dcas asti ting ng th ne bu ti te ng
in renc renc an er an or de ng ha la t,
ur from from th capi capita tal. l. ow ha in ut od th of ow le
nd nd da od
Fran France ce at Ca Fe rat, rat, si
iles iles ro
u rn rn e te
ou ne ig od bu
ice, ice,
he
it
coup couple le of char charac acte te
he
natu natura rall ll
in Chek Chekho hov. v.
da
go
spen spen my holi holida da
heat heat oppr oppres essi sive ve an ha gone gone to Swit Switze ze land land to prep prepar ar seas season on In cons conseq eque uenc nc
nurs nurse, e, Vale Valent ntin ina. a.
th
fo hi
spok spok Russ Russia ian, n, addr addres esse se Iv
tw to he
it
in
in whic whic
Bart Bartok ok
ante ante
to know know abou abou Benn Benn Good Good an
clar clarin inet et play playin ing, g,
orth orthco comi ming ng
each each othe othe full full Bart Bartok ok wrot wrote, e, 'the 'the trad trades esma ma
deli delive ve
less less than than he ough ough to
he
ar nmes nmes
tran tran lati lation on of th lett letter er in hi auto autobi biog ogra raph ph W itit h S tr tr in in g A t a ch c h ed ed , Joska tran tran late late trad trad sman sman as'sal as'sales esma man' n' have have used used th or he ir used used to
pe
Contrasts
Engl Englis is
on tw
jazz jazz week weekly ly T h M e o d
gh
is
Contrasts Ma er
BART BARTOK OK
HIGH HIGHBR BROW OW
ondo ondo
Lond London on
late late expe experi ri nced nced-d -did idn' n' ls
in written e n v qy qy ag ag e
ly
it
im
ic
to
ti
is
in
om
avia avia ul of exot exotic ic bi ds toma tomato to s, gr pes, pes, chok chokes es love lovely ly flow flower er (cam (camel elli lias as to I), i g afte afte
er an un
te
bb
an
as asto astoni nish shed ed ho ng ha to
in
SENS SENSAT ATIO IO
pr Jo
in Eu op
on
home home in Sout Southe hern rn Cali Califo forn rnia ia
TAKE TAKE COGN COGNISA ISANC NCE. E.
ll th
star starte ted, d, da dled dled char charac acte te isti istica call ll blac blacke kedd-ou ou th
GOOD GOODMA MA
SNOB SNOB
is
ompl omplet etel el
up
is
ic
SZIG SZIGET ETI, I,
rela rela with with te
traw trawbe berr rrie ies, s, aspa aspara ragu gu ou
arti arti
of hi coll coll ague ague da
ondo ondo
as
drop droppi ping ng bo bs an pe ur
ay.) ay.)
Jo
tr on .' an te
ig
is Beet Beeth. h.') ') to ecor ecor ha
ke trav travin insk sk 's D u o C o n ce togeth ther er as ce rt rt an an t toge Jack Benn BennyyH o llll yw yw o o d C a n te te e n it Jack ly
ba
co resp respon onde dent nt
bu
am
lo
it
lo lt
column!'
ho
iv xiii
im ri os 's emar emarka kabl bl reco reco di gs of Paga Pagani nini ni ap ices ices tran transc scri ribe be or th viol viola. a. Prim Primro rose se as alwa always ys asto astoun unde de by Joska' Joska' play playin in of unac unacco comp mpan anie ie onn
cove cove in ll ix of th unac unacco co pani panied ed Ba onat onatas as ~n pa t1 as epteptembe embe 5, 1962 1962 back back in itze itze land land he ele~ ele~ra rate te hI even eventI tIet et bi thda thda ld
Josk Josk an Prim Primro rose se appe appear ared ed toge togeth ther er with with Schn Schnab abel el an Pier Pierre re Four Fourni nier er
bela belate te bi thda thda le
le ly
th
trib tribut ut
on th
date date on
should be
in
lu
Joska Joska hear heard.of d.of this this le te s, a? .of ti th la
Joska Joska wh wa in Geno Geno judg judgin in th Paga Pagar: r:1l 1ll1 l1co comp mpe~ e~lt lt~o ~on,nor n,nor Wand Wand an station transmittm transmittm the programme Iren Iren in itze itze land land ould ould ge th BB station programme pite pite of th
tt acti action on
of Cali Califo fo nia, nia, ho ev r, Joska Joska's 's tour tour in Eu op Sas zoth-century
ta
ix
in
te
Jos
q io io r na na l
th
it nces nces ho ever ever xiv
inter-
nati nation onal al viol violin in co peti petiti tion ons, s, ofte ofte sitt sittin in ti
Spe
d i S ic ic ilil i
tz urin urin
eb ua
on
were
li
eric erica. a.
viol violin inis ists ts ho ha id tr
is
to
th
er in
alon alongs gsid id
1962 1962 (i hi
ti l,
even eventi tiet et
bu th
io
li
ises isest' t' xv
befo before re hi eigh eighti tiet et
birt birthd hday ay It bega bega with with
re ital ital
it ms ho
opti optimi mi ti
sa tale tale of hosp hospit ital al expe experi rien ence ces, s,
Sziget et onthe Viol Violin in was ll hi la ook, ook, Szig Violin Violinist ist's 's Notebo Notebook ok
With Stri String ng Atta Attach ched ed raphy, With an is nati native ve unga ungari rian an (a lang lang ag
he
rote rote le
kill killfu full ll
he
id than than
'Han 'Han
riti riting ng
is pain pain
CONTENTS
page
vember 1971, afte afte
anda anda's 's de th wa cutt cuttin in
teet teet
Part Part
Joska'. SPIKE SPIKE HUGHE HUGHE
in
Lebriabre
of th Auth Auth r'
2.
rs
fo
e t of surv surviv ival al in petition' la ce at he inte intera ra tion tion of om etit etitio io
mush mushro room om-g -gro rowt wt
it
th
ra opho opho
of care career er in ou ti
13
18
alar alarmi ming ng data data abou abou th pauc paucit it of stri string ng play player er fo orch orches estr tras as in 2.1
faul faul and, and, in addi additi ti n, offe offers rs om as isto istori ries es th ay help help to expl explai ai gene genera rali liti ties es (jus (jus as stat statis isti tica ca data data ma help help to clar clarif if case case histories)
2.
17
th om into into sadd sadd ning ning data data conc conc rnin rnin like
quac quacks ks
puri puriou ou
th auth author or's 's sugg sugges esti tion on fo over overco co in
an th
e t e c e o th chan change ge in ou
19
ollo ollo
21
uest uestio ions ns whet whethe he
it
Exam Examin ines es th ques questi tion on tr ss
th impo impo tanc tanc
heth heth
chan change ge of st in
of tone tone colo colour ur th
is
or
is th need need to espe espect ct
sake sake of comf comfor ort! t! 13 Trie Trie to di suad suad viol violin inis ists ts om play playin in iden identi tica ca epea epeate te note note th th vi le oven oven Moza Mozart rt Mend Mendel elss ssoh ohn, n, Ma Bruc Bruch, h, Cesa Cesa Fran Franck ck an othe others rs he li nn ta in u at at e play play emon emon trat trates es th
ie
f m
ccep cceptt-
pp ecia eciati tion on of th unac unacco co pani pani
th unce uncert rtai aint ntie ie
t ai ai n
th
Part Part II
an :int :inton onat atio io
18
clai clai
33
l ai ai m call call heal health th-g -giv ivin in cour course se te
ic
utli utline ne
th
caus caused ed by th disa disagr gree eeme ment nt
ta
it
n t e V
fo mo enta enta il unfa unfa hion hion bl -sli -slide de betw betwee ee na ow inte interrvals vals an inci incide dent ntal ally ly touc touche he upon upon rela relate te subj subjec ects ts
47
25 52
ic Prob Probes es th re sons sons hy impl impl um tata tata acco acco pani pani en figu figu n i on depl deplor or th lack lack of conc conc et desc desc ibab ibable le acts acts abou abou th play playin in
57
68
vibrato-now th nine ninete teen enth th cent centur ur
dv nt ge
of an 'ope 'open' n' le hand hand afte afte an excu excu un this this kind kind bu illu illu trat trated ed by digr digres essi sion on th ange ange om eutz eutzer er in in io ia te propos ourt ourths hs ha ks ba to hapt hapter er judic judiciou iou choi choice ce of stri string ngs, s, spea speaks ks abou abou so-c so-cal alle le crab crab-f -fing inger erin ings gs
29
;0
th
peak peakin in
Ysaye Ysaye an
ti ll an fJ
uppl uppl ment ment
th th prec preced edin in
hapt hapter er
in us l l 'repri 'reprise se de l'arch l'archet' et' th he hi qual qualit it of ce tain tain ph as frag frag ents ents
Krei Kreisl sler er
77
81
80 XVlll
xix
us bl
33
iscu iscuss ss
cloc clockw kwis is
ings
to
an coun counte te cloc clockw kwis is bo in dl ti in
an touc touche he
te
HAVE
dida didact ctic ic aim. aim. Conc Conclu lude de that that they they cann cannot ot be safe safely ly disp dispen ense se with with he th ha is fort fortyy-fo four ur Viol Violin in Duet Duets, s, inci incide dent ntal ally ly disc discus ussi sing ng th ever ever-p -pre rese sent nt
36
an Brah Brahms ms Conclusion Index
nd ls
INTRODUCTION
be
12
abou abou viol violin inis ists ts an viol violin in-p -pla layi ying ng in th cont contem empo pora rary ry musi musica ca scen scen from from inte inte nati nation on viol violin inis ist, t, te cher cher co peti petiti tion on judg judg span span th grea greate te pa tw ti nt to ge ay help help th viol violin inis is it hi prac practi tica ca prob proble le s.
ic 216 226
io tech techni nica ca form formul ulae ae fo 'sho 'short rt cuts cuts', ', newl newl disc discov over ered ed 'sec 'secre rets ts', ', th he is th lo 1961; th auth ng author or
in le expl explan anaaio ites ites that that
neck-«.
shoulders-arms-hands'). of this this book book is some someth thin in orty orty or fi ty ea or
ag
of
very very diff differ eren ent. t.
th in ould ould be emba embarr rras assi sing ng to th tude tudent nt toda today. y.
tl
te
us
give give
da ul il iu on th bo ll l et et t ny is te th th l et et t devi devi hi or he ow insp inspir irat atio iona na pref prefac ac to page page in hich hich uc do n-to n-to te il ha on ito
repe repeat ated ed', ', 'cou 'count nter er-c -clo lock ckwi wise se many many othe others rs
bowi bowing ngs' s'
th
'reprise
ts
trivia (o rath rather er what what he
in
in
ould ould be cont cont adic adicti ting ng
self self if
er to pres pres nt eady eady
om
ad
solu soluti tion on
own 'handw 'handwrit riting ing'.'. et th eade eade then then pick pick ou of th page page th foll follow ow ou ofthis ofthis is ella ellany ny of ugge uggest stio ions ns of advi advice ce of crit critic icis is hate hateve ve ee to appl appl to hi self self pers person onal ally ly at hi play playin ing, g, at hi lack lack of disc discri rimi mina nati tion on at hate hateve ve hi pa ti ul 'lac 'lack' k' ay be ov
de
io
is
Ther Ther
Is
ubst ubstit itut ut
lack lack of sele select ctiv iven enes ess, s,
th
or
erfe erfect ct Into Intona nati tion on'. '.
tran transm smit itti ting ng th ss nce, nce, th poet poet ts ll if is
th pass passio io
of
usic usical al ompo ompo itio ition, n, nt ti
CHAPTER
No
ni
AuthorJs Lehrjahre
tu
TURN
th
hi
Lehtjahre coinc coincide ided, d, sa it
b.
if
nine ninete teen enth th-c -cen entu tury ry
1)
ball ballad ad
th
etho ethodi dica ca
callit callit ha ou an on caus cause. e.
nd
agan aganin inii- iszt iszt
of ieux ieuxte temp mp ls
ill. ill.
li
b.
type type of conc concer ert, t, ha va la le tu ph
Conc Concer erto to in
trai traini ning ng an th bene bene it of gram gramop opho hone ne ne cann cannot ot
majo majo
ld
ho
ha dl
ieni ieniaw aw
nd radi radio, o,
itho ithout ut over over-s -sim impl plif ific ic tion tion or
ll
ne ud gs
om
udap udapes es in 1903 1903 on iste iste
or
ta
chan change ge
ight ight
ascr ascrib ib it to
on
in
iott iottii- eutz eutzer er
type type in
as th love lovely ly
th Mend Mendel el sohn sohn Conc Concer erto to th
inor inor by
entosrage in thos thos
agan aganin ini' i' calc calcul ul te
itch itches es to disa disa
il th la unae unae in Brah Brah s, chai chaiko kovs vsky ky
inor inor
da
once once to by
ie ax Bruc Bruch, h, th Ba
felt felt ju ti ie
an e- athe athe edou edoubt btab able le athe athe than than to plea plea e.
in lett lettin in
ll
rahm rahm once once to ubay ubay once once to o. II ieni ieniaw awsk ski' i' 'Fau 'Fau t' anta antasy sy Hubay' Hubay' Concer Concerto to all'Antica, th esar esar anck anck Sona Sonata ta ubay ubay S ce ce n d e Bach oubl oubl Conc Conc rto, rto, Co elli elli's 's olli ollia, a, an arti artini ni Csarda o. II th Bach
iott iottiihaco haconn nne, e,
eeks eeks dive dive si ie this this ater ateria ia arme armen, n, th Rond Rond Capr Capric icci cios os
th ir of sp in
Ed ardi ardian an 'a ho ll this this ee to
ltho lthoug ug give give us is tu ts
down in 185 or 190
il
li
s' it toda toda nd
au or ub 's
icto icto ia prog prog am es Reta Reta ded, ded, adol adoles esce cent nt he oung oungst ster er star star thei thei live live it impo imposi sing ng jo gu
this this does doesn' n' excl exclud ud om rath rath su pris prisin in letlet-do do ns he th hatc hatcha hatu tu ia that that is im easu easu ably ably uper uperio io to thei thei Mend Mendel el
envi envisa sage ge thos thos in ro dcas dcasti ting ng
ea
itho ithout ut broa broadc dc stin sting, g, itho ithout ut in trum trumen enta ta ecor ecorddio reco record rdin ings gs co peti petiti tion on ke ou te nage nage on th aler aler
135 to so
ly
ls
ur
moto perpetl/operpetl/o-type type
an fort fortyy-fi five ve minu minute te
undr undr oper operat atic ic Fant Fant sias sias aint aint Sa ns so ar sate sate ta t'
hoic hoic an on obvi obviou ou ly
usic usical al equi equipm pmen en an bega bega thin thinki king ng of Beet Beetho hove ven, n, alo, alo, Sain Saintt- aens aens an oldm oldmar ark; k; that that took took om
is
it by
fo scal scales es
1908
nd Leopold Aser u s e t o t el el l p u pi pi ls ls : ' P ra ra c titi s t hr hr e h o ur ur s a d q y i j yo yo u a r a r r g o od od ,f,f o u l itit tltl e s tu tu p id id . If y o n ee ee d m o r t ha ha n t ha ha t-t- s o p Y o s hhoo ul ul d t r a no no th th eerr p r of of es es s o n. n. '
prolif prolifera eratin tin
ta ifyo« ar
ge
uc
instit institutio ution. n.
la
th Cana Canadi dian an
athl athlee ee
arlo arlo
Ma
ls pp arri arri on an pe haps haps
CHAPTER
played it it
I~IO,
th
t?ck t?ck Ex hang hang
ateu ateu
rche rchest st al So iety iety
sovere sovereign ign enclos enclosed ed
H en en r bo
W oo oo d B u o n on
C on o n ce ce r o .
wa be or on
B ee ee cb cb a
an ma
be Au bo
o tb tb e
an
el
words
a c e d b e B ee e e tb tb oo oo e
o u a n a n e n o rc rc e s ta ta y
s an an a o r u m
London. lg th
BEET BEETHOV HOVEN
CONC CONCER ERTO TO
ge of nine ninete teen en or twen twenty ty ip disc disc rd
QUEEN'S
full elan of hi ad ir bl
th
ac Emaj Emajor or
crus crus ding ding
piri pirit, t, Ysafe Ysafe Bu oni, oni,
once once to that that th te pi of allegros bu
allegro tempo wa
eisl eisler er Mi ch
it
to
ty
id
ia
se this this
he
inis inishe he virtuosi an
priz prizee-wi winne nners rs at inte intern rnat ation ional al
these etudes coun counte te so diff diffic icul ulty ty in on of th mast master erpi piec eces es th la long long orgo orgott tten en in thei thei pa t.
ol or cont contem empo po ar
drop droppe pe
in on
on ertm ertm ster ster an on
th
that that ti
nold nold Ro e, an ol
he
as
aste aste
Mahl Mahl r'
el over over even eventy ty
indi indica cate te an arti artisa san' n' will willin ingn gnes es to work work i n d ep ep th th . isbein isbein reco record rd is prep prepar ared ed by ou ente ente pris prisin in oung oung virtuosi at th behe behest st is
in
into into th play player ers' s' bloo bloods dstr trea eam, m, this this is le
on
di
omet omethi hing ng that that shou should ld be pond ponder ered ed ui it, the
218, 1930S an in fa
Moza Moza
inor inor be or he ic po li
orty orty
ears ears old. old. ti
hi di fide fidenc nc in shou should lder er
op ki or than than iv of agan aganin ini' i'
neve neve play played ed in publ public ic
twen twenty ty four four ib
id premiere
iz to
1910,
premiere
that
no
v ic ic to to ir ir e p ou ou r
e uu uu r
e t u n g ra ra nd nd e o i
undertake to Ysaye Ysaye p ou ou r
n te te r
om
us
be ns ut on
b e R ec ec i a l
tb nineteenth c en en tu tu r
om
be
be as bi
of be
twentiet century
PERHAP
ecit ecital al as an inst instit itut utio ion, n, as it in it
as so
fo ty
ar be or
st rted rted play playin in
ta S o ci ci et et a d e Q u a rt rt et et t
prob probab ably ly se ve aswell aswell t.
prete'.
in
la lass tbird tbird
IT MA
'insaisissable'
un
be No
in ap ices ices
ti
ge Ys th no of uc impo imposi sing ng di ensi ension on nd su de ndin ndin ch ract racter er di th fi st Be li pe or nc of th Elga Elga in 1912, whic which, h, acco accord rdin in
OF an
ny othe othe se of prog prog am es to trac trac this this deve develo lopp-
Ja es's es's ll on erts erts ould ould have have ad less less clea clearr-cu cu an inte intell llig igib ible le Fo Joac Joachi hi
this this ne es aril aril brie brie de crip cripti tion on ha alre alread ad been been year yearly ly visi visito to
1849,
carr carrie ie impl implic icat atio ions ns
hich hich ne
no be gone gone into into he e. ic
it minutes!
lo
in
publ publis ishe her, r, Tito Tito ie
in its
ag nini nini
in
(sic),
te
icor icordi di in 1864;
lege legend ndar ar in
conc concer erts ts
ts is
te it
thei thei
ta
'Mae 'Maest stos os
on ta
iv
enti enti i at at i
nt le
it is
foll follow owin in
prog progra ramm mm
ta ro
ffwi
th Moto
tina
alled) d) th Perpetuo fame, if fame it an be alle er pe pe tu tu o in Eand Eand Paga Pagani nini ni's 's M o t P er
ande ande Largo, th Bach Bach Gavo Gavott tt
di tanc tanc of elev elev re
th !-eg !-egen en
an Polo Polona nais is
this this ubsc ubscri ript ptio io au ienc ienc Four Four year year befo before re in 1878 1878 Wilh Wilhel elmj mj play played ed th 'Kre 'Kreut utze zer' r' Vari Variat atio ions ns an th Bach Bach Chac Chacon onne ne both both obvi obviou ousl sl favo favour urit ites es with with th ub crib criber ers; s; th pian pianis is av th Anto Anto Rubi Rubins nste tein in Sona Sonata ta an hopi hopi Vals Valse, e, asing asing sang sang some some Ma se et nd th quar quarte te play played ed Sv ndse ndsen' n' Op
jo
Pr
in E. Sara Sarasa sate te's 's orch orches estr traa-ac acco comp mpan anie ie
days days Ys ye ha alre alre dy pl ye it in 88 in this this so iety iety
ra
rt Th
ra ia
prog progra ramm mm
fh
Sona Sonata ta pr is wort worthy hy thou though ght, t, cons consid ider ered ed by it elf, elf, bu he foll follow owed ed it by cc om om p an an ie ie d o n t h p ia ia no no , Romanze by Ma th Beet Beetho hove ve Conc Concer erto to a cc ru an th Sain Saintt-Sa Saen en R o n d C a pr pianoo-ac acco comp mpan anie ie Beet Beetho hove ve pr ic ic c io io s o Th pian te e~on e~on once oncert rt with with it firs firs move moveme ment nt foll follow owin in it minor once oncert rto, o, Fantasia m or o r ce ce au au x d e s a o n of hi ow conf confec ecti tion on ut le us onti ontinu nu in le etai etai an ge bird bird's 's-e -eye ye ie of th repe repert rtoi oire re alle alle upon upon th
reat reates es name names) s)
Pa Solo Solo Sona Sonata ta Nard Nardin ini, i, Loca Locate tell lli, i, Sain Saintt-Sa Saen ens, s, Su an Brah Brahms ms Danc Dances es
as Prih Prih da
as cour courag ag ou
Grum Grumia iaux ux pl ye Vera Vera ini, ini,
Tr enou enough gh to play play in 1947th 1947th
ach, ach, Prok Prokof ofie ie
econ econ
Spoh Spohr' r'
Co cert cert
it
ID Tart Tartin in mino minor, r, Schu Schuma mann nn's 's rt Pbantasie, Ma ru 's Me th majo majo Roma Romanc nc of Be thov thoven en an aBach aBach Solo Solo So at made made up th thir thir ro 's ro quar quarte te an solo solo numb number ers: s: Be thov thoven en's 's majo majo (Ras (Rasum umow ow ky Quar Quarte te nd th Anda Andant nt from from Schu Schube bert rt's 's mino minor, r, prob probab ably ly play played ed by thel theloc ocal alqu quar arte tet, t, th aria ariati tion on from from th 'Kre 'Kreut utze zer' r' an Ztgeunerweisen cont contri ribu bute te by Sara Sarasa sate te Fr ra it 10
prog progra ramm mme: e:
ro
dagi dagi
an Stra Stravi vins nsky ky Th po t- ar fe
tenue.
rs
majo majo
'S
Er
been been ac epte epte into into th repe repert rtoi oire re ig ro ra se sons sons (192 (19277-46 46 in this this ocie ociety ty On migh migh ti ta re ro to
M em em o
C ar ar l F le le s h :
in
xpec xpec that that thes thes woul woul
li
fi yi ld
th
ight ight pr gr mm
turn turn
ut
rath rath
isap isappo poin inti ti g. 'K
96.
inde indemi mith th's 's
fi
earl earl
thre thre
p. II,
s p ec ec ul ul at at in in g o n t h r ec ec itit al al ' w en en ty ty - i rs rs t c en en tu tu r a n o w n t im im e s
ever ever iece iece zyma zymano no ski, ski, Smet Smetan ana, a, plet plet thes thes eigh eigh prog progra ramm mmes es
la ig roff roff
Sara Sara te
c h an an c e
s ur ur v v a
he
o uc uc he he s u po p o n h e e m er er ge ge nc nc e
th game
ou
c h a nc nc e c a llll e d ( C o m p et et itit io io n '
om
HAVE
So pl in
ur ou omis omis io th
it knows'. re ls to be foun foun in this this
ttit ttit de of ommi ommitt ttee ee
ic
ciet ciet 's ct viti viti
cate cate fo th ir
embe embers rs
of nd
name name of Bela Bela rt an Serg Serg Pr kofi kofiev ev wo iani iani t- ompo ompo er wh by righ rights ts houl houl ha ee ke to gi ro ra es of tand tandar ar or it 1920S and 1930S
ppos pposit it
hope hopefu fu
ages ages ac in trum trumen ents ts
iv nd
om id
em to have have lost lost
rt 'T
Va ishi ishi
usic usic'. '.
In th
rite riter' r'
(esp (espec ecia iall ll
rd this this
is this this pe im st
Re it l' sinc sinc
ould ould me
oi
fter fter 1955
'wor 'worki king ng
isol isolat at
on
In
1961
me subj subj t: 'V ni he
lori lori
udie udie e- ompe ompell llin in pl tfor tfor pers person onal al ti of th chma chma in ff ype. ype. Ther Ther ar ot er re sons sons too. too. rank rank of ri dric dric ui a, oven oven an th Vien Vienne ne
en th ven' ven' even even-n -n mber mber onat onat will will ompe ompete te wi th 'Kre 'Kreut ut zer' zer' nd 'Spr 'Spr ng', ng', en arto artok' k' Seco Second nd Sona Sonata ta inde indemi mith th's 's Solo Solo So ta Schu Schube bert rt's 's Op 162,
rtic rticle le enti entitl tl
desc descri ribi bing ng th noti notice ceab able le decl declin in of this this 'ins 'insti titu tuti tion on
edit edit rial rial on th
artist d o e s
re en
oupe ouperi ri
Ra el with with
as lass lassic ic
th
ci alis alist' t' an ga
Pade Padere re
ki
reis reis er
de is name name in er rete rete owad owad ys pt re audi audi nc s-
cond cond al
on isti isting ng
tire tire
of ja
st
et
(s me ofit
~o tine tine
~e~e ~e~e aw this this on er adve advert rtis is is draw drawin in ower ower enab enable le er with with prom promme ment nt solo solois ists ts ca fill fill reci recita tals ls bein bein usua usuall ll give give in th adjo adjoin inin in 1m ~r a~t. a~t. dall dall of t. e.ci e.city ty is at he wo revi revi er ~US1C ~US1Ccn~ cn~1c~nd 1c~nd ~he jazz expe expert rt an th eval evalua uati tion on ase, ase, bu ~tss ~tssuc ucce ce .1 cl~s cl~s es
on
rath rather er omin ominou ou
repe repeat at d; he do make make th fina finals ls nd is plac plac la t, inni inni th eq iv lent lent ofle ofless ss than than doll dollar ar (a disa disapp ppoi oint ntin in resu result lt fo such such good good perf perfor orma manc nces es). ). 2,000
ym tom. tom. lo
,a 11 st ou 1nst 1nstru rume me tali tali ts), ts), fr re
tern tern tion tional al
omrr omrrut utte te
does does stri stri
to th on ert, ert, thei thei appe appear ared ed frat frater erna nall ll
vo x p o p u lili ' the ' vo rece recent nt case case hist histor ory. y.
o~te o~te ts whic whic .w
prol prolif if rate rate
me t~ng t~ng o~or hest hestra ra
th
rp ff le tive tive li tene tene ne itab itably ly
at he truc tructu ture re of th
ri cu cu l u play player er appl apply, y, with with c u r ri
fina finals ls from from
an
th kn wl dgea dgeabl bl
ri comp comp titi tition on
hich hich on
rs
in er
v itit a e
merg merges es
rd
inor inorit it ry
hamb hamb
an draw draw co cl si ns
rm
mu ic soci soci ties ties an so n, ca
's
lo ge go to th se 1ntr 1ntr du tory tory reci recita tals ls
ill, word versetry.,:h1 ,:h1c~ c~ ls mean mean hors hors -r ing; ing; 'C mp titi tition on Sh
re fo hors hors
rm ~th ce a u i m po po s es es from from _onec _onecom ompe pet1 t1ti tion on t? ~not ~nothe her, r, prep prepar arin in th diff differ eren en m o r ce T~ha T~ha~k ~kov ov ~y Paga Pagaru ruru ru Rach Rachma mani nino noff ff or hopi hopin, n, Sibe Sibeli lius us rtok rtok or .c .n its
.te 11us 11us.t .tno no smte smterp rpr~ r~t~ t~rs rs as a.cru a.crutc tc is al os in vita vitabl bl cons cons quen quen rely relyin in on om et t1on t1ons, s, wi th ir echa echa ic ev lu tion tion ns ea of on 14
plis plishm hm nt wa high higher er this this time time beca becaus us re seven seven prizes prizes.) .)
ti nate nate
th proj proj ct
hole hole
he part partic icip ipat atio io
of th
up rbly rbly
scanda scandalou lou manne manner, r, 'the rize rize in er th 19 Intern Internati ationa ona Compet Competiti ition on at '. Ev if th fail fail ever ever to reac reac he fina finals ls th re ar ompe ompeti titi ti ns hi '. comp compet et tion tion te cher cher
It anno anno be thos thos
umed umed that that al
them them uffe uffe from from delu delu ions ions
it
om they they oach oach in he 'pos 'postt- ra uate uate ears ears nc ri th om teac teache hers rs on on th futi futile le tt mpts mpts mi ui ed pupi pupils ls nste nstead ad di oura oura in th in im
dist distor orti ting ng perf perfor orma manc nces es ca be give give on fals fals auth author orit ity, y, enga engage geme ment nt unde unde fals fals pret preten ence ces. s.
al
th vi li deal deal rs ncou ncoura rage ge th no ncon ncon ci us of he bene benefi fi ia
the, the, some someti ti 'a
It ha be om
of th
clic clic
th
ee th
ew ty
of
'n me fa es
th th
mi-p mi-pro rofe fe io al
comp compet etit itio io
as gr
Muni Muni .. up
riva rivate te an havi having ng gr uate uate fr om cons cons rv tory tory with with dipl dipl ma or scho schola lars rshi hip, p, they they take take priv privat at less lesson on and, and, enco encour urag aged ed by thei thei teac teache hers rs m o rc rc eeaa u i mp mp o se se s beyond
16
to ur hima himaer er id effe effe ts hi ompe ompeti titi ti ns
or ly trie trie juro jurors rs To is ve
outs outsta ta di
tale tale
rd
om etit etitio io
19
s,
made made
enoa enoa comp compet et tion tion
here here
comp compet etit itio io
of 1966!
firs firs priz priz winn winner er
fo gh fo hi admi admiss ssio io
of rece recent nt year year ..
into into th fina finals ls
.'*
B y t h t im im e t he he se se p ag ag e a p pe pe a i n p ri ri nt nt , t hr hr e o r m o r e n e w c o m p et et itit io io n s w ilil l h a v t ak ak e n p la la c e i n V an an co co uv uv er er , B .C .C . L on on do do n E m A nd nd e s o A wa wa rd rd ) N ap ap le le s F on on da da z o n A lb lb e C ur ur c a n p r o ba ba b l o t he he r s w h i c h h a v e n o t c o m e t o m y n o titi ce ce .
om
OF c om o m p et et i i on on s w itit h t h g ra r a m op op h on on e i nd nd us us tr tr y a n
ur
us
be
mmat mmatur ur 'Gol 'Goldb dber erg' g' do or za
co nt nd pe
nc
ay
us an th fu ur eg ow
co er
Vari Variat atio ions ns,a ,all ll si of chub chuber er 's viol violin in-p -pia iano no work works, s, na as bi an
wa no un il 1944tha 1944tha he were were reco record rded ed Casa Casals ls ecor ecorde de
spli splici cing ng piec piec ng toge toge her, her, reve reverb rber erat atin ing, g, orci orcing ng will will ulti ultima ma el temp tempor orar ar
work work ou fo th
pe
equa equali lizi zing ng
thes thes
oung oung perf perfor orme me
d in in g
ut do bt ho
th
chal challe leng nges es ca
hims himsel el
youn youn
viol violin in sona sonata ta (Rav (Ravel el Debu Debuss ssy, y, Enes Enesco co Bart Bartok ok Ives Ives an othe others rs
om
c a u f g in in g ab ut dv nt ge
nt ct
ho of reco reco ding ding
ns on
nt ow
o rd rd i
ba
task taskma mast ster er
be bo
g-
on he
In
pu
nt
.) a tu tu r n g
mo ng
ce
iden identi tity ty Tech Techno nolo logy gy ha made made ne an or ha er om os ng
dema demand ndin in seri series es an
d in in g
an
ho gh om ac he
surpri risi sing ng that that many many perf perfor orma manc nces es byyoung byyounger er perf perfor orme mers rs lack lack th O T surp stam stam of auth authen enti tici city ty he mark mark of pers person onal al view view evol evolve ve hrou hrough gh tria tria an erro error. r. rece recent ntly ly read read this this indi indict ctme ment nt afte afte areput areputed edly ly most most succ succes essf sful ul debu debut: t: 'The 'The perf perfor orma manc nc sugg sugges este te an exac exac phot photog ogra raph ph rath rather er than than th actu actual alit it .' he do g ra ra m h o co o, ng ha ce hi
nn
c on on tr tr as as t
t h s lo lo w m a tu tu r in in g t h v ir ir tu tu os o s i o f fo f o rm rm e r g en e n er er a i on on s ( i o rc rc he h e s r a a n t ea ea ch c h in in g p o st st s w i t h m u sh sh ro r o om om - gr gr ow ow t o f c ar a r ee ee r i n o u t im im e s
ad de
ns nd on ge
hi
op
or acce accept ptin in
n in in g
acou acoust st
ei
valu values es ne oo av
pe en
at
perf perfor ormi ming ng on
ud
teac teachi hing ng post post when when they they ar arou around nd
in thei thei goal goal Bost Boston on Cons Conser erva vato toir ir betw betwee ee th ages ages of twen twen y- hree hree an twen twenty ty eigh eight, t, ba de el va oi en he twen twenty ty-t -thr hree ee an seve seve al viol viol nist nist like like Adol Adol Busc Busch, h, eorg eorg Kule Kulenk nkam ampf pf ng ch er bs ue be om ne ohe as he ho ee oi av nt ud ey he am he ph oa nd eo ol
CHAPTER
rc fr th
Fran Fran chal chal of th Vi nn in titu titu ions ions when when lo ke
Violin in Play Playin ing, g, hi in hi Ar of Viol
St te pera pera nd Mu ic cade cademy my an from from ac po th rl ta es my deve deve op touc touche he up
fa eans eans of xt nd ng hi
this this qu tion tion asup '..
os
AN
-AMBIT -AMBITIO IOUS US AT
c om om p e s
n to to f a
oof
p aauu c
o f s tr tr in in g p la la ye ye r
Un
S ta ta te te s G e m an an y
MP
p ag ag e a la la rm rm in in g d a o r o rc rc he he s r a
a bo bo u h e
E ng n g la la nd nd ,
he
n d F ra ra n
usic usical al hori hori on.' on.'
in late late ye rs As it HAVE
came came fr
suggestion.
th obse observ rv nt rs
tuttis,
dm ni trat trat
.. of th Symp Symp on
Society, wh saw, saw,
cuss in ou time is uc di cuss fici ficial ally ly-i -i ny urve urve th vi li toda today: y: th dear dearth th of orch orches estr tr viol violin inis ists ts of libr libr comp comp ti le it th pres pres nt ig tand tand rd of perf perf rman rmance ce do
is subj subjec ect, t, viol violin in teac teachi hing ng th vici viciss ssit itud udes es of th trai traine ne
This This qu tion tion of find findin in
viol violin inis ist' t'
care career er th
dequ dequ te repl replac acem emen ents ts in prac practi ti ally ally al
rc es
rt
or he tr
men) men) En li
or hest hestra ra
peak peak bout bout
hort hort ge
trin trin
pl yers yers
resp respec ecte te educ educat atio iona na inst instit itut utio ions ns in Lond London on main mainta tain in that that 'Lon 'Londo do is full' of ffic fficie ient nt pl yers yers tr in in th se inst inst tuti tution on ne of Lo do 's fine finest st fo prov prov nc th lead leader er's 's hair hair as 'i se rc f' its incumbent. Germ German an used used to 'exp 'expor ort' t' its surp surplu lu of fine fine orch orches estr tral al play player er to Amer Americ ic 20
21
dv on it n s gr ua be ol ge ks .' Ma 19 5, only only 36.4 36.4 pe cent cent of he vaca vacanc nc es fo viol violin inis ists ts in Germ German an orch orches estr tras as
abou abou sixt sixt betw betwee ee th wars wars om of th appl appl cant cant were were aged aged fort fort -thr -three ee nd on ur of ck ou of ng he or Th audi auditi tion on proc proced edur ur fo this this orch orches estr tr is: each each appl applic ican an play play hi solo solo (con (conce cert rto) o) th thre thre or si wh ar seri seriou ousl sl cons consid ider ered ed ar give give exce excerp rp from Figaro, C O S t F a T u e , M ag a g i F lu lu te te , F id id e a , W a k i r e S ie ie g r i d , R os os en en k av av a e r
A ra ra be be l a ,
us
uc
nt ve
ni
coura couragi ging ng condi conditi tions ons in mu
oo nt
on pp
va
38pe 96 26pe compar aris ison on wi in comp
of
ot
en
th viol violin in situ situat atio io
F a ls ls ta ta f
ce COSt Fa
he au
Tu
de nd as om no es
nd
ss
sautil/i
pp ne nc
n fo fo r a in in s
capa capaci city ty an good good spiccato' toge togeth ther er thes thes rath rather er diss dissim imil ilar ar attr attrib ibut utes es Th offi offici cial al Germ German an orch orches estr tr maga magazi zine ne D a s O rc r c he he s e r
ua
1 966
=»
~fte ~fte fashi fashio~ o~ (schlecht bu fail fail when when face face with with diff diffic icul ul pass passag ag (schlecht un~ In Rosenkavalter. be bette bette if he cont contra rary ry were were th case case?' ?' form former er conc concer er mast master er no orch orches estr tral al pers person onne ne mana manage ge of on of th or d' os mp op us ne of ur vi ce pr et co or hl et n' ch ge po pi av ee ou pitfal al fo him. him. L a B o m e is pitf pe at he g le le w os a, 19 nd 19 Deutsche Orchestervereinigung
on he pe or br dc
on
nc
ho ug ne us pa ub
by ca
us om
or
in
gs he ve pe
da on nc
same same stat statur ure, e, atta attain inme ment nt or prom promis ise. e. Th fact fact that that at th 1966Tch 1966Tchai aiko kovs vsky ky et Mo co nu us v io io l u np np re re c e n ee ar ou om go he Feue Feue mann mann-P -Pia iati tigo gors rsky ky-C -Cas assa sad6 d6 era, era, th reve revers rs woul woul have have been been he case. (I no nt on of as ha pi st domi domina nant nt fact factor or in an disc discus ussi sion on of cell cell play play ng toda toda assixt assixt ears ears ago. ago. gn a wa wa r at or ag he v io io l n i e s o rc rc h ny as en po om ea he he n in in g (Orchesteriibungen); an Holl Hollan an no nc 'I na ol ee nd ow he leader who-presumably who-presumably-will -will patter er of 'mas 'maste te clas classe ses' s' bu no ol ow th patt will will ai at impr improv ovin in th evel evel of orch orches estr tral al viol violin inis ists ts pr kn ol gi us en ar Coun Coun Scho Schonb nbor or in hi cast castle le omme ommers rsfe feld lden en in Lowe Lowe ranc rancon on a, wher wher rooroo-pi piec ec orch orches estr tr of oung oung play player er is give give seve severa ra week week of symp sympho honi ni n in in g de an ex nc on uc nt on oca le 'mas 'maste te clas classe ses' s' bu th acce accent nt on ense ensemb mble le on grou grou cons consci ciou ousn snes ess, s, ac he ne o! ugen ugen Orma Ormand ndy, y, cond conduc ucto to of he Phil Philad adel elph phia ia Orch Orches es ra in rece recent nt inte interv rvie iew, w, visu visual alis ised ed thre threee- earear-co cour urse se of symp sympho hony ny orch orches estr tr prac prac ic ns un er be on uc ou p re re n c e mp on pl er or he no gi b lu lu e u d b l a im im .
its
doll dollar ar if in 1965 1965-t -t spre spre mong mong om fift fift ajor ajor or he tras tras-t -t at it isfull isfull ware ware he gr vity vity of he it atio atio nd ha tate tate its obje object ctiv ives es in evot evot
th ir majo majo
nerg nergie ie to rc estr estr
erfo erform rm nc
to tr ngth ngth
ym
perm permit itti ting ng th orch orches estr tras as to incr increa ease se thei thei seas season ons; s; to attr attrac ac tale talent nted ed youn youn
case histories histories
rc
Euro Europe pe he ettl ettl in some some Amer Americ ic it it 'r laxe laxed' d' ched chedul ul th othe othe hand hand th ll-l ll-lik ik nd st me conc conc rtma rtma te of on of meri merica ca's 's
is succ succes esso sor, r, wh ha been been
Th Nati Nati na
unci unci
th
rt (U.S (U.S.A .A.) .) ls
de
gr nt
$400 $400,0 ,000 00
rt stan standi ding ng stri string ng play player ers. s. duce duce th foll follow owin in
pe si isti isti
ss ge from from
re nt lett lett r. Th
rite rite
re erto ertory ry peri perien ence ce bu ha 'wor 'wor ed fo most most hi pr fe io al life life Fo trin trin pl yers yers of othe othe re
th free free-l -lan an rc estr estr
in
'com 'com er ia
ircu ircuit it
meri meri
an
to et er
nite nite
tate tate
Swit Swit er
is
'T
ener ener ti n, an ymph ymphon on or he tras tras il go ou of xist xist nc Th reas reason on is th youn youn usic usicia ia ft 8-12 year year of tu y, fi no te dy empl empl yfa
replace. ours ours
by me
fi
repu reputa tati tion on
in En la d, th
it come come to
Avenu Avenu opti optimi mi nd ypoc ypocri risy sy spea spea abou abou vera vera un re ymph ymphon on rc estr estr ut only only ix eigh eigh re 10 pe ce pr fe io al nd le ffer ffer year yearly ly sala salary ry 'The 'The Ne Yor Ph lh rm ni offe offers rs earear-ro ro nd empl empl ymen ymen only only ince ince
ai pape papers rs-s -s meth methin in that that ever ever us to be ec ss ry anno announ unce ceme ment nt in Mu icia icians ns ni gazi gazi es an th gr pevi pevine ne ed to noug nough. h. (The Times Princi Principal pal Violin Violin-Va -Vacan cancy' cy'.) .) The 30-p 30-pag ag repo report rt th Fr nc Mini Minist stry ry of ultu ultura ra Affa Affair ir (1 63
pe cent cent of he or he tr -mus -mus or th lo al ra io tati tati n, re taur taur nt danc danc affa affair ir or at anon-m anon-mus usic ical al job. job. Th high high cost cost of livi living ng make make orch orches estr tras as
de entr entral al zati zation on-f -fou ound nd
tw
orch orches estr tras as an unde underw rwri rite te tw
or he tras tras in tw
itie itie
th prov provin in
stri string ng quar quarte tets ts
fier fierce ce comp compet etit itio ion. n. It is bitt bitter er farc farce. e. 25
lems lems (alt (altho houg ug curi curiou ousl sl enou enough gh 1t fade fade to enti ention on th co para parati tive vely ly ne fact factor or tha~ha tha~ha ente entere re th pict pictur ure: e: comp compet etit itio ions ns). ). ga ding ding th hort hort ge of full full tr ined ined play play rs spec specia iall ll in st ings ings th p~ er is unar unarum umo? o?
Lack Lack ?f a~ar a~arit it
it
th repe repe toir toir
insu insu icie icient ntly ly
d i
SPECULATES state
ON
h in in gs gs , q ue u e s o n w he h e th th e
e ar a r l s ta ta ge ge s o nw n w ar ar d
a t [ au au l a nd nd ,
c as as e h i o r e s h a m a y h e seem seem to ~a:t ~a:t1c 1cul ular arly ly ort~ ort~ of atte attent ntio ion: n: th disa disapp pp aran arance ce of thea theatr tr sp nd un:c un:c:p :pal al or he tr~s tr~s 1~ coul coul ar li in hile hile qwpp qwppln ln them themse selv lves es by expe experi ri nc or th high higher er stan standa dard rd of th firs firstt-ra rate te orch orches estr tras as
h e u i o n r ig ig h
Eun
te
e xp xp la la i
g en en e a l e s
th
iv
th
in
acqu acquir ir
it
us
c a se se -h -h is is to to ri r i es es )
th
read readin ing, g, co
he
a dd d d i o n o f e r s om om e
a s s ta ta titi st st ic ic a l d a t m a y h eell p t o c la la ri ri f
la
om
erce erce
ie
it th inex inexha haus usti tibl bl ti
co peti petiti tive ve angl angl that that is ar
phon phonie ies, s, in
iszt iszt
ensemble pl
trea trea ur
tore tore of ch
practi ti virtuoso's prac
om
tran transc scri ript ptio ion, n, play playin in
ing, ing, to sigh sightt-
be ti e.
usic usic hi is
career er ha virtuoso care
hole holeso so e.
Beet Beetho hove ve
on ta
it
e,
'corrBpetiteur'.
ic -Moser Traits,
or
eric eric
th
stud stud nt
that that
nd he dded dded 'The 'The ph ase, ase, "mas "maste te clas class" s" ha
cros cros
th enin eningr grad ad Cons Conser erva vato toir ir alte altern rnat at conc conc rt tour tour in Japa Japa nd th nite nite St te it pe iods iods of stud stud it e. he occa occa iona ionall ll send send tape tape of he conc concer er pe or nces nces hich hich then then co en upon upon by lett lett r. esou esound ndin in inte inte nati nation onal al ca ee se
to av
ad
diff differ eren ence ce to he atti attitu tude de tu
im tu in join join th grou grou twen twenty ty hour hour befo befo th irst irst once once t) ee or tt acti active ve to this this type type of oung oung play player er nd this this in spit spit of th omet ometim imes es ludi ludicr crou ousl sl in dequ dequat at pa hich hich th ajor ajorit it of thes thes emiemi-pr prof ofes essi sion onal al or do nrigh righ amat amateu eu acce accept pt bu hich hich prof profes essi sion onal al it self self resp respec ec shou should ld by
th pupilsl ti to
ic
th
ty in
r ed ed uc uc titi o a d absurdum, th oneone-af afte te noon noon 'mas 'maste te -cla -class ss give give by orld orld fa ou igur igures es to gath gath ring ring of ormo e-th e-th phot photog og aphe apher' r' ca er an th tele televi visi sion on prod produc ucer er play play to pr pond ponder eran an ole, ole, soit seem seem to e. di ting tingui ui he coll collea eagu gue, e, both both bril brilli lian an virtuoso te t,
2.8
ts
ve
ll
it
doub double le impl implic ic
pola polate te typi typica ca ca hist histor or rica rican, n, born born 1942 1942 ,stud ,studie ie it athe athe an prob probab ably ly othe othe teac teache hers rs as well well 196. 196.2. 2. on year year it an illu illust stri riou ou virtuoso; virtuoso Eu opea opea onse onse vato vatoir ire, e, priv privat at less lesson on it ou th teac teache he
to
have have co
ep rtor rtor
ig ts
of qual qualif ifie ie
le is
th
feelin in is th feel
of rema remain in
li iz
symp sympho hony ny play player ers. s.
ours ourses es ev ry here here This This nd th nu be of ntri ntries es or th co peti petiti tion ons, s, seem seem to di prov prov th theo theo that that th nu be of st in play play rs is indl indlin ing. g.
in
iv
te
utom utomat atic ical ally ly elim elimin inat ated ed hund hundre reds ds woul woul -b onte onte tant tant .... .... he on on ider ider this this th av il bl re ervo ervoir ir of viol violin inis ists ts does does no seem seem smal small. l. shor shortt-li live ve
cham chambe be
te
ensembles
it
rc
rc
-a
t or or ~
r. commitin
rn
ince ince antl antl with with thre thre trom trom ones ones
f or or t
an of four four viol violin inis ists ts four four saxo saxoph phon ones es thre thre trum trumpe pets ts doub double le ba se an perc percus us ion, ion, pl ying ying th drea dreari ries es kind kind dfsarroi
th ofte ofte witn witn ssed ssed ba ksta kstage ge he th or he tr come come of th lat~ lat~or or ~n when when so of th prin prin ipal ipal laye layers rs crow crow roun roun th co duct ductor or di cu si fine fine oint oint in th erfo erform rman an e, th glow glow of :vhi :vhi is till till p_on p_onth th m. form former er orch orches estr tral al play player er in rece recent nt arti articl cl disa disagr gree ee with with.t .the he gene gener~ r~ll ll'y 'y ri ri rt th f~ ra fi ra ri ro expe experi rien ence ce he says says that that th play player er 'i b~at b~ate~ e~ down down by sarc sarca~ a~ti ti rema remark rks, s, very very fo fl f. ta
re
re
la th te ns Th
oura ourage ge
it
hich hich he re cted cted to my rath rather er sh tter tterin in
di gnos gnosis is
diff differ eren en hi path path wo ld have have be ad join joined ed fine fine ymph ymphon on rche rche tr in hi late late te ns an with with tood tood th fina financ ncia ia lure lure of 'com 'comme merc rcia ial' l' musi music. c. Bu ff year years' s' appr appren enti tice cesh ship ip unde unde dema demand ndin in task taskma mast ster er They They pref prefer er to gamb gamble le mu ic ta in
outout-of of-t -t e-wa e-wa
re erto ertoir ir
fo th broa broa ca ting ting syst syst ms in th
ra lbum lbum of cari cari atur atures es of famo famous us mu icia icians ns (mai (mainl nl thos thos wh pp ared ared th grea grea or he tr of hi om town town Phil Philad ad lphi lphia) a) ntit ntitle le Eyes,
it
medica medica doctor doctors.' s.' whic whic is to impr improv ov d b To
matt matter er an ensu ensure re 'bet 'bette te sala salari ries es bett better er cond conduc ucto tors rs(! (! s . ry ti
orch orch stra stra thir thirty ty-s -six ix mu ic~a ic~ans ns _wasfo _wasform rmed ed 1,04 mU~Ici mU~Icians ans a??lIe a??lIe (dur (durin in on year year fo thes thes thir thirty ty-s -six ix po ts an 39 were were Iv.e Iv.e au itIO itIO~s ~s rs ri (B th wa th conc concer ertm tmas aste te hose hose fo this this ch mber mber s~n: s~n:ph phon on o~~h o~~hes es tr is re en inne inne of th firs firs priz priz at th enoa enoa Pa am Comp Compet etit itio ion. n. ne shou should ld reme rememb mber er at this this oint oint th th re were were only only eigh eighte teen en ppli pplica can. n.ts ts fi in ra rc e p s b Ig fa Th
th am kind kind of blis blis fu igno igno ance ance that that embe embers rs of juri juri at inte intern rn tion tional al ompe ompeti titi tion on enco encoun unte te ti nd ag in in th fi st roun roun s'.) .)
is
ti
io
te of th pres presen en
seve seve al esig esigna nati tion on of his
it had fill. The
om conc conc rt aste aste s' ti
po ts
hich hich seem seem su pris prisin in
th
lt second violinist
t,
oral oral -I
to
its uncer-
th
li and t<:> bolste bolste up his
he at of
n g e ne ne ra ra l a n a bo bo u h e n s o f o m s s o n a n c om om m is is s o n
p u o u c la la im im s a n
s ad ad de d e ni ni n
da
c on o n ce ce rn rn in in g q ua ua ck ck s
he ke
ta
it atio ation. n.
tainties.
th to
a bo bo u h e m po p o r a nc nc e o f h e o rc rc he he s a l p la la ye ye r e ac a c hhee rs rs , w hi hi c i n t ur ur n l ea ea d i n
in
secu secunt nt
of
mu
' p re re m i er er s p r i x . .... .
ac
is esta establ blis ishm hmen en
ur is I-ga I-ga
is to th ba ic qu stio stion: n: is it many many orch orches estr tras as Or players?
solo solo
so
i ni ni s it.' Leave it he id cita cita be or ta ting ting
Spo le tr ca in in Carl Carl le ch's ch's li he in 1923
te P l i n pp 77 80
ltho lthoug ug
pubpub-
hang hanged ed cond condit itio ions ns of th da that that ew of thes thes tate tate ents ents houl houl be gi en here here ou of onte ontext xt l: te embe embe of th usic usical al conf confra rate te nity nity ho is os impo impo tant tant to th cult cultiv ivaamusic th id le lass lasses es toge togeth ther er it th ar er till till th soil soil ep esen esen th os valu valuab able le be ause ause th os pe anen anen kern kernel el of th enti entire re body body so ia arou around nd hich hich th uppe uppe an lo er ci cles cles ryst rystal alli lize ze th lane lane on hich hich tr ta ll iv
nflu nfluen ence ce of crea creato to an or he tr ment ment of usic usical al ar hole hole
usic usicia ia in
is eter eter inan inan
'This reciprocal fo th deve develo lopp-
ra ta (Fle (Fle ch is sp akin akin ab ut th inne inne resi resi tanc tanc be bl me to erta ertain in xten xten on th teac teache her' r' te
'a of laye laye to ondu onduct ctor or mu misg misgui uida danc nc 'mis 'misre repr pres esen enta ta
aim at develo developp-
in
ic rc tr re 't effi effici cien en trib trib of conc conc rtma rtmast st rs is on of th most most im orta ortant nt task task devo devolv lv in upon upon th prof prof ssio ssion. n.
many many 'fin 'finis ishe hed' d' viol violin inis ists ts ('fi ('fini nish sh d' as th ru
fo l' sent senten ence ces: s: 'Wha 'Wha
cent centur ur
ago. ago.
tl
th
rv
deca decade de no
on .s
re
ri
-k
more more incl inclin ined ed than than form form rl to pu thei thei fait fait in diff diff rent rent yste ystems ms meth method od fr ro tu ra te i ni ni s ~-
musc muscul ular ar fact factor ors' s' pr ctis ctis
is
rs ro le ro ev uper uperfi fici cial al till till does does no resu result lt in ny sort sort of iagn iagnos osis is or sugg sugges esti tion on fo impr improv ovem em nt My rh tori tori al ques questi tion on fe pa es ba k, whet whethe he it isn' isn' rl re in in fo Le me pr face face this this by admi admitt ttin in that that stri strict ctly ly peak peakin in am no qu lifi lifi
ever ever
Y~r
orks orks that that re (I
ti
fr
'a
equipment
different.
fo
~e
come come t.
me ns to rapi rapi deve develo lopm pmen en al th ha gone gone befo before re-: -:-w -wit itho ho~t ~t ex~e ex~ep. p.ti ti ~' They They offe offe 'stu 'studi di in tent tenths hs (not (notor orio ious usly ly da_n da_nge gero rous us if ract racti~ i~ed ed ~ndi.scrim crimin inat at nd exce excess ssiv iv do es I), te im ro .oth Anot Anothe he publ public icat atio io will will 'pro 'provi vide de th mean mean fo th hi~h hi~hes es deve develo lop1 p1l_ l_le lento nto
t' your your char charac acte ter.' r.'
half half
Mo
oe~) oe~) :v
into
lish lisher er adve advert rtis is
admo admoni ni hing hing almo almo It is
ayin ayin
(m last last teac teachi hing ng year year at th Gene Geneva va Cons Conser erva vato toir ir
'p rp tual tual moti motion on in fing fing re
it in indi indisc scri rimi mina nate te dose dose (a youn youngs gste ters rs
instru-
octa octave ve is offe offere re to th re like likely ly to do ma reap reap
(Niels ls Ka~p Ka~pma ma B e rruu fs fs -K -K r a ne ne b ei ei te te n d e s M u s ik ik er er s (Nie Verl Verl g, 1925 1925), ), desc descri ribe be ev ra path pathol olog ogic ical al as hist histor orie ie from from ~s medi medi ca prac practi tice ce.) .) As in ever everal al simi simila la ca es it is obvi obviou ou that that th fing finger erin ings gs ar ra re 'l te ted' ted' Othe Othe exer exerci ci es prac practi ti ed fift fiftee ee minu minute te day, day, guar guaran ante te 'a olid olid
Co rses rses ar offe offere re to 'Adv 'Adv nced nced an Arti Artist st Viol Violin inis ists ts wh in 'n MIRA MIRACU CULO LO '1
re frus frustr trat ated ed
the
ooth ooth tr nsit nsitio io
of th
elod elod
from from trin trin
to trin tring. g.
en
'legereti' (I am
th nece nece sity sity of
ty
consol olat atio io Itis no cons
book book pu li ?~
is
ot
offers would ak itse itself lf elt. elt. to in that that th se disc discov over erer er of 'sec 'sec ets' ets' agan aganin ini' i' if th late latent nt demand di no
1927in 1927in Pari Paris, s, pres prescr crib ibes es exer exerci cise se
ts th
or th stre streng ngth th
ly
called 'museuleur',
ti
on th le
il
hi
in
he
technique.
'~etaehi'
xi
ll
lo
in
is
th is
su
er
ld th
imme immers rsio io
ll
it cloc clockw kwis is
he
an
is
in cham chambe be
usic usic duri during ng anot anothe he
um er holi holida da
ti cert certai ai ta
ic inner inner rest restle less ssne ness ss inse insecu curi rity ty
of viol violin inis ists ts ho
s) ll diss dissat atis isfa fact ctio ion. n. ge
to play play th guit guitar ar.' .'
ow to pl to 'Zeitgeist' that that brin brings gs th fo th
ic
him:
1930S)
man I).
Siciliano rhythm
m,
the Gigue bowing
1"
or
(s impo import rtan an
~.
in
uc
ight ight enth enth-c -cen entu tury ry
usic usic
bowings, spiccato
eh ar in
Be thov thov n'
before tack tackli ling ng
th sync syncop opat ated ed
'sim 'simpl pl
(K. zI8), First First Mov Moveme ement: nt:
ondary ry acti activi vity ty happ happen en to be also also viol violin in peda pedago gogu gu in se onda ic peak peakin ing, g,
tech techni nica call ll
Brit Britte ten' n'
y"'" y..."
or or
Seve Sevent nth! h! .. th
ti
Geigenbuchlein
an
ie nton ntonio io
is iv hile hile givi giving ng th begi beginn nner er insi insigh gh into into
belo belong ng to that that in usic usical al fo
to
hi lo ro a' co pila pilati tion on of viol violin in pass passag ages es publ publis ishe he
by
ho
ph as like like
vJ§a Ex ac
eg en of ou note note on th th ee di eren eren trin trings gs th ir indi indivi vidu dual alit it tl ti ligh lightl tl ') hile hile pres preser ervi ving ng th unit unit nd eani eaning ng ulne ulness ss of th ph as as de
io
ic la
tr th kn V io io lili n S ch ch oo oo l
it
th
la 41
CHAPTER
tr te
ro
ig
ft
cantabile
u p a n a n a dm dm i better
ba
om ut
ul
pass passag ages es with with some some semb sembla lanc nc
bi
with with it prob proble lems ms
beca becaus us of th BE OR
CO
tiff tiffne ness ss of
ri
an fing finger ers, s, have have no smoo smooth th bo
LU IN
ro ow
of bril brilli lian ance ce they they ar comp comple lete tely ly help helple less ss Mo
very very mall mall perc percen enta ta
findi finding ngs. s.
memb member er
.R
of them them ca ma
ic anyw anyway ay wher wherea ea al prep prepar arat atio io
of orch orches estr tras as or cham chambe be ense ensemb mble le is comp comple lete tely ly negl neglec ecte ted. d.
th rr r~ is th
ti
Th rt
ld
To this this lett letter er Szel Szel adds adds
bigg bigges es musi musi scho school ol ie
nd inst instru rume me ta shor shortc tcom omin ings gs nd negl neglec ects ts He ay that that mu ic t~de t~dent nt very very ofte ofte la even even el ment mentar ar theo theore reti ti al know knowle le ge tsolfege clas classe se an have have no conc concep epti tion on of styl style. e. In trum trumen enta tall ll
th mo
stri striki king ng
ommo ommo
qual qualit it
abou abou 'tho 'those se viol violin in grad grad ates ates know know
ntir ntir ly conc concur ur with with
ra
is th lack lack of deve develo lopp-
eorg eorg
's
of th best best avai availa labl bl tale talent nt
mu ic ally ally th
Szel Szell' l' opin opinio ion. n.
re fa
fingers'. duct ductor ors, s, pers person onne ne ma ager ager an othe others rs re pons ponsib ible le fo th main mainte tena nanc nc of exce excell llen ence ce in ou symp sympho honi ni orga organi ni atio ations ns ie it incr increa ea in conc concer er exce excell llen en perf perfor orme mers rs ra
42
post postsc scri ri
re
in
rn te
sect sectio io
rg
hang hang
some some of virt virtuo uoso so cali calibr bre, e, bu fe ri
to
musi musici ci ns Gene Generr-
ozar ozar symp sympho hony ny stri string ng part part
it
tota tota lack lack
styl styl
phra phrasi si g.
r, mere mere ou by find findin in th corr correc ec mech mechan anic ical al mean mean an thro throug ug
repe repeti titi tive ve
Pa mbel mbelli li hmen hments ts-e -e en
th
rk
qual qual ty ot
(1965) figure figure betwee betwee
and 25
laye layer. r. To my rett rett li nc
it
ig
ry oor. oor. th
nd when when
comp compar ar
ind, ind, he ta dard dard of th
he figu figure re
hole hole
ys lf to thos thos
fair fairly ly go d, th ug
le l, hile hile ue tion tion of rtis rtistr try, y, usic usic-m -m king king styl styl in el inte interp rpre reta tati tion on re fair fairly ly oor. oor. Mo andi andida date te pl ed thei thei il in my opin opinio io hole hole or or le
th pl in -s anda andard rd ce ta le thou though gh (a
ar ed cons consid ider er bl enti enti ne ef re
single single case.' case.' isto istori ries es ympt ympt ms what what presum presumptu ptuous ous it
answer. 44
ata, ata,
onta onta ne
in th se fe
ozen ozen pa es some some
CHAPTER
c ha ha ng ng e on
w ho ho l
THE
FIRST
ng
mo
a cc cc eepp ta ta b
on
s em em i o n
ha
on
th
ll
g!
avoid it consciously. in semitone has i n l eg eg a t p a ss ss a ge ge s tone tone inte interv rv is uc le obje object ctio iona nabl bl
4
1
1 # @ # tJt J \
th
an
ng
on
~ . ;.; . _
Ex sam contex context. t. movement,
ll
th
th
No.
I,
second
47
3 ee ee th th o e n S on on a
nt th
econ econ
osit ositio io
(and (and late late into into th four fourth th posi positi tion on
Op 30
.3
h ir ir d
l eg eg r
v iv iv ac ac e
ti Itrfltf r; 1~
ould ould effe effect ct
ally ally th thir thir posi positi tion on thus thus
Ex
W"".
Moza Mozart rt Conc Concer erto to K.
woul woul be anot anothe he solu soluti tion on Even Even pl yi th four fourth th
osit ositio io
(but (but stre stretc tchi hing ng back back he firs firs fing finger er
it
~#/tl
Bach Bach Sona Sonata ta II. Viol Violin in an Clavie Clavier. r. Presto Presto
9. Adagio. Adagio.
03
11£
Ex
Lalo Lalo Symp Sympho honi ni
Ex
Espa Espagn gnol ole. e. Anda Andant nte. e.
1t
fe
exam exampl ples es will will show show ho ofte ofte we ar guil guilty ty of this this thou though ghtl tles essn snes es ri C~an C~ange ge on semi semito tone ne ar mark marked ed with with an aste asteri risk sk Th lowe lowe fing finger erin ings gs ar mine.
ijf#f (1
Ex 't
Bach Bach Sona Sonata ta II. Viol Violin in an
1)
IO
re
Concerto
(jrd bar)
Vita Vitali li Chac Chac nn
~~CF
~4
~ 1 ' B 1 3 I'
3 1
Ex
Ex Bach Bach Sona Sonata ta III. V io io l
o ve ve m n t
nd
l a i er er . F ir ir s
~ i # le l e '¥' ¥ M Ex
o ve ve me me nt nt .
EYrE (1
nd th Tcha Tchaik ik vsky vsky
1)
Ex
II
Ex
I2
.,
1Ft:
once oncert rt
d ag ag i
~1fil.k till till favo favour ur th lowe lowe fi geri gering ngs. s.
49
rs
),I
Ex IV As so ofte often, n, th seco seco
osit ositio io
is th
es solu soluti tion on
Ex IJ because: (a tone; (b my fing finger erin in
gi es thre thre note note ea
assage ge like like th foll follow owin in sautilli assa
to th thre thre stri string ngs. s. Ex I7
on from from th Fina Finale le of th Mend Mend lsso lsso fortably. It oe
itho ithout ut sayi saying ng th
in th desc descen endi ding ng chro chroma mati ti
cale cale (f urth urth an
Ex IS nd th
Ex I4
Ex I9 Ex ?etw ?etw en th firs firs an seco seco
If
bars bars In ddit dditio io
poss possib ible le (als (als in th asce ascend ndin in forg forg
th
iffe iffere rent ntia iati tion on th prin printe te
50
chro chroma mati ti
elimination
page page
scal scale) e) This This lon. lon.gg-wi wind nded ed des< des<:r :rip ip 1S to
CHAPTER ther thereb eb
on co ou
h a s : h e n ee ee d
di ec on as d i c om om fo fo r
he st ng
H en en c
r es es pe pe c h e c om om p os os er er '
o pp p p os o s itit e i s s ug ug ge ge s e d n am am e l t h u s sake comfort/
lo -h of whic whic (som (som of them them This is as it shou should ld be
o pe pe n
r in in g o r
il no long long
ra
ri expr expres esse se
re:;tez
Ex.}
rt
ff
arto artok, k, is t em em p o d i M e nu nu e t o NO·3 NO·3 mark marked ed in al av ilab ilable le edit editio io IlIz IlIz (tha (tha is
stan standa dard rd in igno ignori ring ng implied xige xigenc ncie ie
th ma ters ters of f?rm f?rmer er
they once oncern rn emit emiton on even if they
trin trings gs (w ic
on diff differ eren en
entu enturl rle. e.
have have trie trie
did, did, fo in tanc tance, e,
cresco
~~iI4JBlEJ
smoo smooth ther er by appr approp opri riat at tr
ru
r @ # l m 4 ) :J: J i j?j? ! r Q . 2 ) U
Vdecrf!Scp
x. 52
~• ~mut ~mutrM rM'" '"
atis atisfy fy him. him.
iv
it).
fespr.
.k
's
( i s u p r op op o st st o e ffff et et to to , as Beet Beetho hove ve
sere serene nely ly hori horizo zont ntal ally ly
he pp
well well-k -kno nown wn edit edit rs
ra
e ffff e tttt o of
h e e xa xa c
is
is
prec precis isio io
Beet Beetho hove ven's n's p r o p os os t
bvio bvious usly ly it is more more diff diffic icul ul this this wa (esp (espec ecia iall ll th ~resce~dolead leadin in to the sforzando on fl t) bu th vi lini linist st il av th atis atisfa fact ctio io havu havu:> :>-g -g me hall hallen enge ge in tead tead of dodg dodgin in it Th am play play ould ould crup cruple le to disdis.1 to
b e u se se d e ve ve n a t h e p r c e
s om om e e xa xa m p e s w he he r
weak weaken enin in
Gslr.
~~~#J fWJJUIQmr4JJW
fing finger ermg mg
that that ma seem seem rath rather er unor unorth thod odox ox
IMETre. ~ J ~ J ~ F : J m IjbJjJJjJJLS1J 1:;4Jtiti1J1J x.
~m the
Moza Mozartrt-Kr KreI eIsl sler er
Rond Rond
Urtext
i mi mi l r l
ti
in fa sforzandi
Ex th in~e in~erp rpol olat at d. op
from from econ econ to firs firs posi positi tion on it seco second nd or ~nfi~ ~nfi~stp~ stp~SI SIt1 t10n 0n bu ther ther se ms to me an adva advant ntag ag in avoi avoidi ding ng th co-o co-ord rdin inat atin in pitf pitf ll of
il take take us moot moothl hl
01
~~rrFOJ;
1JA1# J W 1Jfl'% f:
rrcr1Jj play play th
torm torm
Ol
I J :J: J W : JjJ j :J:J W
t:
T e !T !T 1 P O
)JJJ#JJ44* IFreF.
Ex ta
ri
if
tr.
B P mJ IDul
J 4W 4 W J J J j J jJ jJ j
FCd Ex
54
rt
~
Ex
a J !F !F r j n · 1
string it
pa sage sage
bee~ bee~ all~ all~d~ d~ of th grea grea Moza Mozart rt It th
1/
).
Ex
The it has
i_
in
,,01
1
Ex
tresp trespas assi sing ng'! '!
th
re orti orting ng to this this xped xpedie ient nt
~JO)jjJ
fi ~e semit semiton on
fi
Err
Clt!
divi divide de betw betwee ee th th sudd sudden en forte tr ti ware ware of th unor unorth thod odox ox proc proc dure dure re in
1-
10
th In om
to as th
this this play playin in
emito emitone ne st ps play play on tw stri string ng ar more more char charac acte teri ri ti than than he play played ed on th am trin tring. g. In th Tcha Tchaik ikov ovsk sk Scherzo ry
adjo adjoin inin in .3 rp nd diss disson onan an
prl!O
¥ ~ j ' F 7 t YE t
E#FEW C· FW J#JJf Ex
JiJJiP
1iP4]
6So
nd co fort fortab able le
hird hird po itio itio
's is arde arde
righ righ away away (fin (fin erin erin
nger ngerin in th~t th~t nque nque tion tionin ingl gl
(a)):
'n all, all, th Fl sc an th Henl Henl .e~t .e~tio ions ns,. ,. tc., tc., in spit spit of th owin owin 'h rdsh rdship ip It enta entail il Pres Presto to
pos. pos.(F (Fle lesc sc
~~eJ ' ( C ·
Ij3)
Ex
Ex
Ij
parlando charsequ sequen ence ce
like like
ITt
14
bfitJj
14
Ex I4
er
ar 's
re on
It ca al
be pl ye
fo fing fing ring ring (b): rt it
fing finger erin in
(c),
hich hich ag in gi es us th If
56
ri
dv n-
Henl Henle) e)
If
.' av acce accept pt
CHAPTER Fran Franck ck Sona Sonata ta
ro
p la la y n g d en en t c a r ep ep ea ea te te d n o e s w i g i n g n um um er e r ou ou s e xa xa mp m p le le s r o
M eenn d
o hn hn , M a
h e s am am e n ge ge r
B eeee th th ov ov en en , M o za za r
B rruu ch ch , C e a r F ra ra nc nc k a n o t e r in ibit ibit th tend tenden ency cy (b ed on ur love love of comf comfor ort! t!
to la repe repeat at
ot
oing oing ac nd fort fort et ee th econ econ nd firs firs posi positi tion on thus thus nsur nsurin in that that ac trip triple le segm segm nt be la ed it ou chan change ge of trin trin Andante of th Mend Mendel elss ssoh oh Conc Concer erto to
natu natura rall ll of ayin ayin If esse essent ntia iall ll
infini nite tesi sima mall ll timbre, changed vibrato, infi fi fa at real real 'g es itho ithout ut ying ying'. '.
chan change ge
chan change ge
into intona na
Ex.} unyi unyiel eldi ding ng inst instru rume ment nt
ho
much much more more shou should ld we
Firs Firs le us disp dispos os thos thos ca es here here ve th os inse insens nsit itiv iv la er il no fail fail to re po to th mu ical ical id nd hang hang fing fing rs on repe repeat at Beetho hove ve Conc Concer erto to Larghetto of th Beet
th
it
chan change ge
fi gers gers thus thus
Ex an inte interp rpre rete te
toda toda
ou
foll follow ow hi
in this this
effo effort rtle less ssly ly to th fift fift posi positi tion on). ).
A d ag ag i fl
;0 No . , crescendo nd th sforzando
c a nt nt ab ab ilil e
intent
at.
Ad~~ Ad~~
cant cantab abil il
fh~¢
cresco
El rd
(i
xamp xample le ls erve erve th purp purpos os of demo demons nstr trat atin in fing finger er on succ succee eedi ding ng iden identi tica ca note notes: s:
th bene benefi fits ts of hang hangin in
v ~ r t J'?r
if
Ex No
Ex
sf. will will yi ld se eral eral imil imilar ar ca es In Alleg Allegro ro Conbrio
~=~tlff
IO
IJ))
)ffl Ex
A n da da n t
ri
c a nt nt ab ab ilil e
'W {Vt; I;~';' (1
th
;;r
Ex
sir.
bars bars fo this this fing fing ago:
~1 h @ t f £ t If
chan changi ging ng th
Adagio appa appare rent ntly ly alre alre dy used used ve
ixty ixty ye rs
23
If2iw 3
1
Ex
Ex
I2
an last last move moveme ment nt
t'''JJitrrr thes thes fing fing ri gs co
to
w iH n W J P
quit quit natu natura rall lly. y.
61
th mino mino Conc Concer erto to
Wlem Wlemaw awsk sk
it it it
's
rt
crotchets
:~r'Efirn! ====-
A st st r.r. an an d D ~
esoress,
Ex I4
al
2
4
Ex I9
in th last last move moveme ment nt of th Wien Wienia iaws wski ki
~iPE
tu
this this
3~
reut reutze ze
Etud Etud
Afte Afte all, all, th Kreu Kreutz tzer er patt patter er
J!appassionato
Ex
and Vieuxt Vieuxtemp emp
If
with its: its: ( B al al la la d e e t P o lo lo n ai ai se se ) with
ment ment of Moza Mozart rt's 's
so remi remini nisc scen en
rcis contraction ex rcis
Ex I7
re
in it
~I#-
if;; ifr11 31
Ex IS 62
once oncert rto, o, K. 218:
Spohr's r's Conc Concer erto to L. Spoh
of th ital italia iana nate te cliche
ia
majo majo
3334
-3 1-
that that is mate materi rial al fo th stud stud
or 2-4.
as ag like like
~~~~~I Ex
22
de cend cendin in
from from
co
ve en
of
ar ok's ok's Se on
»: Ex.2}
cert cert
~E
fiorituras in th
CHAPTER
w or or k
14
k e S ch ch um um an an n
m in in o S on on a
c e ns ns u re re s m u s i p u bl bl is is he he r s f o e ig ig h
an
um wh
I N U SI SI N
begi beginn nnin in
r ep ep r in in titi n
an
m or o r e ye ye ar ar s a go go . I t a ls ls o s ug ug ge ge s be er
mp
n c d en en ta ta l
i na na d eq eq u at at e e d itit io io n s h a w e s in in g
ha wep ay
edit editio ions ns of clas classi sica ca an roma romant ntic ic musi music, c, th date date of th 'rev 'revis isio ion' n'
with with th fing finger erin in
i1)IJ
-=Bj'~
"-.):V
whol wholee-to tone ne slid slid whic whic we us no cons consta tant ntly ly woul woul have have been been cons consid ider ered ed tabo tabo (and (and fing finger erin ings gs invo involv lvin in th seco second nd four fourth th or half half-p -pos osit itio ions ns some some th ng to be tudi tudiou ou ly av id ). me of this this ch ma Sona Sonata ta he edit edit thos thos ab ut it ne ifts ifts ba an fort fort (i th da
ay ir
ov
om unct unctio io ent) ent) or in th
primitiveness:
f> Ex
(aj)q@).
is strmg strmg unnece unnecessa ssary. ry. (In the Adagio four four~h ~h (wit (wit w~ch w~ch !=he !=heSc Sc.h .hum um nn Sona Sonata ta op ns use, use, of cour course se th fing fing rm whic whic ISsui ISsuita tabl bl In Bach Bach bu less less in Schu Schuma mann nn
ff
rous rousin in
usag usag
lt
rt
3-4
thir thir
move moveme ment nt
ll
is
of lang langua uage ge.) .) ~-
Ex ~y
'f
It
1~~ e
unviol olin inis isti ti aspe aspect ct it unvi 94 ha L e b ha ha j ( vi vi vo vo ) and prescr crib ibed ed 'slo 'slow' w' it at th pres
Sto ~sse ~ssen? n?al ally ly Sch~ Sch~m~ m~nn nnes esqu qu insp inspir irat atio io lose lose in th proc proces ess! s! Part Part of th bowbow~n diff diffic icul ulty ty li~~m li~~m th coun counte terr- lock lockwi wi move moveme ment nt th bo if played th firs firs posr posruo uon: n:
ca enha enhanc nc it effectiveness. Look Lookin in thro throug ug some some edit editio ions ns of ne lect lected ed ma terp terpie ie es anno anno help help in to rt fr to th work work in publ public ic an then then keep keep thes thes in dequ dequ te edit editio ions ns in prin prin fo de ades ades is is
fr
'.
ti
,1;jjr1rFr18 ~3
Ex
1907.
fa
rm
IQ!+;
~JJJJ Ex., 66
1822,
re
Bu play play it
1870
or 1880)
Sona Sonata ta well well-n -nig ig
impo imposs ssib ible le
Brah Brahms ms reme rememb mber ered ed when when writ writin in
'con passione' passione' (s th mino mino Sona Sonata taOp Op 108), the stress stresses es
Andantes r, tw in trum trum nt
si pl
unin uninte tere rest sted ed in
comp compos oser er's 's fIuvre
re is ri ut
mann's Trsusserei, an anal anal si ut refu refuta tati ti
th part part
it.
ra
..
th gu hi
lite litera rary ry
it is an er of 'int 'inter er reta reta
marked .J relati relativel vel slo 'contr 'controll olled' ed' spiccato th comp compos oser er dema demand nds. s. oo ,f,f an an ta ta sq sq u e e t ! ig ig e r In my ow prac (I n' th Sc um nn Fina Fina t oo practi tisi sing ng from from on xa pl to th ther ther ju play playin in frag frag ents ents fr ach, ach, ryin ryin to impr impres es up ysel ysel si ilar ilarit itie ie of oo an of proc proced ed re.) re.) Th temp temp that is, of temp tempo: o: .J
comfor comfortab table, le, 'uncon 'uncontro trolle lled' d'
stringendos and 75 with with some some slig slight ht stringendosand
c on on t a d c t o n w i o u o w c on on spiccato spiccato is fail fail be us th cont contro roll ll
victions! In hi ca e, fo inst inst nce, nce, spiccato!
ou te hnic hnical al equi equipm pmen ent: t: we pl
fast fast
he this this come come
-w asie asie to s, we pl
.J
performances.
la ed to sl wl
fe
its .J 94 F a nt nt as as qu qu e e t I Ig Ig e r
in (and (and hi modi modifi fica cati tion on m e n m o ss ss o
re ener ener ll
hi
Bach
nd th Allegros to fa t. It re ll
is stud studio ious usly ly avoi avoide ded, d, inst instea ea of cond condit itio ioni ning ng th novi novice ce'~han '~han righ righ from from th begi beginn nnin in to fanfan-li like ke open openin in of-e of-eve ve youn youn chil child' d' smal smal hand hand In my-a my-adm dmit itte tedl dl mi orit orit -opi -opini nion on he
CHAPTER
DEMO DE MONS
AT
AD AN AG
a n o pe pe n e f h an an d a f e r a n e xc xc u p eedd ag ag og og ic ic s q u illustrated
u nb n b ec ec om om in in g d ig ig re re s o n
ha
~F·'F
o n n t e l m en e n ta ta r b oo oo k
a ng ng e fr fr o
hi
nd bu
K re re u z e
x.
posi positi tion on is no more more 'nat 'natur ural al than than th
4r'~r·r#F KNOW
amno draw drawin in atte attent ntio io to anyt anythi hing ng very very ne in disc discus ussi sing ng th
x.
or even even th posi positi tion on of th hand hand in th stre stretc tc of fift fift is 'unn 'unnat atur ural al'. '.
certa certain in keys: keys:
~;pj x.
Bu most most auth author orit itie ie pers persis is in perp perpet etua uati ting ng th myth myth of th 'nat 'natur ural al fing finger er posi positi tion on of four fourth th span span
x.
As earl earl as
Ferdin Ferdinand and Kuchle Kuchle alrea already dy spoke spoke of half-p half-posi ositio tio
x.
ende endenc nc of th firs firs fing fing to pl sh rp in cert cert in on xt is caus caused ed by th pamp pamper erin in of th begi beginn nner er's 's hand hand in th earl earl stag stages es of tuit tuitio ion, n, when when even even th augm augmen ente te four fourth th fo inst instan ance ce
Ex.;
x.
bein bein iden identi tica ca with with th 'tieJe' (low (low
posi positi tion on
x.
calling
auth author orit it
than than Viot Viotti ti (182 (1821) 1)
ellell-tr tr in
vi lini lini
abit abitua uall ll go 'natural'
1 2 3 4
Ex
he 'n rm l'
ro
is four four fing finger er
'n
posi posi io
x. th 'rai 'raise sed' d'
not
into intona nati tion on
hole hole onte ontemp mp rary rary
utlo utlook ok on fi geri gering ng is cl sely sely boun boun it xt n'e rout route' e' ff proc proced edur ures es an th like like Fi gere gere ct ve hi Auer Auer tr es ba to ilhe ilhelm lm (184 (18455-19 19°8 °8), ), th
IO
posi positi tion on
~JJ&J~J 1
2
Ex
3
4
II
x. I2
4"0"&"0"#-#0 Ex
reme rememb mber er th ecti ection on hi
th seve sevent nt enth enth Capr Capric ic ofPa ofPaga gani ni no days days is ta gh nd erfo erform rm
Joac Joachi him, m, Sing Singer er an Erns Ernst. t.
x. I4
is Ex
If
with with it in id le xclu xclu iv ly in fi gere gere
in
nd it Allegro
onta ontain in
uc unis unison on effe effect ct
Ex I6 tret tret h, espi espite te th fa th ach' ach' onte ontemp mpor or ry (168 (16877-17 1755 55 dema demand nd exte extens nsio ions ns like like
oh nn Geor Geor
Ex.2I
Pise Pisend nd and
x. I7
Ex
Chaconne an do (i.e (i.e Fr an
no prin prin this this 'e enti enti l' fing fing ri g, erma ermann nn Kr isle isler, r, Huba Hubay) y) carr carr
hort hort stri string ng-l -len engt gt
Ex IS
in th
ajor ajor Prel Prelud ud
3234
Ex I9
even evente teen enth th
pr ctic ctic ll
al
nd ight ight enth enth-c -c ntur ntur
diti dition on
viol violin in
ry
an el ewhe ewhere re
"~fi~
of th
hi
ours oursel elve ve
R.
to this this usag usage. e.
pric pric (Ric (Ricor ordi di Edit Editio ion, n, 24 2) devo devote te star starts ts like like this this
No.1 No.1
to
Etud 'hario/age' Etud
that that
effe effect ct of th unis unison on-s -str tret etch ch
Ex 74
75
---------
~~&FFf#.
su G'. Slul
x. 24
ke he en Kreu Kreutz tzer er publ publis ishe he and it
he 'l bera berati tion on ou fing finger erin in ut ev nd
st xt po hese hese nine ninete teen en Etud Etudes es earl earl
on he nine nine eent eent
have have ment mentio ione ne an th is resp respon onsi sibl bl fo many many anom anomal alie ie habi habits ts go nt he ue on en ot ce
ad za
ov
nt
Me de
hn
f~%)eP 2E
cent centur ur
- ~
4 Y JLJ~
Ex 26
strings Saitenwechsel(change of strings (publi lish shed ed by Scho Schott tt-a -ala lassS tu tu d ie ie s f o r V io i o lili ni ni st st s (pub only only th rt ears ears ater ater!) !) Th exer exerci cise se actu actual al buil buil on this this hand hand posi positi tion on star starts ts wi h:
nc
en o f o th th e or ou pe oi ut pa ge this this unis unison on hand hand posi positi tion on fo gran grante ted. d. Huba Huba cons consid ider ered ed th doub doubli ling ng
oo ve
es
an
Ex 27
give give sequ sequen ence ce
like like
Ex.2J I n t hi hi s e d itit io io n ( R oz oz s lrlr yyaa i ) n o w ON
p ri ri nt nt , H u bq bq y n ot ot at at es es :
an in hi 'Exe 'Exerc rcis is acro across ss th posi posi io with withou ou at an ha pu
w h ilil e t h s c or or e h a s
x. 29
chan change ge of posi posi ion' ion' demo demonn-
1956, says says 'The 'These se piec pieces es refl reflec ec is Solo Solo
on ta
31, NO.2 is no doub doub
re tl
en an
by di
ti
altogether.
Ex Ex.}O
'u
Saiten-
Exer is in he thir thir ov en of is ourt ourt secbse! Exer foll follow owin in pass passag ag fo th firs firs viol violin in
uart uartet et (1928) in th
es gn es ndin ndin ea ta itho itho th er ch ng of os ti th Se ci nn r. In id ntal ntal y, hi il give give he stud stud nt ho re th ge rkin rkin de ho to fr hims hims lf from from ri ted, ted, 'r dy-m dy-m de xerc xercis is nd ow to pr ur im el th luxu luxury ry th 'h d-ta d-tail ilor or ne duri during ng prac practi tice ce hour hour .... ....
Ex
Ex.}2
nd th as ve nt Pr kofi kofi 's Se on tion tion ca be disp dispen ense se with with alto altoge geth ther er
on rt
ch ng
os
Such Such exer exerci cise se ar pref prefer erab able le to ster steril il disc discus ussi sion on an demo demons nstr trat atio ions ns conconrnin rnin th role role of th left left th mb in ifti ifti g. ve ee th po rs alwa always ys seem seem to anti antici cipa pate te tech techni nica ca deve develo lopm pmen ents ts deca decade de ahea ahead; d; teac teachi hing ng in th mean meanwh whil il jogs jogs alon alon in th ol ruts ruts in leis leisur urel el fash fashio ion, n, unco uncons nsci ciou ou
CHAPTER uppe uppe reac reache hes, s, if play played ed with with trad tradit itio iona na
an
fing finger erin ing) g)
w e o w e t o f in in g er er e o c ta ta ve v e s m e n titi on on s i n p a ss ss in in g t h ( G em e m i ni ni an an i g r p ' a n B ar a r tO tO k Chapter choice
pa er
ou bs
ar
ba
Hubay(1910)
:l propos t on on e c o lo lo u r a n d t be be j u di di ci ci ou ou s s tr tr in in g s s p e ak ak s a b o u t s o -c -c a llll e ( c ra ra b -f -f in in g e ri ri n gs gs '
12
Fles Flesch ch(1 (191 915) 5)
As\r.
?IBBO)
Szigetl Szigetl (1963) (1963)
31
Ex
,eR pre~ pre~ri ribe be th trad tradit itio iona na HENE HENEVE VE
comp compla lain in to anot anothe he
viol violin inis is
that that we ar 'tra 'tradi diti ti n-ri n-ridd dd
fing finger erin in~, ~, whil whil it
ugge ugge
endi ending ng It(on ba befo before re
thes thes old-f old-fas ashi hion oned ed habi habits ts once oncert rt
ha so mu
as hint hint
at th poss possib ibil ilit it
ts peak peakin in
fing finger ered ed-o -o tave tave solu solu
ti
ly
th
fi
of th effi effi ac of this this ppro pproac ach. h.
gene genera rati tion on us
to stru strugg ggle le with with re
ecau ecause se th conv conv ntio ntiona na rd
la 80
of
firs firs in
rs nd four fourth th
rt
re
th
d f re Fl th Mend Mendel elss ssoh oh Conc Concer erto to Inth firs firs on (pro (proba babl bl 1910 1910-1 -12) 2) th prov prov rbial bially ly peri perilo lo domi domina nant nt seve sevent nt octa octave ve pa sage sage in th firs firs move moveme me wa 81
octaves. Inth seco second nd vers versio io (192 (1927) 7) Fles Flesch ch advo advoca cate te dopt dopt diff diff rent rent sequ sequen en of fing finger er whic whic nl go of al such such solu soluti tion ons. s.
fing finger ered ed octa octave ves. s. (I pr ve th flui flui it
avoide avoide
Joachi Joachim's m's
1967 SZlgeti
deca decade de
ho ld not, not, of
ur e, tt mp
hi
hang hangee- ver. ver.
ut oung oung
la er
detache octaves bold bold es nd thru thru thro throug ug th legato-link (a in to th bowi bowi se in th re sl (Pug (Pug ani) ani) Pr lu e) by vo di th topp toppin ings gs th bo betw betwee ee ac trok troke. e. fing finger er an fi gere gere
octa octave ve
ee no
bsol bsol te
ne ca chan change ge from from ne
'without glissando', show show that that ve as rece recent ntly ly as Fl ch's ch's time time glissando Hilfsnote
di tanc tanc of
passage. illu illu trat trat on of th diti diti
asst rtin rtin
hang hang in ou fing finger erin in in th firs firs
osit ositio io
'mores'.
nd us
harm harm ni
calle 'tradition 'tradition-ridd -ridden'. en'. lt ough ough he foll follow owin in
Ex.}
po it on
butbut-si sign gnif if cant cant
once once io !- ut
!J
thre thre ti es on th
th form form rl
tr diti diti na
firs firs
spre spre d- ut left left an
xcer xcer
brin brin
fr (l
Mo rt Quar Quar et (K. 590 cannot cannot
s. Gstr
42os. prlYpos.)
Ex 82
(2
:1
3)
.1
ra
bars bars befo before re No.6 No.6
4 - # - 1 ~"i~~I~
Ex I4
Ex lear learni ning ng with with my ugge uggest st sage sage like like th
bove bove that that ca
fing finger erin ings gs ma
~~q~l~t
re
easi easi
il no It bu si pl
th
This This
ro
ri cipa cipa them them
hi
th
-t
once oncert rt
No.2 No.2). ).
"n J.;;;; J~ r;iJ
, ,r l
ne like like th foll follow ow
io
.ibf
114iJ1tL
Ex
ifilV'"
If
In
"ttJrlfFfat.JJJJ
U~~~~¥ 2
SZlg~tI
(19 3)'
3
Ex. .I that that solv solv th prob proble lem. m. This This mo th join joinin in ro
toge togeth ther er of adja adjace cent nt osit ositio ions ns
fa fing finger erin ings gs an they they beco become me forb forbid iddi ding ng 'u po itio itions ns on ou fing finger erbo boar ardd-af afte te thes thes ever everal al di ress ressio ions ns-i -i -c ri
_ - : = _ = = : : : - tnf---==-
re thes thes with with trad tradit itio iona na
Ex I6 isinte isintere rest st
Inth foll foll wing wing pa sage sage from from th firs firs move moveme me
re
fo
&ffbb O O " " ' " eJ
Ex IJ
Ex I7
of th Bart Bartok ok Conc Conc rt
th sali salien en patt patter er
third third positi position. on.
firs first. t.
try
as ge in th deve develo lo me ct on in th firs firs ovem ovem nt of th ende endels ls sohn sohn Conc Concer erto to isto my mind mind aparti aparticu cula larl rl tell tellin in exam exampl pl of th 'nat 'natur ural alne ness ss of such such proc proced edur ures es
x. 18 'b un in
th
he obvi obviou ou
firs firs
osit ositio ion. n.
In
th firs firs vi lins lins of th
work workab able le solu soluti tion on
th 'e pedi pedi nt 3r po itio ition) n) ent; ent; th ioli iolin, n, it it fo
I) writes:
"1~@li!_r"f""I'"1~ltS
.t,
x. 19
is no th le on ciou ciou of maki making ng un ue em nd th stre stretc tchi hing ng apac apacit itie ie of th ioli ioli ist' ist' hand hand ther ther it is ld-f ld-f hi ne fi geri geri gs like like Joac Joachi him' m' in th Moza Mozart rt Conc Concer erto to (K 2.18 1 8 that that ar unre unreas ason onab able le He writ writes es
.
h,
rc stra stra to
In
mple mple
il have have 'ful 'fulfi fill lled ed so el qu ntly ntly iffe iffere re
86
20
ur wond wonder erfu fu trin trings gs .... ....
th in tr
form form rs il fail fail to ee This This ca to in re entl entl hen, hen, pl yi th Me uett uett (Allegro) of chub chuber er 's mino mino Sona Sonati ti 132. 132.,No ,No 2.,I 2.,I real real ze that that th enue enuett tt prop prop an (and (and houl houl be la ed on th tw lo er trin trings gs th leav leavin in it this this 'unw 'unwri ritt tt n' wish wish of ompo ompose se firs firs la th move moveme ment nt (M nu tt
ni ca be il be appa appare re nd Trio Trio th firs firs osit ositio ion, n,
he sing sing
nd Trio Trio 'i stru stru enta enta io wise wise': ': lo trin trings gs fo enue enuett tto, o, up trin trin fo Trio Trio an at comp compar ar ng this this wa ofle ofle st re ista ista ce with with th ro edur edur
Astr.
Ex
this this soar soar ng long long phra phrase se
even even unco uncons nsci ciou ous) s) wish wishes es of th comp compos oser er
fi
schema:
is
s~
of thes thes
ingi inging ng so ring ring phra phra es Play Playin in
thes thes
ixth ixth 'i th posi positi tion on
bO:~o~. tw
n a r s othe othe Schu Schube bert rt So atin atin
it gt~o gt~o
Yh
D
:d~
th beau beauti tifu fu
t ,r
216) ConCon(K 216)
Adagio
inst inst ad in th 'c nven nvenie ient nt
1~
it
play playin in
fift fift po itio ition. n.
A l e ggrr o V Iv Iv ac ac e of
de
ft
is pe iall iall
de irab irable le in eque equent ntia ia phra phra es like like this this on
ut on coul coul
en
Ex
Ex as
av id jerk jerk
hi il rece recent nt year years, s,
re
Ex
e to to t e t
Nelle Sachlichk Sachlichkeit eit should
bene benefi fits ts us in ff ctin ctin
fi
fi
laud laud bl
ha ge
tren tren
thes thes ch nges nges by as st ge 'classede virtuositi' virtuositi' at th Gene Geneva va Ma ),
'c fo th se days days nd this this isal to th good good It isnot th desi design gnat atio io
fe th me inse inse urit urit du to th ne es it of re onci oncili ling ng in on part part it th emit emiton on -ste -steps ps in th ot er
CHAPTER
/>
~'\I
TL
ES TH
AUTH AUTH
ol tone tone step step
4'~~iill
ES
o r o ve ve rc rc om om in i n g a n n to to na n a titi o p i f a
x.
we feel feel secu secure re Here Here is anot anothe he
exam exampl ple: e:
2 7 d l~l ~ J
.A~
disl dislik ik In book book by coll collea eagu gues es that that 1S, ropo ropo 'inf 'inf llib llible le form form la fo om .chi .chi in th ~iol ~iolin inis ist' t' ar ou 1But 1But ol eagu eagues es nd pu il to ho have have In ~h~p ~h~pas as P?In P?Inte te o.utth o.utth 'sho 'short rt ut th isto fo lo av pers pers ad rt 1S ~e~ me that that rt1S if itworks; gth pl ye
it
th
me pair pair
:fin :finge gers rs Ev ry te cher cher
nd upil upil ha
uffe uffere re
,-,,~L..:l.
'V
Ex.}
hand hand is no 'con 'consc scio ious us he nd here here th imul imulta tane neou ou ions ions betw betwee ee id nd narr narrow ow pl in of th fing finger er ccur ccur It is howe howeve ver, r, bett bett to te this this diff diffic icul ul (and (and ug esti esti fr
In
to es
it
ov
1\
it ho
th firs firs
fo
verver-
th Br hm Conc Concer er o,
i;i* 1#I~ll
signs.)
~~~i Ex
instance, ce, 6, for instan
's
en
cont contra radi di
fra~
with l:~.
~2
~ - - tfiat
i:i
Conc Concer erto to anal analyt ytic ical ally ly
that that is
Ex x. I) yo
will will
we enco encoun unte te
thes thes uneq unequa ua step step once once agai again. n.
he ~he majo major, r, an soon-in soon-in conf confus usin in sequ sequen ence ce Th diff diffic icul ulty ty isincr isincrea ease se figure descends into into th firs firs po itio itio In n:an n:an ?ord ?ord eque eque ce this this ~g1t ~g1tal al memo memory ry is indi indisp sp ns ble. ble. In th Paga Pagani nini ni Ca ri No we find find this this ---,
11 Ex
in
thes thes uneq unequa ua
Ex
IO
Ex
II
Ex
I2
Le
step steps, s, and:
Ex ,f
viol violin inis is no cond condit itio ione ne
to prec precis isel el
this this
iffi ifficu cult lty: y: sr»
icFFrflfFJFfl
ight ight
vari variat atio io
th
apri aprice ce No 24 by Pagani Paganini: ni:
43243243 321321 32
Ex
rd
Th
r,
Ex 93
an in th Bach Bach Bran Brande denb nbur ur
Conc Conc rt
4.
hi ca be prof profit itab ably ly prac practi ti ed in this this ay illi illing ng ou th pace pace betw betwee ee th suff suffic icie ient nt know knowle ledg dg of harm harmon on to do this this fill fillin ingg-in in hims himsel elf. f.
~13~ simi simila la kind kind chai chaiko ko sk
Ex I4
ts al e- cher cherzo zo
p. 34 ha
pa sage sage in as Allegro tempo
Ex I9
le of th irst irst inge inge nd th nece nece sity sity ofpl in th ha it true true lead leadin in note note shar sharpn pn ss that that ca se this this al os hron hronic ic into intona nati tion on laps laps
~3
Ex
If
i~tmfffi Ex I6
pages.
Ex I7 Ex
lnde lndepe pend nden ence ce of th ~~er ~~er in ~ffe ~ffect ctin ingw gwh? h?le le ton~ ton~ an semi semito tone ne step step atwill. atwill. Stil Stil anot anothe he Paga Pagaru ruru ru Capr Capric ice, e, No.2 No.2 lance.
Ex IS 94
ls
20
th
leve leve co re student
be su
(a
excerpt; (b
frag frag ents ents of scal scales es in tent tenths hs (c sequ sequen ence ce-w -wis is into into th firs firs posi positi tion on andand-if if (d transp transposi osition tion
it el
bu
of th se iton iton po ly
tart tart agai agai unti unti th hand hand emem emembe be s' th dist distan an is dr alli alling ng into into plac place, e, as have have ashl ashl pror prorru ru ed tr te te xp
ls
suff suffic icie ient ntly ly adve advent ntur urou ous! s!
advent adventure ures. s.
te inve invent ntiv iv ness ness it th odes odes do of crea creati tivi vity ty that that al pr ctis ctis ti shou should ld cont contai ain. n. nd afte afte this this atte atte pt to tr ck do nd anal anal se th into intona nati tion on di icul iculty ty of thes thes an si ilar ilar pa sage sages, s, ugge uggest stio io il co an ntinti-cl clim imax ax in ma ng s e m itit o n
he wh on nd di s te te p . (If both fing finger er trav trav
id
place by t h e a c titi o n
he
ge
at
ge ma
at he
cros cros th same same inte inte val, val, then then of cour cour in al nt ill! t h e w h o le le - to to n e f in in g e r It ill! to
emor emor
us ou at ar om
th pa sage sage is uffi uffici cien entl tl
(for (for this this pa ticu ticula la
ge
aler aler to know know in
ta hich hich
to automaticalfy
ay cons consid id
it xiom xiom ti
that that th
if on
th
inge inge effe effe ting ting th
inge inge
akin akin te
th
hole hole-t -ton on
te drag drag
xh
hole hole tone tone step step ha to ct swif swiftl tl deci deci iv ly is l a it should 97
CHAPTER
t h c or or e
b oo oo k . ju ju s
core
IF
ou
ol ni
THESE
ll
ie
ik it
B ac ac h
xpre xpress ssio io
arks arks such such as ce ur s, dyna dyna ic nuan nuance ce
'cesura (Luftpause), rkin rkings gs re houl houl dist distin ingu guis ishe he
have have pref prefer erre re
edit editor or's 's inju injunc ncti tion on AC
ol os imperc impercept eptibl
/= cesurc F le le sc sc h
nd th like like no
to leav leav th stud studen en to disc discov over er them them
My fing finger erin ings gs ar sugg sugges esti tion on IN
stoppin oppin
th
th
only only
AR IT
of bo
(Lultpause)
~~"~ID~JJ0Ci IWgt,J41
.9
99
A vo vo id id a c e o f h ar ar mo mo n d ea ea r Greate Greate simpli simplicit city. y. 23 More More logi logica cal. l. 24 stri string ng to gran grandi dilo loqu quen ent. t. 25 Zl
n in in e e en en th th -c -c en en t r y
a st st e
22
*24
f~3
Dstr.
Gstr. *2
Ex
No dou doubt bt the availa availabil bilityi ityi recent recent years years of Urtexts and facsimil facsimilesof esof some nusc nuscri ri ts (l ke ho of th ch ol on tas) tas) ha brou brough gh us insi insigh ghts ts an degr degree ee of assu assura ranc nc in some some doub doubtf tful ul case cases. s. Bu it ha also also .bre .bre type type of 'kno 'kno -all -all whowho--a -arm rmed ed it ho osta osta fa imil imilee'sacri rile lege ge ever ever time time he meet meet with with tril tril that that th comp compos oser er di will cr 'sac no mark mark in th manu manusc scri ript pt forg forget etti ting ng that that such such tril trills ls an othe othe embe embell llis ishhment ment were were take take fo gran grante te in hi time time an were were cons conseq eque uent ntly ly ofte ofte no nota notate te by th comp compos oser er They They will will also also ques questi tion on or prot protes es agai agains nst, t, an deviat deviation ion fro the solem solemn, n, pon ponder derous ous tempi tempi of the'Victor the'Victorian ian-or -organ ganist ist and th bowi bowing ng that that used used to be cons consid ider ered ed in keep keepin in with with th styl styl of ever ever on of th thre thre grea grea BachVio BachVioli li Fugu Fugues es They They will will no admi admi that that each each
al/arg.
(T stnng,
v o~ o~ da da nc nc e o f s lili d b e w ee ee n More More simp simple le an
e ve ve r
10 II
an
L ie ie s c o
or ab y.
stra straig ight htfo forw rward ard rm
he s tr tr i g . v o d an an c o f d o n bo bo w o n d o n be be a s . Firs Firs posi positi tion on grea greate te simp simpli lici city ty Sh ro th rd f ir ir s p os os itit io io n u nd nd es es ir ir ab ab le le .
F ir ir s p os os i o n g i e s b e t e v oi oi ce ce - e ad ad in in g s ha ha r on A vO vO ld ld an an c o f c h~ h~ g o ~ s tr tr i g . ~ n s e t on on e ( D s ha ha rp rp ) 16 i ng ng er er in in g a vo vo id id s h ir ir d position to firs firs posi positi tion on shif shift. t. C ~a ~a ng ng e ~ f. f. t on on e c ol ol ou ou r o n r ep ep ea ea te te d s eg eg me me n FIrs FIrs posi posino no ~or~ ~or~ simp simple le an stra straig ight htfo forw rwar ard. d. ri ri 14
(in comm common on time time will will be ou of plac plac in th 'sin 'singi ging ng flow flowin in Fugu Fugu in ig e r G e is is t H e rr rr e G o tttt an an d that although majo major,ba r,base se on th Hymn Hymn K o m m , H e ilil ig although th manu manusc scri ript pt (a in many many othe othe case cases)doe s)doe no spec specif if th legato enunciation tion he th me
s tr tr on on g b ea ea t
"'ff s tr tr i g .
T ~ s tu tu de d e n m ig ig h w e a sk sk : W 0 s ta ta r i n fo fo ur ur t p os o s i o n a n c ha ha ng ng e to to f ir i r s p os os i o n he course0; t h e se se t w o f i rs rs t b a r s ? T h e a n s w e r i s : s t t!t! ! ~ n g _ ifif ~ u r t p o s i titi o n w o u l d y ie ie l d f o u r n o t e s o n s tr tr in in g a n d t w o n ri T h e : ef ef ° re re / e tttt e r e q u t ltlt b r !u !u m if ~ y s u g g~ g~ s titi o ni ni s f ol ol lo lo w e d . O f c o u rs rs e i t c o u l a l s b e p l q ye ye d i n t hi hi ~ d P O t ~ on o n , u t~ t~ t m y m m dd- w e s I mp m p ac ac t ( I m y s ol ol u o n n o o ur u r t i ng ng e u se se d A no n o th th e s o U t dI o nw nw ~ u ! - b e t ha ha t A d ol ol f B u sc sc h w h o s ta ta rt rt s i n f ir ir s p o si si titi o ( fo fo u rt rt h f in in o er er ) a n d m o ve ve s o n t o s e co co n p o s itit io io n o n t h e F.
OWn
I~ Ex
the detach! read readin in
that that is some someti time me used used nowa nowada days ys (see (see th exam exampl ples es by Capetand Capetand Flesc Flesch,Nos. h,Nos. 3an 7)canno 7)canno inval invalida idate te tradit tradition ion tha goesbackto goesbackto th exec execut utio ions ns an th edit editio ions ns of Ferd Ferdin inan an Davi Davi (1810-73), Joachim, Huba Hubay, y, an Adol Adol Busc Busch. h. Th diss dissen enti ting ng voic voices es incl includ ud Luci Lucien en Cape Capet, t, wh in his 1915 edition advo advoca cate te play playin in th them them on th stri string ng with with an acce accent nt on eachnot eachnot
::i.
Capet 4m Cord Cord
>
§~
>
Wgq;IJ
~
>
J. Hell Hellme me berg berger er (I
nota notate te it thus thus
I lIl I @ JJ
!._..,.....
will
ifJI
approa oach ch (F Davi David, d, legato appr
re
te valu valu as in
Ex
Jfif-I
Flesch
J.
hamp hamp il (195 (195 ', Mich Mich Core Corett tt nd ther thers, s, sugg sugges ests ts this this environ
inst instea ea
J=76
~~J'I; (m.P)
Ex
I~
.1
of
ifl
L . . J (m
Ex., Ma
(a Li MS
ic Ex
An
r,
io t,
id
Fles Flesch ch
fllfjf)lgl
sem pre IV •.••••••.••••••••••••••••••••.•••••••••••••••••••.•••••• •••••••••••••••••
13
(v
JJ
Ex
JiJ If ~mf
IO
II pos.
Ex l h ed ed F . hr hr e nc nc h i n t h e e i g~ g~ t ee ee n ~ h ce ce n tu tu r y o f te te n i n te te n d e s h o r n o te te s f o llll o wi wi n g l o ng ng e r d o t t e n o te te s t o e p . ' !I !I e s. f io io rt rt ;r ;r t ~a ~a n t h; h; ' w r itit te te n v al al ue ue , e .g .g . q u av av er er f o llll ow ow in in g d o tttt e c ro ro tc tc h e w a sp sp la la v e a s 0Z
ta portato, approximately l ur ur s
li -'""'
,....._
(u
Urtext.
.J
60 just just
he
ad ocat ocat
this this appr approa oach ch inst inst ad of th unar unarti ticu cula late te
tr sses sses with within in th fram framew ewor or
of th basi basi
nd cont contra ra t'f rt (t \Vor \Vor to desc descri ribe be even even that that allall-im impo port rtan an
an unrelieved, unrelieved,
in t h
ennui
same samene ness ss'! '!
as an unre unreli liev eved ed
"I
rt
th fanf fanfar aree-li like ke with with 'nor 'norma mal' l' dltache; rs
ro temp temp
x. II .r
ig il
~c!U(bi
with
'basic'
~d ro f. as fair fair aver averag age. e. pe ".He ".Heif ifet et io io
re viol violin in Fu ue th re ll
hrom hromat atic ic line line is play play is
fa In in quav quav rs bu bo nd ibra ibrato to
'.
1880 1880s, s, to se that that Carl Carl Fles Flesch ch in 1930 1930 'rea 'reali lize zed' d' Bach Bach's 's desc descen endi ding ng crot crotch chet et in emiq emiqua uave vers rs thus thus null nullif ifyi ying ng th ffec ffec Bach Bach's 's symb symbol olic ic nota notati tion on made made so abun abunda dant ntly ly clea clear. r. inadequate: spiccato, dltachl martell
an mean mean
gr at ma
Ex nd th some somewh what at portato de cend cendin in
I2
or sc ndin ndin
chro chroma mati ti
line line
thin things gs ac ordi ording ng
over both both th 'Mota perpe type an th heav heavy, y, spiccato over perpetuo' tuo' type 10
fi
of appr approx oxim imat atel ely. y. ~v rage rage ff suggests.! boar boar inst instru rume ment nt By th way, way, look look at this this c1 :'le :'le vers versio io : , , 1 1 . 1 impo import rtan an elem elemen en th desc desc ndin ndin an asce ascend ndin in chro chroma mati ti line line is this
.I
'b
ri ty
tno fi ro heet heet's 's leng length th in ompl omplet etel el n~tu n~tura ra wa nd ~tho ~thout ut ny t~ ng expa expannsion sion?' ?' Perh Perh ps th 'int 'inter erpr pret et ti ns (~ra (~ra slat slat c?ld _prI _prIDt Dt)of )of th se into c?ld mast mast rpie rpiece ce whic whic ow foll follow ow wi~lg wi~lgiv iv th re de inkl inklin in th ma?y ma?y pote potent ntia iali liti ties es of xecu xecuti tion on op to hi an illl illl a~ hi to expe exper1 r1~e ~ent nt With With Ma
"I
someti time me balzato, some in
~p ). arti articu cula lati tion on devi device ce th shor shor lift liftin in
Ex IJ 10
or
In
t,
~ucr
Ex 14
1n:J Ex 17
that that Bach Bach so idea ideall ll real realiz ized ed trin tring. g. importance. If they they ar conc conc iv
these these proble problems. ms.
ore. ore. rtic rticul ulat ated ed ,th s u
nunc nuncia iati tion on unti unti it it
te
l-
it were:
JftiIJ!if Irpin
ugue ugue an conc concei eive ve un echa echani ni al ay it to semi semiqu quav aver er (esp (espec ecia iall ll they they il ulfi ulfi thei thei ol my list listen enin in expe experi rien ence ce ge bogg bogged ed do n. phon phonic ic inte interl rlud udes es
by th play player er as ha th
are, are, co
entent-
unit unit of fi teen teen or so ba s, pl ed in eani eaning ng ul ligh light, t, om ti es floconneux bo thus thus avoi avoidi ding ng when when play played ed with with iden identi tica ca barw barwis is stre stress sses es I), then of oase oase in th prev prev ilin ilingl gl poly polyph phon onic ic text textur ure. e. In it is prec precis isel el in thes thes inte interl rlud udes es that that perf perfor orma manc nces es
Th Ba
chol cholar ar
rnol rnol
cher cherin in
emin eminds ds us that that Bach Bach io
Ex
,~ grea grea .hel .hel when whenev ever er use.It use.It plac places es ik th prec preced edin in on (ins (inste tead ad of th th more more ObVI ObVIOU OUfi firs rs posi positi tion on or in plac places es like like this this towa toward rd th nd
Ex 16
trad tradic icti ting ng or conf confir ir ing, ing, or elsere elserema main in sile silent nt in orde orde to le th othe othe have have th logu logues es olit olit ry umin uminat atio ions ns dial dialog ogue ue .... .... nold nold cher cherin in in hi note note on to th la it to furnish t he he m w itit h a n a p pr pr op op ri ri at at e text'. th is th
to give give th nece nece sa
legato segments t; ld cont cont as to th prev prevai aili ling ngly ly non-legato texture.
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Hellmesberger:
Et2f¢2
Ex.2I Ex IS
ly no
to both both th slur slur ed sc ndin ndin tr th asce ascend ndin in
otif otif an th desc descen endi ding ng on
otif otif This This prob proble le
be omes omes incr increa ea ingl ingl
aces aces us al eady eady
tC rutt
di icul icul to olve olve 'marcato'
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context.
Ex
f)
Sona Sonata ta ca lead lead into into absu absurd rdit ity. y.
Flesch: il
li
Ex
te
20
22
llJl
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4~mtioooo'ml.6 Ex.2}
Champei1:
re crescopoco apoco, allargandos allargandos espressioos espressioos accents, calandos that that he ad~e ad~e alre alread ad cons consti titu tute te cert certai ai devi deviat atio io from from th orig origin inal al As do ev ry 'int 'int rpre rpreta ta x.
It is wit. wit. relu relu~t ~tan an
rd
th
in this this :onn :onnec ecti tion on
th
ry
?~o It IS found found
li
's
ment mentio io
th in many many re pect pect rt
fr
mino mino Fugu Fugu
ri
fo
Texttreue
ty ' s T h H i o r o j V io io l P la la y n g should urel urel reas reas ur 'any 'any 'd ubti ubting ng Thom Thom ses' ses' mong mong my.r my.r ad rs It says says (p ~e '. "arpeggio" is ot al ay pr se in passages.that quite prob probab ably ly were were me nt to rpeg rpeggi gi ted, ted, Ba h' firs firs u~ac u~acco comp mpar arue ue So at 5-41 5-41 of th Fugu Fugue. e.)* )* i' .6 edit editio io by'] by'] Wals Walsh, h, Serv Serv to he Maje Maje ty ].H
ye Harp Harp
Hoboy
Katheri Katherine ne
Exchange'.
~~fiiS, 1Iffr
Violin
Ex.2J
approximation th lo gres gressi sion on leav leav~n ~n It to t~e.pl t~e.play ayer er to realize
Bass
rp
letter of
Ex I n h e C ha ha co co nn nn e B ac ac h d i d m a r
h e i n st st ru ru ct ct io io n A rp rp eg eg gi gi o
a ftft e g iv iv in in g
11~~
m o de de l o f i t
arpeggio
re sa native native varian variants ts 110
it
@{)@/;
III
Spal Spaldi ding ng 1930 1930 that that orel orelli li's 's 'Arpeggio' implied arpeggio arpeggio edit editor ors, s, just just as Bach Bach's 's implied that that th arpeggios have have be nota notate te chor chords ds In th form former erly ly mu
pl ye
bars bars mark mark Arpeggio, real realiz ized ed by late late edit editor or like like Jens Jensen en an Hell Hellme mesb sber erge ger. r. these arpeggio
nt
b~en b~en (and (and is eing eing inte interp rpre rete ted. d. eife eifetz tz fo in tanc tance, e, brin brings gs of th fe .2 nd 3. fing hISrec hISrecor ordi ding ng of exec execut utin in tril tril in si th with with fing ring ring
1~
laye layed. d. (i he
be om th lett lett
ay 'not 'notic icea eabl ble' e' ad is dly, dly, beca becaus us it isat th be~l be~lnn nnl~ l~ accu accu tome tome
st nd ou
of th ma us ript ript
rf rm
~rfl:
Bach(ms)tr
Busch
-tr
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nd play play th last last qu ve of th firs firs
I:
version, ,,:"lt t_he
rg
-tr
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nd econ econ
En
Joachim David
os clea clearl rly. y.
r.
Heifetz (recording)
Enesco(r~ordln9)
nd en
====-
Busoni
ra
ri
famo famous us tran transc sctl tlRR-
interpretation. In deta detail il th read readin ings gs ar as foll foll ws Th manu manusc scri ript pt as
~~,p;I: Maglioni
~===f
Ja Hambourg. O . U. U. P 1 9 3
~~~I:
Cape!
Ex 29
tr
~~~I:
Pa
Lema Lemait itre re (195 (195 ),
1965 1965 foll follow ow this this text text
tmte tmte
ausw auswal al
(1 59
nd
Mo tras tras (M scow scow
Joac Joachi hi
nd ev ra of hi foll follow ower er
~~HJ i l i i $ , p I ;
prin print: t:
On this this th is th
IUnfmlJMjab
variation
Ex.}o
till till
~f
comm common on
uave uave (pla (pla ed as
J]!rn
trip triple le rhyt rhythm hm
in pite pite of Fl sch' sch'
doubly doubly regret regrettab table. le.
Fles Flesch ch has: has:
into into
History
emiq emiq aver aver
warn warnin in
rt
co ld
ardl ardl
~g ~})
be la ed
-alas,
in is full full-l -l ngth ngth disc discus us io Violin It!Ying-becomes
V i o lili n P l t!t! Y i n
word'may'. th op ni of th haco haconn nn shou should ld be la ed he manu manu ript ript ha it, but some somewh what at in th ance anceli like ke mann mann gg te by hamp hampei eil. l. mple mple of :2in qu lity lity with with hi Sara Saraba band nd (als (als in ~time, ~time, an some some
Ex.}I
read readin in enta entail ils. s. Huba Huba prin prints ts
Ex.}2
nd th aj rity rity of ed tion tions. s. nd perf perfor orme mers rs (f inst instan ance ce Ja Hamb Hambou ourg rg Oxfo Oxford rd Univ Univer ersi sity ty Pres Press, s, 1935 1935 an Fran France cesc scat atti ti foll follow ow Fles Flesch ch an Huba Hubay. y.
exec execut uted ed as semi semiqu quav aver er comi coming ng afte afte
Ex.}}
doub double le-d -dot otte te
crot crotch chet et prop propos oses es
ri
Tran Transc scri ript ptio io
Buson Buson transc transcrip riptio tio (Brei (Breitko tkopf pf
by Luig Luig Schi Schini nina na (Ed. (Ed. Curc Curci) i)
Anda Andant nt
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V io io l
f-O
tJ
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rnce rncest stos oso, o, rn no trop troppo po lenta lenta
.....
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Violin II
tJ
Ex.)6
viola
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Th endi ending ng show show thes thes diff differ eren ence ces: s: tril tril an endi ending ng on doub double le D's. D's. David, David, Hellme Hellmesbe sberge rger, r, Flesc Flesch, h, Capet Capet
1 11 1 1 . Ii
r'
--=,...._
Ex.)8
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,..,
,..,
Maglioni:
Ex.)J
II7
