Forty-two etudes or caprices, for the violin

Presented to the

LIBRARY of the

UNIVERSITY OF TORONTO

from

the estate of

Robert A. Fenn

ETUDES OR(MICE

t VIOLIN

R. KREUTZERREVISED BY C. GRUh.

5^STWoodfilmic CBoston, JVewYorA, ILeipzig,

ondon.

Preface.

RODOLPHE KREUTZER was born at Versailles, France, Nov. 16, 1766. His father was a

musician and a member of the Emperor's band.

Rodolphe at a very early age evinced a great fondness for music, and was placed under the

instruction of Ant. Stanitz.

At the age of thirteen he played one of his master's violin concertos in public with marked

success, and when but sixteen was appointed first violin in the chapelle du Roi.

Meanwhile he had developed a rare talent for composition, and before he was nineteen had

composed two grand operas, which were performed before the royal court.

He made an extended concert tour through Germany, Holland and Italy, and was received

with the greatest enthusiasm wherever he appeared.

He was appointed solo violinist at the Theatre Italien; chef- d' orchestre at the Paris Grand

Opera; maitre de la chapelle to Louis XVIII; Chevalier of the Legion of Honeur,- vice-conductor,

and finally conductor-in-chief, of the Academie.

In 1825 a broken arm compelled him to discontinue playing, and he retired from the Con

sorvatoire.

The friendship which grew up between Kreutzer and Beethoven led to thf- dedication of

the Sonata which is known as the 'Kreutzer."

His compositions include 39 operas and ballets, 19 violin concerto*. 15 trio*., 13 string

quartets, numerous sonatas, airs and variations, etc.

Though most of these are comparatively unknown, his "Etudes ou Caprices," published in

1796, constitute an enduring monument to his genius and greatness as a musician. Theyhave been generally adopted by teachers of the violin of every school, the world over, and fur-

nish a true foundation upon which to build a solid execution upon that instrument.

Publisher's Note.

In presenting1 this edition of Kreutzer's celebrated Etudes or Caprices, particular atten-

tion is called to some of its many points of excellence.

First, the arrangement of each Etude in such a manner as to obviate the necessity of anj

turning of the leaves; second, the large number of bowing's given, including- not only those from

the original edition, but also many from various modern sources; third, the full and concise an-

notations; fourth, the additional fingering-, bowing- and expression marks; and lastly, the com-

plete (full-pag-e) thematic index, which enables one to ascertain at a glance the pag-e of anyindividual Etude.

B.F.W. 2985-14 Edition Wood S 607.

INDEX.

N21. Allegro moderate.

Page 5.

N2 15. Allegro non troppo.

tj

N229. Grave.V

2. Allegro moderate. 16. Moderate.

: Page 7.

17. Moderate.

4. Allegro modt-rato.^~

Page 8.

Page 9.

Page 26.

Page 27.

Page 28.

Page 30.

Page 52.

32. Moderate.

5. Allegro moderate. 19. Maestoso.

21. Allegro moderato.

33. Allegro maestoso.

34. Andante.

*Jk

35. Andante.

Pag 36.

8. Allegro non troppo.22. Modt'rato.~ 3(1 Allec-retto.

Page 58.

Page 60.

Page 62.

Page 63.

Page 64.

9. Moderato.i_

23. Moderato.1r 4r

10. Moderate.

11. Andante.4 -

13. Moderate.

Page 16.

Page 18.

Page 20.

Page 20.

Page 22.

Page 25.

37. Allegro vivace.

:Page 66.

Page 42.

38. Moderato.

25. Adag-io sostenuto. 39. Allegretto.

40. Allegro. ^

Afo .*[ Jr

Page 68.

page70.

72.

41. Adagio.

Page 48.

Page 50.

:Page 73.

42. Moderato.

^

B.F. W. 2Sr.-74 Krtition Wood \9 B"7.

Forty-Two Etudes or CapricesFOR THE VIOLIN.

Revised by C. Griin. ROPOLPHE KREUTZER.

EXPLANATION OF SIGNS AND TERMS.

GB. Whole bow.

HB. Half bow.

Sp. At point of bow.

M. Middle of bow.

Fr. At the frog-.

Down stroke.

Up stroke.

Slide the fing-er.

Bow to be raised.

Hold fing-er down.

C. Corda (String-).

12 First (e) string-.

115 Second (a) string-.

III3 Third (d) string-.

IVS Fourth (g-) string-.

MARTELK Detached bow strokes, strongly marked or hammered.

GRAND DETACHE. Full strokes, at the greatest speed, and with a slig-ht pause after each stroke. (See pag-e 5.)

SALTATO. Jumping- or bounding- stroke near middle of bow, with arm and hand, and at moderate speed.

SPICCATO. Lig-ht, rapid, hopping- or dancing- wrist-and-hand stroke, near the middle of the bow.

RICOCHET. Skipping-, slurred- staccato stroke. RESTEZ. Remain in same position.

Allegro moderate.

For 46 additional bowings for this Etude, see next p;iv.

B.KW. ^'I'sr. 7'. hdition Wood N 507. Copyright MrMVIII by The B.F. Wood Music Co.

Bowings to be used with Etude N91.

Springing bow Saltato

Molto moderate37

Ricochet

33,

The Grand De'tache' is perhaps the most useful of all bowing-s for acquiring flexibility of the wrist. It is

executed with a very rapid stroke, from extreme heel to extreme point, and vice versa. The pressure should be

entirely from the wrist, (not from the arm) and that only at the very beginning- of each stroke, after which the

power should be instantly withdrawn. The wrist should be well rounded at the beginning" of the down stroke,

(with only the outer edg^e of the bow-hair resting upon the string) and gradually hollowed as the point is

reached, when the hair should lie flat upon the string. In the up stroke the process is reversed. A slight

pause should be made between the bow strokes.

U.K. W. 20S5-74 Edition Wood N? Bi)7.

Allegro moderate.n

Bowings to be used with Etude N92.

3

B.F. W. a85-74 Edition IVood N9 r,n7.

r r r P *"i^^

52

ik HVfr

53 54

B.F.W. 39S5-74 Wood NSSn?.

8

This Etude must be practiced at first very slowly, the hand held lightly, and all the notes played evenly, tak-

ing care that the bow does not leave the strings, and emphasising the first and last notes.

Allegro.

U.K. W. 29S5-74 Edition Wood N'J 507.

9

This Etude may be practiced with the same bowing-s as those g"iven for N21.

Care should be taken, in g"oingf from one string- to another, not to raise or lower the forearm, but let the mo-

tion be entirely from the wrist.

Allegro moderate.

ox- - - 9 9 4

i ia

This Etude can at first be profitably studied with the fingers only. In making the ascending shifts, beginning at bar

A, the last finger used before the new position is taken is the one by which the shift is made, and slides silently

to its new place before the first playing-finger of the new position falls upon the string. Similarly in the descendingshifts.

B.F. W. Z9S5-74 Edition Wood N9507.

10

Th- following- Etude should be practiced at first in moderate tempo, and with a bowstroke to each note (martele);

afterwards with a bar to each stroke; then two bars to a stroke; and finally increasing- the speed to Allegro moderate.

Allegro moderato.

B. F. W. 29S5-74 Edition Wood NS 5n7

11

Edition Wood N2507.

12

The pupil is advised to practice this Etude with short strokes at the heel of the bow, then at the point, and final-

ly with the grand detache.

Give more pressure to the up strokes than to the down, in order to produce an equality of tone.

. 2 n

B. F.W. 2985-74 Edition Wood N9B07.

Grand defache Saltato

2 V

Allegro assai.

marteltf

13

B.F.W. 298S-74Edition Wood N5B07.

14Allegro non tmppo.f

o

8.

Edition Wtood N2B07.

15

Additional bowings and variations for Etude N28.

3

B.F. W. 2985-74 Edition Wood N 507.

16

segue

B.F.W. 8886-74 Edition Wood N 507.

17

18

of the wrist.

spiccato

Moderate. Tranquilly and very evenly

G.B

B.F.W. 2985-74Edition Wood N? B07,

B.F. W. 2985-74Edition Wood N9 507.

20

Practice not only the fingering above, but also that below the notes, and remember what was said on page

regard to the gliding of the finger in shifting.

Andante.m

13.

in

113

12.

In this Etude the wrist should be held very loosely, in order that the desired legato effect may be obtained.

Moderate.G. B.V

- " + m o 40 "'. '_ T ^ 4

B.F. W. trillion Wood N 507.

The grand detache, spiccato, and martele bowing's can also be used with this Etude.

B.F. W. 2985-74 Edition Wood N5 507.

22Moderate.

Keep the fingers down as much as possible

B.F. W. 8985-74Edition Wood N 507.

4 9 . o_ A segue 4

For 41 additional bowing-s for this Etude see next pareB.F.W. 285-74

Edition Wood N9 507.

Additional bowings and variations to Etude N9 18.

6 p 1

25Practice with strong

1

,firm tones, and with bold, vigorous bowing. Each two-bar ascending- phrase should

be crescendo.

Allegro moderate.

fto^fB. F. W. X'WSft- 7i Krtition Wood N Sn7.

26

Allegro non troppo. (Molto moderate)

Sp

B.F.W. 29S5 -7*Edition Wood NS 507.

B.F.W. 2985-74 Edition Wood N9 507.

28

fffSmg

Moderate.h

segue

<tr

,

"crr rrrrr crirrrr

&5=

restez

B.F. W. 29S5-74 Edition Wood N9 507.

29

fc

4

tr

B.F. W. 2HS5-74 Edition Wood N9 SOT.

30

Moderate..B

B.F.W. 2985-74Edition Wood N? 507.

31

B.F.W. 2985 - 74 Kdition WoodN? 507.

32

Maestoson,

o 2

-^_

B.F. W. 2!)Sr,-74 Edition Wood N9 507.

B.F.W. -.'i-ss-74 Edition Wood N9 fi7.

Moderate.

I.F.W. 2SS5- 74 Edition Wood V? 507.

* tir. . V*N .

B.F.W. 2<tS - U K'ition Wood N2 S07.

\

The slig-htest deviation from true intonation in octave playing- is intolerable to a musical ear; consequent-

ly one must patiently practice this Etude with the simplest bowing's, before proceeding- to those of a more com -

plicated nature. Care should be taken that the arm does not participate in the movement of the bow in g-oing-

from one string- to another.

Allegro moderato.legfiero

B.F. W. 29So-74 Edition Wood NS SD7.

37

ADDITIONAL BOWINGS TO ETUDE N9 21.

2 *?f2JT-^a 4 . = BBS 5

^-'^PM-SvSdvJJ v^C ^5^

H. K. W. 2<*r, -74 Edition Wood X? SO 7.

38

Moderate.

B. F.W SR - 74 Edition Wood N9 507

2 3

a) See Etude N!> 20, Note b.

B.F.W. 2SS5 - 74Edition Wood NS So?.

40

etc.

Moderate.

B. F. W. 285 - 7 4 Edition Wood NS Su7.

B. K. W. S98S - 7+Kditioo Wood N9 5u7.

B.F.W. 8985 - 74 Edition Wood N9 507.

B.K. W. 2885-74 Edition Wood N5 SOT.

44

Opportunity will be found in this Etude for practice in the execution of the shake and rapid scale-passages, as well

as in the use of the bow in sustained crescendo and diminuendo.

The shakes should first be studied slowly, as follows:

jjjjjj-JJJj jjJU;^ 'but always in exact

and later thus:

Practice the scale-runs at first exactly as written, then, beginning- ata),

divide the rhythmic groups as follows:

Proceed similarly with the bars marked b), c), d), e) and f).

Adagio sostenuto.

ii

z

#

J JI

^ro-

ii?

4r B Ie-

nr -o^ i jg

Q"

^ -e- xj-

riaSi

^ -n-

^4^1^n* j*

-ty 3H-P" s

1113-

I*

-e i- ^-O-

B.F. W. 2985-74 Edition Wood NS 507.

In studying- the following- Adagio the student is recommended to g-ive no attention at first to the given bowing's or

marks of expression. Take two, or, if preferred, four bowing-s in each bar, and maintain strict time and the same de-

gree of force throughout. Count eig-ht in each bar, omitting- the whole-note (o) altogether for the time being-.

The result will be as follows:

Count 1, 2, 3, 4, 5, 6, 7, 8.

One count should also be given to each triplet group in the fifth bar, omitting" the whole-note (o) as in the first instance;

thus:

When these passag-es can be played steadily and firmly in the manner described, consider the sustained B! (fermata)II jUMI

in bar 1 as a half-note (<i) followed by four groups of sixty-fourth notes J* J..J, and play as follows:

i

Likewise in bar 5, the half-note (a) followed by eig-ht groups of JjJ:

In a similar manner one should proceed carefully throug-h the whole Adag-io, and after absolute purity and equality

of rhythm have been acquired, then, and not till then, can one look forward to the execution of these passag-es in smooth,

pearly runs.

Tempo may be increased in the playing- of these runs by g-iving- six counts to the E\> in the first and corresponding-

bars, and executing- the run very rapidly on the last two counts, thus:

After one has mastered the rhythmical difficulties of this Etude, the bowing- will offer no serious difficulties. The

expression marks must be carefully observed, and great economy exercised in the use of the bow-leng-th.

B.f.W. Z985-7* Edition Wood M 507.

46

Adagio.

B.F.W. asivs-T Edition Wood N9 B07.

47

L L_%.rftr- ^fftcJ._^^

B.F.W. 8985-7* Edition Wood N9 SO 1

*,

t e * * e * e *

B.K. W. a Edition Wood N B07.

B.F.W. 298B-74Edition Wood N? 507.

50

This Etude.should be studied first in simple detached strokes, and afterwards as indicated below.

of Etude N2 I should also be applied to this number.

Moderate. segue

The bowing's

B. K. W. S9S-,- 74 Edition Wood X2 8U7.

51

Edition Wood NS 507.

52

This Etude, which may really be called a short Solo Piece, can be studied to advantage after one has g-ained suf-

ficient execution and mastery of the bow. '

Grave.

a) :

Firm staccato at the point.

B. F. W. 2S85-74

s

U. R W. 29S5-7V Edition Wood N9 507.

Edition Wood N2507.

i ) :>

I*ft * *

B.F. W. 2H85-74 Kdition Wood -N 507.

H F. W. 2HS5-74 Edition Wood N 507.

B.F. W. 2986-74Edition Wood N 5(17

58

Etude N2H2 is an excellent study for imparting- vigor and independence to the fing-ers, and should be practiced daily.

Keep the fing-ers down as much as possible.

Grand detache. Saltato, spiccato. Spiccato.1 i 9. E= 3

I 4Moderate.

G.B

-*** />* ~ =* *

B.-F. W. 2HSS- Edition Wood NS507.

B.F. W. 29S5-74 Edition Wood

60

Etude N9 33 is also written in the form of a short Solo Piece, and should be played with much spirit and ,and , very exact rhythm. The ... ... passag-es may be played as follows:Crgry'

A

Allegro maestoso.

and varied in the 5th ba^_

* * V *ft.

n

r,thus.-

A u* 3

B.F. W. 2985-74Edition Wood N9 Ri7.

P^ li-. 2^

I

B.F. W. S9SS-74 Edition Wood N9SH7.

Practice at first with 2 bowing-s in each bar, and with pure intonation.

Andante.

B.F.W. 2985-74 Edition Wnr.d N? 507.

Andante.n

63

. Z'JSS-74Edition Wood X5u7.

64

Practice this Etude at first with firm martele strokes. When the stopping- has become sure and the intona-

tion true, use the prescribed bowing-.

r

Allegretto.

-^a

*=

ffS

2 (a)

B.F. W. 2985-74 Edition Wood N9 5u7.

65

4H

=|i ii* l r

* /f

/f * ^ir /

tt tilt IT

> I o qi

Jig I

B.F. W. 29SS-74 Edition Wmd N9ScO.

I^iMih'^g?:-2

v

37.

T

segue

restez -

B. F. W. 29S5-74

restez

T^f- =zfa

B.F.W.29sr,-7* Edition Wood N9S07.

Be careful in the changes of position to

B.F. W. 2 d SB -74

scute the triplets smoothly and evenly.

lnn Wood N? Rfi7.

69

\ ^ o 1.O^jmmjs

gattid

B.P. W. 89SR Edition Wood XS M'7 .

70

Allegretto.

B.F. W. 29SR-74Kdition Wood N25D7.

uB.Jf. W. U9S5-74 Edition Wood N l

- ."iii7

r<^ *-r_^r *^ ^^T^^u^ , a * ^*

^fe=F^S

B. f. W. 8PS5-74Kdition Wood S9 57.

Adagio.

41.

' ^ '4

- --/=- j/r

C'trJ?

B.F. W. aflHB-74 Krtition Wood N9507.

74Moderate.

leggier <> staceato_

Hhhj;*W

nH. F. W. 2 i Wrvorf VJR07.

B.K. W. ydSS-