Books › A Practical Guide to Violin-Playing, 1913 › scan 121
Scan 121
A Practical Guide to Violin-Playing, 1913
6 lines. Read by computer on 3 September 2026. Printed page 103. See the scan on archive.org.
1all these studies being time honoured and straight-forward. There are a host of other studies, mostly French, Rode's 12 Etudes, Alard's 24 Etudes Artistique (II Books, Op. 41. Schott's new Edition) Dancla's capital 24 Etudes, Op. 73, Alard's 20 Studies Op. 53, L'art Moderne, (Augener) Gaviniés' 24 Etudes (splendid examples for the left hand and bow arm), Alard's 10 Etudes Artistique, Op. 19. Vieuxtemps' 6 Concert Etüden Op. 16 and de Beriot's 60 Concert Studies Op. 123, II Books (Ecole Moderne). Dont's splendid 24 Etudes et Caprices (Op. 35), require still higher technical knowledge as do also Schradieck's extremely clever 25 Studien Op. 1 (two Books), Paganini's 24 famous Caprices and Ernst's 6 Etudes. But these are not by any means all the studies in a teacher's repertoire. Many a clever feature will be found in Hait's recently published 30 Etudes d'Artistes (5 Books). The author's 15 very difficult Caprices have been recently published by Bosworth.
3It must have been noticed at once that the enumeration of exercises has been a sparing one, neither is it the writer's wish to put down all the vast number of pieces written for the violin. Every musical country of Europe has contributed in making our fiddle literature a large one, and it would be idle to mention the different standard works which are likely to be known to every player. Not very long ago the old Italian works and the masterpieces of Bach and Handel found very little favour with the majority of teachers and artists. Happily the taste for the Classics has returned! Why did we not go back sooner to their wonderful store of fiddle music?
5There is no doubt that the great fiddlers of recent years cannot compare as composers with the well-known violinists of former times, nearly all of whom wrote largely for their own instrument. For this reason there is a dearth of new compositions, and those composers who do not know how to play our instrument very often fail to write in a playable and effective way. We can certainly make the acquaintance of numerous arrangements — new editions of the old classical violin pieces — but of these decompositions we ought to be extremely careful. Men like David and Alard went conscientiously to their task of editing, and practically left the old masterpieces in their original form. Now-a-days a great many enterprising people wish to see their name before the public, — to come "à tous prix" to the front. For instance, who can agree with paltry arrangements of a movement of a String Quartet, utterly out of place to transcribe for the fiddle? Entirely different from this class of work is the Edition of Kreisler's set of old Italian, French and German pieces, so bewitchingly rendered (annotated and re-modelled) that they are in nearly every fiddler's repertoire. On
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