Part 1

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HOW TO STUDY FIORILLO

A DETAILED, DESCRIPTIVE ANALYSIS OF HOW TO PRACTICE THESE STUDIES, BASED UPON THE BEST TEACHINGS OF REPRESENTATIVE, MODERN VIOLIN PLAYING

BY EDITH L. WINN

NEW YORK CARL FISCHER 1913

COPYRIGHT, 1910, BY CARL FISCHER

International Copyright Secured

RESPECTFULLY DEDICATED TO =_W. Davol Sanders_=

FIORILLO.

Federigo Fiorillo was born in 1753, at Brunswick, where his father, a Neapolitan, lived as conductor of the opera. It seems that at first Fiorillo was a player of the mandolin, and later on became interested in the violin. He went to Poland in 1780, and in 1783 was conductor of the band at Riga, which position he filled for two years. In 1785 he played with great success at the Concerts Spirituels in Paris, and also published some of his compositions, which were received most favorably. Three years later he went to London, where he seems to have met with little success as a violinist, since he only played the violin part in Salomon’s quartet-party. His last public appearance in London was in 1794, when he performed a concerto on the viola. There is very little known about the rest of his life, except that from London he went to Amsterdam, and was in Paris in 1823.

Among his numerous compositions are duos for violins, for piano and violin, and violin and violoncello; trios for flute, violin, and tenor, for two violins and bass; quartets and quintets for stringed instruments; concertos for the violin; concertantes for two violins, etc. These, though somewhat dry and old-fashioned, were favorably received, and show him to have been an earnest musician.

However, there is one particular work, his _Thirty-six Caprices_, or _Études_, which is known and valued by every violin player, and which for a long time will probably remain a standard. They rank with the classical studies of Kreutzer and Rode. This work has been edited over and over again,—most recently by Emil Kross. Spohr wrote a second violin part, but he altered the original text to such an extent that his work is hardly authoritative, though decidedly violinistic and interesting.

How to Study Fiorillo.

No. 1.

Many teachers of note cling to old traditions. The earliest extant editions of Fiorillo, by Ferdinand David and others, have no expression marks for the _Largo_ of the first étude. This was originally played _forte_, counting four very slowly. The tone should be full and even, there being absolutely no variation. This is excellent practice for those who are inclined to play with a weak tone near the point of the bow. A broad stroke requires a fine arm and excellent bow control. The elbow joint should be very well relaxed. Such passages as occur in the fourth, fifth, and sixth measures should be played with some tone-color and taste, the eighth note being cut in anticipation of the rest.

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To cultivate a broad, free bowing and a full tone, one should practice the _martelé_ at the point of the bow, where attacks are likely to be weak. Also the frequent practice of the second Kreutzer étude with four notes slurred is excellent, the bowing being at the point, middle, and heel. Then there are staccato scales, which aid the student in securing a fine tone and freedom of style in the upper half of the bow: 1. One down-stroke and six notes staccato on the up-stroke; 2. Two down, at point, and two up staccato; 3. The same exercise, using triplets. Begin with the “G” scale in three octaves. The next thing to govern is the broad continuous tone. This can only be done by long and arduous practice of slow scales. A Berlin teacher plays one note for two minutes with no variation in force or intensity.

THE ALLEGRO.

The Hermann edition requires that this part of the first étude be played staccato. It is impossible to keep this up during the whole exercise. The original intention of Fiorillo was that it be played legato, with a broad, free stroke. The triplets are played in the same manner in the upper third, or toward the middle of the bow. The sixteenth notes must fall with evenness at the middle of the bow. This is an exceedingly fine study for securing a flexible wrist, and should be practiced very carefully.

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At the _Hochschule_, in Berlin, few of the teachers stress Fiorillo, preferring the Kreutzer _Études_, followed by the Rode _Caprices_. Fiorillo has much to offer that Kreutzer[1] does not stress at all; therefore the études are very valuable.

No. 2.

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This étude is very frequently played in a mild manner, too slow for the original intention of the composer. As the allegro of the first étude is not possible at the proper tempo with the staccato bowing, so the second étude loses its character if not played in a martial style. _Maestoso_ means military or majestic in character, with broad bowing and strong accents. The first two notes sweep the whole length of the bow. The third note is also full bow, but very short. A quick stroke, with the bow passing rapidly over the string, is the proper one. The whole exercise is played forte. In the second measure, the bowing is short and crisp at the point of the bow, the first group naturally being played with the whole bow. The third measure is legato, broad and free. Trills should be regular and of exactly the right length. All passages like the second measure are usually played at the point of the bow. After the first bar, some position work may be used (second measure). Trills with the fourth finger are very difficult for some players. Practice slow trills daily with the third and fourth fingers. The first finger trill should be practiced very slowly and evenly, great care being shown in string transfers at the close. In octave work two fingers must fall at once with force and precision. The whole hand moves. In double-stops, the fingers must fall simultaneously. Double trills are not much more difficult than single ones. They should be played with an even tone, and the fingers should fall with freedom. If the fourth finger is weak, try some exercises from the Halir _Tonleiterstudien_, repeating the exercises, faster and faster.

The measure immediately preceding the long continuous trills should be played with a down bow. Practice this passage without the continuous trill on C, at first (use a long smooth note and lightly dip the bow on the D string, as if playing a little accompaniment). Let the trill be continuous when changing from up to down bow and vice versa. Every note should be cut shorter if before a rest. This must be observed through the whole exercise. All chords should be played with a broad tone. This exercise, so often neglected, should be played long and faithfully, for it is the basis of other work which follows logically in study.

When playing the “22d Concerto” of Viotti, I always return to this étude of Fiorillo and review it for the sake of the trills. This, with a favorite étude of Kreutzer, aids me greatly in bringing my left hand under control. The octaves are played near the point of the bow.

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This is one of the most artistic of the études, especially useful when one is considering such a work as the “22d Concerto” of Viotti.[2] Another useful work is “Je suis le petit Tambour,” by David,[3] a composition now almost obsolete in a violin teacher’s repertoire. Avoid a trivial style. The staccato is not absolute. The tempo and character of a work govern that matter. The second line has been marked in different ways by those who have revised Fiorillo. Note the Kross bowings:

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I prefer separated strokes in passages like that of the second measure.

In double trills the fingers fall together with elasticity rather than force. Be very careful to define the exact interval in the trill. Do not disturb the tempo. Syncopation must not be forced. In trills in the half-position play close to the saddle of the violin, and do not raise the fingers until necessary. Play the chord of the new key as a chord, not as an arpeggio. The bowing is as follows, with a broader stroke than the staccato mark would indicate.

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Do not disturb the theme by forcing the accompaniment or by pausing. The bow lies lightly on two strings, dips, as it were, upon the neighboring string, to obtain the legato. Bow control in this case is of great importance. Use the following bowings. The parts of the bow in which each passage should be played are indicated:

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Play the last line with authority, the chords being slightly in the arpeggio style with a stress on the lower note, the tone being firm to the end of the bow.

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FOOTNOTES:

[1] For detailed and thorough study of the Kreutzer Études see _How to Prepare for Kreutzer_ and _The Study of the Kreutzer Études_, both by Edith L. Winn. Published by Carl Fischer, New York.

[2] See newly revised edition by Ovide Musin. Published by Carl Fischer, New York.

[3] See newly revised edition by Gustav Saenger. Published by Carl Fischer, New York.

No. 3.

This étude is played in two ways: first, a staccato run, up bow; second, the mixed staccato and legato stroke, up bow. A free arm is desired. While the short staccato with the wrist stroke is eminently useful, the more brilliant staccato with the arm stroke is desired. Naturally, the wrist and forearm are free, though the lateral stroke of the wrist is not desired. Play in the upper third or near the point of the bow.

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No. 4.

This étude is one of the most useful in the book. A free, broad, slightly detached stroke, in the lower half of the bow, is preferred to a short staccato.

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Professor Halir would teach double-stops and scales in thirds in a free, broad style, lower half of the bow (note fingering in the second position).

The whole bow may also be used. Play the scale runs, second line, in the manner outlined in Halir’s _Tonleiterstudien_ (G.B. or U.H. raise the bow after each group).

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He assumes that short position movements make a more perfect scale in thirds possible. I will outline the bowings for the next three lines. Keep the theme prominent. Raise the bow slightly from the strings in defining phrasing.

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The double-stops in the higher positions naturally fall in the middle of the bow. Attack the chords with the up bow firmly, and play three notes together. A free, rather detached bowing in the middle of the bow, using the artificial spiccato, occurs at the close.

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Slightly accent the slurred group of two notes; raise the bow between strokes. Play in the middle third of the bow.

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It is not always advisable to take these études in the order in which they occur. The same rule applies to Kreutzer and Rode. It is possible that the student may have some weak point which requires a review of several études of a similar nature. For instance, I recall having been made to play the second Kreutzer étude[4] many times while studying other works, because my forearm was not free. The eighth and ninth were frequently reviewed. Herr Markees, in Berlin, was a great taskmaster, and frequently sent us back to the twelfth Kreutzer. I do not recall ever having studied the first Kreutzer, nor the famous arpeggio étude. Leopold Lichtenberg, and several other artists, teach both of these. The first is very useful for graduation of tone. In the seventh and eighth Fiorillo we find material for tone graduation. Let us practice the crescendo and decrescendo faithfully, using examples from my “Three Octave Scales.”

We must be patient with this work. It is one of the most difficult things in the world to produce a beautiful crescendo and diminuendo. In connection with this let us turn to the Bach-Gounod “Ave Maria,” and play it _as written_. The famous Bach “Aria” is another example; also the Handel “Largo.” A question has often been asked: Does the bow remain parallel with the bridge during such work, or at a stated distance from the bridge? Most emphatically not. The bow is nearer the bridge in a crescendo passage, and right over the finger-board in the diminuendo. There is a mistaken notion among students that when one plays pianissimo very little bow must be used. Never was there a greater fallacy. The softest tone is produced by gliding the bow swiftly over the strings, its entire length, without pressure and over the finger-board, not near the bridge.

It is one of the most difficult things in the world to produce a soft, resonant tone. It is easy enough to play loud. So it is with singing. I have learned more about the principles of tone from voice teachers than from violinists. While playing these études, review constantly. Play number one over and over. Number two with the Halir thirds, in C, must be practiced daily. Halir plays double-stops, using the second position instead of the third, and going from second to fourth and sixth. It requires less shifting and is very playable. Always play the double-stops singly, then two slurred, then in groups of four notes, and finally eight notes. After a time play a whole scale up on one box (two octaves C) and down with the opposite bow. Very few amateurs can play the three octave scales thus. I prefer the C scale, as it is easier for the hand. Halir says that a student should be able to play thus (1) or thus (2):

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No. 5.

In connection with the study of number five, let us turn to Sevcik’s _School of Bowing_[5]. I had always believed that the importance of bow technic had been overestimated, until these works of Sevcik proved beyond a doubt the great advantage of systematic study of varied bowings. The Sevcik system is wonderful. There are exercises for every possible limitation in violin study. The great question in bustling American life is how to abridge a system only possible in a land where virtuosos study “from the cradle to the grave.” Many wise teachers (for Americans are, above all, practical) have used the Sevcik works with success, and yet have not surfeited students with the same.

Let us consider Op. 2, Book 2, Section IV. First master the progressions, that is, learn the exercise by heart. Keep the fingers of the left hand _ready_ for use. Practice all exercises with slurred and single bows at point, middle, and heel of the bow. I usually suggest to pupils to practice exercise thirty-two faithfully before working at the fifth Fiorillo, with three notes to a bow just below the middle. Afterwards use six to a bow; then twelve. Practice number five in octaves at the middle (play both notes at once). After that, play as marked, accenting the first of every group of two notes. One can go on with the Sevcik studies indefinitely, but I urge pupils to practice these special ones for string-transfers half an hour per day, at least. Always cross the strings lightly. In octaves, move the fingers simultaneously, with no crescendo or forte.

The Hermann edition uses the crescendo, forte, and pianissimo marks. Play at first with _uniform tone_ instead, accenting slightly the first note of a group of two. Watch the syncopated passages in the third and fourth lines, and do not accent too strongly. The accent is on the second note of a group of two. The legato passages of sixteenth notes are with a whole bow; the crescendo must be artistic. There must not be a break in the legato for the sake of the crescendo. We remember the mastery of the subtle principles of tone graduation in Joachim’s playing. The special accents at the close of each legato passage (sixth line) are difficult. At the close of the eighth line, give full value to the dotted quarter note and play it forte. The next groups of two notes are detached, the accent being on the second one. Make the trill long and even. Begin the sixteenth notes, last measure of the tenth line, with up bow. Play at the middle of the bow. Move the first and fourth fingers together in octaves.

FOOTNOTES:

[4] See _The Study of the Kreutzer Études_, by Edith L. Winn.

[5] _School of Bowing_, by O. Sevcik, Op. 2 in two Books. Systematic and progressively graded technical bowing exercises. Published by Carl Fischer, New York. Price, 75 cents each book.

No. 6.

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_Andante sciolto_ means about the same as _Andante commodo_ (as slowly as you please). At the middle, or upper half, of the bow, cut the notes lightly and accent trills. The second four measures require grace and ease in the upper half of the bow. Remember to discriminate between the short staccato at the point of the bow and the broader detached stroke. Be very careful of intonation at this point.

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The opening measures in the seventh line may be played with a raised bow stroke, middle of the bow. Play near the point of the bow in the last four or five measures of the étude, lightly and elegantly.

Important points to remember in this étude are: Passages bowed near the point are light, as a rule; passages requiring broader bowing are played forte. Always raise the bow slightly for an attack. Each group must be well defined, with accents strong. Pause long enough between the groups to gain poise. Always draw a long bow at the middle with sufficient length to be free and to secure tone. In this exercise, as in many others, the left hand is of most importance. It must be ready. Do not lose time by the trill. Play the single notes freely. These are not staccato. Whenever the staccato occurs in the Hermann edition, as a rule one must play in a broader style. Those old composers did not use the staccato much. Witness Fritz Kreisler playing a work of the period. He gives it more tone-color and varied phrasing than in its period, but he uses very little short staccato work. Number six is a joyous, light work of the French school. It must be technically clean cut, and clear as crystal.

No. 7.

While _allegro_ with the old composers was not like our modern _allegro_, an _adagio_ was practically the same as at present. Full bowing and a broad, free tone, as well as great dignity, were demanded. I do not believe that the early violinists played with as great warmth of tone and freedom as is now secured by artists.

The old masters played correctly and classically; they used the crescendo and diminuendo, and were masters of tone graduation, but they did not give the emotional treatment to their subjects that is now an apparent necessity. This étude begins pianissimo, but one must cultivate a “concert hall” tone, and make a crescendo in the first two measures; the same in the next group. Tone-color is a prime essential in this étude. Embellishments must never interfere with rhythm. Note the _adagios_ of Mozart’s quartets. The old writers used embellishments because they lacked intensity and were not skilled in the use of the vibrato. Although number seven is not difficult, it must be technically perfect. At line two repeat the up bow on the second note of the second group. Always do this for beauty of phrasing. Keep broad bowing when possible. Note in the sixth line some peculiar rhythm. Count four steadily, using no embellishments, at first.

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The embellishments of the seventh line must not interfere with rhythm. In bow length one must not be hampered by exact rules. Let the nature of the passage decide the bowing. One must not keep trilling if the phrasing demands a pause. The opening measures of the _allegretto_ are played at the middle of the bow, the staccato note being lightly played. The _allegretto_ comes in jocund, with a slight pause between groups, in the upper half of the bow. Try to maintain a _forte_ throughout.

No. 8.

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This is a dignified and stately étude which requires very much shading. It is one of the most artistic of all, similar in character to the first part of number one. The teacher may count eight instead of four, if desirable, as we sometimes do in the _andante_ of a Mozart quartet. Give the dotted sixteenth note a little more time, to suit the nature of the work.

Again I would call attention to the second Kreutzer[6] étude, and slow scales with the crescendo and diminuendo four times on one note. Many claim that the vibrato affects the quantity as well as the quality of a tone. At any rate, the vibrato must be used in such works.

Play the 4th, 5th and 6th measures of the first line as indicated.

In the next measure change

to

before the high G. After the double bar, practice long and faithfully the crescendo note in the 4th position. Do not force the syncopation; use the whole bow. Raise the bow slightly when you have groups of two notes, thus:

Play the last measure after _restez_ on the A string, going into the 5th position on C♯, and remaining there during the next three measures. Come down to the third position on D. Play the trill in the fifth position. Detach the groups of three notes, slightly raising the bow. Be very careful not to hurry the _tempo_. The thirty-second notes are played very legato, and the following fingering is preferred:

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FOOTNOTE:

[6] See footnote, page 3.

No. 9.

[Music: With the upper third of the bow.]

This étude is marked _allegro_. It is not so rapid a movement as to interfere with a free forearm stroke. The _martelé_, or even a slight staccato stroke, is not as useful as a broad, free bowing in the upper half of the bow. The student will observe that while some modern editions suggest the staccato, it was not true to the traditions of Fiorillo’s time.

Begin with the upper half or upper third of the bow. A free swinging stroke is desired. At the beginning of the sixth line play lightly near the point of the bow and on the edge of the hair:

[Music]

We do not make string-transfers by tilting the bow from side to side. We play on the edge of the hair, the long string-transfers being made with a movement from the shoulder, if more than two strings are used. Halir insists on the mastery of scale runs from the highest note of the scale. The pupil must _think_ the tone at once, then he must take his position without effort and remain in that position as long as necessary.

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After we leave the third position, the thumb goes under the violin in a horizontal plane. The fingers must fall well over the strings, without unnecessary movements. One may rest the palm in the third position or not, according to one’s physical limitations, but there must be no pressure at the base of the first finger and no depression of the joints of any finger in the positions. All fingers should seek their places at once and remain fixed, unless one is playing vibrato. The character and tempo of an exercise determine how it shall be played. The first finger must always remain _near_ its original place, so that the position may not be disturbed as a whole. Whenever the fourth finger seeks a place, the first should fall at once into its position; that is to say, the position must be mastered. In this étude the bowing is varied, a sure test of mastery of several styles or forms of triplet playing. One thing the teacher must insist upon: that the bow remain usually on the outer edge, also that accents that fall with the up bow shall be well defined. The closing chord, according to the tenets of the Berlin school, should never be played like an arpeggio. Other schools differ in this respect.

No. 10.

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