36 Etudes for Violin, Op.48 (Vieuxtemps, Henri)
Jenö Hubay (1858-1937)
Budapest: Editio Musica, 1966. Plates Z. 5177-80.
Although the title says 36 Etudes, this file provides only the first 32 of them. Here is an English translation of the instructions before each etude.
- Not too fast, with the top third of the bow, playing even and strong. Pay attention to producing a nice tone.
- Play with a beautiful, sweet, expressive tone. The middle part is played with a light movement of the hand.
- The first eighth note is played martelé from the middle to the point; the following sixteenth notes are played at the point, the next eighth note again martelé from the point back to the middle; the sixteenth notes following are played in the middle of the bow. And so on. Do not whisper: play loud, energetic, powerful.
- Go from heel to point and back, comparably to Kreutzer's Etude no.24 on octaves.
- Play broadly but precisely and with beautiful tone, in the top 3/4 of the bow. Emphasize the sforzandos.
- The upper voice bowed lightly without pressure; the lower voice clearly marked.
- Fast tempo, in the middle of the bow. Strong crescendos. The dotted eighth notes are to be played energetically.
- The bow must be pressed on both strings evenly. The main theme can come out the second time it is played.
- Strong and energetic. The dotted eighth notes are played with a full bow!
- Use broad, but not full, bows, making sure that bow changes do not interrupt the music. String changes should be executed by a light hand movement.
- Strong and energetic. Play chords by playing three or even four strings simultaneously; do not arpeggiate. Start each staccato run at the tip of the bow with a light but firm movement of the hand.
- Expressive. Pay attention to executing the double stops cleanly.
- In the top 3/4 of the bow; practice slowly first, then speed up.
- Trill study
- Lamento (mournful song). Suitable for performing in concert to great effect on the audience. Play broadly and expressively with a full tone. The decorations must be played clearly without undue haste.
- Perform with fire, virtuoso.
- Pay specific attention to a clean intonation; therefore it is advisable to practice slowly at first.
- With a light bow, gracefully. The importance of this piece lies in the enharmonic modulation.
- To be performed with spirit; emphasize the crescendos and the accents. Play the bound sixteenth notes with a light movement of the hand.
- Staccato study with a short introduction. For maximum succes with the staccato runs, start them sharply and strongly at the very tip of the bow.
- Interesting study in the style of Schumann. Intonation is the main difficulty here. Practice slowly first, with utmost attention.
- Start each upbow and downbow off the string, throwing the bow in the air in between each stroke.
- Play at the tip of the bow, with spirit and with a light hand.
- Cantilena: song in the Italian style. Suitable for performance in concert. The middle movement is entirely on the G-string, to be played flexibly and forcefully.
- Tarantella. With short, light and flexible bowstrokes.
- Each eighth note played martelé; the sixteenth notes with little bow and loose hand.
- Press the fingers firmly on the strings. Bow changes should be as inaudible as possible.
- This study is a preparation for the solo Bach sonatas. The leading voice should always dominate, but the lower voice should still be heard clearly.
- Trill study.
- Strong and energetic. In playing the double-stopped thirds, let the fingers fall on the strings decisively.
- The main theme is to be interpreted tenderly, while the arpeggiated variation must be played spiccato, sharply but very evenly. Some of the chords are difficult; mind your intonation.
- Virtuosic variations on the Corelli Gavotte theme. Pay particular attention to a clean and beautiful tone in the final chord-variation.Purchase:
|Work Title||36 Etudes for Violin, Op.48|