36 Etudes for Violin, Op.48 (Vieuxtemps, Henri)

Free public domain sheet music from IMSLP / Petrucci Music Library
Jump to: navigation, search

Sheet Music


 Complete Score
#98458 - 5.53MB, 67 pp. -  7.2/10 2 4 6 8 10 (8) - V*/V*/V* - 5051x

PDF scanned by Unknown
Daphnis (2011/4/6)

PMLP55233-Vieuxtemps - 32 Etudes for violin, Op. 48.pdf

Jenö Hubay (1858-1937)

Publisher Info.:

Budapest: Editio Musica, 1966. Plates Z. 5177-80.


Public Domain [tag/del]

Misc. Notes:

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.

  1. Not too fast, with the top third of the bow, playing even and strong. Pay attention to producing a nice tone.
  2. Play with a beautiful, sweet, expressive tone. The middle part is played with a light movement of the hand.
  3. 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.
  4. Go from heel to point and back, comparably to Kreutzer's Etude no.24 on octaves.
  5. Play broadly but precisely and with beautiful tone, in the top 3/4 of the bow. Emphasize the sforzandos.
  6. The upper voice bowed lightly without pressure; the lower voice clearly marked.
  7. Fast tempo, in the middle of the bow. Strong crescendos. The dotted eighth notes are to be played energetically.
  8. The bow must be pressed on both strings evenly. The main theme can come out the second time it is played.
  9. Strong and energetic. The dotted eighth notes are played with a full bow!
  10. 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.
  11. 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.
  12. Expressive. Pay attention to executing the double stops cleanly.
  13. In the top 3/4 of the bow; practice slowly first, then speed up.
  14. Trill study
  15. 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.
  16. Perform with fire, virtuoso.
  17. Pay specific attention to a clean intonation; therefore it is advisable to practice slowly at first.
  18. With a light bow, gracefully. The importance of this piece lies in the enharmonic modulation.
  19. To be performed with spirit; emphasize the crescendos and the accents. Play the bound sixteenth notes with a light movement of the hand.
  20. 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.
  21. Interesting study in the style of Schumann. Intonation is the main difficulty here. Practice slowly first, with utmost attention.
  22. Start each upbow and downbow off the string, throwing the bow in the air in between each stroke.
  23. Play at the tip of the bow, with spirit and with a light hand.
  24. 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.
  25. Tarantella. With short, light and flexible bowstrokes.
  26. Each eighth note played martelé; the sixteenth notes with little bow and loose hand.
  27. Press the fingers firmly on the strings. Bow changes should be as inaudible as possible.
  28. 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.
  29. Trill study.
  30. Strong and energetic. In playing the double-stopped thirds, let the fingers fall on the strings decisively.
  31. 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.
  32. Virtuosic variations on the Corelli Gavotte theme. Pay particular attention to a clean and beautiful tone in the final chord-variation.


Javascript is required for this feature.

#24473 - 2.58MB, 25 pp. -  7.0/10 2 4 6 8 10 (4) - V/V/V - 2768x

PDF scanned by H-DRe
Generoso (2008/11/15)

PMLP55233-Vieuxtemps - 36 Etudes Op48 for Violin.pdf
Publisher Info.:

Paris: Brandus & Cie., n.d., Plate B. & Cie. 12,758 (1), (2).


Public Domain [tag/del]


Javascript is required for this feature.

Javascript is required to submit files.

General Information

Work Title 36 Etudes for Violin, Op.48
Alternative Title
Composer Vieuxtemps, Henri
Opus/Catalogue Number Op.48
Movements/Sections 36
Dedication Conservatoire de Paris
Piece Style Romantic
Instrumentation Violin and Piano
Personal tools
Browse scores
Browse recordings
For iPhone & iPad


Associated with