42 Etudes For Solo Violin - The Violin Site
Rudolphe Kreutzer's 42 Studies or Caprices for Solo Violin (1), edited by Hermann. Kreutzer was at the forefront of the French School of Violin Playing at the turn of the 19th Century and can be credited with influencing the modern approach to violin playing through his published studies. These studies quickly became a core part of the teaching repertoire and remain one of the most commonly used teaching methods for intermediate and advanced violinists.
42 Etudes for Solo Violin - The Violin Site
Études can be subdivided into three categories: exercise, étude, and concert étude (caprice). The exercise is an excerpt with a specific technical challenge. Its purpose is to improve a particular aspect of technique. It does not need to be musically relevant, and its length can range from one to several measures. Otakar Sevcik, Henry Shradieck, Gaylord Yost, and Carl Flesch are some pedagogues known for their violin exercises.
One might question these analogies on the grounds that applied music emphasizes physical as well as mental techniques and that it is really theory in the field of music that properly parallels rhetoric in English or logic in philosophy. However, certain inconsistencies become evident in the latter analogies, too. Exact parallels between such disparate fields of the humanities are not possible. One can observe only that the physical aspect of applied music study has its own place among all those factors contributing to the broadest possible musical understanding. Above all, it lets the student feel and experience a vocal or instrumental idiom as well as see and hear it. How can anyone fully sense the idiomatic nature as well as the aesthetic import of a Puccini aria, a Chopin etude, or a Bach solo violin partita without at least some closely related performing experience, provided the performing can be done intelligently and at least competently from the standpoint of technical mastery?
Levitzki was born in Kremenchuk, Ukraine (then part of the Russian Empire), to Jewish parents who were naturalised American citizens on a return trip to Ukraine. He was playing the violin at the age of three, but soon developed an interest in the piano, which he studied in Warsaw with Aleksander Michałowski before making his debut in Antwerp in 1906.
(b Independence, KS, Jan 14, 1916; d Torrance, CA, Sept 18, 1970). Tenor saxophonist, arranger, and bandleader. He played alto saxophone and violin as the leader of his own band in Wichita, Kansas, for four years, then in 1936 moved to the West Coast. After changing to tenor saxophone he played with the Woodman Brothers (1936-7) and in Seattle with the drummer Gene Coy (1939-41). He led his own bands in the 1940s and 1950s and worked as an artists and repertory agent and arranger. He played on a large number of race and rhythm-and-blues recordings with such musicians as Helen Humes, Lloyd Glenn, Pete Johnson, Jimmy Witherspoon, Red Callender, and Gene Phillips, and wrote arrangements for Jimmie Lunceford (early 1940s) and for a series of big-band recordings for the Crown label (1958-60). Davis belongs to the school of hard-blowing southwestern tenor saxophonists, and his fiery playing was well placed to satisfy the demand of the African-American audience of the 1940s for raw excitement and overt emotion without undue compromise. He displays a more gentle and introspective approach in some of his accompaniments to blues singers.... 041b061a72