Kreutzer No. 2. Friend or Foe?
In this blog I will take a look at the woofs and whistles of Kreutzer No. 2, an etude which is perhaps the most widely known in the repertoire.
The first question we might ask is "Why bother?" Writing in Basics, and ‘The Violin Lesson,’ Simon Fischer makes two points. The first is that in order to preserve and develop our bowing technique we need to practice a small number of key bow-strokes every day. Kreutzer No. 2 is ideal for this. The second is more of a practice suggestion to the effect that if we take a break from some music we are working on and practice Kreutzer No. 2 for 20 minutes, the improvements in performance will be substantial. Both points are, of course, absolutely true, with the caveat that one is practicing the etude properly in the first place. So let’s take a closer look at the whole situation.
One thing that has tended to be forgotten in recent years is that the Kreutzer etudes are very high-level basics. What I mean by this is that although really talented kids can eat them for breakfast from five years old onwards, lesser mortals might be better off using simpler etudes.
In particular, I have noticed that a lot of students play this study rather badly out-of-tune, while focusing on the bowing. This study is actually very hard to get perfectly in tune, so constant repetition without care may well lead to learning how to play out-of-tune in C major. This is not a desirable outcome!
Another difficulty is that it involves a substantial number of shifts. This is fine, but if we are really going to focus on this kind of bowing work then Wohlfart Op. 45, No.1 may be a better option. Indeed, one might even think about doing the first page of Schradieck with the appropriate bowings. That would certainly kill two birds with one stone.
The question of how to deal with the intonation is relatively straightforward. As usual, one tunes to the open strings, making sure the fourths, fifths, octaves and unisons are perfect. Another practice method that is beginning to gain a great deal of attention in the violin world is Rodney Friend’s suggestion of practicing in fifths, with hooked bowing. However one chooses to go about it, this etude has got to be in tune. Period!
Having established that some kind of bowing routine using an etude (played in tune) is (probably) a must, the question then arises of how to practice it.
Well, one of the errors that crops up here is the assumption that we just keep changing the bowings and do them at the point/heel/mb (tip, frog, middle of bow). That’s fine of course, and if we can play them with ease at these points very rapidly, we are doing pretty well. However, one might consider sub-dividing the bow into six parts and ensuring absolute fluency in each one…But I digress.
In fact, if we go back to the basic principles spelled out so clearly by Galamian, we should be creating increasingly complex puzzles for the mind by combining accents, bowings and rhythms. The accent aspect is crucial and yet strangely neglected. Apparently Heifetz was very keen on accent practice, and this does not surprise me at all. Once you get going with a metronome, trying to put an accent on the second 16th every time, one starts to realize how inconsistent our sound may be! So it is vital to make sure we are not neglecting both accents and rhythms when working on this etude. The Galamian rhythms are, in my opinion, far and away the best for this kind of work.
If I were being compelled to make final suggestions I would first turn to Albert Sammons, who told my teacher, "My boy. Master the heel and you’ve mastered the bow." (heel=frog) Then I would add: and after you have got it going well, relearn the whole thing in both second and fourth positions. That should be fun!
You might also like:
Tweet
Replies
Buri I took your suggestion years ago to learn the whole of K2 in 2nd position and that was a real education. The first time you try it you'll see immediately that it's terribly awkward but also a really fun puzzle and a good test of one's "fingerboard logic." There are so many opportunities, for example in solo Bach but also in orchestra parts, where a quick sortie into 2nd position makes an entire passage much more fluid. I find Dont studies (e.g., Op. 37 No 1) particularly good for improving shifts among the lowest few positions.
Some time ago I learned the Mozart e-minor sonata K304. There were some spiccato passages that I found troublesome. My teacher assigned K2 at the same speed, dynamic level, and "offishness" that I wanted in my Mozart passages and I realized excellent results very quickly. It happened again more recently as I was working on the "Melodie" by Tchaikovsky (the sections marked "grazioso").
Regarding the difficulty of playing K2 in tune, I agree and probably mine still needs work. You mentioned a Wohlfahrt study as an easier alternative, but easier still is the Perpetual Motion from Suzuki Book 1, which I understand is specifically earmarked to that ulterior purpose in the Suzuki teacher-training. I witnessed it being used in this manner at a Suzuki-themed summer camp.
I could probably make a list of at least 50 tasks that would improve my life were I to spend "just 20 minutes a day" on each! It's truly a pity that our time on earth is so short.
@Christian, K2 is the only study my teacher has ever asked me to memorize.
Friend - old familiar friend. Helpful one, too.
Could you please explain more in detail the "practicing in fifths, with hooked bowing"? As if I was a child. Thank you.
Greetings,
we are all children at heart. Hooked bowing means to play each note twice. The second time, the note is slurred to the new note ad infinitude. The reason we do this practice method is that we often move the bow before the left hand fingers when moving to a new note creating a bad sound . With a hooked bowing the fingers change to a new note and -then- the bow changes direction.
The 5ths means: double on e and a string- cg2/eb4/cg2/bflatf1/ -d and a string- gd3/ etc. Everynote is double stopped with the adjacent 5th. It’s not easy because we don’t usually do it, but once you get the hang of it it works miracles on your technique. I’m hearing that some high level teacher sin America are starting to use Friend’s book as teaching material.
Cheers,
Buri
Buri, thanks for sharing this great blog. You have inspired me to practice this etude.
My pleasure.
Buri, I don't know why this always comes to mind:
https://www.youtube.com/watch?v=TPtDbHXkDp4/start=527
When you tell people you play the violin, and there is a violin around, and they ask you to just play "something", and you play this etude in good tempo, with good sound, and in tune, people will actually be impressed. To be able to do that, however, you have to be a pretty good violinist. I certainly agree with Buri that this is *not* an easy etude. You can approach it as a piece, because it contains some kind of dialogue between two voices, which you can bring out.
{10} As from ~ Original Jascha Heifetz Pupil of Seven {7} JH Violin Master Class - USC Institute for Special Music Studies, {JH Violin Master Class film - Khachaturian, JH-7, Elisabeth Matesky *Russian vers. Library of Master Performers*}
Re: "Kreutzer No. 2 Friend or Foe?" by Stephen Brivati
Having read your interesting Article on the Kreutzer Etude #2 and practise tips w/the Bow plus intonation in possibly the most challenging key signature of C Major, & 'famed' here in the US due to beloved Comedian, avid Violinist, Jack Benny, forever practising his what we term 'Jack Benny Kreutzer Etude' here on his TV Shows, I must make mention of several mythical ideas and quote Stephen Brivati: "Apparently Heifetz was very keen on accent practise, and this does not surprise me at all. ..." My dear Chap! Studying with Jascha Heifetz in his first original Violin Master Class at USC {full title above} one can authoritatively first hand state that Mr. Heifetz Never made any mention of 'accent practise' in our twice weekly 6 hrs daily JH Violin Master Classes which were subsequently filmed by Nathan Kroll, renowned NYC Film Producer, who talked Mr. Heifetz into allowing him to film our JH Violin Master Classes which TV Premiered in North America on now known PBS {US} Television, drawing wide acclaim from the US String playing community and informed critics, yet with a few doubter uninformed's aspiring to make 'names' for themselves whilst deliberately taking swipes at the Great Jascha Heifetz, who proved all his desenters Wrong, w/SHAR initially offering VHS, & later DVD JH VMC films until YouTube in Spring of 2011 & after. There are now other websites carrying Jascha Heifetz Violin Master Class films, i.e., https://www.bili.bili.com and of my own film: Jascha Heifetz Violin Master Class-Khachaturian, JH-7, Elisabeth Matesky, etc. Not to self promote, it seems appropriate to mention for all Reponders here + Author, Stephen Brivati, to view JH EM Khachaturian film **Opening w/Mr. 'H.' asking me to first play a C Major Scale in 3 Octaves!! Yes! Heifetz was adamant about Scales & in any and all conceivable key signature-combinations of single file scales; arpeggios; Thirds; Sixths; Octaves; fingered Octaves and Tenths. He also enjoyed 'tricking' we 7 in asking us to play unusual key signatured scales & on one day requested our greatest class-mate, Erick Friedman, to play a Bbb {B double flat} Scale in 1st Position! Erick Friedman was truly perplexed as were we all and Mr. Heifetz, with a twinkle in his eye, asked yours truly to play Bbb! Keenly observing my JH class-mates near missing in varied key signatures I desperately managed to Think it out w/an imagined a minor scale but w/a Bb 1st pos. fingering starting on the G string B with finger No. 2 playing an a minor scale!!! Jascha Heifetz stood up from his Desk, smiling from ear to ear that one of his violin master class invited to study pupil's could do this! We were given a half hour break as JH's Gift for 'Having a Go!' This true account is mentioned only to illustrate Heifetz's approach for the absolute necessity of artistry in All Scales and their various configurations! However, when requesting we play all Kreutzer Etudes, Jascha Heifetz never once mentioned 'accented practise' of Any Kreutzer Etude or Any Other Etudes which included JH RX of Dont. Not wishing to digress from the Theme of Mr. Brivati's essay, I feel honour musically bound to lay the mythical idea of JH RX'ing 'accent practise' speak in Kreutzer & other Music works to rest.
When being accepted into Mr. Heifetz's original Violin Master Class, one had no idea of future obligations to bare witness to What Heifetz said & more importantly as of late to dispel false statements by good willed Heifetz worshippers having never met nor played for or studied with The Master, Heifetz ~ Dear V.com friends, this is not intended to scold but to clarify a truly important fact that Jascha Heifetz did Not Teach as most other teachers in the usual sense. He Was Heifetz & expected those invited to artist study with him to be advanced & familiarised enough to Know the Finger board of the Violin very well and always insisted {yet warmly} all of us practise all scales in an assortment of key signature's daily! The JH emphasis on left hand digital technique seemed at the Root of a Heifetz Beyond Mortal's extraordinary flawless technique w/so much more that we mortal's most probably will never know All that God imbued in to the Jascha Heifetz DNA at Birth, and btw, on February 2, 1901, with a Coming Up Wednesday, February 2, 2022, JH Birthday, which will & would be the One Hundred Twenty First Birthday of The World's Greatest Violinist of All Time!!!
Knowing Rodney Friend a goodly time from my 'inner London' resident years, studying w/Mr. Heifetz's revered St. Petersburg Leopold Auer Assistant class-mate, Sascha Lasserson, and a London teacher of Rodney Friend, I think his Book {& which I'll read asap} must offer many astute technical ideas yet confess to having some questions re playing Fifths together on 2 strings with 'hooked bowing' & as described here by Stephen Brivati ~ A thought came to Mind & may or may not be helpful but could be used as a 'Guide' in 'start-practising' Fifths. It stems from a passage in Shostakovich's 1st Violin Concerto in a, Op. 99, of Anglo-Soviet Music Edition c/o Boosey & Hawks UK, & with David Oistrakh occasional markings. It is located in the long Cadenza of the 3rd Mvt 'Passacaglia' Fugue and at the very End which I warn all to Not Get Upset nor Feel one Must Fly through this. Contrarily: find the end of the Cadenza w/32nd black notes & in paralleled Fifths starting just prior to the actual shortened parallel Fifths Scale Composer, Shostakovich, sets up splendidly as a switching in to Full Parallel Fifths but Before the actual scale in Parallel Fifths happen! One is Solo in this close to Bach Fugue Cadenza of Dimitri Shostakovich, and it has rhythm of !!! _ !!!_ !!!_ !!!_ !! start Fifths scale C#/G#on {A & E strings finger 2 for Fifths and Very Adagio S L O W L Y } on Up 12 parallel Fifths to 13th which is longer, and in this Cadenza then repeats yet Not Necessary for the kind person who 'asked for directions as if a Child' of Gretel Bonvini, here! Ms Bonvini, please do Not become overwhelmed because this Parallel Fifths Scale is DS inserted into Full Shostakovich 1st Violin Concerto Solo part! Just go on to the Third Movement "Passacaglia" and far into the Fugue-like Cadenza & close to ending w/black 32nd notes & marked octave's higher starting on A & E strings 2nd finger 1st pos. & Go S L O W L Y not forcing, but gageing in your Mind the 'staccato' left arm-hand movements of the 1st parallel Fifths of C# & G# to next parallel Fifths D & A + the following 10 parallel Fifths or Just Stop Parallel Fifths once in third or fifth position! And, Slurring the 1st Fifths C#/G# to next Fifths then replaying landed on 2nd Fifths slurring the bow to next Fifths D & A and then again slurring landed on D# & A# to next Fifths E & B, & etc. , But Incredibly S L O W L Y !!!! Keep repeating on this passage 'Advanced Practise Routine' in SLOW M O T I O N & You will begin to feel a physical sensation of a near to Staccato of your Left Arm/Hand Palm! But I Caution You to NOT PLAY ANDANTE; ONLY VERY ADAGIO & S L O WL Y!! Repeat Several Times S L O W L Y then turn this passage into Slow P R A Y E R & LET IT GROW a tiny bit each day!!! This RX if Followed as Directed should give You New Confidant Feelings & Desire to someday 'Learn' the Last Part of a Fugue Cadenza of the Shostakovich 1st Violin Concerto 3rd Mvt which then Leads immediately into the Victorious Fourth Movement Finale!! TBC! elisabeth matesky *em Bus email in V.com Bio!
I would only Add: Kreutzer Etude No. 1 in that SLOW Almost ADAGIO LONG NOTES IS A Great Warm Up for a *Cold Left Hand & if in need of an extra tight hold of the Violin, place the Scroll of Violin into a Corner between 2 walls on either side which will help in holding the violin while Wobbling the whole left Hand but from a finger into a VERY SLOW V I B R A T O but Do Not Try To VIBRATE, JUST WOBBLE on A NOTE & another NOTE! WOBBLE FOR 10 MINUTES. NOW STOP!!
The Ideas Above are my own, having concertised & mentored globally under 1st Concert Artist Management in London's W1, Wilfrid Van Wyck, Ltd., 80 Wigmore Street, on Violin Roster Nathan Milstein/ Henryk Szeryng/Ruggiero Ricci, from 1965 - 70s & Basil Douglas, Ltd. Artist Mgmt, mid 70s/+ 70s Odens International/US & Constance Hope Mgmt, NYC, in mid-late 70s - {80s/90s-00s/20s to Current: Golden Artist Representative, US re EM Audio/TV Interviews/ASTA NM Speech/Violin-Chamber Music Master Classes.}
My compliments to Stephen Brivati, for an intriguing Essay on The Timeless Kreutzer Violin Etude No. 2 et al !! JH always encouraged Kreutzer Etudes practise which he embraced!
Happy to Submit January 27, 2022 ~
..... Elisabeth Matesky .....
Carrier, Heifetz-Milstein Legacy of Violin Playing/Mentoring
Ref Bio: https://www.facebook.com/elisabeth.anne.775?fref=nf
WH Photo em Recital/Potus Carter|State DR/French Premier Barre. Potus Carter Letter to em ~ September 16, 1977 ~
Fwd dg
My teacher, back in 2011, took me through Kreutzer 2, 3 and 4 (mysteriously leaving out No 1).
Referring to my Peters Edition of the Etudes I noticed some pencilled comments on No 2, reading as follows:
Keep fingers not in use on or as close to string as possible
Watch intonation with 4th finger on E and A
Watch intonation in 3rd and 4th positions
An interesting suggestion was to play measures 9-18 as a repeat. It works well, giving more structure to the etude as a possible performance piece, and giving the player (me) an opportunity to explore different bowings and fingerings in the repeat.
Thank you for your wonderful comments about Heifetz.I have, of course, seen all his videos. I did not actually say he taught this way. The reference to accent practice comes I think, from his accompanist who knew a little about his personal practicing. There are a number of videos of Rodney Friend explaining and teaching his fifths approach.
Cheers,
Buri
Accent practice is so useful - in this etude and beyond. Great for the brain, fingers, "muscle memory," etc. If Heifetz didn't believe in it (really?), I'm certainly happy that Galamian, with his brilliant mind for pedagogy, presented it in such a straightforward way in his edition of the Kreutzer etudes, so that so many violinists could benefit from it.
As from ~ Elisabeth Matesky / Chicago {14}
Responding to a swipe against Mister Heifetz, one cannot possibly compare Galamian who taught on the edge with Two Galamian pupil's in our original 7 JH Violin Master Class, w/a lovely class-mate whom Mr Heifetz so wanted to help due to his truly scratched bowing and in double stops, three stringed & all 4 strings chording that Mr 'H' would defer inviting him to play much Bach in 'normal' classes nor any in his JH Violin Master Class film. Our JH Class knowing Heifetz didn't refer nor Kreutzer Etude mention the phrase 'accent practise' is not something for any to dispute or sneer at because of timing non opportunity to be Heifetz acquainted or up close professional. Please defer such sarcasm about a genuinely Iconic Artist who had a tender heart & soul and who cared for all Seven of us ~ That is going low. One of the responsibilities alongside gloried opportunity of studying with Jascha Heifetz, {knowing him and all 7 of us being invited by Mr. Heifetz to his Beverly Hills home for a JH Class Party & later to Malibu for his oft Jascha Heifetz Malibu Beach House Parties}, was/remains a responsibility to offer experienced In Person witness to What Heifetz Taught & What Heifetz Did/Didn't say to us. Many JH Lover's {globally!} are still greatly intrigued about The Artist & Person-hood of Jascha Heifetz. It falls to those of us and whom Mr. Heifetz invited into his Life, apart from our very intense JH Violin Master Classes, to offer truthful witness to ideas which may have surrounded the mystique of Heifetz's Genius as both Concert Artist and evolved in to Grand Artist Mentor ... We have on Facebook, a newer version of "The Jascha Heifetz Society", which my class-mate, dearly missed Claire Hodgkins, did Found and Ran out of her own home in Mesa, California in the beginning 1970s & all we 7 on board in support of Claire's Vision - Dedication to All Things Heifetz!! Some folks recently come on saying shocking things having utterly no relevance to Jascha Heifetz, Icon Violinist; the Person of Jascha Heifetz or Mentor Heifetz ~ In speaking to one of the very Few Heifetz Violin Master Class pianists, {Mr. 'H' always referred to his pianists as 'Pianists' - never as 'Accompanists', due to his own respect for their expertise to impromptu play piano reduction parts to all violin concerti brought to Class, w/kindness to we pupil's & all coming after us}, he said how very lucky we were when people still had respect for greatness in numerous fields of endeavour & how kind & considerate our greatest mentor's, especially Mr, Heifetz, were to & about other famed colleagues away from their physical presence. I can attest to lack of any sarcasm in the person of Jascha Heifetz, and as time passed when visiting him speaking of various music business issues and also speaking of Auer class-mates plus JH dear 'Professor Auer' & w/immense personal violinistic reverence ... All storied teachings of Jascha Heifetz were not just about great violin playing but about How to be Professional; Courtesy to the less fortunate & working in Music to care for their families; for fine colleagues Heifetz liked & often helped, anonymously, & the JH attitude re Music, Nature, Ping Pong, Photography & many interests including our Planet w/much away from The Violin!!!
Thus, I hope snide comments will be retracted or not-repeated because it is a privilege to share one's pinch-myself-often God blessings and with many love 'inebriated' with Violin and their
quest to play this glorious instrument as well as each violinist can in his/her Lifetime and even Then Some leaving beloved Earthlings who encouraged & listened better people for it all ~
~ Sincerely from America, I remain ~
.......... Elisabeth Matesky ..........
Still Wednesday, January 27, 2022
Fwd dg
I didn't see any snide comments about Heifetz. Perhaps Elizabeth you are being a little too defensive of your mentors, which I suppose I can understand, as you hold them in such reverent regard.
What Heifetz taught or Galamian taught, I don't know, but to most violinists Heifetz was afforded highest esteem as a player (certainly among all those present) whereas Galamian was mostly known as a teacher and pedagogue. Heifetz may have been a fine teacher too, and Galamian a fine player, but that's not what they are mostly known for. Galamian published books of violin pedagogy such as "Principles of Violin Playing and Teaching." I am not aware that Heifetz published anything like that.
One possibility that is perhaps worth considering is that Heifetz may not have found the need to teach such pedestrian practice methods as "accents" to such advanced, professional-level students as appear with him in the famous master-class videos that we find on YouTube.
This etude reminds me a bit of the Allegro Assai from Bach C major. That fingering in fifths comes in handy right from the beginning of the Bach.
Thank you. I understood the part (and already verified the usefulness of) practicing in fifths.
I did not get the part on the idea of hooked bowing though. The only thing I could come up with was to hook in one bow 2 slurs (slurring from each already repeated note to the next), total 4 notes per bow.
@Paul Deck ~ {18}
Don't Heifetz/his pupil's or Nathan Milstein /T.A. to Milstein/Zurich, deserve 'reverent regard'??
Re ~ 'No snide comment re Heifetz'
The Quote above was just seen January 30, 2022, but in reading through the Replies I found a specific Reply which actually insinuated Heifetz didn't 'believe in' 'accent practise' notation, yet my Reply #14 was to advise Mr. Heifetz never uttered such a phrase to any of us nor any other pupil's following or joining those of us original 7 JH Violin Master Class at USC pupil's.
I do not think veering away from the Subject of Stephen Brivati's Article is helpful to violinists or string players coming to view this discussion. I truly resent you telling me I am 'overly defensive' of my Mentor's, both of whom now need Truths told by those who actually were invited to fully study with them {& Mr Heifetz, in this reference} whom would wish his/their way of teaching/mentoring & subtle encouragement to be now pupil faithfully represented. In the current environment of degrading Iconic Figures whether in Music or more so historically in a political realm, some of us are beginning to defer saying much of anything to most never having met, nor played to or heard LIVE in concert Greatest Icon's due to the relative 'ease' of typing whatever comes to mind on a computer or tablet and without any person to person dialogue which seems equivalent to some now stealing merchandise & (hard to believe but True) up to $1000.00 minus any Arrest for Stealing from honest shop
owner's and/or department stores across this Nation. My point is that you know I have a film seen quite a bit on YT with Mr. Heifetz yet you don't mention it due to lack of time, space here or avoidance of one who knew Heifetz quite well and knows much about his ways of communicating his wishes re practise or What repertoire to learn, etc., w/Heifetz Style Bowing's and Fingering's marked truth. For heaven's sake, Paul, try giving some credit where credit is due.
Your essay is not such but a questioned attempt to bypass a gleaned snide comment by someone you know. Quite out of tolerance for 'misinformation' re Mr. Heifetz, but which I've not
known you to be party to until this + 1 earlier insult to me, I will not respond to anything now on discussion not to run away but to avoid musings = what you penned above & btw,, do not tell me the Why Heifetz avoided Info many include nor refer to me 1st name. Your person who once tried something akin to this & Nate Robinson called you out w/'EM's link represents ...' rather than drawing attention away from or an indirect insult re an authentic original pupil of Jascha Heifetz & w/own individual Jascha Heifetz Violin Master Class-Khachaturian, JH-7, EM {Rus vers. Library of Master Performers film} now available on various foreign websites globally. {No recordings are online due to copyright issues w/major int'l orchestras to give all fair compensation and a major project.}
Not my style to get angry but Enough is Enough & those who spread false ideas minus acquaintance with Jascha Heifetz, personally or professionally, are going to be left out of knowing
true factual accounts of an historical Figure in the Annals of Greatest Performing Artists-Mentor's, Arrangers/ Transcribers which few even mention nor speak about! Why Share One Authentic Truth with Doubting Thomas dissenters lately who malign Greatness for Sport?? A Word: Read my Reply #14 & #10 for verification of one's artist pupil awareness levels of JH VMC deeply missed 3 class-mates now morte ...
~ Elisabeth Matesky / Chicago - London ~
..... Saddened Sunday, January 30, 2022 .....
(The Day prior to Anniversary Invite as artist pupil of Heifetz)
Maybe Posting on Facebook for 31.1. 2022 - JH Anniversary
and Re-edited due to unfairness on both sides ... Fist Bump!
Fwd dg
"I am now very angry and have routes to combat this nonsense."
Madam, your petty threats are wasted on me.
fwd xy
Paul A. Deck -- Blacksburg, Tokyo, Istanbul
Posted on Facebook
January 30, 2022 -- the day before tomorrow
This article has been archived and is no longer accepting comments.
Violinist.com is made possible by...
Dimitri Musafia, Master Maker of Violin and Viola Cases
Thomastik-Infeld's Dynamo Strings
Violinist.com Summer Music Programs Directory
ARIA International Summer Academy
Johnson String Instrument/Carriage House Violins
Laurie's Books
Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine
January 26, 2022 at 04:16 PM · This is one that I decided to finally just memorize a few months ago, and I've been using it in front of the mirror to really emphasize straight bowing in detache (I memorized using the fingerings in the Galamian edition). When I focus on the sound and relaxing, it ends up asking me to do many things, and there are actually a number of elements that I'm consciously training, so I sometimes back out and practice a bit on open strings.
There is the wrist motion needed to change strings in detache (I have realized that a lot of my bowing movement in detache away from straight seems to be coming from lack of relaxation in the wrist).
There is the intonation component that you mention, where in the first two measures, you can essentially define all the notes in terms of where they need to be, relative to their open strings or their perfect-interval relations to those more clearly defined notes. By focusing on sound and getting the straight bowing, you start to realize that you can start getting a ringing sound if your intonation is just right, so there is an interplay between elements.
There is also some good shifting practice, including setting the hand after shifts for a set of shifts that are each associated with a different finger pattern (checking the intonation of each note in the new finger pattern), the smoothness of the shifts themselves, going further and further up the fingerboard, and how the feeling of the hand can differ in these shifting patterns depending on the string in question. The other good shifting practice which asks a lot of the technique of coordinating the shift and the detache is starting on a higher finger and shifting up through it on the first finger, which can be worked up to speed.
A lot of great technique in here, and a lot showing how different elements of technique overlap to create the musical effect. I'm only now able to appreciate what is going on in this etude.
Having the etude memorized allows me to work a lot of these technical details in spiccato bowing, which changes some of the timing of the finger falling and shifting.