Wohlfahrt 1 vs. Kreutzer 2

Edited: January 1, 2019, 11:21 AM · I'm not sure what pedagogical difference there is, if any, between these two. Do they complement each other? Is W a gentle introduction to K? Is K superior and W pointless? Should I practise both or just choose one?

Looking further at Kreutzer, I can see that it's harder in that it goes into position playing, but once you've begun on Kreutzer, is there any point in continuing with Wohlfahrt?

Replies (9)

January 1, 2019, 12:15 PM · Wolfhart is used to teach basic technique to beginners. Usually students do more etudes after Wolfhart (like Mazas) before beginning Kreutzer.

Kreutzer is used to teach intermediate and some advanced technique -- solid foundational stuff that you'll always use.

Most people don't return to the pre-Kreutzer etudes unless they're looking to brush up on some simple skill with minimal complications, but for which they'd rather not do Sevcik or a Fischer exercise or the like. (It can be useful to practice some skills in the melodic context of an etude.)

January 1, 2019, 12:22 PM · The first few Wolfahrt etudes are similar to Kreutzer #2. But the Wolfahrts add more work on the lower strings.

What I would do would be to print out a copy of Kreutzer #2 with all the bowing variations and the similar Wolfahrt etudes, put them all on the stand and use them as a way of working through the various bowing options and the fingering patterns which will show up in much music you will play over a lifetime.

January 1, 2019, 1:51 PM · Wohlfahrt is good for beginners. Some of the etudes towards the end of book two are just pointless and a pain to listen to, though. Once you work through half of his sixty studies, it's pretty much time to move on to Kreutzer.
January 1, 2019, 2:18 PM · There are a lot of etudes that can be studied between the first half of Wohlfahrt and Kreutzer. Kayser and Mazas come immediately to mind. Dont op. 37 is also useful.
January 1, 2019, 2:37 PM · Wohlfahrt Bk. 1 (#1-30) can be played entirely in 1st position. Kreutzer #2 sounds best when using a mix of positions 1-2-3.
Edited: January 2, 2019, 12:18 AM · I was basically trying to find a way to whittle the list down to the bare essentials!

In 6 years of piano lessons, I don't think I played as many as 6 pieces of Czerny, yet if you add up all the studies by Sevcik, Dont, Mazas, Trott, Kreutzer, Sitt, Schradieck, Dancla, Wohlfahrt, Hrimaly, Rode, Fiorillo, Paganini, Wieniawski, etc., it must come to four figures.

The reason you have to take up violin at age 2 is not because it's difficult, it's because that's the only way you'll find the time to play all those damn etudes, lol!

January 2, 2019, 9:22 AM · Sorry to be a bit of topic, but I have a question related to the Wohlfahrt 1 etudes:

What level of playing should a violinist be at before starting book 1? Is completion of Suzuki book 1 or 2 a suitable time to start the etudes?

January 2, 2019, 9:22 AM · Sorry to be a bit of topic, but I have a question related to the Wohlfahrt 1 etudes:

What level of playing should a violinist be at before starting book 1? Is completion of Suzuki book 1 or 2 a suitable time to start the etudes?

January 2, 2019, 9:41 AM · Kreutzer 2 and 3 require shifting technique; the early Wohlfahrt Etudes are all in first position.

In my view Wohlfahrt is a little more tuneful, to sugar the pill.


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