I have Googled this and can't immediately see an answer. Does Kreutzer's sequel "Etudes des diverses positions et démanchés pour violon" not have an opus number? Is it not in IMSLP? Has any of you ever seen it or know where I can find it?
This link just seems to go around in circles
Kreutzer’s sequel is Rode 24 Caprices
I go along with the Rode choice. Although some of the Rode "24" are obviously addressing technical issues (passages in thirds or broken octaves, for example) there are others that would not be out of place in a performance. Some of these latter comprise a slow lyrical first section followed by a quick second section, common in a lot of music of Rode's time, also as evinced in Kreisler's P&A Pugnani pastiche. These are perhaps the ones to consider initially if public performance beckons.
The harder book of Dont is a challenging set of studies too.
Most of Kreutzers works lacks opus numbers, not totally uncommon in those days (Like Mozart).
Yes, perhaps I should have translated the title. I assumed it was obvious, although I only guessed that démanchés meant shifts.
More than the other Etude books, the famous Kreutzer 42 covers a wider range of technical levels, and is not in order of difficulty. A student that has just enough skill to do # 2,3,& 5 will run into trouble when they get to 8--13. It's OK to have more than one etude book on your desk, postpone some etudes and overlap books. Mazas bk 2 is commonly used before Kreutzer. The Dont Op. 37 has some very useful fingering problems in lower positions. The already mentioned Rode set and Fiorillo can be started before finishing Kreutzer.
In the Peters Edition of Kreutzer's Etudes the editor, Friedrich Hermann, suggests the following progressive order of study:
Does anyone know if Rode's Caprices were, like Paganini's, written as little virtuosic show-offs for use in concert, or were they written, like Kreutzer, primarily as etudes?
I think many, but not all, of the Rode Caprices were indeed intended to be played as performance pieces. Some of them manage to combine the performance aspect with good technical training - see No 7, for example.
Paganini did not perform his caprices publicly. The first player to treat them as performance pieces was Ruggiero Ricci.
Thats an interesting little tidbit to know
It is true that we don't have any documentation that Paganini performed any of his caprices in public we have some documentation (Moser wrote that Ernst told Joachim) that he (Ernst) heard Paganini prepare them for encores.
Trevor do you have some historical source for that (about the Rode caprices) or is it just what you "think"? It's an interesting question but I have no sources. I personally "think" they were educational material, as Rode taught a lot (I believe). They were also published by him when he was already around 40 (according to Wikipedia which again has no source :-)
Jean, yes, it is my "thinking", or personal opinion, based on my observation that the Rode Caprices have more performance material in them than do most books of technical etudes. This could tie in with Rode's teaching; perhaps teaching pupils the art of performance with pieces that can stand up to public performance but are Rode's own and not in the repertoire. Documentary evidence (published programmes) of public performances of a Rode caprice is unlikely to have survived, even if such programmes were ever published.
I think that the study of orchestral excerpts is of more practical use than working on etudes which will never be used professionally. Excerpts tend to be much shorter than the standard etudes in order to give an audition committee a good idea about a players strengths and weaknesses in a very short period of time, thus are like mini-etudes.
Does anybody who has played through the Rode Caprices think they helped with technique any more than working through repertoire? I've been wondering if I should start working on them. I've been going through the Kreutzer I never did as a kid and I think it's been immensely helpful for intonation and double stops. Much more helpful than if I had simply done repertoire in place of Kreutzer.