Sevcik 40 bowing variations

Edited: April 22, 2021, 3:41 PM · SEVCIK 40 BOWING VARIATIONS

Does anyone know where/how to find either a first edition or facsimile of the autograph of this work:

Otakar Sevcik 40 bowing variations, opus 3.

A team of cellists are looking into this work in depth and all we have is a cello edition.
Thank you

Replies (9)

Edited: April 22, 2021, 8:07 AM · Please add a title to your thread so that others can reply.
April 22, 2021, 8:43 AM · Get to know imslp

https://ks4.imslp.info/files/imglnks/usimg/8/87/IMSLP64746-PMLP131898-Sevcik_-_40_Variations_Op3_for_Violin.pdf

April 22, 2021, 9:54 PM · greetings,
You might find this video rather interesting.
https://youtu.be/QEE2LSuwUEA
cheers,
buri
April 28, 2021, 5:04 AM · Thank you Gordon, but your suggestion on IMSLP is not a facsimile of the autograph. It is an edition.
In fact the cello edition we have is a copy of that very one, just transcribed for cello.
I have written to the Prague National Library for some help.
All the best
Selma
Edited: April 28, 2021, 5:15 AM · OK, as long as you know that a facsimile is not a simple photocopy - it is a high quality reproduction (I speak with some experience of ancient Greek papyrology). The question then is, what proportion of old texts have ever had true facsimiles made of them, and how much do they cost?
April 28, 2021, 8:28 AM · I'm not sure the comments have understood the OP request to see the first edition or original manuscript. Looking at original versions/early editions of etudes is a really interesting activity into seeing performing practices and also the priorities in string teaching at that time. I've found looking at early editions of Kreutzer and Fiorillo recently to be most illuminating (Kreutzer 1 for instance is hardly recognisable in the first edition compared to the editions we are all used to).
April 28, 2021, 9:15 AM · James intriguing comment about Kreutzer#1, would you care to say a bit more on this?
Edited: April 28, 2021, 9:26 AM · Hi Jean,

Have a look at the first edition on IMSLP (Paris 1805). The main difference is that the scales in the second half of the etude are written out completely freely (ad.lib rhythm). The first edition to notate strictly the rhythms of the scales was Ferdinand David's (who premiered Mendelssohn Concerto etc), and these additional rhythms is what ended up in the 20th century edition you likely own (Galamian or otherwise). Also comparing the first edition with my Galamian copy, Galamian occasional splits Kreutzer's bowings. For example bar 9-11 are all originally in one bow, but Galamian makes life easy by suggesting an up bow in bar 11. I've got nothing against Galamian's fingerings, but I do find it interesting to look at Kreutzer's own fingerings with the older edition (if you look at his other works on IMSLP he was quite detailed in his fingerings).

April 29, 2021, 5:05 AM · thx James!


Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Pirastro Strings
Pirastro Strings

Find a Summer Music Program
Find a Summer Music Program

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Violinist.com Business Directory
Violinist.com Business Directory

Violinist.com Guide to Online Learning
Violinist.com Guide to Online Learning

Dominant Pro Strings

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Los Angeles Violin Shop

Nazareth Gevorkian Violins

Violin-Strings.com

Metzler Violin Shop

Leatherwood Bespoke Rosin

Warchal

Barenreiter

Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine

Subscribe