At the Hochschule, in Berlin, few of the teachers stress Fiorillo, preferring the Kreutzer Études, followed by the Rode Caprices. Fiorillo has much to offer that Kreutzer[1] does not stress at all; therefore the études are very valuable.
No. 2.
This étude is very frequently played in a mild manner, too slow for the original intention of the composer. As the allegro of the first étude is not possible at the proper tempo with the staccato bowing, so the second étude loses its character if not played in a martial style. Maestoso means military or majestic in character, with broad bowing and strong accents. The first two notes sweep the whole length of the bow. The third note is also full bow, but very short. A quick stroke, with the bow passing rapidly over the string, is the proper one. The whole exercise is played forte. In the second measure, the bowing is short and crisp at the point of the bow, the first group naturally being played with the whole bow. The third measure is legato, broad and free. Trills should be regular and of exactly the right length. All passages like the second measure are usually played at the point of the bow. After the first bar, some position work may be used (second measure). Trills with the fourth finger are very difficult for some players. Practice slow trills daily with the third and fourth fingers. The first finger trill should be practiced very slowly and evenly, great care being shown in string transfers at the close. In octave work two fingers must fall at once with force and precision. The whole hand moves. In double-stops, the fingers must fall simultaneously. Double trills are not much more difficult than single ones. They should be played with an even tone, and the fingers should fall with freedom. If the fourth finger is weak, try some exercises from the Halir Tonleiterstudien, repeating the exercises, faster and faster.
The measure immediately preceding the long continuous trills should be played with a down bow. Practice this passage without the continuous trill on C, at first (use a long smooth note and lightly dip the bow on the D string, as if playing a little accompaniment). Let the trill be continuous when changing from up to down bow and vice versa. Every note should be cut shorter if before a rest. This must be observed through the whole exercise. All chords should be played with a broad tone. This exercise, so often neglected, should be played long and faithfully, for it is the basis of other work which follows logically in study.
When playing the “22d Concerto” of Viotti, I always return to this étude of Fiorillo and review it for the sake of the trills. This, with a favorite étude of Kreutzer, aids me greatly in bringing my left hand under control. The octaves are played near the point of the bow.
