This is one of the most artistic of the études, especially useful when one is considering such a work as the “22d Concerto” of Viotti. [2] Another useful work is “Je suis le petit Tambour,” by David,[3] a composition now almost obsolete in a violin teacher’s repertoire. Avoid a trivial style. The staccato is not absolute. The tempo and character of a work govern that matter. The second line has been marked in different ways by those who have revised Fiorillo. Note the Kross bowings:
I prefer separated strokes in passages like that of the second measure.
In double trills the fingers fall together with elasticity rather than force. Be very careful to define the exact interval in the trill. Do not disturb the tempo. Syncopation must not be forced. In trills in the half-position play close to the saddle of the violin, and do not raise the fingers until necessary. Play the chord of the new key as a chord, not as an arpeggio. The bowing is as follows, with a broader stroke than the staccato mark would indicate.
Do not disturb the theme by forcing the accompaniment or by pausing. The bow lies lightly on two strings, dips, as it were, upon the neighboring string, to obtain the legato. Bow control in this case is of great importance. Use the following bowings. The parts of the bow in which each passage should be played are indicated:
