JAVS Fall 1991

15

No. 13 Dedication: Jean Lefebvre, Premier Prix du Conservatoire (1924), des Concerts Lamoureux

Possible Approaches

Technical Aspects

-fifth position

- several accidentals; including "double.. stops"

-staccato; string changes and fourth position note: staccato = au milieu

- Staccato is practiced most of the time as a series of small, successive martele strokes - keep bow movement between strings minimal; the bow should be close to the string it is approaching -a spiccato at or near the point is possible, but it can be only the vertical type, and such a usage is pertinent solely where this special sound effect is desired

-spiccato (see Appendix A, #6) note: spiccato = a la pointe

Note: In carefully analyzing this section and taking into consideration both tempo and suggested bow placements, it is possible that the terms spiccato and staccato were improperly placed in the score. It seems logical that the spiccato passage should actually be marked staccato and vice versa.

No. 14 Dedication: Albert Bernard, Premier Prix du Conservatoire (1925), de la Boston Symphonie

Technical Aspects

Possible Approaches

-sixteenth notes sixteen to a bow; rapid tempo

-slur four, eight and sixteen to a bow -"rule of 60" (see Appendix B)

-accidentals; including "double..sharps" and "double..f1ats"