JAVS Fall 1992

14

This etude shows something about the ten KUnstler etudes: They are not necessarily ranked from easy to difficult. Each one, in its own way, can help improve the technique of the violist who studies them.

VIII. Allegro moderato

Like many of the middle Kreutzer etudes, number eight deals with the trill, the short variety with two or three turns at the most. Allegro moderato,.

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p dolce e grazl'oso

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cresco _ _ I recommend exploring bow placement before each trill. After the two notes in an up bow, I would practice placing the bow on the string before actually trilling. This helps set and properly initiate the clear quality of the trill. Palaschko does not forget the not-so-easy three to four finger trill. An interesting characteristic of Palaschko's writing encountered here that involves similar passages being written enharmonically on reoccurrence (much as in Maurice Vieux's Orchestral Etudes): ~ ~' ~~---2~~ ~-. =iF ~ ----===== 5 ~ 0 JP Be careful of the fingered 1-4 octave reaches which occur in a tricky sequence of four-note chords: ~ ~ ~ & ~~V' 3~ ~3~

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IX. Adagio cantabile

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On first glance, this etude was a little daunting to me: many two-part harmonies, accidentals, and no fewer than five flats. But as I studied this etude (another personal favorite), I found its intimidating outward appearance changing to a sweet inner beauty. It reminded me somewhat of the Sarabande from the D Major (Cello) Suite by Bach. Many technical problems arise, but none that have not been encountered already in the preceding etudes. This etude is actually within the grasp of the strong intermediate player. It offers the opportunity to analytically and technically distinguish the melody amid all the multiple stopping: (continued on p. 14)