JAVS Fall 1992

5

Double and triple stops are encountered throughout, and in unusual left hand patterns. Although playable, these patterns are not necessarily logical or readable at first glance (unlike Kreutzer or Gavinies). The harmony is again unusual. Thus precise intonation is essential. The bowing pattern suggested might be martele. The composer has carefully notated dynamics, an aspect often neglected in most etudes.

II. Thema und Variationen

The theme, marked Andante con moto, is probably folkish in origin. This lovely tune is the basis of the six variations that follow. Variation I maintains the same tempo with a flow of triplets. Bow distribution must be heeded because of unsymmetrical bowings. Andante con moto. M ~.2 Ii,r-.. 8 o~~~~·~ IIft«! I ~ p dolellte cresco

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Variation II (like Variation VIII in Brahms' Haydn Variations) consists of long bows of running sixteenth notes and complicated string crossings, which help foster an even bow technique and good right elbow adjustment: