42 études ou caprices

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The 42 études ou caprices ("42 études or capriccios") for solo violin were composed by Rodolphe Kreutzer around 1796. While Kreutzer was a prolific composer with some 50 stage works and dozens of other pieces to his credit, he is best known as a pedagogue. Together with Pierre Baillot and Pierre Rode, he was at the center of the development of the French school of violin playing around the turn of the 19th century, which defined much of the 19th-century (and hence the modern) approach to playing the violin.

The 42 études have remained a core part of the teaching repertoire since their publication, and are today perhaps the most common set of studies for intermediate and advanced students of the violin. They were written to demonstrate the possibilities of the Tourte bow, which was then innovative but has since been universally adopted, meaning Kreutzer's studies are highly applicable to the development of modern bowing technique. Another of Kreutzer's important didactic goals was developing fluency in contraction and extension of the left hand, which is also crucial to modern students of the violin.

The earliest extant edition of the collection, from 1807, comprises 40 pieces. Kreutzer's authorship is broadly accepted for two other études, nos. 13 and 25, that were included in some early editions. The etudes broadly form a logical pedagogic progression, though the relatively difficult Etude No. 1 appears out of place, perhaps placed at the beginning for publication to make the studies look more challenging at first glance. It is generally considered that the correct place to start is with Etude No. 2, which is the simplest study, and some editions re-order the pieces to correct this.


\relative a'
{  
\time 4/4 
\tempo "1. Adagio sostenuto"
a1~ ( |
 a2.~ a8. e'16 )
e1 ~ ( |
 e2~ e,4 fis )

}



\relative c''
{  
\tempo "2. Allegro moderato"
c16 e g f e f d e c e g f e f d e |
c e g f e f d e c d e d c d b c
}



\relative g''
{  
\time 4/4 
\tempo "3. Allegro moderato"
g16 e (a) g f d g f e c (f) e d b e d |
c a (d) c b g c b a f (b) a g e a g

}


%etude4
\relative c'
{  
\time 4/4 
\tempo "4."
c4 d16-. (e-. f-. g-. a2) |
b,4 c16-. (d-. e-. fis-. g2)

}


%etude5
\relative g''
{  
\time 4/4 
\tempo "5. Allegro moderato"
\key ees \major
g8*2/3 bes aes g f es d f ees d c bes | ees g f ees d c b d c b a g
}


%etude6
\relative c'
{  
\time 4/4 
\tempo "6. Moderato"
\key c \major
c8*2/3-. g-. e'-. c-. g'-. e-. c'-. g-. e'-. c-. g'-. e-. | c'-. c,,-. d-. e-. f-. fis-. g-. a -. b-. c -. d-. e-.
}


%etude7
\relative d''
{  
\time 4/4 
\tempo "7. Allegro assai"
\key d \major
d8-. d,-. fis'-. fis,-. a'-. a,-. g'-. g,-. fis'-. fis,-. e'-. e,-. d'-. d,-. cis'-. cis,-.
}


%etude8
\relative e'
{  
\time 6/8
\tempo "8. Allegro non troppo"
\key e \major
e16 gis b e gis b a fis dis b a fis | e16 gis b e gis b a fis dis b a fis | e gis b e gis, b e gis b, e gis b |
}


%etude9
\relative f'
{  
\time 3/4
\tempo "9. Allegro moderato"
\key f \major
f16 ( a g a f a g a f a g a f a g a f a g a f a g a  ) | bes,( d c d bes d c d bes d c d | bes d c d bes d c d bes  d c d)
}


%etude10
\relative g
{  
\time 4/4
\tempo "10."
\key g \major
g8 g''16 d b g d b g8 b''16 g d b g d | b8 d''16 b g d b g d8 g'16 d b d b g
}


%etude11
\relative b''
{  
\time 4/4
\tempo "11. Andante"
\key e \major
b8*2/3 (a gis gis fis e b' a gis gis fis e) fis ( e dis dis cis b fis' e dis dis cis b)
}


%etude12
\relative a
{  
\time 4/4
\tempo "12. Allegro moderato"
\key a \minor
a16 (c) e a c e, a c e a, c e a c, e a c e, a c e a, c e a2
}


%etude13
\relative a
{  
\time 4/4
\tempo "13. Moderato"
\key a \major
a16 (e') cis' e, cis' e, cis' (e,) a,16 (e') cis' e, cis' e, cis' (e,) | a, (fis') d' fis, d' fis, d' (fis,) a, (fis') d' fis, d' fis, d' (fis,) 
}


%etude14
\relative e''
{  
\time 4/4
\tempo "14. Moderato"
\key a \major
r16 e16\upbow \p (cis-"e cantabile" a' gis e b cis d fis, d' gis, a cis b d ) |
cis (e16 cis a' gis e b cis d fis, d' gis, a cis b d )
}


%etude15
\relative bes'
{  
\time 4/4
\tempo "15. Allegro non troppo"
\key bes \major
bes8\staccato \downbow  \afterGrace c8\accent \trill  ( {  bes16 [c16] } 
bes8\staccato \afterGrace d8 \accent \trill   {  c16 [d16] }
c8\staccato \afterGrace d8\accent \trill {  c16 [d16] }
c8\staccato \afterGrace ees8\accent \trill  {  d16 [ees16] }
d8\staccato \afterGrace ees8\accent \trill  {  d16 [ees16] }
d8\staccato \afterGrace f8\accent \trill   {  ees16 [f16] }
ees8\staccato \afterGrace f8\accent \trill   {  ees16 [f16] }
ees8\staccato \afterGrace g8\accent \trill {  f16 [g16] }
}


%etude16
\relative d'
{  
\time 12/8
\tempo "16. Moderato"
\key d \major

d8-. \f fis-. a-. \acciaccatura {e'8} d4 \sf \trill cis16 d16
d,8-. fis-. a-. \acciaccatura {e'8} d4 \sf \trill  cis16 d16

cis8-. d-. e-. d-. cis-. b-. a-. e-. d-. cis-. d-. e-.

}


%etude17
\relative b
{  
\time 12/8
\tempo "17. Maestoso"
\key bes \major
bes8-. bes'4 \trill \acciaccatura {a8} bes8-. bes,-. bes'8-.
d,8-. d'4 \trill \acciaccatura {c8} d8-. d,8-. d'8-.
}

The collection's contents is as follows:

References[edit]

  1. ^ On Benjamin Cutter's How to Study Kreutzer (1903) (refer to p. 39) it claims that the key of this étude is D major, however the tonality of the beginning and the recapitulation are both in minor key. Elizabeth Wallfisch's recording of 40 Études ou Caprices pour Violon mentions the piece is in B minor.

External links[edit]