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When he has passed beyond them, he can return to them with greater technical facility and, because of their infinite variety, find that they offer him any number of new study problems. As with Kreutzer an essential to 'Violin Mastery' so it is with Rode, Fiorillo, and Gavinies. These editions give the work of the teacher a more direct proportion of result.
As she was tuning the A string, she lifted her eyebrows and said: “Do you really want me to play?” She bit her lips and played an étude by Fiorillo. Having finished it but not having drawn a word of comment from Daniel, she again took up the violin and played a rather lamentable selection by Wieniawski.
There are too many purely mechanical exercises and the circumstance that we have Kreutzer, Rode, Fiorillo, Rovelli and Dont emphasizes the fact. And there are too many elaborate and complicated violin methods.
I might add that not only Kreutzer, but Fiorillo and Rode in fact all the celebrated 'Caprices, with the possible exception of those of Paganini are viewed almost entirely from the purely technical side, as belonging to the classroom, because their musical qualities have not been sufficiently pointed out. Rode, in particular, is a veritable musical treasure trove.
Studies from Rode, Baillot, Fiorillo, Viotti, Kreutzer, Sporha and the great masters of the violin, were taken up in turn. It was designed that she should become acquainted with all the master works of the day.
Fiorillo relates that he painted a superb marine for a suit of coarse clothes, which brought 5000 francs at the sale of M. de Julienne. Finding large pictures less saleable, he painted small ones, which he sold for two sequins a-piece, till a Cardinal, one day gave him four louis d'or for a marine.
Kreutzer's 'Exercise No. 2, for example, may be studied with any number of bowings. To produce a broad tone the bow must move slowly, and in rapid passages should never seem to introduce technical exercises in a concert number. The student should memorize Kreutzer and Fiorillo.
He was a Spohr player par excellence, and I have never found his equal in the playing of Spohr's Gesangsscene. With him I studied Kreutzer, Rode, Fiorillo; and to know Halir as a teacher was to know him at his best; since as a public performer great violinist as he was he did not do himself justice, because he was too nervous and high-strung.
He had a fine ear for phrasing, could improvise most interesting violin accompaniments to whatever his pupils played, and beside Rode, Kreutzer and Fiorillo I studied the concertos and other repertory works with him. Then there were the conservatory lessons! Attendance at a European conservatory is very broadening musically.
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