[Free com Kreutzer Rodolphe Violin Studies or Caprices 5526

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Schirmer's Library of MusicalClassics

'rVol. 230

Rodolphe K reutzerFORTY-TWO

STUDIESOR

CAPRICESFOR THE

VIOLIN

rEDITED AND REVISED

BY

EDMUND SINGERWITH It BIOGRAPHICAi. SKETCH OF THI ! AUTHOR BY

DR. THI!D. BAKEl

G. SCHIRMER, INC., NEW YORKCopyright. 1894, by G. Schirmer, Inc.

Printed In the U. S. A.



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BornatVersaillesthe 16thof Nov., 1766,of German parentage, RODOLPHBKREUTZER enjoyed to the fullthe ad-vantages of musical lineage and envi-ronment. From his father, a violinistin the Royal Band, he received his firstlessons in music, and early manifested

extraordinary musical talent, with adecided predilection for the violin.Anton Stamitz, a violinist of repute,instructed him in violin-playing for atime; he later learned much from hear-ing Viotti, and may have received di-rect instruction from the latter.At twelve, his playing was distin-

guished by brilliancy and ' lJe1TJeatthirteen, he composed his first violin-concerto,which he himself performed with great applauseat one of the Concerts Spir ituelsin Paris. At this time hewas often invitee' to the Trianon,where he sang with tastein the pe ti ts concert sof the Oueen, besides enchanting theselect company by his performances on his favorite instru-ment In 1782, when but 16, he became first violinist inthe royal orchestra, thanks to the good offices of his pro-tectress, Marie Antoinette; taking the position then madevacant by his father's decease. Eight years thereafter, hisindomitable perseverance smoothed the way to his ap-pointment as solo violinist at the Theatre Italien (after-wards the Opera Comique) j his position and influencewere now such as to enable him to bring out his firstopera, Jeanne a 'Arc 4 Orleans, the first in a series ofmore than 40 dramatic works and ballets produced be-tween 1790and 1825, in part at the above theatre, in part, at the Grand Opera.

During and after the Revolution, Kreutzer seems to haveadapted himselfwith facility to his changing surroundings:there is no noticeable break in his productivity and hisgeneral artistic success. He wrote with apparently equalnonchalance the operas designed to delight the unfortu-nate royal family, those celebrating the events of thebloody social upheaval, and his dramas of the Consulateand the Empire.-Imagine Wagner under like circum-

stances !-In ISo.2 he was first violin in the orchestra of theConsul Bonaparte; in 1806, solo violinist of the EmperorNapoleon j in 1815, maitre d e c ha pe lleto Louis XVIII.Kreutzer was, indeed, a musician who lived in and forhis art ; transient externalities influenced him only in sofar as they furnished new material for his facile fancy towork with.In 1796he made an extended tour through Italy, Ger-

many, and the Netherlands, on returning from which hewas appointed professor of violin at the newly found-ed Paris Conservatory. Here he entered upon a newphase of professional activity, and soon attracted and de-

veloped numerous distinguished pupils. The teachingsofViotti were now bearing fruit j Kreutzer's brilliant andfascinating style won the enthusiastic admiration and con-fidence of the students, and placed him in the front rank

of contemporary virtuosi. He owedthis remarkable success to a naturallyfine musical instinct, and zeal for art,rather than to strict schooling or study.His execution was characterized byfiery energy, great purity and breadthof tone, nobility of phrasing, and that

indescribable individualism of interpre-tation which is the birthright of geniusalone.In lSoI he advanced to Rode's place

as solo violinist at the Grand Opera, ofwhich, in 1816, he was made second,and in 1817 first, chef d'orchestre.All this time, Kreutzer was still pas-sionately devoted to composition,-notsolely for the lyric stage, but also for

his chosen instrument. Works of this latter descriptionare 19 concertos, 15 string-quartets and as many trios,various duos, symphonies concertan tes,sonatas, airs withvariations, etc. j and with these, the work on which hisfameas a composer chiefly rests, namely, the II 4.2 Studies"(often published in an incomplete edition of but 40 num-bers). Kreutzer, a leader ofthat renowned school ofviolin-playing which originated in Italy, and was further devel-oped in France by Viotti, Baillot,Rode, and himself, gaveto posterity, in these "42 Etudes ou Caprices pour IeViolon," a work which still of right occupies a prominentplace in every course of violin-training,-which is, in fact,a classicin its province, and indispensable in laying a firmfoundation for violin-technique, and as a preparation forthe more difficult "24 Caprices" by Rode.Another work which has served-though in a different

way-to embalm his memory, is Beethoven's Kreut{"Sonata, dedicated in 1806to .. his friend" Kreutzer. Inthe dearth of positive information-even Thayer dismissesthe subject in a few words-we can only conjecture theextent of the friendship between the two; it is averredthat Kreutzer, who visited Vienna in 1798, never evenplayed the sonata, and had but scant sympathy for Beet-hoven's style.Hewas created a Knight of the Legion of Honor in 1824.

In the same year he exchanged his post as chef d' arches-tr e for that of general director of the music at the GrandOpera j but held this position only until 1826, then retir-ing on a pension. In 1825, the breaking of an arm com-pelled his retirement from the Conservatory and concert-stage. Having written a last opera. Mathilde, withunwonted care, he confidently applied, in 1827.to thethen Director for its production ; but his solicitations werein vain. Mortified by this repulse, and a prey to mortaldisease, he lingered for some years near the scene of hislife-long triumphs. Advised to try the air of Switzerlandfor the benefit of his health, he proceeded thither in 1831;

but it was too late. He expired in Geneva on June the 6th,1831. It is related that a priest of that town refused himChristian burial. on the ground that he had been con-nected with the theatre. THBO. BAKER.



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