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Prlr Rd (l774_l80). |ranzsish violiisl undo]nist. \!l shii]r violIis' nso wi rutze undillol (mil dnn r 8meinsm di offiziell violishu]J.! Paris onsrvIires. di biihmt ..thod de vi.l[rn,. rbilel) \lar als onztmister n de ParisGatrd opra ud alt vjolinlhrer am onsvtoi tt]g.\ning ds 19. ]hrhudrts w r sologiger m of insI. lrsurg, slr 8iog nah Brlin und kehrt dnnh Franlrih zuriik. Rode war in in gaz uroa g.ilt vituos, dr die violinliteratur mit klsshnsIijkn rihrl'\'on sine wkn komm! dn

''24 eDris..in ervor.IEnd Roll zu. di im Unterriht auh hul noh uenl.bhIljh sjnd. veglihn mit Kreutzrs tiid (di LuigjSi]\a ausgzihnet fii violonel]o transkibiert) wikn!] .inialls]hr und lidnshftlih. vil dr Drins:id \on hohem musiklhn wrt utld niht nu stiik,i]l di tehhen Problm grolJartig und viIsitig ba.

PiI Rod (I?74_1830) fia hedimiYsz s zn.!2126 viotti tlitvna volt. o , ksak reutzr sBaiILo. (kikkl gyiitt kszlttt a p6rizsi Cnserv(oire hi.!a:lo! nag! gdiiiskoljt thod d violo immel)' i;lzsi \agoprban hangvrsymslerk6t, a ons.1 einr:.o hgdr]trkt mfi k0ddtt.!z I!00 as ik ]jn ri sz6l6hgdfis volt Ptrvarott,i': :1:n .s ujr Frniaorsztrg kovtkzett. u6psz: .]:r..:i]: l6domivsz 6s hegedl]iodlom klsszikus::::)]r azjgitOi,\l.j: : iL.z:: kimlkd6n fon|os titsIr m6g ma :.,i j:.z.:::,]n',].1 pries'l osszhasonlitva reutzr.::i:..ii. ;tr:\ll Lui8i silvtiltttt't kivloa gordo.il in.....iO2usbbaknk, szenvdlyeseknk tfinnk.I\zuiui ].n.h]r) _ ngyszrlin s sokoldlin feldol.

it und in ilf zur Uberwindung d thishshwirigkeitn britn. Da in dr Litrtur filr violonel.lo nd insbsond utr dn tiidn sammlun8n' die n.hezu lle thnishn Problme des stihns ufwfn(mil bsonderer Riiksiht auf dj eht nd uld di Bo-gnfuhrungl)' uBst sltn sind, kn di voligndAuswhl rnin inun8 nah dr hnwhsendn G-dion vo llistn von Nutze sein' lh wr bmiiht' dihir vedffnllihtn sehs ttidn so zu wehlrn, daB si allthhn oblmwi ogeneintilung, Intonation, ok.tvenspil und di vershidenn stihrten usw. ttrha.dl. Weg ihs shwierigkitsgrdes sid di ttidnhauptshlih geshikte shiiln del ittelstuf' efhr noh fortgeshrittn strrdetn bi ir Weitr-biidung mpfohln.

Krisztin Kmn

jrl Rode (l7?4-l830} was Frnh violinist ad om-pser, a pupil ofviotti. sjmilalyto rutzr and Billol(inassoition with whom he ompild th offiial violi tu1orfo th Consvatoi of Patis' | farnow |ithod d \'io./on) h was onrtmastr a( th Grnd opra of Pris d\jolin teah at the onsvatoir.At lhe bginning of the l9th entury h ws solo violint atIh ourt i st' Ptsurg, thn wnt to rlin nd later re.Iund lo Frn. ws a leratd tist ali ovr uropwho enrihd, as a ompos, th violin litratur with pie.s in lassicl styl.Amog h ompositions the 24dp.ig' ar b far th mostimporinl, being as th ven now indispnsble in o.]in thing. I ompro with rutzr's tuds (whih\le exl]ently transibd for llo by Lui8i silva) thysn !o muh mrr invntiv and pssionat. an of

them reprsn( rl musial valu, in additin to trtigthnial poblms eellnll and in a viety of wys aswll as to offring hl fo so]Ying thm,sin th llo litrature and within this lh tud rDrtoiris rath rstritd, we rarl om upon olltions whihrais nrl vIy thnial problt of bowig (with sei]rgard to t ight hand d th hnd]in8 of th bow!)'Thus l felt that th prent vo]ume n b usful for thising llist genratio. lt has ben tlmtd to slt thsi tuds so as to ov all sots of lhlril problms (i.ludig bow.divion, intotion, otav lying, variusowings, t.). owing to thi thnial diffiultis thstudes r rommdd fist of ll to skilld inlmdiatstudts' but ven moe so lo studts t high lvls.

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gozott thnikai problIAko s azok lgy6zsz }ujtottsgits68n kiviil _ komoly zeni !kt is kpvist'ivl a gordokirodalom s zo blul az tid.irodaiomign szfik' ritkanigsaimb mennk Z ol-van gyrfijtmnek,melyk szint z 6sszs von6sthiki k6rdst felvtik(killns tkintttl job kzre s a vnokzels!)' i8yreztm, hsznot hajthat a flvkv6 s1lt n.mzedksz6mra egy i|y.n v'logat6s. lgkztm, hog, a kivlsz.tott hat etfid midnfle lhnjkaj problmt kuljjon.(von6beoszts, intonid' oktavjtk, kuldnbi'z6 vonsn.mek slb') z etfldokt tehnikai nhzsgiik miatt knl.sn z iigyes, kozfokon |v6knk' de m68inkbb fls.foko tvbbtanul6knk ajAnlom,

Kisz|ina Kmn!

Capic Nr. I (oig.: N. 2)

Dis tud ist in ihrr fitr llo bbittn Form vor l.]em ein lJug fiir di link and. Di in lln Lagn vo.kommendn oktaven ntwikl ud stark di uskelndlik ad' zu8leih stelln si rnst IDtontiospo-lm dr. Dir tuden kdnnn vrshidentlih gspilt wer-dn, auf vshidrn iln ds ogns und mit ut-shidlin stihten, z.. dtah kr.ifti8 ud kuz'dihl m Frosh oder n dr spitz' Das letztele rm8lihtds Ubn dr tsphndn altung dr rhtn }iand.

Capi Nr. 2 (oig.: Nf- 3)

Die tIbu8 lhrtin rstr Lii die bwulJt, gu| Bogin.tilung. n mu sih um i 8lihig Bogengeshwin-digkeit und einen glihmBi8 o8endruk so um mg.lihst gltte Lgn- und saitnwehsl miih' Bi dnsailntibergengn nhmn auh die Fi8 dr rhtn ndaktiv an dr Bwgung til. I dr iinkn fland kommnmhrmals Quintngriff vor; i diesen bleibn die n.sphnd Fig li8n, Bsonders drauf ist zu htn,da di Lagnwhsel dr linkn nd niht zu Lastn dr8lattn Bidung 8eh.

Capic N|. 4 (orig.: Nr. 17)

si t eine ausgzeihnte spito-Ubung, di liht' mi!wign ewgu8n in dr itt drs Bo8ns 8spilt wer-dn kann. Di hufig vorkommnde hhn La8 ignnsih bsondrs gut dzu, dB di shiilr Ilrnn, wi sihdi lik ad in all La8 mit glihI Gwndthit b.wegn kann. Die Ubung nutzt dn gsmtn lngumfn8ds Instnrmnts und ntwikelt dduh di ltoatjos-fhig*it und das Notlsn in mhre shlussl . In dvariant fur llo komm shr vil Quitn8iffe vo ' djdj linke ad vo neu tehnish Probim stlln-

Cptic Nr. 5 (orig': Nr.21)

Di Ubung frdert die Aneignung dr shwungvo]ln o.gnfiihrung in hohem MaRe. Die saitensrung erfodminn bwuBten, kriiftign, doh lstishen ogn8iffsowie di rihtig Wal dr Bogn' und stfihiihtung. iIilf dise ttide kn die rihtig' lasth st!o-strihart am st giibt wrd. Di link nd mu sihoft reht spizn, was lokr und ohn vlkampfun8 -riht wedn soll' s t di auf ein enlsehnde 1.tung ds likn Arms zw. llbogns zu ahtn.

Capn Nr. 6 (on.: Nr. 5)

Die 5. apri Rods ist villeiht di glu8rst und fJigste. Ir usikstoff t vilshih1ig, obwohl der shzo.artig nzharaktef dufhweg im vodgud sthl. lndr ti,lde sind fast all strihJtn (stato' siato, mJ-ato, dth) vorhnden. Die vielen saitnspfting erfo.drn' dB di shr ei sihrn llalt auf den si!n b.ben. Di zilrihe shibr glihfrmign Ri}thn sdli .,u unlshidn (Z'' bzs ' i )' Dr Wh) tosxtl ud Qutol ist in Grunzug diser !ud' drdn shtilern bnflls rhythmish shwiriekitn b'

Cp|i Nr. 3 (orig.: N|. 4)

D siilino ist gdn8t ud klangvoll zu siln' wbidr bi den Doppetgiffn hufig auftretnd urtribogndruk zu vemidn ist. Au0er den siato.stelln'die besondes 8ekennzihnt sirld' spilen wi dn Allgo-il in shnl|em empo, mit krftvolln dlh-strihn.Diser il kann auf vilerli Art ll sm Bg (amFrosh, in dr itt, d sitz)' mit A. od Aufstihb8innd' pio dr lorl gspi|| wrdr,

Coprice No. I (Orig.: No. 2)

his tud is, in its form transribd fol llo, primarily a]efthad elis' h otaves ourri8 in vel positiondYelop nd str8th th musles of th lft hd, posingat th s tim srious roblems of intotion. he tudn playd i svrl ws, on vffious prts of th bownd with diffIt bowings. .8. a stlog' short dtshr th frg or t th tip of th ow. h lattI enables pr.Iing of the apropriat position of the ri8ht had'

p|i No. 3. (ong.: No' 4)

sfu,/i@,?o shuld b plad dnsel nd sonorousl, butvoid eessive bow-prssul so ommon in the ass ofdouble stops. Play the.4/.ego setion fst th nI8ti d.ihd owing, pt fol th spito plas mIkd sepa-.Il' his stion my b perfomed in vaious w}s onah part of the bow (t the fro8, in th middl, t th ti)nrtd upwrds o downwrds' piano o fort.

'pric No. 2 (orig.: No' )

his xris thes eseilly th osious, aood divisionof lh bow. Aim at rahing a steady vloit ad plssurof lhe ow d at kping th h8 of position nd ofstrin8s s smooth s possibl. I ass of tlansition fromo string to nothr th fingers ofth right hnd also taktiviyparti thmotion. h lft had often stos fifth'in whih as th rlevant fin8rrs rmain stlionry. spialtlntion must paidto th ft that shifts in the tft handshould ot go at th xpense ofth smothness of hrsing.

opfic No. 4 (otis.: No. 17)

It is an eellnt spiato eelis. lt should b pldli8htly' with litd motion, i the middle ofthe bow. he fe.quently ourring hi8h positions Ie remrkably suitbl formking the studet mastI the task of moving the lft handth equal dtity, i evry position' h xrise maksus of th whole ompass of lhe instnt' improvin8 thr.y th skill ofintonatiD as wll s th ility to rad musiin the various kys. In its llo vrsion stops of fifth ourvry frquntly whih prsnts dditional thniat diffiul.tis fr the lft hnd.

pnce No. 5 (ori.: No.2])

his e.ris ontributs 8rtiy to the vi8oous handling ofthe bow. h uts ll for dlirt' fifm, but fliblstoPpig as well s th ight hoie of dirtion of the bowand string. Th ploper flil stato sloke n pra.tised sPiall b mens of this tud. The left hnd mustb fquntly stthd, whih should prformed witho tstailr, as loosiy as possible, though finding the aPproriat position for the lft rm nd elbow'

Capic No. 6 |o|is': No. 5)

Aflong Rod's apies this is prhps th best don admst olourfulone' ough its musial txtu varies gt.ly, the shrzotyp dne haat dominats throughoutthe ie. Narl every sort of owing an be found hr(stato, spiato, mato, dth). h my uts de-mnd tht th studnt hav a safe hold o th strings. hsemigly simil h}thms whih our in 8t abundandmand sub|| dtintions t.g.:l d f l' h It.nation btwe stuplets and quadruplts is a stad fea-tu oi th whole tud whih raiss rhthmil diffiultisfo thr studnt.

I. p|k(orig.: No. 2)

Az etfid s1l6ra alkalmazott formjban ls6soran bl kzgakorlat. A mindn fkvs 16fordul6 ok16v,k f.jlsz.tik 6s rdsitik a b] kz izomzrt, ugykkor komoly intoi6s problml is jInteflek. Az tffd rbbflekppn.jtszhat6' a von6 ktll6nbdz6 rszin, ki,iln6z6 vonsn-rnkkl. Pl, 6s, rvid dtah kAp kzelen, vagyugyanz a stsnl. U16bbi stbn a job kar mgf1l6helyzet gyakorolhatd,

2. pric|o|ig.: No. 3)

A gykorlat lsdsorbn a tudatos, j6 von6bosztsra lalrit.Tdrkdni kll az gylets vo6sssg s .nyoms elr.se, valmint a minl zkkn6mentse fkvs s .irvl.t6sra. A hirr6tmntknl jobb kz ujjai is aktivan sztvszek a mozgsan' A l kzbn tszr kvitfo8sfodul 16, ilnkr a mgflld ujjak fkv maradnak. ii.l6ns gondot kl] forditani arra' hogy a bal kz fkvsvlt-si n mejenek a kts simas,8nk lovsra.

. Cptic(o|ig': No' 4)

A siiliano t6mr, szp hngo jatszand6, d tat6zkodnikell duplfogsoknl gakan el6fodul6 tilzott vn6nyo-mst6t' rselst6l. Az Altgo rsz gyors temp6, r6tl-js dth von6ssat jtszand6, kivv a k0ln jllt sia.to helykt, z sz sokflekepen jtszhato a von6 min-dn szn (kpa, kz, slis) fdlfl vgy lfel inditva'kis dinikval vagy fot.

1- Cp|i(orig.: No. 17)

itfin6 siato gakorla|. iinyedn, kevs mozgssa]jtszndo a von6 k6zepn. A gyakori mgas ftvsk ki\.]6an alkalmsak annk bgakoroltatasra, hogy a bal kzgyarnt otthonosan mozo8jo minde fekvse, A g\-korlat kihasznlja a hangsz tljes hagtjedlmt. zZ1fjlszti z iltoni6s kszsget, vlamint a tilbbfl kuisa val6 olvass kpssgl is. sll6ra lkalmazott !lt-zatban sfr(n fodulnk 16 kvintfogsok, miyk ujabthnikai polm l e itjak a bal kzet'

5' Cap|i(ori.: No' 21)

A gykortt nagymrtkbn l6sgiti von6 lndiilets kzlst. A hriugrsok szuksgss teszik tudatos, rs' duglms von6fogst' valmint hlys vn6 s 'hurin!mgvlasztset. zn z t.id6 gyakorolhat6 l8inkbb hIes rugalmas stto vons. A bl kzn sok nnjsfodul 16, melt feszitesmntsen, minl laz.ibban kllgoldani, a bal kr ill. knyk megfll e]helezs!]-

6. pric (oriq,: No' 5)

Az 0t6s sz6mi taln lgsikultbb, legszinsbb Rodpie' Zni anyaga sokrtii, a sherzo jelleg.ff tns ka.raktr azonba mindvgig domil' szint az sszs voni.nmt mgtleijuk az etidben Glato, sito, mrro.dtah). A sok hlirugrs mgkvtli a novendkt6] hn'rokon Yal6 j6 lhelyzkdst, Finom mgkiilnbzttskIkiv sok' ltsz6lag gform itrnus. (pl. ]:-i ill, )Az 8sz tfidn vgigvonul a szeksztolak s kvatolk !l.takozsa, m] szintn litmiki lhzsgk l llitja o.vndkt'

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