etude
An etude (French étude: Study) is in its original sense of the word ( les études = "study"; étudier = "study") is an instrumental work for a solo instrument , which should help the playing instruments to greater skills on his instrument. The focus is on a short technical problem that often occurs repeatedly and in sequences. In contrast to the exercises, the etudes are structured harmoniously and can also change keys.
In the 19th century the etude developed into a bravura piece by the virtuoso, who presented his technical skills to an audience.
Forerunner of the etude
Piano pieces which, without being explicitly designated as an étude, have the function of an étude for certain technical and / or musical problems have existed almost since the beginning of piano music. This is how Oscar Bie wrote about the piano music of Johann Sebastian Bach :
“It [note: what is meant here is the etude] is there in nuce with Bach, it has half outgrown the subject matter, only the angle of vision changes over time. In a Bach Inventio or Sinfonia , a motif is worked on according to the free laws of imitation ; it is used for all voices, for all fingers. In a preludio about some basic thematic subject, in a fugue with its strict code of canonical sequence, only the same thing happens: the motif itself is exploited. "
In contrast to most of the later pieces explicitly named as étude , the technical practice value is not yet clearly separated from the intended musical expressive content.
“Bach wrote some of his Preludes for teaching reasons, but he did not yet compose them strictly according to their full practical utilization. Just as in theory the musical and the mechanical are not sharply distinguished, so too are the pieces half music makers, half just teaching aids. The mechanical first had to emancipate itself before the concept of the etude could be understood. "
In the 18th century the so-called handpieces were created for the piano : According to DG Türk, handpieces were "short Allegros, Andante and the like also easy and well-set minuets, polonaise etc." for piano lessons, which should complement the purely technical exercises. The piano teachers wrote these handpieces directly for the needs of their students and have therefore only been published to a small extent, because, according to Türk, "a composer with a reputation cannot easily perform with them."
19th century
The étude replaced the older term handpiece around 1800 . At first she was not restricted to technical studies alone. In the beginning, it often appears as a collective term, while the individual study was referred to as "Exercise" or - especially in the violin literature - as "Caprice".
The most important étude composers for piano were the three composers with the C: Muzio Clementi, Johann Baptist Cramer and Carl Czerny.
The Gradus ad parnassum , written by Muzio Clementi between 1817 and 1826 as a piano textbook consisting of 100 studies or études, shows the shift in emphasis from the “étude understanding” of the 18th century, which combines musical expressive values and technical aspects, to the more technical, virtuoso understanding of the 19th century. In addition to technical study works, Clementi's collection also contained preludes and fugues, canons, sonata movements and character pieces.
His work was followed in the same sense by the collections of studies by Johann Baptist Cramer and Johann Nepomuk Hummel .
The best known were Carl Czerny's collection of etudes . He wrote etudes for all levels of pianistic ability: from beginners to virtuosos, he developed easily understandable pieces that deal with specific problems of piano playing.
From 1830, during the Romantic period , the études developed into an independent form of music, which also served the study of special skills, but was also brought to the audience as a concertante work. Examples are the 24 caprices for violin by Niccolò Paganini and the 12 caprices op.25 for violoncello by Alfredo Piatti (written 1865).
The piano étude was revolutionized in technical, musical and social terms by Frédéric Chopin . It was completely new for a pianist to perform etudes in public. Chopin made the etude art and socially acceptable . His virtuoso études were also the pieces with which he most delighted the audience in the salons. Later, in 56 “studies” by Leopold Godowsky, they were made even more difficult.
Chopin followed Franz Liszt and later also Sergei Rachmaninow and Alexander Scriabin with their own piano etudes, which further increased the technical requirements.
In the course of time this form of music moved away from its original meaning, the achievement of greater dexterity. This is already evident in some of the studies (Scriabin) . But the symphonic etudes (Schumann) are also an example of the departure from the original idea of an etude, as they are rather variations on a theme. The Paganini Variations op. 35 (two volumes) by Johannes Brahms are also a collection of etudes; their subtitles unmistakably bear the name Studies for Pianoforte .
Etudes for several voices have existed since the early 19th century, such as the 21 Etudes for Violoncello with Accompaniment of a Second Violoncello by Jean-Louis Duport (published 1806), the 12 Etudes for Horn with Accompaniment of the Piano by Josef Rudolf Lewy or the 6 Etudes for 2 clarinets op. 74 by Iwan Müller .
20th century
piano
Piano technique has once again expanded significantly. Various etude works of various kinds were created in the 20th century. Composers such as György Ligeti wrote entire etude works, the etudes of which are musically high-quality pieces that no longer have anything in common with the peculiarity of manual exercise. With the highly virtuoso “12 Études” (1915), Claude Debussy created the connection between the so-called pianistic problems and an aesthetic that grows out of them and is compositionally balanced by themes derived from them. The reference to Czerny in the "Étude 1 pour les cinq doigts d'après Monsieur Czerny", which spins a completely new world of tones out of his five-finger motif, could be seen as the sonication of simple, outdated finger exercises and their transfer into something musically valuable up until then the virtuosity of technology was often in the foreground.
The piano work was also enriched by instrumental composers such as Marc-André Hamelin , who, as virtuosos, sought to expand their own playing skills and wrote etudes in traditional, tonal composition.
Strings
Well-known etudes for string instruments are also works, such as the 4 studies by Bernd Alois Zimmermann for solo cello , written in 1970 shortly before Zimmermann's suicide - originally intended as a complete etude work for the interpretation of contemporary playing techniques for cello and commissioned by Siegfried Palm .
Orchestras and ensembles
In the 20th century, etudes are by no means just works for a single performer. The romantic practice of conceiving études with accompaniment continues in the 20th century. Canonical Etudes for 2 transverse fetuses by Günter Bialas and Zu Zwei durch den Tonkreis for 2 recorders by Hans-Ulrich Staeps were published as duet etudes in 1954 . Emmerich Bünemann also arranged etudes for three cellos and Adrian Wehlte wrote etudes for 2–4 flutes (2011).
Hendrik Andriessen wrote a symphonic etude for an entire orchestra in 1952 . Erich Urbanner wrote an étude for wind quintet in 1965 . By Boris Alexandrovich Tchaikovsky Six Etudes for Strings and an organ (1976) come.
Collections of Studies
Studies for keyboard instruments
Etudes for piano
- 12 Etudes in Major (Douze Études dans tous les tons majeurs, op.35)
- and minor (Douze Études dans tous les tons mineurs, op. 39)
- further works, partly for one hand alone
- Paganini Variations op.35
- 51 piano exercises
- 12 studies op.10
- 12 Etudes op.25
- 3 studies posthumously
- Gradus ad Parnassum op.44
- 84 Etudes op. 50, edited by Hans von Bülow
- School of Fluency , 40 Etudes, op.299
- Art of manual dexterity, op.740
- Livre I (6 studies)
- Livre II (6 studies)
- op.47
- op. 63
- op. 40
- op. 68
- Études
- Concert studies
- Grandes études de Paganini
- 12 Études d'exécution transcendante
Alexander Nikolaevich Scriabin
Etudes for harpsichord
- Etudes pour agresseurs III for harpsichord
Etudes for organ
- Six Études op. 5 (composed 1944. Paris: Bornemann / Leduc, 1946)
- 14 Études insérées dans l'Initiation à l'orgue (composed 1969/1970. Paris: Bornemann / Leduc, 1971)
Etudes for harmonium
- Harmonium Etudes, 2 volumes
Etudes for the accordion
- Concert studies for accordion, premiered in Trossingen 1946
- Etude 1 for 2 accordions (2014)
Etudes for woodwind instruments
Etudes for flute
- Five Etudes for flute (s) solo (1974)
- Seven Etudes for Flute WeyWV 70d Fl
- 6 Tango-Études for flute (and violin) 1987
Studies for oboe
- 4 Etudes pour hautbois d'amour, hautbois et piano
Etudes for clarinet
- "Douze Etudes De Rhythme pour Clarinette" 1957
- 30 studies, clarinet in Bb
- 48 Studies for Clarinet (1938)
Etudes for bass clarinet
- Two Etudes for Bass Clarinet Solo (Arrangement of the Two Objective Etudes, 1990)
Etudes for bassoon
Edisson Wassiljewitsch Denisov
- Five etudes for bassoon solo (new edition 1997)
- 15 Studies for Bassoon (1970)
Etudes for brass instruments
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Etudes for Trumpet
- Etudes about new tongue thrusting and breathing techniques on the trumpet 1987 in three volumes (at Frankfurter Musikverlag Zimmermann)
- 100 Etudes , for Trumpet
- 28 Etudes , for Trumpet
Etudes for horn / French horn
- 24 studies for horn
- Orchestra studies for French horn
- 36 studies for French horn
- 140 Etudes for Natural Horn (1968)
- Twelve Etudes for Horn, op.43
- Etudes, in: The basics of horn blowing (Part: 2. Etudes and lecture pieces), 1997
- 12 etudes for horn with piano accompaniment
- Etudes for low horn
- Exercise pour le Cor with Accompagnement de Pianoforte (ca.1820)
- Etudes and performance pieces for French horn, Freiburg 1980
Etudes for trombone
- 65 etudes for trombone
Etudes for tuba
Alexei Konstantinowitsch Lebedew
- Etudes for tuba
Studies for plucked instruments
Etudes for classical guitar
- Erwin Schwarz-Reiflingen (Ed.): Matteo Carcassi, 25 melodic and progressive etudes, op. 60. B. Schott's Sons, Mainz (= guitar archive. Volume 2)
- John Holmquist (Ed.): Giulio Regondi, 10 Etudes for Guitar. Editions Orphée, Columbus Ohio 1990
- Douze Études pour la guitare
Etudes for string instruments
Etudes for violin
- Op. 14: Etude in 60 variations on the song “Baracubà” for violin and guitar
- 30 violin studies of medium difficulty as preliminary studies for the 25 studies. André, Offenbach, 1876 OCLC 916201496
- 6 large studies for violin alone, based on motifs from R. Wagner's Holländer and Tannhäuser. A. Fürstner, Berlin. OCLC 60621620 Study No. 1 to 3 on The Flying Helllander ; Etude No. 4 to No. 6 about Tannhäuser
- Op. 36: 75 studies in 3 volumes
- 38 studies (1950–1951)
- 42 Etudes (Caprices) (1796)
- Op. 45: 60 Etudes for solo violin
Etudes for viola
- 12 studies for viola solo
- 20 etudes for viola to promote technique and performance. Viola. Op. 36, Leipzig: Kistner, 1905
- 20 etudes for viola (intermediate to difficult, 1971)
Etudes for violoncello
- 113 Etudes
- 21 studies
- 12 studies op.35
- 10 melodic studies
- Etüde-Caprice for violoncello and piano
- 24 Etudes, op.38
- 10 melodic studies op.35
- Melodic and Progressive Studies Op. 31: Vol. 1, 1-22; and Vol. 2, 23-40
- Twelve Etudes for Perfection Op. 57
- Forty easy etudes in the first position Op. 70
- Six Melodic Etudes for the Cello alone Op. 76
- Guide du jeune violoncellist; 40 Exercices journaliers pour le Violoncelle Op. 82 et. Op. 83
- Six Etudes for Violoncello Op. 92
- Fifty Etudes to Begin (The Young Cellist's First Steps) Op. 101
- Six Caprices for Solo Cello Op. 105
- Twelve Melodic Etudes for the Violoncello Op. 113
- 30 preludes in all keys, each prelude a scale, with and without the use of the thumb for the violoncello Op. 122
- 22 Very Easy Duets Op. 126
- Twenty-four Melodic Etudes for Two Violoncellos Op. 131
- High School of Violoncello Playing, 40 Etudes op.73
- 15 easy cello studies op.76a
- Violoncello Etude School
Etudes for double bass
- 86 studies for double bass
Etudes for percussion / percussion
Etudes for percussion
- 50 etudes for percussion: 1 - 3 players and groups
Studies for drum
- Etudes for 2 small drums op. 98 / 6a
- Etude for drum and hanging cymbals op. 98 / 6b
Etudes for dulcimer
- Etude for dulcimer (1989/90)
Etudes for marimbaphone
- Etude for marimbaphone (1994)
Studies for xylophone
- Etudes for xylophone and temple block op. 98/5
Web links
Individual evidence
- ↑ Oscar Bie: The Piano . Paul Cassirer, 1921, p. 190
- ↑ Oscar Bie: The Piano . Paul Cassirer, 1921, p. 191
- ↑ Dieter Hildebrandt: Pianoforte or the novel of the piano in the 19th century . 2nd edition Carl Hanser Verlag, Munich 1985, pp. 139, 140
- ↑ henle.de (PDF)
- ↑ Dieter Hildebrandt: Pianoforte or the novel of the piano in the 19th century . 2nd edition Carl Hanser Verlag, Munich 1985, p. 138
- ↑ mjlnr: Mitsuko Uchida, The Debussy Etudes 1: 2. September 30, 2013, accessed September 17, 2018 .
- ^ Bünemann, Emmerich: Etudes for three for 3 cellos, Verlag Musica Allegra TRIO-MA023
- ^ Schott music education