Mazas : Études for Violin Op.36
Thematic Index : Book 1 / Book 2 / Book 3
This page is a study guide gateway to the Mazas etudes. I intend to make it the most comprehensive guide and the best ever published for these studies. Completion is set for Jan 2005, and the project is being re-started in Jan 2004. As study notes for each individual study becomes available, that study number will turn into a hyperlink. A number with no hyperlink indicates no guide has yet been published.
The study guides will discuss different editions and concepts of the works, outline strategies for practice, and generally describe the correct part of the bow to be used and the tonal effects to aim for. Left hand technique is also included. However, from an artistic point of view there is no one interpretation which is necessarily correct above all others, so only aspects and concepts which are universally true to all styles and good tastes are reinforced. I would also like to warn readers, that no absolute authority exists on the interpretation and execution of these studies. Indeed choices and views are always subjective and may change over time, and for this reason I have selected permanent topics, not arguments subject to change, opinion, or individual mannerism. Seemingly different views may be equally valid, as long as they adhere to the laws of correct phrasing, superior tone and good general taste.
Recently, I bought a copy of Mazas books 1 & 2 published by Peters Edition. I already had IMC editions, but wanted to compare the two. Immediately, I took an equal liking to the Peters edition ; bowings and fingerings differ, and I personally like to synthesise the two, mixing the more old fashioned, yet stylistically accurate Peters edition with the more Modern and "cleaner" IMC edition. I would like to reproduce Walther Davisson's impressive preface to his edition (Peters) and I would like all violin students and non-students to read it, for it praises the importance of these etudes :
"Of the numerous works written for violin, the "75 Etudes melodiques et progressives" Op.36 of Mazas (French Violinist and composer of violin music, 1782-1849) undoubtedly occupy a position of eminent importance.
The 57 exercises, popularly known as "Etudes Spéciales" and "Etudes Brillantes" constitute together with the classical studies of Kreutzer and Rode ideal material for purposes of violin study. The fundamental and technical requirements of violin technique have been handled with distinct musical charm and sense of melodic shape. It should also be emphasized that in addition to the development of the left hand special importance has been laid on the technique of bowing and cantabile playing. The study of these pieces will be found to be of immense benefit in matters of tone and technique, power and impetus of bowing should develop pari passu with ease and grace of performance.
The new revision has been undertaken in a progressive spirit, based on the musical requirements under consideration and upon which all matters of violin technique must ultimately depend. In place of the generally accepted and so-called "comfortable" fingerings all positions have been given equal importance (this applies also to the half, second and fourth positions and their mutual connection), this has been deemed advisable as only the best solution from the point of view of tone and effect shall determine the technical process."
Op.36 : Book 1 : Études Spéciales
These are indeed special studies. This study book ( of which I have the IMC edition by Galamian ) contains 30 easier studies not to be tackled before having mastered Wohlfahrt's Op.45 and Kaysar's Op.20. These Mazas studies complement those by Wohlfahrt Kaysar. They also expand and refine the violinist's technique. Let me point out some study notes on each one to guide you through these masterpieces. They develop your cantabile bowing, the so called détaché stroke, the string crossing legato technique, and general bowing technique while using basic finger passage work throughout the first 5 positions. Compared to Wohlfahrt and Kaysar, a more singing tone, based on phrasing, often using tonal tension associated with higher positions is exploited. Vibrato and tonal colour is of utmost importance, and each study has a specific goal as regards style, bowing stroke and musical character.
01 02
03 04 05
06 07 08
09 10 11 12 13
14 15
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
Op.36 : Book 2 : Études Brillantes
If you have studied your Wohlfahrt well ; and your playing has solidity, clarity and firmness in tone, then now is the time to "soften up the edges" : Some changes in technical style must be adopted ; consider the Germanic "on-the-string" up bow staccato technique, which in the more refined French style is played off the string, producing a lighter bite or attack to the note. In this particular stroke, I often advise studying in the Germanic on the string fashion first, for clarity and solidity, and at a second, more refined stage progress to the lighter French stroke, involving slightly more wrist, rather than the more powerful forearm.
31 32 33 34 35 36 37 38 39 40 41 42 43 44 45
46 47 48 49 50 51 52 53 54 55 56 57
Op.36 : Book 3 : Études d'artistes
More advanced technically.