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Zitiervorschau

Charles Castleman and Allyson Dawkins

SUPERIOR FINGER EXERCISES for Violin The Use ofScales~ Arpeggios and The Finger Patterns of

Emanuel Ondricek

in Visualization of the Fingerboard

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SOUTHERN MUSIC COMPANY

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Emanuel Ondricek was born in Pilsen (some biographies give his place of birth as Prague) on December 6, 1880, and he died in Boston on December 30, 1958. Emanuel Ondricek was one of four violin playing sons of Jan Ondrfcek. His older brother Franticek (Franz) was a protégé of Wieniawski who gave the premiere of the Dvorak Violin Concerto. The other brothers, Carl and Stanislav were also well-known. Like his brothers, Emanuel was a student of his father Jan. At fourteen, he entered the Conservatory at Prague where he was a student of Sevcik (1894-9), and of y saye (privately). He graduated with first prize five years later and was publicly congratulated for his splendid achievement by the president of the institution, Prince Ferdinand Lobkowitz, and the faculty. He toured throughout Europe, playing in Prague, Vienna, Budapest, Berlin, London, Petro grad and others, and performed as soloist under many famous conductors with such orchestras as the London Symphonic Orchestra, Queen's Hall Orchestra, the Berliner Philharmonie, Wiener Philharmonie, Prager Philharmonie, Russian Imperial Orchestra of Petrograd, and many others. He played for the Tsar and his Imperial Suite, also for the Rumanian Queen (Carmen Sylva) and the Serbian King and was decorated with the Russian and Serbian orders for his art. His debut tour of the United States was particularly successful. . Emanuel Ondrfcek studied composition and counterpoint with Professors Knittl and Stecker and attended orchestra classes conducted by Antonin Dvorak. His compositions included several compositions for violin, several larger compositions for orchestra, a string quartet (1924) and popular arrangements of works by Fiorillo, Gerniniani and Mondonville for violin and piano. He was a conductor of some success, described as "a conductor of decision and authority" (Boston Herald). He was considered an authority on Slavic music. From 1912 he devoted himself exclusively to teaching in Boston and New York City; in the late 1940s he was appointed Professor of Violin at Boston University. His students included Ruth Posselt, one of the first American woman violinists to make an international mark as a soloist.

***** I studied with Emanuel Ondrfcek as a child from 1949 to 1956; he gave wise advice for career development in addition to instrumental instruction. His pedagogy is described in The Mastery of Tone-Production and Expression on the Violin (1931). His analytic practice system synthesized transcendent technical and musical mastery from accessible constituent kernels. His students were praised for their musical fervor and remarkable left-hand facility. His particular strength as a teacher of the right arm was a precisely planned bow distribution for enhanced phrasing and communication.

Charles Castleman

3 The text and images below were taken from promotional materials produced to accompany Ondrfcek's first appearances in the United States.

Mr, Ondricek's teaching is referred to as the "Grand School" riLe Figaro," Paris, March 14th, 1924, after Miss Sinayeff's concert), while other papers rank Mr. Ondricek as a "master" (Huchard in "Courier Musicale," Nov. 18th~ 1925). After Miss Pierce Posselt's phenomenal success in New York and Boston, the American critics also wrote laudatory comments on his teaching.

Mr. Ondricek as he appeared after receiving his second decoration and shortly before he came to America.

Mr. Ondricek is widely sought for coaching and preparing a repertoire for the concert stage, and in his "master class" are artist-pupils who had previously studies with great teachers, such as Y saye, Auer, Cesar Thompson and Seveik.

Mr. Ondricek as he appeared while concertizing in Europe.

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Introduction The purpose of this book is to facilitate the learning of scales and arpeggios through a combination of visual and physical memory of the fingerboard. One must memorize scales and arpeggios to become fluent in the very rudiments of musical performance. Playing scales and arpeggios while seeing the notes with fingerings enables one to quickly learn and memorize by associating the sound of each pitch with the written note. In addition to scales and arpeggios, the finger patterns of Emanuel Ondricek are an invaluable tool for playing repeated figures from memory and visualizing the fingerboard in all different keys. It may well be that the Ondricek finger patterns contained in this book are appearing in print for the first time. If you approach these exercises by learning the right place to put the fingers, then you will have a strong foundation for playing the violin accurately. Ultimately, careful listening is the way to play well in tune. In addition to listening, however, you can hone your intonation by visualizing the exact place on the fingerboard where each finger belongs, and the spaces between successive fingers. In stepwise motion, picture the distance of half steps or whole steps; in intervals, picture the distance of the space between the fingers. Let your ear guide your fingers, and learn the fingerboard by memorizing and visualizing. While each exercise is printed in a specific key, the exercises should be practiced in all keys, at a tempo of quarter note =72-104. Some recommended points of focus are: 1. Practice in front of a mirror to be sure that your left hand position is good - wrist straight, and fingers close to the fingerboard. bridge.

2. Practice in front of a mirror to make certain that your bow is traveling parallel to the

3. While becoming increasingly aware of what the left hand does, also pay attention to the right hand. Knowing the levels of the fingerboard with the bow arm in coordination with the left hand is essential to mastery of technique; tactile memory is needed in both right and left hands.

Allyson Dawkins

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This photograph was taken at Ondrfcek's summer home in Cape Cod. He and Charlie Castleman are playing Parchesi. It wa!l1948 and Charlie was 7.

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