The Masters of the Violin Volume III Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom 克里克布姆 小提琴 小提琴练习曲 朔特版

小提琴大师们为我们留下了大量杰出的研究曲和随想曲。但是，这份珍贵遗产的丰富性使得其中的很大一部分没有收益，因为学生们不可能获得或研究这散落在五十大卷中的几千个练习曲。教学精神并不总是能够随心所欲地支配或引导灵感，因此，第一批学习内容有时是给那些用最简单的弓法就能完成第一个换把动作的学生的，而最后一批学习内容总是具有超乎寻常的难度。无论选择什么样的学习内容，一旦迈出了第一步，学生们就必须付出巨大的努力，以不完美的方式，分步实现他们所无法实现的困难。这样做的结果是：浪费了大量的时间，有时甚至使学生灰心丧气。正是为了弥补这些诸多不便，我们才有了现在的工作，为了完成这项工作，我们在大师们最伟大的作品中寻找最能使年轻小提琴家迅速掌握左手和弓子的最完整机制的元素。这些从旧版本中选取的数量庞大、种类繁多的元素，都经过了我们的重新审视、指点，有时甚至是细微差别（阴影）的设置，我们都非常谨慎，然后以循序渐进的方式，将这些元素按程度从第二年学习到第八年学习进行分类。然而，除非从第二年到第五年的教学工作有良好的方法和适当的练习加以规范，否则这些学习书籍将不会结出硕果。实际上，在这一时期，学习既不能取代教学方法，也不能取代练习，而必须把它们看作是对其他地方学到的、但仍被严重吸收的内容的放大演练"

作曲家: Crickboom, Mathieu
乐器: violin
出版社: Schott Music
原文简介:
The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes.Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement.It follows at all events, that instead of practising fifty or sixty caprice studies in one year's time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.