100 Violin Etudes 32: Book I: 20 Etudes in 1st Position Paperback – December 18, 2021

The Czech violinist Jan Hanuš Sitt, known artistically as Hans Sitt (1850-1922). In addition to his pedagogical works, Sitt composed several works for violin and orchestra, including six concertos and sonatas for various instruments, chamber music, works for piano, choir and orchestra.Between 1889 and 1891, when Hans Sitt was professor of violin at the Leipzig Conservatory (Germany), he published numerous pedagogical works for violin and viola literature, among the most important of which are still in use today are the 100 Etudes for Violin Opus 32, entitled "100 Etüden als Unterrichtsmaterial zu jeder Violinschule zu gebrauchen" and published in 5 books, Book I: 20 Etudes in 1st Position, Book II: 20 Etudes in Positions 2-5, Book III: 20 Etudes in Changing Positions 1st to 5th, Book IV: 20 Etudes in 6th and 7th Position and Changing Positions 1st to 7th, Book V: 20 Etudes in Double Stops.Possibly in 1889 Sitt published book 1 with Leipzig: Edition Eulenburg which, for the first two decades since its creation in 1874, its catalogue consisted mainly of educational works and which was subsequently bought by the firm Schott & Co., however, the source we have turned to is an unidentified edition which we believe dates from an earlier date, since, although the title page has not survived, the musical spelling gives us indications that it belongs to the end of the 19th century. When making graphic comparisons with another of his works from 1889 "3 Stücke for cello and piano" Opus 33 Leipzig: Edition Eulenburg, 1889. Plate E.E. 3054 and Leipzig: Edition Eulenburg, there are certain undeniable similarities, but it is difficult to affirm that it belongs to the same edition and cannot be proved. Roisber Narvaez Verlag also used the printed editions of 1895 and the revised edition of 1899 by Carl Fisher as sources of reference.We have reorganised the distribution of the measures in a more spacious way to make it more comfortable for the performer when reading and practising music, and we have also eliminated the excessive amount of accidentals and musical courtesies. As for the fingering, we have corrected some impressions that were probably mistakes and we suggest the corrections in grey colour. Read more