Kreisler's Praeludium & Allegro

[~morten~]

I was wondering whether I should play the first E on the D string, which for me just sounds better than to start on the G string. However, it seems more reasonable to start on the G string, as you will avoid any big shifts, like you get with the "D start". Any opinions?

Morten

[~morten~]

Oh, look! My status changed to Member!

[Smokey]

I'm also playing this piece right now, and I usually play the first E on the D string because I think that it doesn't really matter if you cross strings after this E, as the notes are accented anyways. I also play the other "beginning" E (where it goes back to Tempo I) on the D string. However, the E that ends the second set of quarter notes, I play on on the G string.

[Ole Bull]

The only reason to start on the G would be for a stronger sound. If you're avoiding shifts, then it only makes sense to play second position (for the following , which is horrible for a couple of reasons (weak 4th finger, etc).

So - start on the G and shift down, or (better, I think) start on the D in first position.

No real reason to avoid shifts anyway, since it's slow, and the shifts themselves can be (perhaps) enjoyed.

[Lydia Leong]

I also favor starting on the D string.

For the first couple of notes, there's a slight shift in tonal color from note to note, due to each note being on a different string; I think this is desirable, and helps to bring out the accents.

[~morten~]

Thanks!

Morten

[DelGesu]

I would be inclined to say just the opposite. I agree that changing strings would make a different tonal character, but i don't think in this instance it is desireable. This is the beginin of the piece, which i believe entitles it to be played on the g string, giving a much stronger and aggressive sound than it would on the d string. As for the shifts... if you're concerned about that, hide the shift from the e to the b be either reaching back for it with the first finger or by playing the whole thing in second position. I also believe that the performance practice has been to play it on the g string. so that's my advice,

DelGesu

[SteveLaBonne]

I'm with Lydia. This is a pseudo-Baroque piece, and I don't think it's in keeping with the music's character to "smooth out" the sound by avoiding string changes. Often, players who do that also pretty much ignore all the accents, depriving the opening of much of its rhythmic energy (cf. Joshua Bell's recording, with lots of sliding and lots of rubato. I used to like, and imitate, this approach but I've changed my opinion.)