Seitz, Friedrich - Student Concerto No. 2 Opus 13 - Violin and Piano - Edited by Grieve - International Music Co.

Friedrich Seitz’s Student Concerto No.2 in G major, Op. 13 is among his most popular compositions because of how its varied, highly gratifying writing encourages technically young violinists to further develop in multiple ways. The intent of this publication is to make available a practical modern edition of this concerto that enhances its potential musical and technical lessons. 

While German violinist-composer Friedrich [Fritz] Seritz (1848-1918) is internationally known for his student-oriented music, few details about his like are available. According to Hugo Riemann’s Dictionary of Music (1908) and Musik Lexikon (1929) and Edmunf van der Straeten’s History of the Violin (1933), Seitz was born in Gunthersleben near Gotha (about 130 Miles west of Dresden) and studied with Karl Welhelm Uhlrich (1815-1874), the court concertmaster in Sondershausen, Germany who subsequently became Seitz’s father-in-law. In 1874, he pursued studies in Dresden. His teacher was the distinguished solo artist-violinist Johann Chistoph Lauterbach (1832-1918), who, having studied violin and composition with Charles de Beriot and Francois-Joseph Fetis in Brussels, was the professor of the advanced violin class at the Dresden Conservatory and the first concertmaster of the Dresden court orchestra, where his predecessors had been the legendary Polish virtuoso Karol Lipinski, who had been a co-performer with Paganini, and Francois Schubert, the composer of the famous violin solo “L'Abeille” [The Bee]. Soon afterwards, Seitz followed in his teachers’ footsteps in the ensemble leadership and teaching posts he assumed, first as music director in Sondershausen and then as concertmaster in Magdeburg and, from 1884, as court concertmaster in Dessau, the city where he died.

This edition attempts to reconcile many differences between the original piano score and the separate violin parts especially in terms of dynamic and expression indications, as well as temp indications, bowings and a few notes. In a few places, differing articulations in the piano score’s violin line and the separate part were viewed as having artistic merit within their musical context. Places where the version of the violin line in the original piano score in motated within parentheses are mm. 24, 124-126. In some passages or between parallel passages inconsistencies of dynamis, inflections, articulations and other elements were unified. Further editorial additions are also enclosed within parentheses, and piano cues in the solo violin part have been reformatted so as to facilitate page turns.

-Tyrone Greive, Madison, Wisconsin

This edition contains the violin part and the accompanying piano part. This edition with all parts was edited by Tyron Grieve.

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