List of works by Otakar Ševčík

This list is manually maintained, therefore some of the available pieces may not yet be linked from this page. For an automatically generated alphabetical list of all available pieces, please see Category:Ševčík, Otakar.
A list of works in the composer category that are not included here can be found on this page.

Works with Opus number

Book 1: Exercises in 1st Position (1881)
Book 2: Exercises in the Exercises in the 2nd, 3rd, 4th, 5th, 6th, and 7th positions. (1881)
Book 3: Exercises on the shift combining the various positions. (1881)
Book 4: Exercises in double, triple, and quadruple stoppings, pizzicato, and harmonics. (1881)
Book 2: School of Bowing Techniques (1892)
Supplement for Op. 2, and exercises for bowing in an easy style.
Hanuš Trneček’s Accompanied Piano, 1898. Leipzig: Bosworth & Co..
Max Kaempfert’s Accompanied Violin Part, 1910. Leipzig: Bosworth.
L. R. Feuillard’s Transcription for the Violoncello, 1904. Leipzig: Bosworth.
  • Op.4, Expansion of the Fingers, 1999. (This work remained in manuscript until compiled and introduced by Prof. J. Folty ́n of the Prague Conservatoire in 1999). Prague: ARCO IRIS.
41 examples, and the stretching of the 2nd , 3rd , and 4th fingers.
Seven books of exercises based on the half tone system, including the Little Ševčík, and the melodic notes as the supplement for Op. 6, 1909.
1 – 5: Exercises in the 1st position.
6: Exercises preparatory to the 2nd, 3rd, and 4th positions.
7: 5th position, combining the various positions.
  • Op.7, Violin Studies - Preparation for Trill Exercises and Development in Double Stopping (1898) Leipzig: Bosworth.
1. Exercises in the 1st position.
2. Exercises in the 2nd , 3rd, 4th, 5th, and 6th positions.
Haider and Helen Boyd’s transcription for the violoncello, (1930). Leipzig: Bosworth.
Exercises in seconds, thirds, fourths, sixths, octaves, tenths, and harmon- ics.
L. R. Feuillard’s Transcription for the Violoncello, (1909). Leipzig: Bosworth.
1. The girl with blue eyes (dedicated to J. Kubelík). = Holka modrooka
2. When I used to come to you (dedicated to J. Kubelík).
3. Untitled (dedicated to J. Kubelík).
4. Fantasy
5. Bˇretislav
6. Furiant (dedicated to J. Kubelík)
  • Op.10a, Czech Dance No. 7 (accompanied piano), 1928. Benátky, J. Stožický ́. Dedicated to J. Kocian.
Op. 10 and 10a were based on national songs and popular social songs in Czechoslovakia.
  • Op.11, School of Intonation on an Harmonic Basis for Violin in 14 parts, 1922. New York: Harms.
  • Op.12, School of Double Stopping (manuscript).
  • Op.13, School of Arpeggios and Modulations (manuscript).
  • Op.14, School of Chords (manuscript).
  • Op.15, School of Flageolets (Harmonics) and Pizzicatos (manuscript).
Op. 12 — Op. 15 together School for Virtuosos.
(The Ms. for this book was submitted in 1921 to the publishing firm of Harms in New York, but in fact was never published, even though Ševčík was paid for it.)
45 pieces in 2 parts, with technical studies
Part 1, 1-30, Introduction to Solo Playing
1. Rode: Melody, Concerto No.6, 1st Movement. (Styles of bowings on eighths)
2. Rode: Introduction to Rondo Concerto No.6. (Styles of bowing on eighths in 6/8 time)
3. Fiorillo: Andante, Etude No.13. (Shifting of position in various forms)
4. Wieniawsky-Warlamoff: Romance from Souvenir de Moscou. (Bowing styles on triplets)
5. Ševčík: Andante on the G string, Op.10/5. (Rhythmic studies)
6. Leclair: Sarabande. (Introduction into 3/2 measure. Bowings for legato, martelé and staccato)
7. Paganini: Theme from Non piú mesta. (Repeated raising of the bow at the up-stroke)
8. Mendelssohn: Melody in G, Concerto E-minor I. (Shading and nuance of the tone)
9. Rode: Adagio, Concerto No.7. (Studies on the G String)
10. Rust: Gigue. (Bowing style Spiccato)
11. Beethoven: Melody G-minor, Concerto in D-major III. (Rhythmical exercices in 6/8 time)
12. Rode: Adagio, Concerto No.6.
13. Wieniawski: Theme original from Op.15. (Drawn and sharp notes by turns)
14. Ševčík: Introduction to the natural and artificial harmonic tones.
15. Spohr: Introduction to I. Movement, Concerto No.2.
16. Ernst: Melodic Scene in A-major from the III. Concerto in F-sharp minor.
17. Rode: Introduction and Melody to the Concerto No.7-III. (on the dotted rhythm)
18. Molique: F-major Melody, Concerto No.5-I. (Bowing styles accompanied by 2nd violin)
19. Beethoven: Rondo theme from the Violin Concerto.
20. Spohr: Marchscene, Concerto No.8-III.
21. Viotti: Melody with Double-Stop Passages, Concerto No.18-I.
22. Wieniawski: Cantabile A-major Concerto 1-I. (Rhythmical exercices in triplets)
23. Vieuxtemps: Theme from the Fantasia Appassionata. (Softness of the tone)
24. Paganini: Theme from I Palpiti. (Shading of the tone)
25. Viotti: Rondo with Double-Stop Passage, Concerto No.28.
26. Wieniawski: Theme form Carneval Russe.
27. Molique: Ricochet-Scene from the Concerto No.5-III.
28. Ernst: Andante from the Hung. Melodies. (Graded Studies of tone)
29. Wieniawski: Melody with Octaves from the Concerto No.1-III.
30. Paganini: 7 Variations from the Carneval of Venice. (Rhythmical Studies)
Part 2, 31-45, Introduction to Virtuoso Playing
31. Vieuxtemps: Serenade A-major on the G-string, Concerto No.1-III.
Ševčík: Andante, Op.10/4. (Changing of tempo moderato and quick)
32. Beriot: Melody in Octaves, Concerto No.9-I. (Independence of the fingers)
Tartini: Larghetto from the Devil's Sonata. (Independence of the fingers)
33. Ševčík: Theme in Octaves Op.10/4. (Preparation for the sautillé and glissando)
Paganini: Secondary Subject form the Concerto No.2-II.
34. Beriot: Adagio from the Concerto No.7. (Chain-trills)
Laub: Melody and Octaves from the Polonaise in virtuoso form. (Study of Nimbleness)
35. Tartini: Largo and Allegro from the G-minor Sonata. (Double-stops and suppleness of the wrist)
36. Beriot: Air varié No.1. (Double-stops and Chords in virtuoso form)
37. Rust: Gigue for Solo Violin. (Pizzicato with the left hand)
Rust: Courante. (Suppleness of wrist in crossing two and three strings)
38. Spohr: Larghetto in Double-Stops. (Third double-stops in virtuoso form)
39. Vieuxtemps: Andante sostenuto from the Concerto No.2 (Pliancy of Bowing)
40. Wieniawski: Scherzo -Tarantelle
41. Sarasate: Gipsy-Melodies
42. Ernst: Hungarian Melodies
43. Bazzini: Dance of Gnomes
44. Paganini: Moses-Fantasy
45. Paganini: Witches Dance
About Op.19, the famous violinist David Oistrakh (1908–1974) said: Otakar Ševčík is proposing studies not only for managing technical difficulties of the Concerto but also for mastering the rhythmical harmony of the performance. This is especially important while performing the Concerto with orchestral accompaniment. A lot of attention is paid to these studies, and also to the exactness and logic of dynamic nuances of performance. (1947)
Op. 16 — Op. 21 cover two violin parts and the piano score.
  • Op.22, Change of Positions in Single and Double Stoppings (manuscript).
  • Op.23, Chromatics in all positions (Manuscript)
  • Op.24, Left Hand Pizzicato with Simultaneous Right Hand Arco Technique (manuscript). (released only recently)
  • Op.25, Studies on the Cadenza for Brahms’ Concerto by Joachim, (1929). Berlin: Simrock. (1929), rev. Ossip Schimirlin
  • Op.26, Analytical Studies for Etudes-Caprices by R. Kreutzer, (1932-1933). Brno Oldřich Pazdírek.
  • Four books of exercises.
  • Unnumbered: Analytical Studies for Concerto in a, Op. 53 by Antonín Dvořák (manuscript). (The copyright of this Ms. is owned by Simrock, Berlin.)