Hans Sitt

2.1. Early Life and Education

Hans Sitt was born in Prague, then part of the Austrian Empire, on September 21, 1850. He was the son of Anton Sitt the Elder (1819-1878), a distinguished Hungarian-born violin maker. Sitt displayed exceptional musical talent from an early age. Despite his obvious gifts, his parents wisely chose not to exploit him as a child prodigy, instead ensuring he had a normal childhood and received a regular education at a gymnasium (high school). Following this, he pursued formal musical training at the Prague Conservatory from 1861 to 1867. There, he studied violin under Moritz Mildner and Antonín Bennewitz, and composition with Josef Krejčí and Johann Friedrich Kittl.

2.2. Performing Career

After completing his studies, Sitt briefly pursued a successful career as a soloist. At just 17 years old in 1867, he was appointed concertmaster of the Breslau Opera Orchestra in Wrocław. He later held the same position in Chemnitz from 1873 to 1880. Beyond his orchestral roles, Sitt was also an active violist, notably playing in the Brodsky Quartet in Leipzig from 1883 to 1895. In this renowned chamber ensemble, he performed alongside distinguished musicians such as Hugo Becker, Julius Klengel, and the quartet's founder, Adolph Brodsky.

2.3. Conducting Career

In addition to his performing roles, Sitt established a reputation as a respected conductor. He held various conducting positions with orchestras in France, Austria, and Germany. From 1885 to 1903, he served as the conductor of the Leipzig Bach Society, further solidifying his standing in the European musical scene.

2.4. Teaching Career

Hans Sitt's most significant and enduring contribution was arguably in the field of music education. From 1884 to 1921, he held the esteemed position of Professor of Violin at the Leipzig Conservatory. During his long tenure, he became widely recognized as one of the foremost violin pedagogues of his time. He authored numerous important studies and method books for both violin and viola, many of which are still utilized by students and teachers today. His teaching methods and publications gained widespread adoption, influencing the training of violin and viola players across conservatories and orchestras throughout Europe and North America.

3.1. Orchestral Works

Sitt composed several works for full orchestra, showcasing his command of orchestral textures and forms.

• Nocturne und Scherzo for orchestra, Op. 6
• Gavotte in E minor, Op. 15 (1884); also arranged for piano
• Ouverture zu A. Leschivo's "Don Juan d'Austria" for orchestra, Op. 20 (circa 1884, performed 1891)
• Wiegenlied und Gavotte for string orchestra, Op. 48 (1892); also arranged for violin and piano
• Festmarsch, Op. 54 (1895)

3.2. Concertos

Sitt wrote multiple concertos for various string instruments, demonstrating his expertise in solo instrumental writing with orchestral accompaniment.

• Nocturne in F major for violin and orchestra (1882)
• Concerto No. 1 in D minor for violin and orchestra, Op. 11 (1884)
• Concerto No. 2 in A minor for violin and orchestra, Op. 21 (1884)
• Concertino No. 1 in A minor for violin and orchestra, Op. 28 (1888)
• Polonaise No. 1 in A major for violin and orchestra (or piano), Op. 29 (published 1885)
• Concertino No. 2 "in den ersten drei Lagen ausführbar" in E minor for violin (in the first 3 positions) and orchestra, Op. 31 (1889)
• Concerto No. 1 in A minor for cello and orchestra, Op. 34 (1890)
• Concerto No. 2 in D minor for cello and orchestra, Op. 38 (1891)
• Concertstück (Concert Piece) in G minor for viola and orchestra, Op. 46 (1892, orchestrated 1899)
• Concertino No. 3 in D minor for violin (in the first 5 positions) and orchestra, Op. 65 (1896)
• Concerto in A minor for viola and orchestra, Op. 68 (1900)
• Concertino "in den ersten 5 Lagen" in A Minor for violin (in the first 5 positions) and orchestra, Op. 70 (1898)
• Concertino in A minor for violin (in the first position) and orchestra, Op. 93 (1906)
• Romance in G minor for viola and orchestra, Op. 72 (1900)
• Concerto No. 3 in D minor for violin and orchestra, Op. 111 (1912)
• Konzertstück: Allegro appassionato, Romanze und Tarantelle for violin or viola and orchestra (or piano), Op. 119 (1916)

3.3. Chamber Music

Sitt's chamber music output includes works for various small ensembles.

• Piano Trio No. 1 in G major, Op. 63 No. 1 (composed 1880s)
• Piano Trio No. 2 in B flat major, Op. 63 No. 2
  • These two piano trios, composed during the 1880s, are the only known surviving chamber works by Sitt. While they are not overly ambitious or grand works, they are not considered inferior compositions. Sitt demonstrated a thorough understanding of the genre, handling the three instruments with skill and allowing each to contribute effectively.
• Rêverie for horn and piano, Op. 75 No. 2 (published 1902); originally for viola and piano

3.4. Works for Violin and Piano

Sitt composed an extensive collection of pieces for violin and piano, ranging from character pieces to sonatinas and studies.

• Gretchen: Paraphrase aus Liszt's Faust-Symphonie for violin and piano (circa 1880)
• Namenlose Blätter for violin and piano, Op. 10
• 3 Albumblätter: Romanesca in B minor, Melodie and Gondoliera for violin and piano, Op. 13 (published 1894)
• 3 Stücke (3 Pieces) for violin and piano, Op. 14 (1884)
• Romanze in G major for cello (or violin) and piano (or organ), Op. 17 (1884)
• 2 Etüden zum Conzertgebrauch (2 Etudes for Concert Use) for violin and piano, Op. 24 (1886)
• Cavatine und Barcarole for violin and piano, Op. 25 (1887); Cavatine arrangement for violin and orchestra (1888)
• Walzer in D major for violin and piano (1888); published in Eulenburg's musikalischer Haus- und Familienkalender (1889)
• Aus der Jugendzeit, 12 Pieces for violin (in the first position) and piano, Op. 26 (1885)
• Lose Blätter (Loose Album Leaves), 10 Pieces for violin (in the first 3 positions) and piano, Op. 37b (1880s); original version for piano solo
• 6 Albumblätter (6 Album Leaves) for violin and piano, Op. 39 (1891, 1896); original version for viola and piano
• 6 Fantasiestücke (6 Fantasy Pieces) for violin and piano, Op. 40 (1891)
• Violin-Duette, sechs leichte instructive Duette (Violin Duets, 6 Easy Instructive Duets) for 2 violins, Op. 42 (1892)
• 6 Stücke (6 Pieces) for violin and piano, Op. 47 (1892)
• Wiegenlied und Gavotte for violin and piano, Op. 48 (1892); also for string orchestra
• Polonaise No. 2 in A major for violin and piano, Op. 49 (published 1893)
• Capriccio for violin and piano, Op. 50
• Romanze und Mazurka for violin and piano, Op. 52 (1892)
• Miniatures, 12 Easy Pieces for violin and piano, Op. 53
• 3 Berceuses for violin and piano, Op. 56 (1894)
• Aus der Jugendzeit: Neue Folge, 12 Pieces for violin (in the first 3 positions) and piano, Op. 57
• Scherzo capriccioso for violin and piano, Op. 59
• 3 Sonatinen (3 Sonatinas) (in C major, A minor, and D major) for violin and piano, Op. 62 (1895)
• 2 Stücke: Barcarolle und Canzonetta for violin and piano, Op. 64b (1894, 1897); original version for cello and piano
• 3 Fantasien in progressiver Reihenfolge (3 Fantasias in Progressive Sequence) for violin and piano, Op. 66 (1897)
• 4 Stücke (4 Pieces) for violin and piano, Op. 67 (published 1900)
• 3 Violin-Vorträge: Romanze, Nocturne, Scherzo-Tarantelle for violin and piano, Op. 71 (1898)
• 20 kleine Vortragsstücke in progressiver Schwierigkeit (20 Short Concert Pieces in Progressive Difficulty) for violin and piano, or for 2 violins, Op. 73 (1900)
• 3 kleine Fantasien über Weihnachtslieder (3 Short Fantasies on Christmas Carols) for violin and piano, Op. 74 (published 1903)
• Zwölf Melodische Vortragsstücke (12 Melodic Concert Pieces) for violin (in the first position) and piano, Op. 78 (1902)
• Jugend-Album, 12 Little Easy Pieces for violin and piano, Op. 79 (1902)
• Bunte Blätter, 12 Easy Pieces for violin (in the first position) and piano, Op. 84 (1904)
• 2 Stücke (Two Pieces) for violin and piano, Op. 87 (1905)
• Suite in D minor for violin and piano, Op. 88
• 3 Stücke (3 Pieces) for violin and piano, Op. 89
  • Albumblatt (Album Leaf) in G major
  • Langsamer Waltzer (Slow Waltz) in A major
  • Marsch (March) in C major
• 3 Duette in der ersten Lage für Anfänger (3 Duets in the First Position for Beginners) for 2 violins, Op. 91 (1905)
• Suite (Präludium, Menuet, Arioso, Intermezzo, Introduction und Gavotte) for violin and piano (1905)
• 3 instruktive Vortragsstücke (3 Instructive Concert Pieces) for violin and piano, Op. 94 (1906)
  • Romanze in A major
  • Bagatelle
  • Polonaise in D major
• Mosaik: Zwölf kleine Vortragsstücke (Mosaic: 12 Short Concert Pieces) for violin and piano, Op. 95 (1906)
• Sechs lyrische Stücke (6 Lyrical Pieces) for violin and piano, Op. 96 (1907)
• 3 Stücke (3 Pieces) for violin and piano, Op. 97 (1907)
  • Romanze in A major
  • Barkarole in G minor
  • Mazurka in D minor
• 3 Stücke (3 Pieces) for violin and piano, Op. 102
• Schüler-Konzertino No. 1 in der ersten Lage (Student's Concertino No. 1 in the First Position) in C major for violin and piano, Op. 104 (1909)
• Schüler-Konzertino No. 2 in den ersten 3 Lagen (Student's Concertino No. 2 in the First 3 Positions) in A minor for violin and piano, Op. 108 (1909)
• 3 Sonatinen (3 Sonatinas) for violin and piano, Op. 109 (1910)
• Schüler-Konzertino No. 3 in den ersten 5 Lagen (Student's Concertino No. 3 in the First 5 Positions) in D minor for violin and piano, Op. 110 (1911)
• Gavotte for violin and piano, Op. 113 No. 3 (1912)
• 3 kleine leichte Duette in der 1.-3. Lage (3 Short Easy Duets in the First 3 Positions) for 2 violins, Op. 117 (1913)
• 3 kleine leichte Duette in der 1.-3. Lage (3 Short Easy Duets in the First 3 Positions) for 2 violins, Op. 118 (1913)
• Concertino in D minor for 2 violins (in the first 3 positions) and piano, Op. 133 (1920)

3.5. Works for Viola and Piano

Sitt also composed specifically for the viola, reflecting his own experience as a violist.

• 6 Albumblätter (6 Album Leaves) for viola and piano, Op. 39 (1891); also for violin and piano (1896)
• Concertstück (Concert Piece) in G minor for viola and piano, Op. 46 (1892, orchestrated 1899)
• 3 Fantasiestücke (3 Fantasy Pieces) for viola and piano, Op. 58 (1894)
• 3 Stücke (3 Pieces) for viola and piano, Op. 75 (1901)
• Gavotte und Mazurka for viola and piano, Op. 132 (1919)
• Romanze in D minor for viola and piano, Op. 102 No. 1 (1909); originally from Drei Stücke (3 Pieces) for violin and piano; transcription by the composer

3.6. Works for Cello and Piano

His compositions for cello and piano include both shorter pieces and concertos.

• Romanze in G major for cello (or violin) and piano (or organ), Op. 17 (1884)
• 3 Stücke (3 Pieces) for cello and piano, Op. 33 (1889)
• Scherzo in A minor for cello and piano, Op. 35 (1890)
• 3 kleine Stücke (3 Little Pieces) for cello and piano, Op. 45 (1891)
• 2 Stücke: Barcarolle und Canzonetta for cello and piano, Op. 64 (1894); also for violin and piano (1897)
• Serenade for cello and piano (published 1914)

3.7. Piano Works

Sitt also wrote pieces for solo piano and piano four-hands.

• Dornröschen Polka (Sleeping Beauty Polka) for piano, Op. 8 (1872)
• Namenlose Blätter (Untitled Album Leaves), 10 Pieces for piano, Op. 10 (1883)
• 2 Ländler, Op. 12 (1883); also for piano 4-hands arranged by Aug. Riedel (1885)
• Gavotte in E minor, Op. 15 (1884); also for orchestra
• 6 Stücke for piano 4-hands, Op. 16 (1884)
• 8 kleine Fantasiestücke, Op. 19 (1884)
• Petite Sérénade for piano, Op. 33
• Lose Blätter (Loose Album Leaves), 10 Pieces for piano, Op. 37 (1890); also for violin and piano

3.8. Vocal and Choral Works

Sitt's vocal compositions include songs for solo voice and works for both male and mixed choruses.

• 5 Lieder (5 Songs) for voice and piano, Op. 3 (1871)
• 2 Lieder (2 Songs) for voice and piano, Op. 18 (1884)
• 3 Lieder (3 Songs) for voice and piano, Op. 22 (1886)
• 4 Gesänge aus "Wanderzeit" (4 Songs from "Wanderzeit") for voice and piano, Op. 23 (1886); words by Karl Stieler
• 5 Lieder (5 Songs) for voice and piano, Op. 36 (1890)
• 3 kleine Lieder (3 Little Songs) for voice and piano, Op. 61 (1894)
• Weihnachtslied (Christmas Song) for voice and piano (1897); words by Julius Sturm
• An Graf Zeppelin for voice (or unison chorus) and piano
• Zu Strassburg auf der langen Brück', Swiss Folk Song (1890s)
• 3 Lieder (3 Songs) for mixed chorus, Op. 43 (1891)
• Festhymne for male chorus and orchestra, Op. 55 (1893); words by Fritz Lange (1873-1933)
• Sandmännchen: rheinisches Volkslied for male chorus (circa 1900)
• 3 Lieder für Männerchor (3 Songs for Male Chorus), Op. 60 (1894); words by Georg von Örtzen, Gustav Kastropp and Rudolf Baumbach
• Nun brich von deiner höchsten Eiche, Patriotisches Festlied for male chorus (1897)
• 3 Lieder für gemischten Chor (3 Songs for Mixed Chorus), Op. 76 (1901)
• 3 Lieder für Männerchor (3 Songs for Male Chorus), Op. 77 (published 1901); words by Julius Gersdorff
• 3 Männerchore (3 Male Choruses), Op. 82 (1902); words by August Naaf, Felix Dahn and Rudolf Dietz
• Vergebliche Flucht for male chorus, Op. 83 (1902); words by Julius Sturm
• Böhmische Volkslieder für gemischten Chor (Bohemian Folk Songs for Mixed Chorus) (1901)
• Böhmische Volkslieder für Männerchor (Bohemian Folk Songs for Male Chorus) (1901)
• Böhmische Volkslieder für Frauenchor (Bohemian Folk Songs for Female Chorus) (1901)
• Die Krone im Rhein for male chorus, Op. 85 (1903); words by Ernst von Estouches
• Du mit Strahlen mich begleitend for male chorus, Op. 86 No. 1 (1904); words by Friedrich Rückert
• Frommes Wunder for male chorus, Op. 86 No. 3 (1904); words by Fritz Karstedt
• Heimkehr for male chorus (1904); words by Otto Roquette

3.9. Pedagogical Works

Hans Sitt's pedagogical works are a cornerstone of his legacy, widely used for their instructional value.

• Nachtrag zu Henry Schradieck's Tonleiterstudien (Supplement to Henry Schradieck's Scale Studies) for violin (1887)
• Zwölf Etüden für Violine (12 Studies for Violin), Op. 30 (1888)
• 100 Etüden als Unterrichtsmaterial zu jeder Violinschule zu gebrauchen (100 Studies for Use as a Supplement to Any Violin Method) for violin, Op. 32 (1889-1891)
  • Book I - 20 Etüden in der 1. Lage (20 Studies in the First Position) (1889)
  • Book II - 20 Etüden in der 2., 3., 4. und 5. Lage (20 Studies in the 2nd, 3rd, 4th and 5th Positions) (1889)
  • Book III - 20 Etüden, Lagenwechsel (20 Studies in Changing Positions) (1890)
  • Book IV - 20 Etüden in der 6. und 7. Lage (20 Studies in the 6th and 7th Positions) (1890)
  • Book V - 20 Etüden, Doppelgriffe (20 Studies in Double Stopping) (1891)
• Tonleiterstudien für Violine in Doppelgriffen zum praktischen Gebrauch beim Unterricht (Scale Studies for Violin in Double Stopping), Op. 41 (1891)
• Praktische Bratschen-Schule (Practical Viola School) (1891)
• 20 Etüden zur Ausbildung in der linken Hand (20 Studies for the Left Hand) for violin, Op. 51 (1892)
• 20 Studien für Violine für vorgerücktere Schüler (20 Studies for Violin for More Advanced Pupils), Op. 69 (1899)
• 24 Etüden für Violine in 24 verschiedenen Tonarten als Vorstudien zu Rode's Capricen zu benutzen (24 Studies for Violin in Different Keys: Preparatory Studies to Rode's Caprices), Op. 80 (1902)
• 20 Etüden für Anfänger in der ersten Lage (20 Studies for Beginners in the First Position) for violin, Op. 90 (1904)
• Technische Studien für Violine (Technical Studies for Violin), Op. 92 (1905)
• 50 tägliche Übungen zur Ausbildung der linken Hand (50 Daily Exercises for the Left Hand) for violin, Op. 98 (1907)
• Dur und Moll: 28 leichte melodische Etüden für Violine (erste Lage) zur Befestigung der Intonation in allen Tonarten (Major and Minor: 28 Easy Melodic Studies for Violin (First Position) for Reinforcement of Intonation in All Keys), Op. 107 (1909)
• 15 Etüden (15 Studies) for viola, Op. 116 (1913)
• 40 besondere Übungen in den ersten 5 Lagen (40 Special Studies in the First 5 Positions) for violin, Op. 134 (published 1921)
• Schule der Geläufigkeit und Fingerfertigkeit: 60 besondere Übungen zur Ausbildung der linken Hand (School of Velocity: 60 Special Studies for Agility of the Left Hand), Op. 135 (published 1921)

3.10. Arrangements

Sitt is also recognized for his notable arrangements of existing works for different ensembles.

• The best-known orchestration of Edvard Grieg's Norwegian Dances, Op. 35, an 1881 work originally for piano duet.

4.1. Notable Students

Sitt's teaching career at the Leipzig Conservatory produced many distinguished musicians who went on to achieve significant careers. Among his most prominent students were:

• Franco Alfano, an Italian composer.
• Pablo Sorozábal, a Spanish composer.
• Frederick Delius, an English composer.
• Václav Talich, a renowned Czech conductor.

Sitt's elder brother, Anton Sitt the Younger (1847-1929), was also a notable professional violinist and served as the concertmaster of the Helsinki Orchestral Society, where he premiered most of the major orchestral works of Jean Sibelius.

4.2. Educational Impact

The widespread adoption of Hans Sitt's teaching methods and his numerous pedagogical publications had a profound and lasting impact on music education. His studies, etudes, and method books for violin and viola became standard teaching materials, contributing significantly to the technical and musical development of countless string players across the globe. His emphasis on systematic and progressive exercises helped establish a strong foundation for future generations of musicians.

4.3. Musical Contributions

Hans Sitt's overall contributions to music encompass his dual roles as a prolific composer and an influential educator. While his original compositions, particularly his concertos and chamber music, are valued for their craftsmanship and melodic appeal, his most significant legacy lies in his dedication to music pedagogy. His systematic approach to teaching and his comprehensive instructional materials played a crucial role in shaping the standards of violin and viola education, ensuring his continued relevance in the history of music.