CONT ENT S.

PART I .

The instrument.

Origin of the vio lin

The o ldest vio linsDevelopment and perfec ting

of the vio linProminent makers of the

present dayAttempts at improving the

vio l in .

Search for the d iscovery of theo ld I tal ian makers secrets 6

D istinguishing features of theo ld Italian vio l insImi tations o f the old Italianvio lins I o

Consti tuent parts o f the vio l in 10

Function o f the so undpo stand bass bar

Posi tion of the bridge .

Amount o f pressure on the

upper table

PART II .

The technique o f vio lin p laying.

Posit ion o f the player . 2 2

Holding the vio l in 2 2

Po si tion of left hand and arm 2 3Ho ld ing the bow 2 5Po si tion of right hand and arm 2 5Examining the manner o f

hold ing 2 5Bowing 2 5Princ ipal signs used for theleft hand and

'

for bowing 2 7Employment o f up and downbows 2 8

The first exerc ises

Plac ing the fingersExerc ise in intervals .

Chords in arpeggioStretching the 4

th fingerVarious styles of bowing and

their signsArpeggiThe close shake (vibrato).

The open shakeThe mordentThe doub le shakeScale playingFingering o f scales

11 1 7 1 2 8

P3 8 3

D imensions of the vio l in 1 3The wood 1 3The varnish I 4

The strings I 4

Strings pure in fifths 1 5The string guage 1 5Preservation o f the strings 1 6

The how 1 6

D ifferent parts o f the bow I 7

Resin 1 8

Vio l in cases 1 8

Price of vio l ins 19

Price of vio lin cases 19

Price o f bows 19

Preservat ion of the instrument 19

Cleaning the hair o f the how 2 0

Names of the strings , and

tuningCompass of the vio l in

I\7 (TCUVTZHVTSZ

0

p age

Chromatic scales . 4 7 Double stopsThe po si tions 48 Chords in three partsChanging the posi tion 49 Chords in fo ur parts .

Movement o f the fingers in Harmonicschanging positions 49 P izz icato

Diagram showing the p osi tio ns 50

Artistic renderingT aste

APPEND IX .

Picto rial representat ion o f the

The muteThe Vibrato r .

TRANSLATOR’S APPEND IX.

’

r] )e Vi01a 0 0 0 0 0 O 0 0 o o 0 0 0 0 0 0 0 0 o 0 o 0

Guide through Vio lin l i teratureGuide through Vio la l i terature

PART III .

T he p erfo rmance.

7 2 Indtt uality

7 2 Phrasing

Alphabet ical l ist o f celebrated80 vio linists o f the 1 7m, 1 8 th

8 1 and x gth centuries8 2 Vio l inists of the zo lh century I

PART I.

T h e in s t rum e n t.

Origin of‘

the vio l in.

The invention of stringed instruments is certainly of

great antiquity, but exact information with regard to the

o rigin of the vio lin has not come down to us. Althoughstringed instruments were in use befo re Christian times,we know that these had no thing in common with the

vio l in , or that at any rate the bow was not then known.

It is therefo re presumed that its invention and use in

connection with stringed instruments o ccurred in the firstcentury of the Christian era.

M any are , no twithstand ing , of the opinion that theuse of the bow was known in p re-Christian times,— in Indiaand in Persia. P i ctures of Indian and Persian bowedinstruments exist, but the period when they were employedis not exactly known. See Fig. (1 and b of page 2 .

T he oldest violins

known are those of the Tyro lese Lute maker GaspardDuifi

'

o p ruggar (Tieffenbrucker), made in the 1 6th century .

A few o f these instruments remain to the present day,and are no ticeab le on account of their fine ,

clear tone,

as well as for the neatness and elegance of the ir wo rkmanship .

S chro e d e r , Catechism o f Violin p laying .

p ruggar the fo llowing makers were thosemred to perfect the vio l in: Gaspardo f the i 7

th century), Giovanni Pao loAndreas Amati (1 5 2 0 his

Lnd H ieronymus Amati , the son of the

Amati (1 596 the pupils of the

tiner (r6 2 1 1 68 x i and Antonius Strad i

a . Rabab Arab ianbowed instrument (o fPersian origin).b . R aba Ind ian

vio l in.

THE INSTR UMEN T.

3

T o the Guamerius fami ly of vio l in makers belong AndreasGuamerius , pupil of Amati (middle of the 1 7

th century),his 5 011 Joseph Guamerius (1 680 Peter Guamerius

and the son of the elder (Andreas)Guamerius (1 7 2 5The names Stradivarius and Jo seph Guamerius mark thehighest achievement o f vio lin making, and to the presentday none have succeeded in surpassing them. Of o therI talian vio lin makers who have furnished us with good

instruments may be mentioned Alessandro Gagl iano(1 695 Carlo Bergonz i (1 7 1 2 LaurentiusGuadagnini (clo se of the 1 7

th and beginning of the 1 8 th

century), Joh. Bapt. Guadagnini (1 7 5 5 DominicusM ontagnana (1 7 1 5 V incent Ruggeri , G io v. Bapt.Ruggeri , and Peter Jacob Ruggeri (beginning o f the 1 8 th

century). In France, good vio lins were made by Lup ot(i 8

th century), Gand, Bemardel (roth century) and Vuillaume

(1 798 In Germany, besides Stainer and his pupilAlbani of Bo tzen , Klotz , (father and son) 1 7

th and 1 8 th

century inM ittenwalde; Witthalm (1 8 th century,Nuremburg);Bausch (father and son, Leipsic , 1 805

— 1 8 7 1 and 1 8 29Jacob D iehl (Hamburg). In England, B . Banks, Sal is

bury (1 7 2 7 R . Duke,London (1 7 54 Jacob

Fendt and C. Harris (early part of the present century), andM atthew Hardie (Edinburgh), have left many good vio lins.

Prominent makers of the p resent day.

Good vio lins are made in the present day by Hammigin Leipsic ; Reichers, Berlin; Schunemann, Schwerin; Pfab,Hamburg; Lenk , Frankfo rt ; Renner , Berl in; Ro th , M arkneukirchen, etc .

[In England excellent instruments have been and

are being made by H ill , Hart , Chano t , E . Withers, and

Boullangier, London; W. H . M ayson , Manchester ; F.

Devoney,Blackpoo l ; . J. M onk , M erton , Surrey ; and

o thers. In France , by M iquel , Foucher , Lo tte ; and in

America ,Gemunder. These have all p roduced service

ab le instruments. Ab il ity to judge properly the meritso f a vio l in,

whether new or o ld , comes only withex perience ; beginners should therefo re befo re purchasingconsult a player or teacher po ssessing the necessaryknowledge. V io lins by the same maker, to all appearanceexactly alike, yet frequently differ greatly in tone quality,

4FIRST PART.

and an instrument o f bad tone is a stumb ling b lo ck in

the path o f progress, d isheartening the learner . Tn ]

Attempts at improving the vio l in.

M any attempts have been made at improving the

violin by altering its form and propo rt ions, and by usingo ther kinds o f wo od: metal , glass, and po rcelain vio linshave also been constructed . Experiments have beenmade w ith the bass bar

,b ridge , sound-po st , etc .

,in en

deavours to make a further advance in vio l in making; butall these attempts have yielded no results o f impo rtance.

The most remarkab le attempted alterat ion of latter daysproceeds from the piano maker Hagspiel in Dresden , and

consists in bend ing or arching the upper tab le o f the

vio lin instead of wo rking it out, the sound-ho les appearingas round o penings in the ribs instead of in the uppersurface . The tone of these vio l ins is o f surprising powerand vo lume ,

but they demand a peculiar , and somewhatfirm bow ing; a heavier bow is also needed . The makerpro ceeds on the assumption that there exists , in moderno rchestras a tonal gap between the string and the brassinstrument . The tone o f the stringed instruments is o ftenquite overpowered by the predominating fo rce o f the . windinstruments. This is especially no ticeab le in opera o rchestras , where their space will seldom permit o f mo re than1 0 or 1 2 first vio l ins , and the same number o f secondvio l ins ; for instance in the instrumentation o f Wagner

’

s

Nibelungen R ing. In its production the wind instrumentsneed so much space in the o rchestra , that instead of a

co rrespond ing increase in the number o f the strings, theymust o ften be lessened , naturally o ccasioning a want o fbalance. A selection of the instruments made by HerrHagspiel , vio lins, vio las, vio loncell i and doub le basses,would probably tend to lessen this d ispropo rtion ,

as one

o f them yields at least as much tone as two o f the o rd inary instruments. By sufficient familiarity with the methodo f using them , the tone might be made to b lend unt

fo rmly w i th that o f the o ther instruments in passages o f

a light and so ft character. In any case the invento r hasthrown out a . suggestion,

and made a beginning towardspreparing the way for a co rrect balance o f tone in the

o rchestra ,and his idea therefo re deserves consideration.

THE INSTR UMEN T.

5

The au tho r is not aware if practical experiment in the

o rchestra has been made w i th these instruments , but itshould certainly give some advantageous result.

Ano ther invention has been produced recently byHerr Christopher Scheinert in Berlin. It consists o f a

vibrating hammer or tongue for stringed instruments.

This is a little instrument placed under the bridge of

the vio l in , so that , (it being furnished with a slenderhammer), elastic metal tongues vibrate freely between the

upper tab le and the strings. The vibrating hammer isset in mo tion through the strings by the bow,

throughwhich simultaneous movement the power o f the instrumentis increased ,

and the tone co lour el icited . Experts havetested the contrivance, declaring i t to be a happy idea.

Professo r H . R itter ’s invent ion of the no rmal threefoo ted bridge must also be mentioned . Assuming thatthe bridge in use for centuries , with its prescribed feet,does not fully convey the vibrations o f the strings to the

upper table, the two middle strings sound ing feeb lerthan the outer, Pro f. R itter has made a midd le po intof contact between the bridge and the upper tab le. Thisinner suppo rt is intended to make the middle strings soundwith the same intensity as the outer ones.

mtwf.

S N011 113 ] 8 to

gcsetzlich geschil l y ,

In his pamphlet on the subject (Wurzburg, G . Herz),Herr R itter demonstrates that his three-footed bridge has

6 FIRST PAR T.

not only an aesthetic significance, but claims considerationscientifically.

Attempts to d iscover the secre ts of measurementof the Ital ian vio l in makers .

For a long period vio l in making was restricted (deviations such as the experiments explained above ,

notwith

standing) to imitating the first I tal ian masters o f the art,

and endeavouring to equal them. But so conscientiousand true in all their parts and contents is the wo rkman

ship Of the I tal ian instruments that this has no t beenat tained . A very general Opinion is , that certain secretsin instrument making were known to the I tal ian mastersbut have become lost , and many have made the attemptto re-d iscover these secrets. A maker in Aix la Chapelle,named Niederheitmann , a vio l in amateur , po ssessing a

co llection rich in valuable Old vio l ins, bel ieved the mysteryto be disco vered ,

and that i t consisted in impregnatingthe wo od . The substance used was a species o f pinefound in the vicinity o f Cremona

, or the instrument wasmainly built o f this wood . This p ine

'

(balsam pine) became quite decayed by the drying up o f its resin , and

thereby the key to the enigma why in spi te o f the closestimitation the Old I tal ian tone was no t arrived at , was

found . This pine exists no longer in I taly, and thus wasto be explained the reason why no twithstand ing the

closest copying Of exist ing instruments , the Old I tal iantone qual ity was no t reproduced . A friend o fNiederheit

mann’

s , Concertmeister Henry Schradieck (fo rmerly o f

Leipsic) interested himself greatly in this discovery , and

having obtained through a chemist a similar resinous

W ith the same intent ion M r. E . J . Bonn,

o f Brad ing, Isleo f W ight , has pro duced a fouro fo o ted bridge , which , upon the

testimony o f those who have tried i t , has in some cases effectedan improvement . T est imonials from great artists concerning theseand o ther attempts at improving the vio l in frequently appear ;meanwhi le , the art ists themselves are well content with the bridgeand the instrument generally as left by Strad ivari us. One wo uldno t desire to deny the fiossibi/zly o f further improvements to the

instrument , yet nearly two centuries o f ceaseless experiment ing haveyielded no result that has been considered worthy o f universaladoption. Tr .

THE INSTRUMENT.

7

substance, made, wi th the aid of Herr Hammig in Leipsicmany trials with this impregnation, from which a remarkable result ' was to be got, but which was not of longduration. Herr Schradieck ,

who went later to America,knowing that the balsam pine still grew there , did not

rest until he found this tree , believing that instrumentsmade from i t would again approach the o ld I tal ians.

Several vio lins were found already made with balsam pinewo od ,

but the bri ll iant expectations that were cherishedwere not fulfilled.

Po ints of note in the o ld Italian violins .

M aggini violins. These instruments are of largeoutline. The upper tab le is highly arched and the archingrises somewhat suddenly from the edges. The wood of

the upper tab le is thick and very good . The back,

compared to the upper table is less thick . The wood of

the back is taken slab-wise (the trunk of the tree beingcut in layers across the who le The sides are

shallow. The varnish is thin, transparent , and of a clearbrown co lour. The p urfiing is frequently doub led ; and

spread over the back in arabesques. The tone of the

M aggini vio l ins is full and heavy , resemb ling the vio laquality. The ticket is as fo llows:

Andreas Ama ti. These are mo stly o f small model .The upper tab le is o f good , fairly thick wood , and veryhighly arched towards the middle. The back is cut onthe slab . The varnish is brown and transparent. Thetone is del icate and not powerful .

Antonius and H ieronymus Amati. The vio lins issuedas the wo rk of the two brothers in partnership are muchesteemed . M ore instruments o f small than o f large sizewere , however , produced by them. The upper table is

highly curved , and has towards the edges a groove or

Regard ing these two figures as sectionsof a trunk o f maple the first shows how the

slab back is obtained, (sur couche) and the

second the o ther method . Tr .

8 FIRST PART.

furrow . The wood of the back and of the ribs cut slabw ise. The varnish resemb les that of Andreas Amat i ’svio l ins. The tone is also small . The label runs:

Antonius Hieronimus Amati

Cremonen. Andree filu 16

[Vitolas Amati. These instruments are d istinguishedfrom those Of the o ther Amati vio l ins by a grander appearance , better and th icker varnish

,and a more bri ll iant

and penetrating tone. The scro l l is somewhat smal l inpropo rt ion to the b ody . Label:

Nicolaus Amati Cremoncn. Hieronimi.

filii Automi nep os fecit Anno 16

Stradivarius. In the career of Strad ivarius threeperiods may be traced ,

and the vio l ins pro ceed ing fromeach of these distinct periods themselves vary mo re or

less. The instruments of the first period differ but littlefrom Amat i vio lins , and are classified as being of the

schoo l o f Nico las Amati . The instruments o f the secondperiod are already quite difierent from the first. The

who le model is larger, the arching finer, the wo od of the

upper tab le and also of the back is stronger , and the

varnish redder in co lour. From the third period proceededthe finest vio l ins that are in existence . The model isagain somewhat larger, the upper table is flatter, the woodOf the back and Of the ribs instead of being cut on the

layers in slab form (sur couche), is taken on the quarter(sur mai lle). The varnish is sti ll mo re brilliant

, yet so ftlo oking,

and so transparent that the beauty of the woodunderneath it is fully brought out. The f ho les are

wonderfully cut , and the entire wo rk is finely finished inevery detail . The tone fulfils every po ssib le requirement,i t is of great power and body , sparkling, noble , and yet

sympathetic and sweet . The vio lins made in the last

THE INSTR UIIIEN T.

9

years of Strad ivarius reveal the weakness pertaining to

o ld age. The tone is still fine , but the wo rkmanship isaltogether inferio r . From this time forward , when the

arching is more prominent , and the varnish darker , the

beauty of the tone is d iminished . Label:

Antonius. StraduariusCremonensis

Emmi; A9

I7

Labels of various o ther Ital ian makers:

Francescus Ruggeri dctto il p erin Cremona dcll

'Anno I6

Hieronymus Amatus CremonenNicolai Figlius Fec

'

it I]

Games Bap tista uad 111 He Wcentinus fecitMe

Io fephns MatthAlbanne

f e c itBn ISan i in I‘er oleAnno fl

1 0FIRST PART.

J osep h Guamerius, Andra:

nep os . Cremonae 17 1 11 5

Imitat ions o f old Ital ian vio l ins .

The Old I tal ian vio l ins have been so closely copiedby many makers , w ith regard to model , wo od ,

varnishand appearance o f age , that it is d ifficult to d iscriminatebetween the genuine and the spurious. It is still moredifficult when the copy possesses a fine qual ity of tone.

It needs a practised , keen eye to determine the genuineness or spuriousness of an instrument , and it may wellbe that many, bel ieving themselves to have bought a real

old I talian instrument , have only obtained an imitationthereo f. The inside ticket has of itself been clo selycopied, and may be purchased in sheets.

Cons t i tuent p arts of the vio l in.

The most impo rtant part is the upper tab le or belly (a).Exterior.

THE INSTR UMEN T. r 1

The o ther parts are the ribs or sides (b), the backthe neck (d), the head comprising the scro ll and p egbo x (e), the pegs (f) the finger board (g), the bridge (h),

Interior.

the tailpiece (i), the button* (k), the nut (l), and the f

o r sound ho les (m). The interio r o f the vio lin containsthe soundpost and the bass-bar.

The semi-c ircular projection at the top of the back is alsotermed the button. Tr .

Funct ion o f the Soundp o s t and the bass-bar.

The soundpo st , placed underneath the right foo t ofthe bridge (a l ittle way behind it) suppo rts the uppertable against the pressure o f the strings upon the bridge,and the bass-bar serves a similar purpose under the leftfoo t o f the bridge. The sound post

,by connecting

the upper tab le w ith the back,sets the entire instrument

into vibration, and by its help the sound waves rad iate to

all parts.

P o s i t ion of the B ridge

The bridge must stand on the middle o f the uppertable so that bo th feet are in l ine w ith the nicks of the

f ho les. Through the fo rward pull of the strings, in

creased during playing, the bridge has a tendency tobend fo rward . T o avo id this one must frequently watch

,

and pull it backward, yet keep ing the feet in the same

p lace. The bridge may be fixed Sloping somewhat backward rather than forwardfi"

‘i The qual i ty of the wo o d in a bridge , whether hard or

so ft,

and its thickness (accord ing to O tto , its weight), ma teriallyaffect the tone of a viol in. Bridges as suppl ied by dealers are

usually almo st t wice the proper thickness,to allow for rubb ingdown with sandpaper.The best bridges are

the genuine “Aubert”

(with the name stamp ed inside an oval)tho se with large and

decided redd ish markings showing hardness of grain ,

and the

less d istinct markingsa so fter qual i ty. Whenfi tt ing a vio l in, a few

of each sho uld be tried,

first cutting the feet tothe approximate slope

https://www.forgottenbooks.com/join

T he varnish.

This is Of great impo rtance for the instrument. In

the first place it preserves it from the influence o f the

weather, and then it also has its influence upon the tone.

A fine varnish must be transparent , so that the woodunderneath may be fully shown up , and i t must also beo f a fine ,

but not glaring or staring , co lour. The finestvarnish is found on the vio l ins of Strad ivarius. Two kindso f varnish are used, spirit varnish , a gum disso lvedin alcoho l ; and o il varnish , a gum d isso lved in Oil of

turpentine.

T he strings.

V io lin strings are made from the intestines of sheep.

The lowest string has fine wire spun round it, silver wirebeing the best . Copper w ire is greatly used ,

it beingmuch cheaper. The best strings are obtained from Italy,from Rome , Padua ,

and Naples , although very go od

strings are also manufactured in Germany , at M arkneu

kirchen. The value of a string consists principally in its

perfect equal ity of thickness throughout ; above all, theremust not be kno ts in i t. A string spun quite evenlyyields accurate vibrations , and is on this account purein tone.

In o rder to test the purity of tone of each string , itmay be held as shown at bo th ends , pulling it rathert ight , and then setting it into vibration with one of the

fingers. If i t appears doub le, thus:

i t possesses a pure tone ; i f, however , it appears threefo ld , if only at one part of it, i t will be false.

THE INSTR UMEN T.

S trings p ure in fi fths .

I S

T o Obtain abso lutely pure intonation, the stringsmustbe pure in fifths, i . e.

,the notes in tho se higher po sit1ons

which are pressed by one finger acrosstwo strings , must sound perfectly true.

M any strings are rather thicker at one

end than at the o ther ; i f this is no t alsothe case w ith the adjacent string, or i f thethicker end of it be not stretched in

the same d irection as the o ther str ing,

then the two are not true in fifths witheach o ther. Bo th strings must therefo rebe from one end to the o ther regularin th ickness, or else their thin ends mustbe laid in one d irection.

* In the lattercase , however , all the harmonic no tesare not true, and one also notices thatthe intervals in doub le Stoppinggenerally,as well as in fifths, are not regular uponall the strings. A treatment is in vogueby makers of strings and instruments bymeans of which the strings are renderedquite pure in fifths. These prepared stringsare, however, not so durab le, nor so go odin tone, as the unprepared . But it is of

service to have always a fewof these in rea

diness, as the vio l inist has not always timeenough to select tho se strings whichare true. Weichhold, Dresden, Suppliesstrings pure in fifths, which may be re

commended.

The string guage.

In o rder always to have strings of

the same thickness , a string guage is

used , which may be pro cured at anyinstrument maker.“

String guage.

I t is best to compare the ends before putt ing the stringon, tying the kno t at the end which appears thinnest . The lastinch or so at each end o f even the best string is often rough , andnot so durable as the rest o f i t. Tr .

an To ensure equal i ty of tone i t is very important tha t thestrings should be correctly guaged wi th regard to their relative

This received its name from its ancient form,which

has undergone many al terations befo re the present fo rmwas arrived at.

thicknesses. If all the strings are too thick , the instrument wi llspeak with d ifficulty in del icate passages , demand ing a heavierpressure o f the bow ; if to o th in, loss o f power wi ll he the result

,

though w i th a correspond ing gain in sweetness and clearness , and

if one string be much out o f propo rtion to the o thers, the first

finger when placed properly on that string and the adjacent onewill no t yield a perfect fifth , besides the inequal ity in power. The

following diagiam shows a set o f strings o f med ium th ickness ,together with the d istances apartnear the bridge on a full sizedvio l in, as sui table for o rd inaryhands. For fingers that tapermuch towards the tips , or for

those that are very broad , the

d istances may be made a l i ttlenarrower or wider accord ingly.

First strings o f silk,known as

“Acribelles”

are in great demand byplayers with perspiringhands, as they are less affectedby mo isture than gut , but theBRIDGE tone is no t so go od . T hey

po ssess certain advantages in durabi lity, and stand ing well in tune , butare more d ifficult to tune , as a very slight movement o f the p eg willsend them up half a tone. \Vhen frayed , they should be removed , thequali ty o f tone they then yield be ing very bad , affecting the o therstrings. If. gut strings o f go od qual ity are bought , and the stringscarefully lo oked at before playing, breakages at awkward momentswill seldom occur

, as the strands generally give warning befo re breakingby showing symptoms o f unravelling, especially at the kno t end

,o r

under the bow; when they should at once be replaced . Tr .

THE INSTR UMENT. 1 7

The greatest improvement in the bow was attainedby the Frenchman,

T ourte; at the end of the i 8 th cen

tury. His bows possess the greatest elasticity and firm

ness, and are, in consequence, the most successful. AfterT ourte , Vuillaume in Paris, John Dodd in England, and

L. Bausch in Leipsic , have made the best bows. At

present the most celebrated bow makers are Tubbs in

London, Knopf in Dresden, and Voirin in Paris. French

bows are most in request , although many of them are

made in Germany , sent on gros to Paris , stamped‘

thereas French , and issued to the wo rld as of Parisian make.

Constituent p arts o f the bow .

These are (a) the stick , (b) the hair , (c) the nut,

(d) the screw, (e) the head or po int, (f) the lapping.

The.

stick is made of Pemambuco or Braz il wood ;the hair is white horse hair, that taken from living ho rses

5 c hr o e d e r , Catechism o f Vio lin p laying. 2

for the lapping.

*

Resin.

To set the strings in vibrat ion , the hair of the bowmust be rubbed with resin. Its German name “Kolopho

nium is derived from the Grecian town Ko lophon, fromwhence 1t was first pro cured. The unprepared hair of anew bow requires a smal l quantity of powdered resinrubbed into it. Befo re the bow is used , the hair shouldbe tried upon some instrument not in use , or upon a

stretched string. During the o rd inary rubb ing upon the hair,care must be taken that the resin is not rubbed hard, butallowed to gl ide l ightly Over the hair.

It is very usual to ho ld the resin w i th the left andthe bow with the right hand . In this way the fingers of

the left hand become sticky with resindust, which is detrimental to the stopping,and also so ils the strings and fingerboard .

It is better , therefo re , to reverse thisprocedure. Go od resin is supplied byGand and Bernadel in Paris , Hammig

in Leipsic, Pfab and Diel in Hamburg , and o thers. The

most sui tab le ho lders are those which Open on two sides,and are also provided with a

V io l in cases.

A good vio l in is wo rthy of a good case , to pro tectit against dust and damp . It should be so filled that thevio lin l ies in it securely, and yet may be easi ly taken out.

A leather covering for the case is also convenient , by

Kid of reasonable substance gives a pleasant ho ld for the

fingers , although wire is in greater favour wi th bow makers for

appearance sake. But i t is ap t to tarnish and unravel , especiallywhere the thumb comes in contac t with i t . Tr .

M ‘ A convenient form is that provided by many Engl ish dealers,consisting simply o f a round box ,

— preferably o f tin,—with a

ho le in the bo ttom for the finger to push the resin up,preserving

the upper surface level . Tr .

THE msTRUMENT.

1 9

means of which the effects o f any s udden shock are

minimised . The best cases are mostly obtained fromParis , though some very good ones are made in M arkneukirchen.

Prices o f vio lins .

It is not easy to state the exact price o f a vio lin,

especially of an o ld one , and here particular fancy and

hab it come also into the question. The best o ld I talianvio l ins, such as those by Strad ivarius and Guamerius, are

in our own time excessively dear , o ften £300 to £ 1 000,

and even more. Stradivarius received for his vio l ins about4 Louis d

’

or. Amati vio l ins are considerab ly;

less, co stingfrom £ 1 50 to £ 300 . Other o ld I tal ian vio l ins , if infine cond ition , cost £ 30 and upwards. New vio l ins bycelebrated makers may cost from £ 1 5 to £ 30 , yet one

can o ften get a very useful instrument for from 50/upwards.

Prices of V io l in c ases .

Cases cost from 5/ to £3 , the latter price includinga leather covering.

P rices o f bow s .

The bows of T ourte now cost £2 5 and upward .

New silver mounted bows o f best qual ity co st about 30/mounted in German silver about 1 8/ Inferio r qual itiesmay be had from 3/ upward . The wo rth of a bow to

its possesso r consists in its firmness and elasticity, and in

its proving fit to execute every kind of bowing wi th cer

tainty.

Care o f the ins trument.

The instrument must always be kept clean and in

o rder ; every part should always be in proper condition.

The dust from the resin must , every time after playing,be wiped from the upper tab le , fingerboard and bridgew ith a so ft clo th . The strings , fingerboard and neck are

then rubbed with an Old silk handkerchief , taking careno t to rub the strings to and fro ,

but always in one

d irection, else small fibres may be loosened. If the

strings are d irty through perspiring fingers, the upper threestrings may be rubbed with a l ittle neats’ foo t Oil or

I ne Sll l'

l ace O I I I IC S I I I I IgS m ay DC I C I I IU VCU W I I II Sp lrltf

Observing that no thing drops upon the upper tab le , ti

injure the varnish .

TO keep “

the neck quite smo o th it may be occasionally rubbed w i th pulverized pumice ston'

e p ut intol it t le musl in bag.

*

The dust that accumulates inside the vio l in may b .

removed by warming some very fine gravel or”

.grains O

wheat, and throw ing them inside. The instrument is the]shaken ab out, and on shaking the grains out again througlthe f ho les , the dust comes away also . T o make . tho

pegs wo rk easily and yet ho ld fast , they must frequent]:be rubbed w i th dry soap and then w ith chalk

,where the‘

come in contact w ith the p eg bo x .

Cleaning the ha ir o f the bow .

If dirty , unscrew the nut from the stick , and was]

the hair with warm water and soap . Then rinse ln CQl(

water, and hang up the bow to dry. When again scr 'ew‘

er

up,powdered resin is rubbed into the hair w ith a llttlt

b rush . Spo ts of grease are extracted by rubbing . witl

salt in b lo t t ing paper , or by ‘

a hot iron w ith b lottingpaper wrapped around it.

Naming and tuning Of the . s trings ;

The four strings of the vio l in are tuned in p erfec

fifths. The first is the E string the second the A

(2 da), the th ird the D and the fourth the G (4 a )The usual practice , when the pitch of the A is determined , is to tune the D to i t , the G to that , and lastlythe E to the A.

“

New work is first p rep ared ‘ with a staining mixture to the

desired depth o f co lour , smo o thed and coated with hard spiri'varnish

,and again po l ishedThe A may be taken from a pitch

'pipe,tuning fork ,

o:

p iano , which sho uld be ma intained at concert pitch . In Old vio '

lins , if the belly has yielded to pressure under the '

right foo‘

o f the bridge, i t is well after playing to let down the first stringIf a string is too flat

, p ull i t up about a tone above the p rop ei

https://www.forgottenbooks.com/join

PART II .

The technique o f vio lin p laying.

Atti tude of the p layer.

When playing from no tes the player places himselfOpposite the desk a l ittle to the left , so that the vio l indoes not hide the no tes from view. The body should beerect , but not stiffly so . The right foo t is put outward,the left straight , so that the toes are in a l ine. The

weight of the body must rest chiefly on the left fo ot.

THE TECHNIQUE OF VIOLIN PLAYING. 2 3

T o prove that the vio l in is held'

securely and well,the left hand may be removed.

Position of the left hand and the left arm.

The left hand is placed so that the neck of the

vio l in is held between the lower jo int of the thumb and

the third of the index finger. The neck must not begripped ,

but lig/ztIy held " , and care taken that betweenthe neck and that part of the hand which connects thethumb and first finger , there is an Open space. The

inner part of the hand is kept away from the finger

board , so that the fingers may fal l upon the strings fromabove. The position of the left arm must be such as to

The real “ho ld ing” as regards the weight o f the instrk

ment is done at the o ther end by the chin pressing the violinagainst the collar bone. What further steadyzng power is access

ary, the lower jo int of the thumb must supply,ra ther than the

first finger. Players who have at ta ined considerable freedom are

able to play certain passages wit/tout any p ortion of tire side ofthe index fi nger coming into contact will: t/ze neck. Chin-restso f various patterns should be tried ,

and that which best sui ts theparticular player selected , as bodily proportions difl'er. Tr .

2 4SECOND PAR T.

bring the elbow far enough to the right to place i tunderneath the middle o f the vio lin. To attain a correctmanner of ho lding, place the first finger

“

on

the second on the z ud no te of the A

the third on the D string,

and the fourth on the G string,

the fingers lie as fo llows

i ‘2 3 4

The fingers being l ifted simultaneously , and . allowedto remain in posi tion over the strings, the .p osition of the

hand will be co rrect .

THE TECHNIQUE OF VIOLIN PLAYING 2 5

Hold ing'

the bow .

‘

The thumb is placed w ith its fleshypart close to ‘ the pro jection from the curvedpart Of the nut, taking care that the midd leknuckle is not bent inward , but always inan outward d irection. The second j o int o fthe index finger must rest against the stick .

The middle finger is placed Opposite the

thumb upon the stick, whereupon the’

o thertwo fingers fo l low , close

'

to these. The

l ittle finger will then about rest with the

lower part of its po int on the stick .

Po s ition o f the right hand and arm.

The'

right hand must pro ject somewhatforward, and above the bow, and must besuitably arched . The carriage o f the armmust be light , and the elbow not prominently l ifted . When ' playing on the lower strings ,position of the hand and the lower part of the armnaturally be higher.

T esting the p o s i t ion.

Having succeeded in acquiring a firm ho ld of the

instrument and of the bow , i t is best to examine befo rea looking glass the attitude of the who le body , whichmust be natural and unconstrained . The body and headshould be held erect, the shoulders somewhat back . Whenbeginning to draw the bow acro ss the strings the mannero f ho lding should be examined and co rrected after everystroke before proceeding further.

B ow ing.

The bow is placed on the string at the.nut,‘

or lowerpart of the bow, the stick being tilted towards the fingerboard. The , bow must be drawn “

stead ily to its,po int,

THE TE CHNI QUE OF VIOLIN PLAYING. 2 7

the thumb , index finger , and wrist and the fore arm is

held as independently as possib le of the upper

Princip al signs used the left hand and for

the B ow ing.

0 Open string down bow

1 I st finger up2 2 nd Sp . (Spitze) at the po int of the3 3 rd bow.

4 4 th M . in the middle"

o f the bow.

Fr. (Frosch) at the heel (nutend) of the bow.

G . B . (Ganzer Bogen) who le bow.

H . B . half bow.

Excep t ions to the rule o f beginning a full bar witha down bow Often o ccur ; for instance , i f the first barbegins p iano , gradually to f orte as in the Op ening

’

of the

Freischtitz o ver ture:

Here one begins with the up how, becauseat the nut end mo re power can be brought to bear, thusbringing the fo rte into effect. A further example of ex

cep tional treatment is the beginning o f the

overture

there are exceptions to the rule of beginningtip

-beats with the up bow:

https://www.forgottenbooks.com/join

Each o f these exercises should also be played uponthe o ther strings. The exercise in minims and cro tchetsin half strokes and in the middle.

P lac ing the fingers .

The first exercise consists in setting the first fingeron all the strings in succession, then the second in con

junction with the first , the third in conjunction with the

o ther two , and final ly the fourth is added .

In the same manner on the other strings. If one

desires to remain in the key o f C*,the first finger when

on the E string must be drawn back a semitone to stopF,and on the G string, the 2 1n

d finger must be put forward a semitone to play the no te B . The remainingno tes are stopped al ike on all the strings. It is betterat first not to adhere to the scale , but to stop the no teso f the o ther strings as shown above on the D string;thus producing the fo llow ing tones:

THE TECHNIQUE OF VI OLIN PLAYING.

3 I

A string.

G string.

Next must be practised the putting back of the first,and the advancing o f the second fingers on all the

strings, then the advancing and withdrawal of all the

fingers. Example

~2

SE COND PAR T.

The fingers must so descend upon the stringthe first jo int stands perpend icularly upon them.

pressure of the fingers upon the strings must alwaysexcess o f the pressure of the bow. According to

p laying,whether fo rcib le or light , so the pressure

finger is increased or decreased . In slow movementlong no tes only that finger is p ressed

‘

down which Iplay the no te. The o thers are lifted , yet so thatone is suspended exactly over its proper p lace. I

cending scale passages in quick time,the finger

allowed to remain ; in descending passages , one fin;lifted at a time. The observance o f this rule gfacil itates true intonation in descend ing scale passas , each finger being already in its place upon the

to be played, these places have no t again to be sepafound . There are , however , exceptions which willunder no tice later . After the setting back o f the

finger and the pu t t ing forward of the second fingerbeen successfully practised , the “free” * setting 0

2 nd, 3

rd, and 4

th fingers fo llows.

All the notes in regular o rder from the Openthe ( 1 c h in a to R a n fli p P c tr in rr m n c f n n m k n “ I n

THE TECHNIQUE OF VIOLIN PLAYING.

33

played, with the practice o f the intervals in all the keys.

Cho ice must be made as to which method of study benext pursued , acco rding to the individual ity and intelli

gence of the learner.

Practice of intervals in C maj or

Thirds.

Fourths.

Sch r o e d e r Catechism o f Vio lin p laying.

Sixths.

Sevenths.

Octaves.

THE TE CHNIQUE OF VI OLIN PLAVINO .

3 5

Here great care must be taken to d istinguish betweenthe differences that exist in these intervals, whether the 3 rdis mino r or major ; the fifth perfect or imperfect, etc .

Simultaneously with the practice of intervals for the

left hand , bowing exercises for the passing of the bow

from one string to ano ther must be taken , also skippingover a string as in sevenths and o ctaves. The scales,and ,

later , intervals and cho rds, must likewise be studiedw ith various bowings and also legato . First , two no tesshould be taken to one how, then gradually mo re , alsowith single no tes and bound no tes mixed . The practiceof intervals may now be extended to the following.

Chord ex ercises in arp eggio form.

A L L

o f the hand .

https://www.forgottenbooks.com/join

38SECOND PAR T .

3 . The detached hammered (martellato) bowing.

This stroke is chiefly made at the po int of the bow,

which must not leave the string. With every note the stickis pressed or pushed by the thumb in the d irection of the

index finger, so that each tone is sharply cut out, but witha musical qual ity. The up strokes must receive a strongerpressure.

This bowing can also be played at the nut end, and

o f course entirely with the wrist , which must be heldlightly over the strings. The elbow must be to lerab lyclose to the body. The martele’ bow ing is an excellentpreparato ry study for staccato ,

which is really only one

out o f a number o f martelé no tes taken in one bow.

R endering:

4 . Detached stroke with the fo re-arm. As ind icatedby its name ,

is executed by the fo re-arm and the wrist,and from the middle to the po int o f the bow. The upperarm must remain qui te still . In this bow ing no pausemust be made between the no tes , but they must be con

nected easi ly and agreeab ly together.

The “skipping stroke. This stroke is made at

the middle o f the bow, which must be l ightly held be

tween the fingers and contro lled by the wrist . The stickis made to vibrate strongly , whereby the bow is causedto move up and down. I t is d ifficult to attain an agreement between the placing of the fingers and the skippingmovement o f the stick, for which reason this bowing mustfirst be practised on one no te:

THE TECHNIQUE OF VIOLIN PLAYING.

39

Afterwards several no tes may be taken on one string,then on the d ifferent strings.

6 . The rebound ing or springing (sautille’

) bow. Thisbowing d iffers from the fo rego ing in that the

“

bow reboundsfrom the string after each no te, and is then permitted to

fall upon it again from above. In o rder to avo id too

great dryness o r hardness in the tone ,the bow when

falling on the string must be gently contro lled .

Rendering

Secondary bow ings .

1 . The bound , or legato bowing. In this, as many“

no tes are played at one stroke as may be found connectedby the curved legato sign , or as necessitated by the

phrasing. In passing from one string to ano ther the

wrist will require special watchfulness.

2 . The staccato stroke. This is , as already stated,a series o f martelé no tes taken in one bow , and mustfirst be slowly practised with the up bow , to the po int ,and with a free wrist ; the thumb only exerting a sl igh t

40SECOND PAR T.

pressure upon the stick . The staccato is also executedwith the down bow , beginning near the nut.

3 . The springing staccato stroke. This consists o f

a series o f rebounding notes (“Primary bowing

”No . 6)

taken in one bow, and can be rendered bo th by the upand the down bows.

*

4. The T remo lo is a succession of quick no tes invery short strokes, and is executed w ith a lo ose wrist, theupper half o f the bow lying upon the strings.

Ano ther species of T remo lo is the fo llowing:

Also known as the elastic staccato , R icochet or Balzate. Tr .

THE TECHNIQUE OF VIOLIN PLAYING.

4 1

Here two no tes are included in one bow, thus causingit to resemb le the skipping stroke. Only the upper halfof the bow is used, and it is held lightly with the thumband first two fingers.

The Ponticello . This is executed with the bow

lying quite close to the bridge, whereby the tone becomessomewhat nasal . When so produced by the who le stringo rchestra i t o ften makes a fine effect .

6. Flautando . Also w ith the b ow resting on the

string, but , unlike the foregoing bowing, it is executedjust over the fingerboard. The notes so played yield a

delicate flute-like quality of tone.

Arp eggi .

By arpeggi is meant the intervals of a chord in quicksuccession. These may be extended over three or fourstrings with the most varied bowings and rhythms. Par

ticular care must be taken to keep the wrist flex ible.

*

In the above examples the lowest no te is played Wi th a

firm accent , beginning with the down how , the wrist remainingflexible. In example e the how should be turned over so as to

bring the hair almost flat upon the string, (the hair preferably beingrather tighter than usual). A slight “jerk” imparted to the downstroke sends the bow skipping over the strings of its own accord ,on repeat ing the same arpeggio a few times. Tr .

is a trembling similar to the vib rato o f a vo cal ist. Employed o ccasionally and with d iscretion it is of good

effect. On the vio l in it is produced by setting the fingerin tremulous mo vement upon the string, so that the pitchsl ightly rises and falls. Only the thumb and the fingerin use must participate in the ho lding Of the instrument.There is no special sign for the close shake in generaluse , its employment depending upon the player ’s taste.

Sometimes i t is ind icated by the wo rd vibrato .

*

T he T ri l l .

The trill is an even alternation, usually quick,

of two adjacent no tes and may be ex ecuted on all the

no tes of the vio lin. The no te played alternately with theprincipal no te may be either a tone or a half tone d istant.The trill is made bo th w ith and without a turn at the

end . The turn is played in one how with the shake, andat the same speed . Exceptions exist in shakes end ing

In Spohr’s method,

and in a few o ther works,a wavy

l ine m over the no te ind icates its employment . Tr.

THE TECHNIQUE OF VIOLIN PLAYING.

43

with a full close. In a series o f shakes the turn is reservedfor the last

Various kinds of turns:

Final shake.

Usually the lower note of the two constituting the

tri ll is taken first . If it is intended that the upper no teshould begin the tri ll , it will be ind icated by a smal lno te befo re the principal note:

The upper no te of the tr ill is always understood to

be in acco rdance with the key. If it is meant to be

raised or lowered a semitone , a sharp or flat will beplaced over the shake.

T o execute the trill evenly, i t must first be practisedslowly. The finger making the trill must be lifted high,falling upon the string with firmness and elasticity , so

that it is again l ifted high . The bow meantime passeslightly over the string. The tril l is studied upon everynote in both tones and semitones.

44SE COND PART.

The M ordent (Pral ltriller) .

The mo rdent is a single alternation of two no tespreceding the principal no te ,

and is generally ind icatedby the fo llowing sign:

Rendering.

Rendering.

T he doub le tri l l .

T o th is species of shake , d ifficult of execution,ap

plies all that has been said about the single trill. The

player’s chief care will consist in making bo th fingers fallquite simultaneously upon the strings.

https://www.forgottenbooks.com/join

46SECOND PAR T.

The scales are then practised with varying bowingsand rhythms, legato and staccato . for example:

Fingering of the scales .

T o each no te in the first position belongs its Own

finger , whether the no te is raised or lowered a semitone,the same finger being used . As a rule in ascendingpassages the open string is used ; downwards , the 4

th

finger is preferred in its stead . If the no tes of the Openstrings are raised a semitone ,

Usually the 4 th finger playsi t on the string below.

THE TECHNIQUE OF VIOLIN PLAYING .

47

If the scale begins with such a note , the first fingerwill be used twice in succession; for ex ample:

T he chromatic scales .

In the chromatic scales , the z 1ud and 3rd fingers

will each be used twice in succession, and of course mustbe pushed fo rward (or backward) with firmness to the

next no te. The 4th has one note only on each string

assigned to it. The fingering will be the same, whetherthe scale is expressed by sharps or flats:

1 1 2 3 3 4 1 1850

Ano ther system of fingering, utilizing the open strings,is as fo llows:

48SECOND PART.

T he Po s i t ions .

The various places for the left hand ,up and down

the neck ,are known as the po sitions , and each is deter

mined by the place reached by the first finger.~ If the

hand is so placed that the first finger is ready to pressdown these no tes

i t w il l be termed the first po sition. If the first finger isupon these

it will be the second position.

The ball o f the thumb must not touch the neck. As

in the first po sition the first finger remains upon the

strings as guide. The thumb also , lies Opposite the

and second fingers.

II I . Posit ion.

In th is po sition the ball of the hand comes in con

tact with the ribs of the vio l in.

IV. P os ition.

From this position upward the thumb is withdrawnfurther and further underneath the neck of the instrument.

THE TECHNIQUE OF VIOLIN PLAYING.

49

V. Posi tion.

VI. Position

VII . Position.

Besides these there is the half-position (nut-position,or back-shift)

which,when enharmonically changed to

belongs to the first position.

The positions retain their names when the notes are

sharpened or flattened a semitone, only one must frequentlychange the finger in enharmonic passages, or the p o si tion,

Changing the p osition.

Sliding from one position to ano ther must be executedwith ease and certainty , and it is especially necessary to

grip the vio lin between the chin and the co llar bone , ino rder to give the hand free play. Particular care mustbe bestowed Upon

S l id ing the fingers w h i lst changing p o sitions .

If in passing to a higher or lower position , the lastnote of the po sition just left, and the first of the po sitionaimed at , have to be played by the same finger , it mustslide over the string firmly

,and wit/zont leaving it, whether

the no tes in question are legato or not.

5 c h r o e d e r Catechism o f Vio lin p laying .

THE TECHNIQUE OF VI OLIN PLAYING.

5 I

If the first no te , when ascending to a position , is to

be played by a finger fo llowing that used in the lowerposition ,

the first must slide w ith it,remaining until the

position of the hand is again changed , or until releasedby an advancing finger. The first note must be playedfirmly by the finger assigned to it , without causing the

sl ide to be heard .

In the fo llowing examples , the accompanying fingersare ind icated by smal l notes.

c) d)

If the notes of the d ifferent positions are to be takenupon two str ings,

5 2SECOND PAR T.

the finger go es with it to the higher position,but without

necessarily remaining on the string.

In pro ceed ing downward to ano ther position, the fingeron the last note sl ides with that which is proceed ing inadvance so far as to find its place in the lower position,but w ith the understanding that in case the no te thatfo llows is not to be played wi th the same finger , it mustno t remain down.

If the first no te of higher po sition is to be played bya finger which is not the last used in the lower position,it must sl ide w ith it until the proper place in the higherposition is reached , but must be l ifted as so on as the

finger which has to play the first no te is put on the str ing.

I f the first no te in a lower position is to be playedwith a finger that in the upper posi t ion is ultimately re

placed by the finger fo llow ing, the finger in question mustsl ide from the upper po sition to its place in the lower.But ere i t has reached it , the first no te in this positionmust be gripped .

https://www.forgottenbooks.com/join

54SECOND PAR T.

The thirds at a lie in the first two positions. At t,the upper no te is taken on the lower string, and either inthe 3

rd, 4

th, 5

th o r 6th position.

0$50b) 2 t

Fourths

a l ies in the first position , at o the higher no te is againproduced on the lower string (as a harmonic no te) in the

4th position.

Fifths:

The perfect fifths in this example have each two Openstrings ; the imperfect fifths are played either in the firstor half position.

Sixths

o

in the first posit ion.

Sevenths:

0

in the first and second positions.

H TE TECHNIQUE OF VI OLIN PLAYING.

S5

Ninths

0

The upper no tes in the 204

, 3rd or 4

th positions.

Tenths

The upper notes in the and

, 3rd, 4

th or 5th positions.

D ouble stop s without o p en strings.

Unisons.

Seconds.

Major Thirds .

M inor T hirds.

Thirds are fingered with the rst and 3rd

, or the

and and 4th, also with the 3

1rd and 4th fingers in a series

of thirds.

Fourths. Perfect

Augmented 4ths ,

Fingering:

Fifths. Perfect 5 th5 ,

Imperfec t 5 thS ,

Perfect fifths are fingered g,3or 1. Imperfect fifths

ingered with the same fingers as fourths.

M aior 6111 5 .

Six ths.

THE TE CHNIQUE OF VI OLIN PLAYING .

57

Sevenths

Fingered 3 , 3.

Octaves.

Fingered 1, in the upper positions frequently and

It is necessary to remark that the fo rego ing examplesdo not give the fingering of the scales in double

'

sto p s,only the fingerings which may be used in doub le stopsas met with singly.

To these doub le Stops without Open strings, tho se inconjunction with an Open string (pp 5 3 , 54) can still beadded by this means , that they are played on two

lower strings ; e. g.

0 D G str ing.

The first stops on the D and G string are Obviouslyexcluded from this.

5 8SECOND PART.

Chords of three notes.

In triple stops the two upper no tes have mostly thesame duration , the lower no te being previously releasedby the bow. Three no tes may, however, be made to soundsimul taneously, but special skilfulness is requisite, and the

sounds canno t be o f long duration. Fo rmerly Paganini ,Ole Bull , and o ther vio lin virtuosi, used a very flat bridgein o rder to play in three and four parts. Such tricks maybe produced even w ith the o rd inary bridge, by unscrewingthe nut o f the bow, passing the stick underneath the fiddle,let t ing the hair lie upon the strings, and ho ld ing bo th hairand st ick together with the right hand .

As a rule, when several cho rds in three o r four partssucceed each o ther , they are played w ith down bows ino rder to o btain the necessary power and equal ity of tone.

Here and also in the four part cho rds which fo llow , the

easiest are those which make use of the open strings

T riple stops w ith two open strings

Wi th one Open

THE TECHNI QUE OF VIOLIN PLAYING.

Without open strings:

59

2 3 4

F1nger1ng igandg

3 4

Fingering andg

0

z 3

Fingering <1

; andg

(0

07

0:

w

IF2

F1nger1ng

https://www.forgottenbooks.com/join

Fingeringsu

p

p

Fingering 2

Fingeringz

1

a

Cho rd s in four parts (quadrup le stOp s).

W i th two Open strings

THE TECHNIQUE OF VI OLIN PLAYING.

With one Open string

W ithout open strings:

63

64SECOND PART.

Harmonics .

Natural and artificial Harmonics , or Flageolet tones,may be produced on the vio l in. The natural harmoni csare obtained by placing the finger quite l ightly, and withoutpressure ,

upon the string ,and bowing with great care.

From the middle o f the string upwards towards the bridge,and also from the midd le towards the nut , lie naturalharmonics at the nodes o f the string. The sign ind icatingthat a no te is to be played as a harmonic , is either 0 ,

flageolet or son lzarmonique.

In the case of harmonics which yield a no te d ifferingfrom that stopped by the finger, the actual sound producedis ind icated by the sign 0 °

G string.

t i sées

D string.

A string.

THE TECHNIQUE OF VI OLIN PLAYING. 65

E string.

Natural harmonics are also produced by placing two

fingers lightly and simultaneously on one string:

G stringD string.

A string.

Artific ial harmonics.

These are produced by playing two notes on one

string, the lower one being pressed down firmly,the upper

one lightly. The d istance of these two no tes -from eacho ther may be -either a third, fourth, fifth -or o ctave. The

most usual artificial harmonics are those at a fourth /

D string.

to .

be 0 isi:

Sch ro e d e r , Catechism-

o f Violin p laying .

A string.

W M ,

A string.

svam

0: fig

D string.

A string.

I J,o to e

Artificial harmonics may also be producedd istance of a minor third, but these speak with difficulty.

THE TE CHIVIQUE OF VI OLIN PLAYING. 67

At an Octave

G string.

In like manner on the higher strings.

In the lower positions those at the o ctave necessitatea w ide stretch between the 1 s

t and 4th fingers, rendering

them impossible for small hands.

D oub le harmonics.

Bo th natural and art ificial harmonics may be playedas double stops. The fo rmer speak best, the latter beingmore d ifficult. They require very thin stringing.

a . Natural double harmonics

l<>

D & A & E & D & G string.

G string D o s. A-s.

Similarly on the upper strings.

6. Artificial doub le harmonics:

The large no tes indicate the notes which are to be

pressed down firmly , the smal l notes those to be lightlytouched, and the sign Q the actual sounds produced .

68 S E COND PAR T.

a . Fi fths , produced at the d istance of a fifth,fourth

and third :

b. Thirds.

C. Fourths.

d . Sixths.

(major) (11511101092,

&c.

https://www.forgottenbooks.com/join

70SECOND PART.

r. h . l . h .

arc. p izz . arc. p izz . arc. p izz . arco .

No tes may be also played simultaneously, for example,

Chords also sound well p izz icato , as for instance,

THE TECHNIQUE OF VIOLIN PLAYING.

7 1

If i t is desired that the tones shall vibrate well , thethumb is released from the fingerboard ,

and the fingers o f

the left hand remain pressed down on their no tes. P izz icato stops in cho rds are also mixed with no tes played bythe bow ,

and are then plucked with the second finger ofthe right hand.

arc. p izz . arc. p izz . arc. p izz . arc. p izz . are. p izz .

N

The areo no tes are played at the heel of the bow,

and with the up stroke.

PART III .

T he rendering.

The rendering of a piece implies its artisti c rep roduction, every necessary artistic resource being therein b lended.

The vio linist is capable of a perfect rendering only if,

in add i t ion to a firm, easy technique of the left hand,

adro itness in bow ing and susceptib ili ty to the mod ificationso f tone, and a technique equal to all demands made uponi t,

he has under his contro l'

a higher spiritual musicaldevelopment , fine taste , and a warm individual feel ing.

Only through the comb ination of all these qualities can

one reinvest the dead signs o f the composer with spiritand l ife ,

and cause his wo rk to pass before the hearer'ssoul as an ideal, living picture.

Inte l lectual cul ture .

Under this head must be included a knowledge o f

the theo ry of music , which renders possible the clearunderstand ing Of the sequence of ideas which the composerhas expressed through time, degrees ofmovement, dynamicsigns, melodi c periods, and the harmonies upon which theyare constructed , the rhythmic combinations ; and throughall these peculiarities the character of a p iece as well asthe individual ity of the composer . And where speciald irections for the render ing are no t employed , to perceivefrom the text of the work itself the co rrect rendering.

THE RENDERING.

73

throughout its performance receives a co rrect impressionof its c haracter. If an artist has given expression to all

the compo ser ’s written dynami c gradations o f tone-co lourwith understand ing and feeling, it will be artistically refined ;if infused with his own ind ividual ity, and if no awkwardnessappear technically with respect to the manipulation of his

instrument , his perfo rmance will be regarded as tasteful.It should be especially his concern to avo id the numer

ous faults common tomany players ; for example, “whining,

”

a mawkish drawling from one tone to ano ther, exaggerationof the close shake on the part of the left hand , inartisticaccentuation,

unmeaning throwing of the bow upon the

strings, &c.

Ind ividuality.

I f the artist has studied and learned how to giveexpression to the ind ividual feeling of the

‘

composer , hisown ind ividuality in the perfo rmance is also of great consequence. It consists in this:that the same piece in p er

formance shall appear ever fresh and new. Individualfeel ing is subject to continuous change, through

’

influences

from within and without , consequently an artist who has

acquired a full and active contro l o ver all,

his powers doesnot perfo rm a piece the second

‘

ti‘

me in precisely the samemanner as

'

the first time.

'

Where however, this is the case,it may be regarded as a sign that the perfo rmer has notyet arrived at a complete “

artistic freedom.

Phras ing.

Upon this subject no exhaustive treatise will be given,but only some observations up on intelligent phrasing as

applied technically to vio lin playing. As in singing,and

in wind instruments the breath, so in the playing o f stringedinstruments the change of bowing,

is the po tent mediumthrough which phrases are d ivided , d istinguished from eacho ther, and rendered clear . Stringed instruments p resentconsiderably greater d i fficulty in th is respect than singing,on account o f the manifo ld kinds o f stroke in bowing,o ften w ithin the compass of a sho rt phrase the most variedbowings o ccur ; mo reover, it canno t be laid down that witheach phrase or period the stroke must be changed . Thesephrases may, however , in many cases co incide with the

change o f bowing, and the player must - ih general make

74TH1RO PAR T.

it his aim to obtain correct phrasing by a suitable'

ap p li

cation and adjustment o f the changes in the stroke.

The fo llowing examples from M endelssohn’

s vio l inconcerto are o ften inco rrectly phrased ,

through changingthe bow in the wrong places:

The above passage is thus rendered by many vio l inists

and in David ’

s edition of the concerto it is even markedthus:

THE RENDERING.

7 5

A pro longation of this theme also shows inco rrectchanges of how , from which wrong phrasing ensues:

semp re p ta tranquillo .

The bow ings ind icated underneath the no tes show the ’

correct phrasing, and also the effect aimed at in connectingthe idea with the previous example.

In’ passages where the phrasing is not plainly defined

by the changes of how, the change occurring in the middleof a phrase, the strokes must be made to fo llow each o theras smoo thly as po ssible (i. e. w ithout a break)

a . Andante.

76THIRD PAR T.

Passages which, owing to rapid time and bow ing, are

not easily to be rendered clear by the player, must at leasthave the real meaning o f the phrase ind icated with correctaccentuat ion. It will then become apparent in the rendering; for example.

a . Allegro molto vivace.

https://www.forgottenbooks.com/join

The fingering is j ust as essential to co rrect phrasing,as the bow ing. Generally the changes o f position are

made so as to suit the requirements o f the phrasing, thati t may be rendered smo o thly. This is particularly needfulin long sequences of no tes on one string.

In the first four bars the positions are not so wellsuited to the phrasing as compared to bars 5 and 6.

o Qa

THE RENDERING.

79

times in succession, beginning with the highest cfi. Herealso the changes of bowing should co incide with the

phrasing marked .

It is essential to a co rrect rendering that, even in thefirst pieces played by a beginner , a perception of the

phrasing as a who le should be acquired ; not, as is usuallythe case, regarding the bowing marks and the legato signsas exclusively determinative of i t. In this respect, unfortunately, there is nothing offered for the student’s enl ightenment and the improvement of his taste in the existingvio lin methods; at least, no method is known to. me con

taining apposite suggestions and remarks on this head:

AP PEND IX.

P icto rial rep resentation o f the bow -Sm

The signs in general use indicating the down 3

strokes, are these [7 V.

The first sign indicates the lower end of the b (

nut (Ger. the second , the upper part or

Hermann Schroeder , in“

his edition o f Kre

4 2 Stud ies (ded icated to Joachim), has introduced a t

development of these signs. They are not placed it:usual po si t ion, but sideways. Example:

PI CTOR IAL REPRESEIVTATION OF THE B OW-STROKES. 8 ;

The same in a simpler and mo re condensed style.

Down stroke. q

Up stroke.

Read from the left , the bowings in the first exampleare shown together w i th their no tes, and the signs of upand down strokes are then to be found in their o rdinarypositions. The ed itor o f the Stud ies has , however , giventhe preference to the employment of the second mannero f writing these , on account o f the simplified and easilyproduced representations o f the bow, and also because o f

the compressed form of the bowing strokes given belowi t . The picto rial signs for the bow ing are mo re particularlyfor use in such stud ies as exemplify d ifferent methods of

playing, or such as have groups of repeated phrasings andbowings; in the remaining studies they are employed wherever the o rdinary signs and terms do no t suffice to showthe relative extent of the distribution o f the how.

T he mute .

The mute is a clamp w ith three notches, which , toobtain a muffled tone, is fastened on the bridgebetween the strings. Its use is ind i cated by“con so rdino ,

”its removal by “

senza so rdino ,o r by “wi th” and “without mute” . There are

also mutes which are fastened to the vio l in ino rder to avo id this no isy fixing and unfix ing, being broughtinto action by a slight push . These mutes are not made

as a clasp,but consist Of a smal l plate which presses

against the bridge, and no t upon it.Schr o e d e r , Catechism o f Vio lin p laying .

ultaneous sound ing o f subord inate and

comb inat ion tones .

entering into the province o fmusical acoust ics,n experiment only canbementionedheredemon

mingled w ith the no tes one plays, o thers are

is w i th this o bject that a snuffbox or a key

p er tab le o f the vio l in. If one playsin slow tempo whilst one o f these ar t icles isnot only two no tes, but three, four, or evene heard . In o rder to o btain go o d and correctin harmony , the double notes played mustitable sequence. Generally, two intervals of

fo llow each o ther.sympathetic tones mo re plainly

ame t ime to obviate the whizz ing no isebow ing by the article placed on the

n Schroeder has invented an apparatusthe production of harmonic overtones,

the comb ination tones o f

Patent NO .

aventor says in his specification “Researches intozhetic tones of instruments of the vio lin species,>ry deduced therefrom as to the movement o fo n the strings (Leipsic, C. W. Fritzsch) amongstgs the fo llow ing: In o rder to produce uponstruments mo re especially the vio l in, the

overtones o f the no tes played ,as wel l as the

DI] . tones, a weight (g) is brought over the upperie vio lin fastened to i t , but allowed free play.

II,when the instrument is being played, vibrates

ibrations o f the upper tab le, being kept in itsthe spring (h , f). That the weight , during itsmay be firmly kept in one fixed position , the

is fastened to the ribs of the vio lin. On the

l the shifting,very elastic tail (h) above this

11 its fastened end (hl ) over a p eg (s), grips the

e ight (g) contro l ling its movements up and downnstrument.

the Spring (h) in position , one can then fixand ho lder (f) over any part o f the ribs,he weight (g) into action upon various partsy o f the vio l in. Yet its application will best suc

H SCHROEDER ’S VIBRATOR"

. 83

ceed if brought upon the upper table, either in front o f,o r behind , the bridge , under the two strings G and D ,

Section of a violin between

and tailp iece.

Vibrator.

because here the wo od of the upper tab le is brought mostinto vibration, and also because the most serviceable toneso f these strings particularly the no tes of the middle parto f the scale cause these subo rd inate and comb inationtones most clearly to be heard . The spring being quiteflexible , may be bent to -

any shape , and in the circularfo rm shown above helps the firm position of the weightw ith respect to the amount o f pressure. The under , and

somewhat concave, d isk of the weight is covered with paper,which agreeab ly modifies the tone quality .

The use o f the vibrato r permits the production of

curious and o ften striking effects , especially in light andflowing playing, as, perchance ,

in cho rales , when three,four or mo re parts become aud ible in regular harmoni csequence. The tone o f the vio l in is caused to resemblevery much that of the harmonium , and nuances from the

l ightest p iano to at least mezzo f orte are obtainab le.

Celebrated vio lin p layers o f the 1 7th,

1 8 th and 19th Centuries.

Axle/burg ,August oon , born 1 833 ,

at Constantinople,o riginally intended for the D iplomatic service , was a

d ist inguished vio l inist and compo ser. He was taught byM ayseder. He died at V ienna, Oct. 2 0th 1 8 73 , after along period o f mental aberrat ion.

Allard , D elp /zin, b o rn M arch 8 th 1 8 1 5 , at Bayonne, a notedvirtuo so and teacher (amongst o thers, o f Sarasate); afterBaillot

’

s death became pro fesso r at Paris Conservato ireuntil his retirement in 1 8 7 5 . He produced concertos,a vio l in schoo l and studies. D ied Febr . 2 2 nd , 1 8 88 , Paris.

Arditi, Luigi, bo rn 1 8 2 2 at Crescentino (I taly), settled inLondon as conducto r.

Arnzinga zeo’

, jules, born 1 8 2 4, Paris, renowned there as a

quartett player .Artoi

,Alex . josep fz M oniezgney , bo rn Feb . 5th 1 8 1 5 , at

Brussels , d ied July 2 0 th 1 845 , at V i lle d’

Avray nearParis. He studied at Paris Conservato ire under Kreutzer,became member o f several o rchestras , then made ex

tended concert tours through Europe and America. He

wro te a vio l in concerto , string quartetts, &c .

Az/er , Leop old, bo rn M ay 2 8th 1 845 , at Vesprin, Hungary.

Pupil o f Dont in V ienna, also o f Joachim. From 1 8631 865 he was leader at Dusseldo rf, then at Hamburg,and from 1 868 in a similar capacity with the Imperialo rchestra , St. Petersburg,

and pro fesso r at the Conservatoire there.

Bail/oi,P ierre M arie Frangois n

’

e Sales, bo rn Oct. I st 1 7 7 1 ,

https://www.forgottenbooks.com/join

8 6 CELEBRATED VI OLIN PLAVERS.

amongst o thers Vieux temp s and Frume. His wo rksare well known, chiefly his concerto s and Themes varies.

He resided in Brussels, became b lind in 1 8 5 2 , and d iedin April 1 8 70 .

B eseleirs/ey , Basil Basilewiizseb ,bo rn 1 83 5 , at M oscow ;

pupil of Leonard at Brussels. He appeared withsuccessin Germany, France, Spain,

&c ., as a virtuoso .

B iber , Franz , bo rn 1 638 , atWartenburg on the Bohemianfrontier , d ied 1 698 at Salzburg , where he was Capellmeister. He was raised to the nob ility by the Empero rLeopo ld 1 st. A few sonatas compo sed by him are to

be found in David ’

s advanced scho o l of vio lin playing.

B lagrooe, [ Jenry Gamble, bo rn Oct. 1 8 1 1 , at No ttingham.

Taught by his father , he played in pub l ic at the age

o f five , and on the opening o f the Royal Academy o f

M usic, London, was one of the first pupils, studying withF. Cramer . In 1 833

— 1 834 he stud ied under Spohr.He was for 30 years one o f the most prominent Englishplayers, and died Dec . 1 sth 1 8 7 2 .

B lankensee, julius , bo rn April 9th 1 8 58 ,at Wartburg in

Westphal ia ; pupil of Joachim. He was Kammervirtuosat Sondershausen , and subsequently leader at Nuremburg.

L’

o/zm,josep li, bo rnApril 4th 1 795 , atPesth , d ied M arch 2 3rd

1 8 7 6 ; pupil o f Rode, and teacher of Joachim. He was

engaged chiefly in the V iennese Court o rchestra, and as

teacher in the Vienna Conservato rium.

B obrer, Anton ,bo rn 1 783 at M unich ; pupil of

Rud . Kreutzer. He was leader at Berlin and Hanover,and d ied in 1 8 5 2 .

B oil , jean josep /z, bo rn M arch 9th 1 8 2 6 , at Cassel , d ied1 895 , in America ; pupil of Spohr. He was leader at

Cassel, and subsequentlyatM einingen andHanover (CourtCapellmeister), where he was pensioned in 1 8 78 . Sincethen he l ived in Hamburg, New Yo rk, &c .

L’ozee/zer , Alex andre jean,bo rn 1 7 70 , Paris , d ied 1 86 1 .

He was a great charlatan in vio l in playing, yet wasreceived with much applause on his concert tours.

Brassin , Ger/zara’

,bo rn June ro th 1 844 , at Aix ; pupil

of David . He was leader at Berne and Gothenburg,

then teacher in Stern’

s Conservato rium , Berl in;from 1 8 7 5

—1 880 conducto r o f the Breslau M usikverein;since then l iving in St. Petersburg.

CELEBRATED VI OLIN PLAYERb . 8 7

Brodsby, Adolp /z , bo rn M arch 2 rst'

1 8 5 1 , at Taganrog(Russia); pupil of Jos. Hellmesberger at V ienna. He

was member of the Court Opera o rchestra, visited Russiaas virtuoso , then became teacher in M oscow Conservato ire, afterwards at the Leipz ig Conservato rium. In 1 892

he went to America, but in 1 895 became principal o f theM anchester Royal Co llege of M usic.

Burmester , Willy , bo rn at Hamburg,M arch 1 6th 1 869,

stud ied under Joachim at the H igh Schoo l , Berlin ,but

elected to make a special study by himsel f of Paganinid ifficulties , in whose wo rks he is pro bably unrivalled .

He appeared in London in 1 895 .

Gambini, Giov. Giusepp e, born 1 746, at Livo rno , d ied 1 8 2 5 ,Paris, where he had settled in 1 7 70 .

Camp agnoli, B artolomeo, bo rn Sept. 1 0th 1 7 5 1 , at Centonear Bo logna ; pupil of Nardini . He was from 1 797leader at the Leipsic Gewandhaus concerts ; subsequentlyd irecto r at Neu-Strelitz , where he d ied Nov. 6th 1 8 2 7 .

Wro te a good method, and some stud ies.

Cannabie/z, C/zristian, bo rn 1 73 1 , at M annheim, d ied 1 797 ,

at M unich (or 1 798 at Frankfo rt); was leader at M ann

heim , and in this capacity, as also in that of teacher,was quite remarkable.

Carrodus , jo/zn s lady , born at Keighley , Yo rkshire,Jan. 2 0th 1 836 , died July 1 3th 1 895 , in London. He

stud ied with M olique in Stuttgart , was leader of someof the chief Engl ish o rchestras, and was also a fine so loplayer.

Coenen, Franz, bo rn Dec . 2 6th 1 8 2 6, at Ro tterdam. So lovio l inist to the late King of Ho lland ; accomplished so loand quartett player ; l iving at Amsterdam.

Collins , Isaac , bo rn 1 797 , d ied 1 8 7 1 , in London ,was a

celebrated Engl ish perfo rmer. His son

Collins,Viotti

,was also an excellent player.

Colonne, Edouard , bo rn July 2 3rd 1 838 , at Bo rdeaux ;studied at the Paris Conservato ire under Girard and

Sauzay, but became a conducto r, and is, as such, verycelebrated in Paris.

Colyns , jean B ap tiste, born Nov. 2 5th 1 834 , at Brussels.

He studied at the Conservato ire there , has been since1 863 a teacher in that institution and since 1 888 alsoat the Antwerp Schoo l o f Music.

Corelli, Arcangelo , bo rn 1 653 , at Fusignano near Imo lo

8 8 CELEBRATED VI OLIN PLAYERS.

(Bo logna), was the founder o f the I tal ian schoo l , whichin its execu t ive and creative aspec ts inaugurated amarkedepo ch in the art o f vio l in playing. V io lin compo si tionand technique were b rough t by him into definite form,

serving as a sure foundat ion for later t imes. Like all

the vio l inists o f that perio d, Co rel l i was also a compo ser,and in this capacity sto od prominently fo rward . Hismusic has lasted to our own day, the complete editionhaving been brought out by Joachim and Chrysander,and separate sonatas arranged for vio l in and piano byG . Jensen,

and o thers. Living chiefly in Rome, Corel liwas held in extrao rd inary esteem as vio l inist and compo ser , and a great number of pupils crowded roundhim . His most celebrated pupils were Geminiani and

Locatell i . He d ied in 1 7 1 3 , after a tour to Naples.

Clement, Franz, bo rn 1 780, at Vienna, d ied there in 1 84 2

was first Concertmeister at the theatre “An der Wien” .

Courooisier ,’

Carl, b o rn Nov. 1 2 th 1 846, at Basle ; l ived inDusseldo rf and enj oyed much favour as teacher and

player. He went to England in 1 88 5 , and is now l ivingin Liverpo o l . Autho r o f a vio lin scho o l and studies,also sundry articles on the technique o f vio lin playing.

Cramer,Wit/telnz, bo rn 1 743 o r 1 745 , at M annheim, d ied

1 799, in London , where he was leader at the Ital ianOpera , and in various concert societies. He was re

garded in England as the first vio linist of his time.

Cro'

ner,Ferdinand

,Carl and jo/zann (brothers), were all

members o f the M unich Court o rchestra between 1 7 3 7and 1 786 . In 1 749 they were raised to the rank of the

nob il ity.

Csillag, Hermann,bo rn 1 8 5 2 , at Bakony

-T elek (Hungary);pupil o f Hellmesberger at V ienna , became member o fthe Court Opera o rchestra there, and subsequently leaderat Baden-Baden , Dusseldo rf, Hamburg and Ro tterdam.

From 1 88 7— 1 888 taught in the Conservato rium at

Helsingfo rs.

D amrose/z, Leop old, bo rn 1 8 2 2 , at Po sen ; pupil o f Hubert

R ies,prepared for a med ical career . He was from

1 8 5 7 Capellmeister at Breslau , and since 1 8 7 1 in New

Yo rk,where he died in 1 8 8 5 .

D aniela,jean Bap t. C/ias., bo rn Dec . 1 9th 1 8 1 8 , at Bagneres

de-B igo rre. He entered the Paris Conservato ire at the

age of 1 0 ; founded in Paris a fine quartett , with his

CELEBRATED VIOL IN PLAYERS. 89

bro thers Leopo ld and Arnaud as 2nd vio lin and'Cello .

He has composed many melod ious educational wo rks,and enjoys great repute as a teacher in the Paris Conservato ire.

D ando , f H . B .,bo rn at Somers T own,

1 806 ; pupil OfM o ri ; d ied M ay, 1 894 . He was one o f the pioneers Ofquartett playing in England, also for many years prominent as leader o f the best orchestras inLondon, in his day.

D avid , Ferd ,born Jan. roth 1 8 1 0 ,

at Hamburg, d iedJuly 1 8 th 1 8 73 ,

at Klosters in Switzerland ; pupil ofSpohr ; leader in the Leipsic Gewandhaus and theatreo rchestras from 1 836 until his death . He was d istinguished bo th as teacher and leader . As composer , heproduced many vio lin wo rks , Concertos , Variations,Stud ies, and also a Schoo l, besides editing many previously unpub l ished pieces by the old masters.

D e Abna ,fz’einrie/z Karl Llernzann, born June 2 2 nd 1 83 5 ,

at V ienna ; pupil Of M ayseder and M ildner, unti l 1 8 5 1 ,when he rel inquished music for a military career, enteringthe Austrian army. In 1 8 53 he became Lieutenant

,was

in the war of 1 8 59, but at its conclusion resumed the

vio lin. He made concert tours , was engaged in 1 862

in the Royal opera o rchestra , Berl in , and became firstConcertmeister ; he was second vio lin in Joachim’

s quartett. D ied Nov. I st 1 892 .

D engremont, M aurice, bo rn M arch 19th 1 866 , in Rio de

Janeiro ; pupil o f Leonard . During about ten years hemade many appearances in Germany, played in London,

at the Crystal Palace , w ith great success; and d ied in

Buenos Ayres, Nov. 1 893 .

D essau, Bernbard ,bo rn M arch I st 1 86 1 ,

in Hamburg;stud ied at the Berlin H igh Schoo l, was leader at Konigsberg and Prague, now in Ro tterdam and teacher in the

Conservatorium.

D ittersdorf , Karl oon,bo rn Nov. 2nd 1 739, at V ienna,

d ied Oct. 3 rst 1 799, was vio l inist in the Imperialo rchestra, and had much success in his tours. He was

subsequently Capellmeister, and composed a great deal:Operas, symphonies, quartetts, &c .

D ont, jaeob, born M arch 2 nd 1 8 1 5 , at V ienna , d iedthere Nov. 1 8th 1 888 ; pupi l Of his father . He was

member of the Imperial o rchestra and teacher in the

Conservato rium ; produced excellent studies.

90CELEBRA TED VIOLIN PLAYERS.

D reysc/zocb ,Raz

’

nzund,bo rn Aug. 2 0th 1 8 2 4 , at Zack in

Bohemia , d ied Feb . 6th 1 869; was 2nd leader in the

Leipsic Gewandhaus o rchestra, and teacher in the Conservatorium.

D up ont,josep /z, bo rn Aug. 2 1 5 t 1 8 2 1 , Liege, d ied Feb . 1 3th1 86 1 . Pupil o f Prume in the Liege Conservato ire, sub

sequently teacher in the same .

a nis, jacques ,

bo rn Oct. 2 1 st 1 830 , at Liege ; taughtthere in the Conservato ire ; d ied 1 860 .

D up uy, jean B ap tiste, bo rn 1 7 7 5 , at Courcelles near Neuchatel

, d ied April 3rd 1 8 2 2 , at Sto ckho lm ; was leaderthere, and also at Copenhagen. He composed concer

to s, duets and Operas.

D urand, Frederic , bo rn at Warsaw in 1 7 70 , d ied in the

middle o f the 1 9th century ; pupil o f V io tti , in Paris.

He made many concert tours; entered the French armyin 1 796 ,

became adjutant to a General , but must havetaken his leave after several years, for he travelled againas a vir tuoso and became eventually vio l inist in Strasburg theatre.

Eber/zardt, Gobi, bo rn M arch 2 9th 1 8 5 2 ,at Hattersheim

near Frankfo rt ; pupil o f D ietz, Heermann and Wilhelmj.He was leader at Berne and Bremen ,

paid successfulvisi ts to Germany , Sw itzerland , Austria and I taly , and

since 1 8 84 has been active in Hamburg as so lo ist,pro fesso r and autho r . He has composed studies, vio linso lo s, piano pieces and songs.

Fc/c,jo/z. Friedric/z, bo rn 1 766, at M annheim, date of death

not known ; one of the best 1 8 th century players; livedin M unich and Paris. His bro ther

Ecb , Franz , born 1 7 74 ,at M annheim ,

was Spohr ’s in

structor, member o f the M unich o rchestra, and vio linistat the Imperial Court in St Petersburg; he d ied insaneat Bamberg in 1 809.

E ic/z/zorn,Ernst and Eduard (bro thers), bo rn April 3o th

1 8 2 2 , and Oct. 1 7th 1 8 2 3 , respectively , appeared as

prod igies from 1 8 29 to 1 83 5 . Bo th found po sitions inthe Coburg o rchestra. Ernst d ied June 1 6th 1 844.

Ernst, H einr . Wild , bo rn 1 8 1 4 , at Brunn , died Oct. 8th

1 865 , at Nice ; pupi l of M ayseder; was mo stly o ccupiedin making concert tours, everywhere causing a profoundsensation. Composed, amongst o ther pieces, a concerto

CELEBRATED VIOL IN PLAYERS.

91

pathétique , Elegy , “Otello fantasia , and Hungarianvariations.

Ferrari, D omenico, bo rn at the beginning o f the 1 8 th cen

tury ; pupil of Tartini . He passed in Vienna for a greatvio linist , also exercising his pro fession in Stuttgart andParis. In 1 780 he was murdered .

Fiorillo, Federigo, bo rn 1 7 53 , at Brunswick, date of deathnot known. His 36 vio lin Caprices are celebrated .

Fiscber, jo/zann , bo rn in the middle of the 1 7 th century,

in Swab ia ,was one o f the first German vio linists who

made a reputation. He was , at the beginning of the

1 8 th century , Capellmeister at Schwerin ,and d ied in

1 7 2 1 as Capellmeister to the M argrave at Schwedt.Flezscb/zauer ,

F.,bo rn July 2 4th 1 834 ,

at Weimar , pupilOf Joachim and Laub

,since 1 865Court leader atM einingen.

Fontaine, Antoine IVicolas M arie, bo rn 1 78 5 , at Paris; pupilofKreutzer ; travelled much, and l ived in Paris since 1 8 2 5 .

Franzl, Ignaz , b o rn June 3rd 1 736 ,at M annheim , d ied

1 803 ; was leader in the Electo ral o rchestra ; an aecomp lished o rchestral player. His son and pupi l

Frc'

inzl,Ferdinand, bo rnMay2 4th 1 7 70 , atSchwetzingen,

d ied1 833 , at M annheim,

was mo re celebrated than his father.Ganz

, Leop old , bo rn Nov. 2 8th 1 8 1 0 , at M ayence , d iedJune 1 5 th 1 869, at Berlin , was leader in the BerlinCourt o rchestra.

Gavinie’

s,P ierre

, born M ay 1 1 th 1 7 2 6 or 1 7 2 8 , at Bor

deaux, died Sept . 9th 1 800 , at Paris. He wro te stud ies,no tab ly “Les 2 4 matinées” . (His father , Franco isGaviniés , was a vio l in maker , and was , in 1 762 , dean

o f the Paris Vio l in M akers'Guild. Tr .)Geminiani, Francesco ,

bo rn towards the end o f the 1 7 thcentury, at Lucca, d ied Dec . 1 762 , at Dub lin, was one

Of Corelli’

s most famous pupils. G . brought out the

earliest I tal ian vio l in method ,which became in great

request, and by which the essential features of Corelli’

s

style have been handed down to the present day. The

best o f his vio l in sonatas have been pub lished in

G . Jensen’

s“Classische Vio l in M usik" .

Giardini, Felice, bo rn April 1 2 th 1 7 1 6, at Turin , died

Dec . 1 7 th 1 796 , at M oscow. He toured , with brilliantsuccess , in Germany and England , became orchestralconducto r, and later theatre d irecto r, in which capacity,however, he had no success.

92CELEB/CATED VI OLIN PLAYEHS

Gonzp ertz , R ic/lard , bo rn April 2 7th 1 8 59,at Co logne ;

pupil there o f Konigslow and Joachim ; now pro fesso rin the Royal Co llege o f M usic, London.

Gr aun, f Gottlieb , b o rn at the commencement o f the

1 8 th century, d ied Oct. 2 7th 1 7 7 1 (bro ther of HeinrichGraun,

the composer o f “Der T od was leader inthe Court o rchestra, Berlin.

Gr iinberg,Illax

,bo rn Dec . sth 1 8 50, at Berlin. He was

so lo vio l inist at M einingen under Biilow , leader and

teacher in the Sondershausen Conservato rium ,then at

Prague, and now l ives in Berlin, where he has foundeda Conservato rium ; is a celebrated teacher.

H abenecb,Franrois Antoine , born June 1 5 1 1 78 1 ,

at M e

z ieres , d ied Feb . 8 th 1 849, Paris; pupil of Bai llo t inParis. He was member Of the o rchestra ,

and subse

qently conducto r , at the Grand Op era , then becameconcert conducto r , in which capacity he introducedBeethoven’

s symphonies to the Parisians. Founder o f

the celebrated Conservato ire concerts.

Haddock,Edgar , bo rn in Leeds, 1 862 , taught by his father ;

appeared in pub l ic at the age of six . Originato r of theLeeds M usical Evenings.

Ha lir,Karl, bo rn Feb . I st 1 8 59, at Hohenelbe in Bohemia ;

pupil of Prague Conservato rium and of Joachim. He

was so lo ist in Bilse's o rchestra, leader at M annheim and

now at Weimar.Hanf lein, Georg, bo rn M arch 1 7th 1 848 , at Breslau ; pupil

o f David and Joachim ; leader at the Royal theatre,Hanover .

H ana,IV. E ,

bo rn M ay 3oth 1 83 1 ; musician in o rd inaryto the Queen. His five sons received their educationfirst as cho ir boys at the Chapel Royal , afterwards all

studying the vio l in or’

cellO at the Royal Academy of

M usic. Brahms’ Sestett for strings was perfo rmed in

London, 1 888,entirely by this musical family.

Hauser, Al i

’

ska,bo rn 1 8 2 2 , at Pressburg, d ied Dec . 8 th

1 88 7 , V ienna ; pupil o f Bohm and M ayseder in V ienna ;travelled nearly all over the wo rld . A few Of his com

posi t ions are in vogue, e. g., The B ird in the T ree,

and Lieder Ohne Wo rte.

Hecbnzann,R obert, bo rn Nov. 3rd 1 848 ,

at M annheim,

d ied Nov. 2 9th 1 891 , Glasgow ; pupil o f Becker and

David . He was leader at the Euterpe ,Leipsic , and at

https://www.forgottenbooks.com/join

music player to the Duchess OfAnhalt-Bernburg asted t , and since 1 8 76 teacher at the Berlin H ighD ied 1 90 1 .

jacobson, Simon, bo rn Dec . 2 4th 1 839, at M itau ;David ; leader at Bremen and New Yo rk ; was aft

teacher at Cincinnat i, and now l ives at Chicago

janitsc/z, Anton, born 1 7 5 3 , in Switzerland , d ied 1

Capellmeister to Count Burg-Steinfurth ; pupil ofat T urin. He was leader at T reves with Princestein -Ottingen ,

and conducto r at the theatre , E

jansa , Leop old , bo rn 1 796, at Wildenschwert in Bd ied Jan. 2 5th 1 8 7 5 , at V ienna. His compositiimerly enjoyed much favour . He lived in Brt

V ienna, and London.

jap ba , George, b o rn Aug. 2 7th 1 83 5 , at Konigsbe1Feb . 2 5th 1 892 , Co logne ; pupil of Singer , DarAlard ; leader and teacher in Co logne Conserve

jensen,Gustav,bornChristmasDay, 1 843 , atKOnigsber,o f Laub and Joachim ; d ied Nov. 2 6 th, 1 895 , as p i

at the Conservato rium , Co logne. He wro te or

wo rks, a vio lin sonata, chamber music, &c .

, be5 1c

ed iting and arranging many compositions of 1

masters for vio l in and piano (“Classische V io l in

“Vortragsstudien”

,

joac/zim, josep /i, Prof , Dr.

, bo rn June 2 8th 1 83 1 , a

near Pressburg; pupil Of Bohm in V ienna. I

leader at Leipsic , Weimar, and Hanover ; subsed irecto r Of the H igh Schoo l , Berlin. He is t

'

among l iving vio l inists, and has fo rmed a large 1

of prominent players.

Ka llirvoda , jo/zann W’enzeslaus

,bo rn Feb . 2 1 5 t 1 1

Prague, d ied Dec . 3rd 1 866, at Karlsruhe ; conduPrince Furstenberg

’

s o rchestra at Donauesching.

add ition to vio l in pieces , he wro te symphonii

overtures.

Kes, l/Villenz, bo rn Feb . 1 6th 1 8 56, at Do rdrecht ; IDavid and Joachim. He was leader at Amsi

and Capellmeister at Dordrecht , and since 1 82

ducto r at Amsterdam.

K'

iesewetter , C/zr . Gottf ried , bo rn Dec . 2 4th 1 7 7 7 , i

bach, d ied Sept . 2 7th 1 8 2 7 , London; l ived succc

inAmsterdam,Oldenburg, Hamburg, Hanover and IKamp el, August, bo rn Aug. 1 8th 1 83 1 , at Brtickenau

CELEBRATED VIOLLV PLAYERS.

95

o f Spohr, David and Joachim ; leader atWeimar, retiredon a pension in 1 884, d ied April 7th 1 891 , Weimar.

Konigslow , Otto von, bo rn Nov. 1 4th 1 8 2 4 , at Hamburg;pupil Of Pacius and Hafner, afterwards of David . From1 8 58

— 1 88 1 , he was leader at Co logne and teacher at theConservato rium , but resigned the fo rmer post on ac

count Of a bad arm ; received the title of Pro fessor, and

removed to Bonn. D ied 1 898 .

Kop ecky , Ottokar , bo rn April 2 8th 1 850 , at Cho tebor inBohemia ; pupil o f Bennew itz in the Prague Conservatorium. He was leader at the town theatre , Brunn,

at the M ozarteum , Salzburg, and in the SondershausenCourt o rchestra , where he received in 1 88 1 the t itle o f“Kammervirtuos He now l ives in Hamburg as so lo istand teacher.

Kotek , josep /z, born Oct. 2 sth 1 8 5 5 , at Kamenez-Podolsl:in Russia , d ied Jan. 4th 1 88 5 , Davos ; pupil o f Lauband Joachim ; teacher at the Berlin H igh Schoo l .

Kreutzer , Rudolp h, bo rn at Versailles , Nov. 1 6th 1 766,d ied June 6th 1 83 1 , Geneva. He was a famous virtuoso ,pro fesso r in the Paris Conservato ire, and composed much .

His 42 Stud ies still remain at the head o f all stud ies,and have passed through many editions. (Beetho ven

’

s

grandest vio lin sonata , Op . 4 7 , is dedicated to him,

although it is said he never played it. Tr .)Kruse, j. S.

, bo r n M arch 2 3rd 1 8 59, at M elbourne ; pupilo f Joachim in Berl in, leader in the Philharmonic there,and since 1 892 at Bremen.

Kudelsbi, Carl M att/zias , b orn Nov. 1 7 th . 1 808 , Berlin,

d ied Oct. 3rd 1 8 7 7 , Baden-B aden; pupil o f Ed . R ietz

and Lafont ; l ived in Berlin ,Russia , Hamburg and

Baden-Baden.

Lacroix ,bo rn 1 7 56, at Remberville, d ied 1 8 1 2 , as music

d irecto r at Liibeck .

Laf ont, Cbd s. Fbilipp e, born Dec . 1 78 1 ,at Paris , d ied

Aug. 1 4th 1 839; pupil of Kreutzer and Rode ; he made

many concert tours, and composed much . Held appo intments in St. Petersburg and Paris.

Lalo, Ed.,bo rn 1 8 2 3 , at Lille, d ied April 2 2nd 1 892 , Paris ;

student at the Conservato ire. He was quartett playerin Paris, and then busied himself chiefly in composition.

Lamotte, Franz , bo rn 1 7 5 1 , V ienna or in the Netherlands,died 1 78 1 , in Ho lland . He was a great virtuoso and

96CELEBRATED VIOLIN PLAYERs.

sight-reader, but in consequence of his lo oseness of conduct could make no po sit ion.

Lanzoureux ,C/ias.

, bo rn Sept . 2 8th 1 834 , at Bo rdeauxstud ied in the Paris Conservato ire. He was vio linist invarious Parisian theatres, afterwards conducto r, and has

rendered great service by introducing German compo .

sitions into France.

Laub, Ferd , bo rn Jan. l oth 1 83 2 , at Prague, d ied M arch1 7th 1 8 7 5 , at Gries near Bo tzen ; pupil o f M ildner at

Prague ; was leader atWeimar, Berlin and M oscow . HisPo lonaise for the vio l in is well known.

Lauterbac/i, jo/z. C/ir .

, born July 2 4th 1 83 2 , at Culmbach ;pupil Of Frohlich atWurzburg, and de Beriot at Brussels.

He was leader at M unich , afterwards at Dresden (p ensioned and taught in the Dresden Royal Conservatorium unt il 1 8 7 7 .

Leclair , born 1 697 , at Lyons , was murdered in Paris,Oct. 2 2nd 1 764 ; laboured chiefly as teacher and composer for his instrument . His compositions have ap

p eared in various ed itions , some of his best sonatas inG . Jensen‘

s“Classische V io lin M usik

Leonard ,If ubert

,bo rn April 7th 1 8 1 9, at Bellaire, Belgium,

d ied M ay 6th 1 890 , Paris ; pupil Of Habeneck in Paris.

He was for a long period a teacher in Brussels Conservato ire, then resided in Paris. He produced a vio linschoo l , besides studies.

Lip ins/ei, Carl josep /i , bo rn 1 790 ,at Radzyn in Po land,

d ied Dec . 1 6th 1 86 1 , in Gal icia . He travelled much as

a virtuoso , was from 1 838—1 8 59 leader in the Royal

o rchestra ,Dresden. His M il i tary Concerto is the best

known among his writings.

Loca telli, P ietro, bo rn 1 693 , at Bergamo , d ied 1 764, Amsterdam ; pupil Of Co relli ; was regarded in his day as a

great v ir tuoso . He produced “L’

Arte del Vio l ino ” , con

certos and sonatas.

Lolli, Antonio ,b o rn about 1 730 , Bergamo , d ied 1 80 2 ,

Naples, was, next to Lo catell i , the ch ief founder of purevirtuosity, and owed his success to his technique alone.

Of his artistic development there is l ittle to be said .

Lotto , Isidor ,bo rn Dec . 2 2nd 1 840 , at Warsaw ; pupil Of

M assart in Paris. He was teacher in Strasburg Con

servatorium,then in that o f his native town. His “Fil

ense”is well known.

https://www.forgottenbooks.com/join

98CELEBRATED VIOL IN PLAwas.

during the years 1 8 39— 1 846. The younger died in

1 848 in Paris, the elder ret ired into private life in 1 8 5 7 .

Ill ildner ,i lloritz , bo rn 1 8 1 3 , at Turnitz , Bohemia , d ied

Dec . 4th 1 865 ; was teacher in Prague Conservato rium,

and leader at the theatre.

bloliaue, I/Vil/zelni B ern/card

, bo rn Oct. 7th 1 802 , at Nuremberg, d ied M ay l oth 1 869,

at Cannstadt ; pupil of hisfather and o f Spohr . He was leader at M unich and

Stu t tgart , made many concert tours, and composedmany vio l in pieces , 850. (His 5th concerto has beenfrequently played by M r. Carrodus , and his o rato rio“Abraham was, for a time, in favour. Tr .)

Ilfori, IVicolas , bo rn in London , 1 793 , d ied June 1 8th

1 839; o f I talian o rigin; he o ccupied, for nearly 30 years,a prominent po sition in England as a vio linist. He was

also a music publisher .Il/o

'

ser,Carl , bo rn Jan. 2 4th 1 7 74 , at Berl in , d ied there

Jan. 2 7th 1 8 5 1 . He was employed at intervals in the

Berlin Court o rchestra ,being appo inted Royal Capell

meister in 1 840 . His son

bloser , August, bo rn Dec . 2 0th 1 8 2 5 , Berlin, pupil of hisfather and o f de Beriot, l ived for many years in SouthAmerica, and d ied on a concert tour there, 1 859.

Ill ozart,Leop old , bo rn Nov. 1 4th 1 7 19, at Augsburg, d ied

M ay 2 8th 1 78 7 , at Salzburg, where he was V ice-Capellmeister . Published one Of the earliest vio l in methods.

M c/z/mann,Ernst K.

,bo rn June .5th 1 8 56, at Klingenthal,

Saxony ; pupil o f David and Rontgen at Leipsic Conservatorium. In 1 8 75 appo inted so lo ist to the Duchessof Anhalt -Bernburg, at Ballenstedt ; 1 8 76

—1 8 78 at the

town theatre , Leipsic: until 1 88 2 , leader in Laub ’so rchestra at Hamburg; until 1 884 , leader in Neumann

’

s

Wagner T our ; since then , leader Hamburg town theatre.

Ill izller , Carl Friedr .,bo rn NOV. r1 th 1 797 , at Brunswick ,

d ied April 4th 1 8 7 3 ; pupil o f M oser at Berlin. He was

leader in the celebrated quartett fo rmed by the brothersM iiller, and in the ducal o rchestra.

.Nac/zez ,Tivadar , born M ay rst 1 8 59, at Pesth ; studied

at the Prague Conservato rium and under Joachim. He has

made many tours as virtuoso , but l ives chiefly in London.

Nardini, P ietro ,

bo rn 1 7 2 2 ,at Fibiana , d ied 1 793 ,

at

Flo rence ; pupil Of Tar t ini . From 1 7 53— 1 767 he was

member o f the Wurtemberg Court o rchestra , Stuttgart ;

CELEBRATED VIOLIN PLAYERS.

99

then so lo player at the Flo rentine Court . A few Of

his sonatas are still perfo rmed .

Naret-Koning , job . jos. D avid , born Feb . 2 5th 1 838 , at

Amsterdam ; pupil o f David, 1 8 59— 1 8 70 leader at Mann

heim,then at Frankfo rt.

Neruda ,Wilma M aria Franziska (Lady bo rn

M arch z rst 1 840 ,at Briinn; pupil o f her father and Of

Jansa ; found her vocation in concert tours, now l ives inLondon. (Lady Hallé has been for many years asso

ciated with the M onday Po pular Concerts , and her ex

cellent example has undoubtedly given a great stimulusto the study o f the vio l in in England by lad ies. Tr .)

Ole Bull, born Feb . 5th 1 8 1 0 ,at Bergen ; a self taugh t

vio linist, who made many concert tours, amongst o thersthree times to America. From a musical po int of viewhis compositions are unimpo rtant , co rresponding to his

playing, and only calculated for the production Of virtuoso effects. (Ole Bull d ied Aug. 1 7th 1 880 , in No rway.

His first appearance in London was in 1 836. Tr .)Ondrice/e, Franz , bo rn 1 863 ,

at Prague ; pupil of Bennew itz and M assart ; in 1 88 2 visited Germany during his

concert tours. P layed in London 1 895 .

P aganini, Nicolo , baptized Oct. 2 7th 1 78 2 ,Genoa , died

May 2 7th 1 840 , Nice. The most talented and gi ftedvio l inist that ever l ived ; in every respect an original, a

special ity. About his career the most romantic sto riesof adventure were circulated , to which his fantastic,almost ghostly , appearance gave rise. Of his compositions , the concertos and 2 4 Caprices are best known.

Pap ini, Guido , bo rn at Camagiore near Flo rence, Aug. rst

1 847 ; pupil o f G iorgetti . For several years he was

d irecto r of the Flo rentine So cieta del Quartetto ; now

principal pro fesso r at the Royal I rish Academy. Writero f a method and many effective pieces for his instrument .

Petri, Henri bo rn April 5th 1 8 56 , at Leyst nearUtrecht ; pupil o f Joachim ; was leader at Sondershausen,

Hanover and Leipsic, then in theDresdenRoyal o rchestra.

Fic/ll, I/Venzelaus, bo rn at Bechin in Bohemia, d ied

1 805 (i atV ienna ; pupi l o f D i ttersdo rf and Nardini ;

l ived in Vienna and I taly .

Pisendel, jo/i. Georg, bo rn Dec . 2 6th 1 68 7 , at Carlsburg,

d ied Nov. 2 5 th 1 7 5 5 , at Dresden; pupil o f T o rell i andV ivaldi . He was useful in promo ting violin

'

p laying at

CELEBRA TED VIOL IN PLAVERS.

len, where he was leader ; in particular, he Obtainedthe vio lins in the o rchestra great equality in playing.

Fried . PVil/i,born 1 786, at M annheim,

d ied 1 842 ,ague, where he taught in the Conservato rium.

Adolp /ie, bo rn at Buda-Pesth , in 1 83 2 ; studiedBo

’ hm in V ienna Conservato rium . Was awardedPrize in 1 846, and went on tour through Germany .

ettled in London in 1 8 50, became principal vio linwent Garden , the Wagner and Gounod Concerts,he Albert Hall Cho ral So ciety . He has been for

years principal vio lin teacher , and since 1 890

recto r, o f the London Academy o fM usic . D ied 1 900 .

4ug.

,bo rn Nov. 7th 1 806 , at No rdheim , d ied

2 7th 1 883 ,at Gratz ; pupil o f Spohr ; was Court

llmeister at Oldenburg until 1 86 1 ,then l ived at

.arl , bo rn Oct. 2 2nd 1 864 , at Berlin; pupil of

rim. He was so lo vio l inist under Bilse , leader at

)wsk, then atM agdeburg; since 1 891 , in the Gewando rchestra, Leipsic.

Franpois, bo rn June 5th 1 8 1 6, at Stavelo t (Belgium),there July 1 4th 1 849; pupil of Habeneck . Was

er in Liege Conservato ire ,and travelled much .

.s compositions, “M elanco l ie” was formerly a greatrite.

i, Gaetano, bo rn 1 7 2 7 , d ied 1 803 , at Turin; pupilirtini. He travelled a great deal , and was fromunti l his demise leader at the Turin Court theatre.

ained V io tti,amongst o thers.

ug., Vice-Concertmeister at the Leipsi c theatre and

ndhaus o rchestra ; also leader at the Euterpe.

Francis, bo rn 1 847 , d ied Sept . 8 th 1 88 7 ; educatedR . A. M .

, London, where he became one of the

valued teachers.

72, Eduard, bo rn Feb . l t 1 839, at V ienna ; pupilnsa and Bohm. He was leader at Ro tterdam,

Capellmeister at Ltibeck, Stettin, and Prague, nexter at the Berlin H igh Scho o l ; then leader in the

o rchestra, Dresden, and since 1 893 teacher at thervatorium there. D ied 1 903 .

t,Fabian

,bo rn Jan. 2 3rd 1 842 , T uchel ; leader in

loyal o rchestra , Berl in ,since 1 8 73 ; industrious

oser.

https://www.forgottenbooks.com/join

[ O 2CELEBRATED VI OLIN PLAVERS.

Toulouse , d ied Oct. 1 7 th 1 890 , London; pupil of

Habeneck at the Paris Conservato ire. He made concerttours throughout Europe , then was appo inted teacherOf his instrument at the T oulouse scho o l Of music. He

visited London in 1 844, settling there in 1 845 as pro fesso rat the Royal Academy o f M usic, a post which he helduntil his death . He was also leader in the o rchestraso f Covent Garden Theatre — 1 8 7 1 ) and of Her

M ajesty ’s (1 8 7 1 810. He wro te two vio l in con

certos, besides so los.

Sa lomon , jo/c. P eter , bo rn 1 745 , at Bonn, d ied 1 8 1 5 , in

London; made himself useful in producing Haydn’

s

wo rks ; was leader in Berlin, then l ived in London.

Sarasate, P ablo M artin bfi lz'

ton, y Navascues

,born March

ro th 1 844 ,at Pampeluna in Spain; pupil Of Alard at

Paris Conservato ire ; gained wo rld-wide celebrity throughhis concert tours.

Sauret, Emile, bo rn M ay 2 2nd 1 8 5 2 , at Dun-le-Roi (Cher);pupil of de Berio t. He toured with much success,settled in Berl in, but was subsequently cal led .to London

to succeed M . Sainton as pro fesso r at the Royal Academy o f Mu5 1c .

Sc/initzler,I sidor , bo rn June zud 1 8 59, Ro tterdam; stud ied

at Co logne Conservato rium,also under Wirth, Wieniawski,

and Joachim ; toured successfully in Roumania,Germany

,

America and Austral ia.

Sc/zradiecle, H enry , born April 2 9th 1 846 at Hamburg;pupil of Leonard and David . He was leader in Bremenand Hamburg; then teacher in M oscow Conservato ire;in a similar capacity at Leipsic from 1 8 83 in

Cincinnati , but returned to Germany in June 1 8 89.

Scliroeder,I Iermann, born July 2 8th 1 842 , at Quedl inburg;

was so lo ist with Bilse in 1 866 , then with the Duchessof Anhalt -Bernburg. He founded in 1 8 70 a musicschoo l at Berlin ,

is also teacher in the Royal H ighSchoo l (Church music department), and received the

title of pro fesso r in 1 8 88 . Wro te a prize method, stud ies,theo retical wo rks, 810.

Sc/zubert, Franz ,bo rn July 2 2nd 1 80 8 , in Dresden, d ied

there 1 8 7 8 ; pupil o f Ro lla and Lafont ; was leader inthe Dresden Court o rchestra.

Scbupp anzig/i , Ignaz , born 1 7 76 ,in Vienna , died there

1 8 30 ; pupil OfWranitzky. He was the first to introduce

CELEBRATED VI OLIN PLAYERS.

I o 3

quartetts into pub l ic performances systematically , theserenderings being held in high regard .

Seif riz, M ax,bo rn Oct. 9th 1 8 2 7 , at Rottweil, died Dec.

2 0th 1 8 8 5 , Stuttgart . He was Capellmeister in the

Hohenzo llern-Hecking Court orchestra ; l ived since 1 869at Stuttgart, and was appo inted Court-Capellmeister therein 1 8 7 1 . Issued ,

jo intly with Singer , a vio lin method .

Seitz, Fritz ,

born June 1 2 th 1 848 , at Gunthersleben nearGo tha ; pupil of Ulrich at Sondershausen, and of Lauterbach in Dresden; was leader at Sondershausen , at

M agdeburg, and then at Dessau in the Court o rchestra.

Singer , Edmund, bo rn Oct. 1 4th 1 83 1 , at T o tis in Hungary ;pup il of BOhm ; was leader at Pesth , Weimar, and sub

sequently Stuttgart ; Pro fesso r also in the Conservatoriumthere.

Sivori, Ernesto Camillo , born

'

Oct. 2 5th 1 8 1 5 , at Genoa ;pupil of Paganini ; travelled much as virtuoso , and d iedin 1 894.

Ska-litzby ,Ernst

, bOrn M ay 3o th 1 8 5 3 , at Prague ; pupilof M ildner and Joachim. He was from 1 8 73

— 1 8 79leader in the Park o rchestra , Amsterdam , then in a

similar capacity at Bremen.

Soldat, M arie, bo rn M arch 2 5th 1 864, at Gratz ; pupil o fPo tt and of Joachim ;

“

made successful concert tours.

Sp o/zr, Louis ,‘born April 5th 1 7 84 , at Brunsw ick , d ied

Oct. 2 2nd 1 8 59, at Cassel ; pupil Of Franz Eck . He was

leader at Go tha and V ienna; visited I taly , Englandand France ; became Court -Capellmeister at Cassel in1 8 2 2 , receiving a pension in 1 8 5 7 . Spohr was equallycelebrated as a vio linist and as a composer. His mostd istinguished pupils were Leon de St. Lub in, R ies, David,Bo tt

,KOmp el, and Po tt.

Stamitz, jo/i. Carl, bo rn 1 7 19, at Deutschbrod in Bohemia,d ied 1 76 1 , at M annheim ; is regarded as the founderOf the German schoo l o f vio l in playing. He was leaderat M annheim. His son

Stamitz,Carl, bo rn M ay 7th 1 746, at M annheim, d ied 1 80 1 ,

at Jena ; was leader at M annheim,finally music d irector

at Jena.

Straus, Ludwig, bo rn M arch 2 8th 1 83 5 , Pressburg; pupilOf Hellmesberger and BOhm in V ienna ; was leader at

Frankfo rt ; settled in 1 864 in London. D ied 1 899.

Struss, Fritz , bo rn Nov. 2 8th 1 847 , at Hamburg , pupil

1 O4CELEBRATED VI OLIN PLAYERS.

of Auer and Joachim ; was Kammermusikus'

in Schwerinand in Berlin, subsequently leader in the Royal o rchestra.

Tartini, Giusepp e, bo rn April rath 1 692 , Pirano , died

Feb . 2 6th 1 7 70 , Padua, the greatest executant and mostpro l ific compo ser Of his time . He wro te hundreds o f

concerto s and sonatas, o f which the “T rillo del Diavo lo”is the most celebrated . His best sonatas are pub lishedin G . Jensen’

s“Classische Vio l in Musik” .

Telemann, Georg P /zilipp ,

bo rn M arch 1 4th 1 68 1,at Magde

burg , d ied June 2 5th 1 767 , at Hamburg; was leaderat Eisenach and subsequently Capel lmeister there; thenconducto r at Hamburg

Tlzomson, Ce'

sar,bo rn at Liege, M arch 1 8th 1 8 5 7 ; studied

under Jacques Dupuis and Leonard . Having acquiredan exceptional technique, he has toured with great success. He was leader of Bilse’

s o rchestra , Berlin ; since1 8 83 , teacher at the Liege Conservato ire.

T ua , Teresina , bo rn M ay a7th 1 867 , at Turin; pupil ofM assart in Paris ; one o f the most popular lady playerso f the present t ime .

Ulric/z, Ed ,b o rn April 1 2 th 1 8 1 5 , at Leipsic, died Nov.

6th 1 8 74 , at Stendal ; pupil o f Mat thai ; was leader atM agdeburg and Sondershausen.

U ntizan,a vio linist Of the p resent day deserving mention

as a curiosity , in that having no arms he plays w ithhis toes.

Veracini, Francesco M aria,bo rn 1 684, d ied 1 7 59; in his

time a no ted player and composer ; l ived in I taly, England, and Dresden ; greatly influenced Tartini

’

s development . Some o f his sonatas are published in G . Jensen’

s

“Classische V io lin M usik” .

Vieux temp s, Henri,bo rn Feb . 2 0th 1 8 2 0

,at V ienna, died

June 6th 1 88 1 , at Algiers ; pupil o f de Beriot.

“

He vis

ited Germany, England, France and Russia ; was named

virtuo so in chamber musi c to the Russian Court in 1 846,resided in St. Petersburg until 1 8 5 2 , then travelled and

visited America ,l iving subsequently in Frankfo rt , Paris

and Brussels.

Viotti, Giov. B attista ,born M ay 2 3rd 1 7 5 3 , at Fontanelle,

d ied March 1 3 th 1 8 2 4 , in London; pupil of Pugnani;after Co rell i and To relli , the greatest Italian vio linist o fthe last century . He made extended concert tours , as

https://www.forgottenbooks.com/join

1 06 CELEBRA TED VI OLIN PLAYERS.

Europe, and is also in the front rank as teacher ; l ivesin Brussels.

Zajic, Florian, born M ay 4th 1 8 5 3 , at Unho scht (Bohemia);pupil o f M ildner and Bennewitz in the Conservato rium,

P rague. In 1 8 70 he became leader atAugsburg, was from1 8 7 1

— 1 88 1 in the M annheim o rchestra, then,unt il 1 8 89,

principal vio l in teacher in the Conservato rium o f Strasburg. From 1 889 he was first teacher at Stern’

s Con

servatorium ,Berlin. He has toured with success in

Germany,England , France, Austria and Switzerland.

Some Violinists o f the 2 0 th Century.

Ha ll,M arie

,bo rn at Newcastle-Oh -Tyne , 1 8 84 , studied

with M ossel , Kruse Sevéik; made a successful debutin London, Feb . 1 6th, 1 903 .

I Iegedu'

s, Ferencz , bo rn at Buda-Pesth , 1 88 1 , studied withHubay ; appeared in London, June 1 90 1 .

Kocian, jaroslav, b o rn in Bohemia, 1 884, in 1 896 becamea pup i l Of Sevéik

’

s , visited London 190 2 , w i th great success.

Kreisler,Fritz

,b o rn at V ienna,

Feb . zud, 1 8 7 5 , studiedthere, later with M assart in Paris, where at the age o f

1 2 he won the “Premier Prix" of the Conservatoire.

Introduced by R ichter , he made a highly successfulappearance in London in 1 90 2 .

Kubelik, jo/iann, bo rn July 5th, 1 880, at M ichle near

Prague, pupil of Sevéik, introduced to England by R ichterhe became extremely popular as a Paganini player of

excep t ional technique.

P ecslzai, Louis, bo rn July 2 0 , 1 880 , at Buda-Pesth , admi ttedto the Academy there by the M inister Of Pub lic Instruction at the age Of 7 , visited London 1 896.

Ifivarde,Serge Ac/iille, of French parentage, in 1 8 79 shared

w ith Ondricek the first prize o f the Paris Conservato ire.

Appeared w ith success in London in 1 894 .

Sevc'ik , Otto/ear , b o rn 1 8 5 2 in Bohemia, entered the Prague

Conservato rium ,where be sub sequently became very

famous as pro fesso r Of the vio l in. Autho r of some im

po rtant stud ies.

Zac/zarewitc/z,M cbael

,bo rn at Ostrow

,Russia, in 1 8 7 7 ;

studied 5 years with Sevcik, appeared with success in

London in 1903 .

THEuIOLA. 1 0 7

Translator’

s p endix .

T he V io la .

The terms “V io la” , “Tenor”, “Bratsche”, “Alto and“Quinte”, are all used in d ifferent countries to designatethat member of the vio l in family which is tuned a fifthlower than the vio l in. In England it is commonly knownas the Teno r , from the fact o f its playing a part in the

string quartet analogous to that o f the tenor vo ice in

relation to the o ther vo i ces in part-singing. In I taly itwas termed the “V io la di braccio” to d istinguish it fromthe larger vio ls which rested on the ground or weresuppo r ted by being placed between the p erforrner

’

s knees.

“Vio la" or“Alto” the I tal ians now term it, the music

written for it being in the alto clef (middle C on the 3rd

l ine)

The German term “Bratsche” is simply a co rruptionof “Braccio” .

“Quinte” is the name by which it is usuallycalled in France , indicating that it is tuned a fifth lowerthan the vio l in.

The tuning rs as fo llows

7

A D G C

string string string string

The G and C are b o th covered strings.

Occasional high passages necessitate the employmentOf the treble or

“vio lin” clef. Although its three upperstrings are identical in pitch w ith the three lowest Of thevio l in, the qual ity is quite d ifferent, the vio la being mo rereedy and penetrating. This is due to the

‘

d ispropo rtion

1 08 .THE VIOLA .

between the deeper tuning Of the instrument and its

d imensions, which are only about one-seventh greater thanthose o f the vio lin. Teno rs were fo rmerly made in severalsizes. The ponderous instruments o f Gaspar da Salo and

o ther I tal ian makers are o f greater interest to co llecto rsthan o f practical ut il ity, requiring arms Of exceptionallength to play them. The large sized V io las were knownas the “Vio la teno re and the o rdinary sized instrumentas the “V io la alto ” , and the two had o ften separate partsassigned to them in the same composi t ion , down to the

time o f Handel . Hence the survival o f the two names Altoand Teno r, applied in our own day to the same instrument.

The rich and sympathet ic qual ity o f tone Of the vio larenders it eminently suited for the perfo rmance o f No cturnes , Elegies , and melod ies of a pathetic or tragi ccharacter . Some beautiful compositions have been sp e

cially written for it , and i t is to be regretted that theseare so very seldom heard in publi c.

From the penetrating character o f the tone, new vio lasare invariably harsher than new vio l ins or vio loncel los,but fo rtunately several go o d makers o f the last centuryhave left a number o f instruments which have now becomematured , and the demand being so much less than forvio lins, a go od med ium sized vio la may Often be Ob tainedat about half the co st Of a vio l in Of the same quality.

M r. Hermann R itter o f Heidelberg has in recent yearsendeavoured to revive the large tenor under the nameof R i tter’s V io la Alta. Several o f these instruments havebeen made, and they have been used with good effect atthe Bayreu th Wagner Festivals.

V idal ’s measurements o f a Strad ivarius Vio la dated1 7 2 3 , are as fo llows:

Length Of body (from base of button to tai l p in) 1 6 3/Breadth (upper bouts) 7

(lower(inner

Height Of ribs (upper bouts(lower 1

9/m

NB . For Guide through V io la Literature see page 1 79.

https://www.forgottenbooks.com/join

T echnical Ex erc ises .

Caso rti. Technique o f the Bow.

Courvo is ier. L’Eco le de la Vélocité. (7 603 a

,b). The

Scho o l of Velo c ity.

Bo ok 1,Systema t ic Finger Exercises.

Bo ok 2, Stud ies o f Scales and Cho rds in systematic o rder.

D amo la. Op . 74. Eco le du M écanisme.

Kreuz , E. Scales and Arpeggio s (3 (5664 a—c).Lutgen, H . Scales and Exerc ises.

R i tter. Scale and Cho rd Exercises.

W ohl fahrt , F. Daily Exerc ises.

Studies .

Step I. F irst posit ion only, and in easy keys .

B ohmer, C. 7 5 Exercises in Intonation, through all

Op . 54. (E . Helm.) 2 Books. (5643 a,b).

An excellent work greatly facil i tating the knowledge of

extreme keys . Bo ok 2 belongs to the next step .

Courvo is ier, C. The Schoo l o f Velocity.

Book I . Systematic finger exercises. (7 603 a).Exercises in all po ss ible fingerings o f the first posi tion.

Book II . Studies o f Scales and cho rds in systematico rder. (7 603 b).

Book III . M elod ic St udies in M ajor Keys. (7 603 c).Books IV and V belong to fo llowing steps.

GUIDE THROUGH VIOLIN L I TERATURE . 1 I I

Stud ies, Step I . (Cont inued )Gradus ad P arnassum. A Co llection o f Studies in p ro

gressive o rder , selected ,carefully revised , fingered , and

edi ted , with anno ta t ions and remarks by E . Heim:Book I . First Po sition. 30 Elementary Stud ies in the mostp rac ticable majo r keys. By Alard , Bach, Co relli, D ont ,Heim, Hermann

,Ho fmann

,Kayser

,Kreuz, Ritter, Spohr,

and Stefiani.

Book H. First Po sition. 1 8 M o re advanced Stud ies in

majo r and mino r keys. Easy do uble-stopp ing. Enharmo

nic change. By Bach , Co relli , Handel, Hermann,Kreuz,

Spohr, and Stefiani. Half Position. 1 6 Studies, changingfrom First to Half Position. By Alard , Dont

,Hermann

,

Kreuz,and Wichtl.

10 bo oks of Graduated Stud ies revised by Ernst Heim, con

taining all the material for a serious study o f the Vio l in,each

bo ok correspond ing in d ifficulty with the same book of his

V io lin Duets (Arena), see page 1 2 0 and his Vio l in and Pianopieces (Palaestra), see pages 1 2 8

,1 2 9.

Hering, C. Op . 1 6 . 2 5 Studies for 2 Vio lins in all majorand minor keys ; revised , phrased , and fingered by E . Heirn.

The Scales as contained in 2 nd Violin par t to be playedby the student .

Hermann, F. Le Commencement de l’Etude. (56 1 2 a,b).

In two books, containing familiar a irs interspersed with easystud ies, with a 2 3 d vio l in part .

Hofmann, R . The First Instruction in Vio lin Playing.

(Der erste Unterricht im Violinsp iel .) Op . 92 . 2 Books .

(5668 a,b).

A thorough elementary course lead ing on to the fo llowingwork of the same author.Op . 90 , Book 1 . 80 M elodic Studies. (5666 a).

A well graduated co urse. Book 2 belongs to the nextgrade, and wo uld prove an excellent preparat ion for Kayser’s36 Stud ies. (8662 a).

Kreuz , E. Progressive Studies. Op . 34, Bk . 1 . (5663 a).Contains 40 progressive exerc ises gradually introduc ing the

no tes o f C major in the I st posit ion.

Scale and Arp eggio M anual for the V io l in, arrangedwi th a special View to the requirements of cand idates at the

various Local Examinations, by A. Laubach .

This Manual is wri tten fo r Students o f all Grades.

I I 2 GUIDE THR OUGH VI OLIN LI TERATURE .

Stud ies, Step . I . (Continued .)

P opular Instruc tor in V io l in P layingPar t I . Elementary and

.

Firs t Posi tion. (7 6 2 3 a).Schon, M . Practical Course Of InstructionPart I . AB C OfViolin P laying. Introduc to ry Schoo l. (7 6 1 1

II . First Steps in prac tical Vio lin Playing. Progressii

III . exerc ises in the first position and in all Scales.

IV . In 3 Books. (76 1 2— 1 4

Parts V to XII belong to the fo l lowing Grades .

Steflani, R . 1 2 Progressive Stud ies, in the first po sition. (568

S tep 11. F irs t four Po s i t ions .

Alard , D . Op . 1 0 . E tudes me'lodiques et progressives. (564C

also with 2 rld V io l in in 2 Bo oks . (5600 a , b).B ohmer, C. 7 5 Exercises in Intonation, thro ugh all keyOp . 54 . (E . Heim.) Book 2 . (5643 b).

Courvo is ier, C . The Schoo l of Velo city.

Book IV (1 2 M elod ic St udies in the first position, M ino 1

(7 60 3 d)D ont , J . 2 4 Exercices p réparato ires aux études de R . Kreutz

et P . Ro de . Op . 3 7 .

except Nos . 6,8, 9 and 1 5 which belong to Step III .

G radus ad Parnassum . A Co llec tion of St ud ies in'

p 1w

gressive o rder,selected

,carefully revised

,fingered , ar

edited,with anno tat ions and remarks by E . Heim:

Bo ok III . Firs t Po si tion. Cho rds and easy ArpeggioChromatic Passages. Second Position. Changing fro:First to Second Position. (Alard , Dont

,Heim,

Herman.

Ho fmann,Hohmann

,Kayser

,R it ter

, Spohr, Stefi‘ani, etc(547 3)

Bo ok IV . Third Position. Changing b etween First an

Third Po sitions. Po rtamento and T remo lo . (Bach , r

Bériot,Co relli

,Dont

,Fiorillo

,Haydn

,Hofmann

,Kayse

Kreutzer,M azas

,W enzel Pichl

,Righini , Scarlatti, , Sp oh

and W ichtl.)Graduated Stud ies revised by Ernst Helm ; each'bo ok corr

sp onds in d ifficulty with the same bo ok o f his Vio l in Due“Arena see page 1 2 1 and his V io l in and piano fo rte 'piecPalaestra”

,see page 1 33 .

Hermann, F . Op . 2 4, Bk . 1 . 30 Studies in the rst-po si tio .

(5659lalso with 2 11Cl Vio l in.

https://www.forgottenbooks.com/join

I I 4GUIDE THRO UGH VI OLIIV L I TERATURE .

Stud ies, Step . I II . (Continued .)Core l l i . (Continued .)Livre IV . . V .

,Op . 6 . Concer ti Gro ssi con duo i Vio lini

, e

V io loncello di Concertino obligati , e d uo i altri Vio lini,

Vio la e Basso di Concerto Gro sso ad arb i trio che si

po tranno rado p p iare. InRoma,1 7 1 2 . 2 Livres. (4936 d, e).

D ont , Jacques . 2 0 Exerc ices progressives, po u r le Vio lon(avec accompagnement d ’un second Vio lon). Op . 3 8 .

The last o f these exerc ises belong to Step IV.

G radus ad Parnassum . A Co llec tion o f Stud ies in p ro

gressive o rder, selected,Carefully revised , fingered , and

ed i ted , with anno tat ions and remarks by E . Heim:Bo ok V . Fo u rth Po sition. 1 5 Studies , changing between the

rst and 4th Po sitions. By de Berio t, Cramer,Dont

,Ho

'

f

mann,Kayser,Kreutzer, M azas

,and Ro de . Fifth Po sition.

2 5 Stud ies, changing be tween the I St and 5th Po sitions.

By dc Be'

rio t,Dont , Ho fmann

,Kayser

,Kreutzer

,Maurer

,

’

M azas,and Ro de .

Graduated Stud ies revised byErnstHeim,each bo ok corresponds

in d ifficulty with the same book Of his Vio l in Duets “Arena see

page 1 2 4 ,and hisV io l inand Piano pieces

,seepage 142 .

H ermann,F . Op . 2 4 , Bk . 2 . 2 5 St udies

‘

in the r st,2 nd

and 3 rd po si tions. (5660 a,b).

H o fmann, R . Op . 9 1 . 40 St ud ies in all positions,for

prac tice in shifting. 2 Bks . (5667 a,b).

Kayser, H . E .

’

36 elementary and p rogressive St ud ies(intro ducto ry to tho se o f Kreutzer) carefu lly revised , fingered ,and w ith instruc tive anno tations by ‘ Ernst Heim . Op . 2 0

,

Bk . III . (866 2 c).also with Second V io l in (56 10 c), o r w ith P iano forte Aecom

p animent (7 397 c).Kreuz , E . Progressive St udies. Op . 34, Bks. 4 and 5 .

5663 d , e).Bo ok 4 contains “Introduction of the z ud and 3rd posi tions.

1 5 stud ies and major and minor scales thro ugh all keys in thefirst three po si tions.

”Bo ok 4 contains 1 2 short technical ex er

c ises and 1 5 stud ies in the first three po si t ions,introducing

various technical d ifficulties and arpeggio s through all keys.

Schon, M . Pract ical Co urse o f Instruction:0

Bk .VIII. Fundamental Instruc tions in the study o f the po sitions,

with examp les and easy melod io us D uet tino s fo r two Vio linsin various majo r and mino r keys (Third Po sition).

Book IX. The same (Second

GUIDE THROUGH VJ OL IN LI TERATURE

Stud ies.

Step IV . All P o s it ions .

B lagrove, H . 1 2 Studies.

Courvo is ier, C. The Schoo l o f Veloci ty.

Book V. Special Stud ies in Shifting. (7603 e).B ah ela. Op . 2 . 6 Stud ies.

F io ri l lo , F. 36 Etudes en fo rme de Caprices (Ernst Heim)(56 54)

T hese stud ies impart great flex ibil i ty to the bowing,together with much practice ln' the higher pos i t ions.

A careful revision o f fingering and bowing with the add it ionof expression marks and part o f how to be used d ist inguishE. Heim’

s Ed i t ion from all o thers.

The same, revised by Carl Courvo isier.The fingering and phrasing has been carefully marked on

the basis o f the Joachim Scho o l . He avo ids slurs of to o greatlength which impair the power o f tone.

Gradus ad Parnassum . A Collect ion o f Studies in p ro

gressive o rder, selected,carefully revised , fingered , and

ed i ted , w ith anno tations and remarks by E . HeimBook VI. Six th Po si tion. 1 0 Studies, changing be tweenthe 1 st and 6 th Po si tions. ByFio rillo , Ho fmann, Kreu tzer,M azas

,and Rode.

Seventh Po sition. 2 0 Studies, changing between the 1 st

and 7 th“

Po si tions. By Alard , de Bério t,Fio rillo

,Ho f

mann,Kayser, Kreutzer, M aurer

,M azas

,Rode, and

W ichtl.Book VII. Eighth to twelfth Positions. 30 Stud ies arranged

acco rd ing to their M usico—Technical Objec t , independento f Po sition.

A. Stud ies on the Shake and Passing Shake. By Alard ,Bruni , Cramer

,David

,Dont

,Fio rillo

,Heim

,Kayser,

Kreutzer,M azas

,Rod e, Ro lla

, Schubert , and Spohr.(547 7)Graduated Studies revised by Ernst Heim

,each bo ok corre

sp onds in d ifficulty w i th the same book o f his Vio l in Duets,“Arena , see page 1 2 5 , and his Vio l in and piano pieces,Palaestra”

,see page 1 5 1 .

H ermann, F. Op . 2 4, Bk. 3 . 2 5 Studies, 3 rd to 7 th

posi tions.

also with 2 l0d Vio l in accompaniment . (56 1 5)

I 1 6 GUIDE THR OUGH I’I OL IIV LI TERATURE .

Stud ies, Step IV. (Continued .)

Kays er, H . E . Vio lin Stud ies,carefully revised

,fingered ,

and w ith instructive anno tations by Ernst Heim1 6 Studies (comprising stud ies in the half

, I st,2 nd

, 3 rd ,

4 th, 5 th, 6 th, and 7 th Po sitions). Op .- 2 8 .

1 6 Stud ies (to fo llow the 36 Stud ies,Op . Op . 30 .

T his carefully revised ed i t ion is particularly useful“ by ftcquently giving two o r more d ifferent fingerings for one and

the same study o r single passage. The numbering o f everytenth bar is also useful in studying sub-sect ions.

Kreutz er, R . 42 St ud ies. NewEdition,revised and fingered

by Ernst Heim.

The original text has been carefully adhered to . The revisio n(fingerings, bowing and marks o f expression) show the same

care which d istinguishes all Heim’s ed i tions

,While the explana

tory remarks make th is Ed i t ion particularly valuable.

The same,revised and phrased by Carl Courvo isier

Courvo isier’

s Ed i t ion gives very go od advice o n the cho iseOf po si t ion. While Heim has kept clo sely to the original tex tgiving advice to the manner of rendering i t

, Courvo isierpreferred to give his own phrasing etc . in the text

,e . g. the

cadencial figures in the first study.

Kreuz , E . Progressive St udies. Op . 34, Bks. 6 and 7 .

Bo o k 6 . 6 stud ies in the 4 th and sth po si t ions, and 6

stud ies in the first six po si t ions in flat keys , major and minor.Bo ok 7 . 1 2 stud ies in the first six posi t ions in sharp keys,

majo r and minor .M azas, F . Op . 36 , Bk . III . 1 8 Stud ies for Artists. (7 60 7 c).Schbn, M . Prac tical Co u rse o f Instruc tion:Book XI . Fundamental Instruct ions

,examples and p ieces

in the fo rm o f exerc ises for the study o f the po si tions(Fo u rth , Fifth , Sixth , and Seventh Positions.

Bo ok XII . 1 2 Exercises fo r the Vio l in.

Scho lz , R ichard . Scho o l o f Artistic Violin Playing. A

theo retical and p ractical Instruc tion Bo ok , in all mat tersrelating to style, for mo derately advanced players . Op . 9.

Excellent work for style and phrasing. Clear and exhaust iveexplanations o f every chapter make the work particularly usefulespec ially for tho se

,who have no t the Oppo rtunity for indivi

dua l teaching.

W esse ly, Hans . Comprehensive Scale M anual .

https://www.forgottenbooks.com/join

I I 8 GUIDE THROUGH VIOLI IV L I TERATURE .

Stud ies, Step V. (Cont inued .)

Ro de , P . Caprices,revised by Carl Co u rvo isier

Couvo isier d o es no t adhere altoge ther to the original text ,but uses his own d iscretion ,

here as elsewhere he is carefulto avo id very long bows which wo uld co unterac t the productiono f a bro ad and powerful tone .

V ieux temp s , H . Op . 1 6 . 6 Concert Studies.

S tep V I . V e ry d iffi cul t.

Gaviniés, P . 2 4 Et udes (2 4 M atinées).G radus ad P arnassum . A Co llection o f Studies in

p rogressive o rder, selec ted , carefully revised , fingered, and

ed ited,w ith anno tat ions and remar 1

s by E . Heim:Bo ok X . A. 1 7 St udies in the Po lyphonic Style . Pre

lude. Fugue . Fughetta. By Bach, Campagno li , and

P ichl. B . 1 3 Concer t Stud ies, Harmonics and Pizzica to(with the left hand). ByAlard , Dancla

,Leonard , Lip insky,

M azas,Paganini , Prume. and \Vieniawski.

Gradua ted Stud ies revised by Ernst Heim,each book corre

sp onds in d i fficulty with the same bo ok Of his Vio l in Duets,“Arena” ,

see page 1 2 7 , and his Vio l in and piano p ieces ,Palaestra” ,

see page 1 5 8 .

W ieniaw ski, H . L’Ecole moderne. Et udes-Caprices, Op . 1 0 .

(E . Heim.)

P ieces for Violin So lo .

Step I . In the firs t p o s i t ion.

Hermann, Fr. 50 favo urite M elod ies. (546 5 a).Ho fmann, R . Po tpourris on Po pu lar M elod ies from Classical

and M o dern Operas and Orato rios. Arranged byR ;Hof

mann. 45 Books(in the first po si tion):

Le Po stillon. (540 1 a). La Fille du RegiI .a Sonnambula . (540 2 a). ment .No rma . (s4o 3a). Luc ia di LammerLeCalife deBagdad . (54o 4a). moo r .La Dame Blanche . Orpheus.

GUIDE THR OUGH VI OLIN LI TERATURE . I I 9

Vio l in So lo P ieces, Step I . (Cont inued .)

Ho fmann. Po tpo urris (Continued .)The M essiah. (54o9a). Jo seph.

The Creation. St. Paul .Zampa. (54 1 1a). 11 Seraglio .

W ildschutz . (54 1 2 a). 11 Flau to Magico .

Czar und Zimmer D on G iovanni .mann. Der Freischiitz.

Step I I. In various p o s i t ions .

Gurlitt. Our Favourite T unes.

Ho fmann, Richard . Po tpo u rris on Po pular M elodies fromClassical and M odern Operas and Ora to rios. Arranged byR . Ho fmann. 45 Bo oks.

The Bohemian G irl . Le Nozze diFigaro . (543 3a).Egmont . (542 1 a). D ie lustigenW eiber

Fidelio . (542 2 a). von W indso r. (5434a).L’Elisire d

’Amore . (542 3a). Mari tama. (543 5a).

Lucrezia Bo rgia. (542 4a). Oberon. (5436a).Iphigenie enAulide. 542 5a). Preciosa . (543 7 a).Judas M accabaeus. (542 6a). Der fliegende Hol

Das Nachtlager in lander.Granada . (542 7 a). Lohengrin. (5439a).

Hans Heiling. (542 8a). Rienzi . (5440a).A M idsummer T annhauser. (544 1 a).Night’s D ream. Il Barb iere.

(5430a). Gu illaume T ell.Les Hugueno ts. (543 1a). M asaniello . (5444a).Le Prophete . Faust . (Gounod) (5445a).

D uets for 2 V iolins.

Step I . F irs t P o s it ion.

Alard , D . Progressive Duets revised and fingered byE . Heim:Book I .

,Op . 2 2 . Elementary. rst position. (5 599 a).

B ook II . . Op . 2 2 . Elementary. I st po sition. (5 599 b).T his excellent work should form every student’s companion

from the first beginning until a degree Of considerable technicalskill has been reached . It gains much by E . Heim’

s carefulrevision as to the fingering, bowing and all marks of expression.

2 Vio lins,Step I . (Continued .)

)llection Of D uets for two violins,

arranged ino rder

,carefully marked and anno tated by

rst p osition. 8 Easy D uets in the mo stused keys

,by \Vichtl

,Dancla

,Alard

,and de

1 1 80 1 5)First po si tion. 6 Easy D uets in the mostused keys

,by Blumenthal

, Kalliwoda ,and

1 1 80 1 a)irst po si tion. 5 Easy D uets in majo r and mino r:c o f easy do uble - stopp ing and cho rds) byuni

,M azas, Thomas

,and R ies. (1 1 80 2

First po si tion. 5 Easy D ue ts in major and

cu rrence Of easy do uble-stopp ing and cho rds),rlitt

,Kalliwoda

,Pleyel

,and M azas.

es o f graduated Duets revised by Ernst Heim,each

sp ond ing in d ifficulty with the same bo ok Of his

lies (Gradus ad Parnassum), see page 1 1 1 , and his

Piano pieces (Palaestra), see pages 1 2 8 , 1 2 9.

Op . 2 3 . 3 D uos faciles.

1 50 . Duo s faciles et p rogressifs.

one o r two more suited to Step I I .ite T unes . Arranged .

f these belong to Step I I.

Abecedarian in Vio lin Playing. 45 Ele"

es for V iolin w i th accompaniment of a secondlooks. (5 598 a ,

b).blished wi th P iano Accompaniment .

https://www.forgottenbooks.com/join

2 Vio l ins, Step II . (Continued .)

na . (Continued .).ok IVA. D uets up to the third position ,

by C. Gurlitt,

Ignaz Lachner, and Vio t ti , (1 1 804 a).10k V . Due ts u p to the fo ur th and fifth positions

,by

Hering, M ozart,Kreutzer

,and H. R ies. (1 1 80 5 s).

Graduated Duets revised by Ernst Heim ; each bo ok co rresp onds in d ifficulty with the same book o f his Vio l in Stud ies

,

“Gradus ad Parnassum"

,see page 1 1 2

,and his Vio l in and piano

pieces,

“Palaestra” , see page 1 33 .

cla, C. Op . 2 4 and 2 5 . Duos faciles. 2 Bks. (560 2li t t . Our Favo urite Tunes. Arranged by F. Hermann.

ing, Carl . 2 D uos,bo th in ' the first , and occasionally

a half and second positions. Op . 1 5 . Revised , phrased ,d fingered by Ernst Heim .

nann, R ichard . 1 4 instructive M elodic Pieces. Op . 1 14.

32 5o tpimrris on Po pular M elodies from classical and modernma s and Orato rio s, arranged by R ichard Ho fmann.

Bo oks.

hemian Girl . (542 0b) M erry W ives o f‘mont . (542 1 b) W indsor. (5434b).ielio . (542 2 b). M aritana. (543 5b).Elisire d

’amo re. (542 3b). Oberon. (543 6b).

crezia Bo rgia. (542 4b). Prec iosa . (543 7 b).iigénie enAulide . (542 5b). Der fliegende Hol

ias M ac cabaeus. (542 6b). lander . (543 8b).chtlager. (542 7b). Lohengrin. (5439b).ns Heiling. (542 8b). R ienzi . (5440b).M idsummer T annhauser. (544 1 b).Nigh t

’s D ream. (542 9b). Il Barbiere. (5442 b).

jah. (543oh). Gu illaume T ell . (5443b)..guenots. (543 1 b). M asaniello . (5444b).Prophete. (543 2 b). Faust . (Gounod ) (5445b).[ar0. (543 3b).w o da. Op . 2 43 . D uos faciles et brillants. 3 Bks.

v06 a—c).set , H . E . Violin St udies, carefully revised , fingered ,i w ith instructive anno tations by Ernst Heimelementary and progressive Studies (introducto ry to

.ho se o f Kreu tzer). Op . 2 0 . Bks. 1 and 2 . (56 1 0 a, b).

GUIDE THROUGH VI OLIN L I TERATURE . 1 z's

2 Vio l ins,Step I I. (Continued .)

Kayser. Violin Stud ies. (Continued .)1 6 Studies (comprising studies in the half, 1 st

,2 nd

, 3 rd ,

4 th, 5 th, and,7 th Po sitions). Op . 2 8 .

No s. 10 and 1 1 Step III , and 1 2 to 16 Step IV.

1 6 Studies (to follow the 36 Stud ies, Op . Op . 30 .

Nos. 6 and 8 Step I II ; No s. 4 , 5 , 9, 1 1 , 1 2,1 3 and 1 6

Step IV.

Lachner, 1. Op . 96, 97 and 98 . Sonatinas in A, D and

a (562 1—2

T here is an air o f brightness and humour in these sonatinaswhich reminds one o f Haydn and M ozart . W i thout makinggreat demands upon the technique o f the player, the sonatinasare brill iant and d iversified , and altho ugh they chiefly appeal tothe young they are never child ish . Op . 98 with its charming“Ro coco

”colouring is sure to make friends upon acquaintance .

M az as , F. Duo s faciles et progressifs ; Le t ters C,D E .

3 Bks. (560 8 c—e).P leyel, 1. Op . 48 . 6 Sonatinas.

R ies , H . Progressive D uets. (Ernst Heim). 9 BooksBo ok I . First po sition. Easy do uble-stopp ing. (562 9a).Bo ok II . First and second positions. (562 9 b).

These melod ious and graceful compo si tions are renderedmore valuable by the careful revision o f fingering, bowing and

marks o f expression. They contain a wealth o f technical devices .

R itter, E . W . 30 Exercices fac iles. Bk. 2 . (563 1 b).T homas, E . 4 Duo s. (5634 a , b).

Step III . Five P o sitions .

Alard , D . Progressive D uets,revised and fingered by

E . Heim:Bo ok IV . ,

Op . 2 2 . Elementary. 3 rd po sition. (5 599d).Bo ok V . ,

Op . 2 3 . Easy. 3 rd po sition. (5 599e).Book VI.

,Op . 2 3 . Easy. 3 rd position. (5 599f).

Bo okVIL,Op . 2 3 . Easy. 3 rd position. (5 599g).

T his excellent work sho uld fo rm every student ’s companionfrom the first beginning until a d egree o f considerable technicalskill has been reached . I t gains much by E. Heim’

s carefulrevision as to the fingering, bowing, and all marks of expression.

Kayser, H . E . V io lin Stud ies,carefully

and wi th instruc tive anno tations by Ern:3 6 elementary and progressive St ud iesthose o f Kreutzer). Op . 2 0 . Book 3

M o lique , B . 3 D uets. Op .

'

3 . 3 BookM oz art, W . A. Op . 7 0 . 1 2 Duets. 4

P leye l , I . Op . 2 3 . D u '

o s. (1 0 8 5 d).Op . 2 4. Duo s. (10 8 5 e).Op . 44 . Duo s.

R ies , H . Progressive Duets. (Ernst HeiBook III . Up to third po sition. (562 9 1

These melod ious and graceful comp ositiovaluable by the careful revision of fingeringo f expression. They contain a wealth of

Ro de, P . Op . 1 . 6 D uo s. 2 Bks.

V io t t i . Concer t duets. 1 3 Bks.

https://www.forgottenbooks.com/join

T hese melo d ious and graceful compo si t ions are renderedmore valuable by the careful revision of fingering, bowing and

marks o f expression. They contain a wealth of technical devices.

S tep V . D i ffi cul t .

Arena. A Co llec tion of D uets for Two Vio lins,arranged

in progressive o rder , carefully marked and anno tated :Book VII. 2 D uets in all positions (d ifficult), by Haup tmann and D e Bériot. (1 1 807

Bo ok VIIA. 3 D uets in all positions (d ifficult), by Haydn,

J . B . Vio t t i , and Campagno li . (1 1 80 7 a).Bo ok VIII . 2 Duets in all positions (very d ifficult), byF. R ies, and Haup tmann. (1 1 80 8

Book VIIIA. D ue ts in all po si tions. (Very d ifficult) byC. de Bério t

,and M . Hauptmann. (1 1 808 a).

Graduated Duets revised by Ernst Heim ; each bo ok corresp o nds in d ifficulty with the same book o f his Vio lin Stud ies,“Gradus ad Parnassum”

,see page 1 1 7 , and his Vio l in and piano

pieces,

“Palaestra”,see page 1 56 .

Hermann. Op . 2 4 . Etudes spéc‘iales. On double stops,shifting Sec . (56 1 5 a).Op . 2 6 . M orceaux mélodiques. Bk . 6 . (53 2 8 f).

Kalliw o da , Op . 2 34 . Grand Duo brillant .Ro de . 2 4 Caprices in the fo rm o f Stud ies, w ith z ud Vio linby Ludwig Abel ; revised by E . Heim.

The add i tion o f an excellent second vio l in part by LudwigAbel combined wi th the careful revision

.

which characterisesHeim’

s work,and the numbering o f every fifth bar, will make

this ed i t ion welcome to all students.

GUIDE THROUGH VIOL IN LI TERATURE . 1 2 7

2 Vio l ins. (Cont inued .)

S tep V I . Concert Due ts .

He im, Erns t. Arena . A Co llection of D uets for 2 Vio lins,arranged in progressive o rder

,carefully marked and

anno tated :Book IX . 2 Concert D uets, by Spohr and H. R ies .

Bo ok IXA. Concert D uets. No s. 3 3 and 34 by Spohr ,No . 3 5 by M azas. (1 1 809 a).

Bo ok X . 3 Concer t D uets by Spohr.Book X A. Concert D uets

,by M . Hauptmann L. Spohr.

(1 1 8 10 a).Spohr, L . Op . 3 , 39, 6 7 , 1 48 , 1 50 and 1 53 . 14 GrandDuets. (7

These are the finest and most d ifficult duets for two vio l ins.

Due ts for V io lin and V io loncel lo .

Kreutz er. Sonatas. Op . 1 6 and 1 7 . 2 Bks. II .B ee thoven. 3 D uets . III .Haydn, J . D ue t in D . Ill.

Ho ffmann , H . A. 6 D uo s. Op . 5 .

L eonard 8c Servais . Grand Duo

Anglais). VI.

Due ts fo r V io l in and Organ.

Album . 1 0 Pieces.

NOS. and 6 . II . NO5 . 5 , 6 , 7 , 8 . I II . No s. 4 , 9 and 10 . IV.

B ecker, A. Op . 2 0 . Adagio . IV.

Henkel , H . 3 T onsatze von LS. Bach , arr. No . 1,Berceuse ;

2 , Sarabande ; 3 , T o ccata . II .Jensen, Gus tav. Ario so e Rondo pate tico . Op . 4o .

L achner, I . 2 P ieces . Op . 66 . No . 1,Andantino ;

2,No ctumo . IV.

M o zart . Andante Cantab ile from Vio lin Concerto . Op . 1 2 1 .

Arr. by I . Lachner. IV.

Rhe inberger, J . Op . 1 50 . 6 P ieces. No . 1,Theme with

variations ; 2 , Abendlied ; 3 , Gigue ; 4 , Pasto rale ; 5 , Elegie ;6 , Overture.

Sp ohr. Adagio from 9thViolin Concerto , arr. by I .Lachner . IV.

The simplest p ieces only (rhythmically, as well as

technically) are included under this head , the melod ies beingalmost entirely ei ther in minims and c ro tchets

,o r in cro tchets

and quavers.

P alaes tra. A Co llection o f P ieces, Sonatas , Su i tes , and

Concer t-P ieces for Vio lin So lo with P ianofo rte Accomp animent ; arranged in p rogressive o rder , carefully marked and

anno tated by Ernest Heim:

An excel lent co llec tion o f graduated p ieces revised by ErnstHe im

,each bo ok corresponds in d ifficulty with the same bo ok

o f his Vio l in Stud ies, “Gradus ad Parnassum”

,see page 1 1 1

,and

his Vio l in D uets, “Arena” ,see page 1 2 0 .

Book IA . Contents —4 P ieces on the o p en ,string5 by

R i t ter,Reinecke

,etc . ,

and 7 easy P ieces in the easiestkeys , first po sition ,

by R i tter,M o ffat

,Aprile

, SaintGeo rge , etc . (1 147 1 a).

Bo ok IR . 9 easy P ieces in the easiest keys,first po sition

by M o ffat,He im

,Reinecke

,and Gurlitt. (1 1 47 1 b).

Bo ok I C. Supplement to Books A and B. Piece on the

o pen strings by Bordogni, and 9 easy P ieces in the

easiest keys by M o ffat,R i tter

,Concone

,Stephen Heller

,

Vo lkmann,Laubach

,etc . (1 1 47 1 e).

Fitz enhagen, W . Pet its M o rceaux . (Vio lin par t wi thinthe compass o f a Fo u rth):Op . 3 8 . No . 1 . Ave M aria.

He im , Erns t . Abecedarian in Vio lin Playing. ElementaryP ieces in p rogressive o rder . Nos. 1 —2 5 . Bk . 1 . (1 1 46 1 a).

M ost useful and a ttractive co llectio n for young beginners .

Hering, Carl . 1 6 P ieces in progressive o rder. Op . 1 4 .

Revised and marked for teaching purpo ses by Ernst Heim.

Nos . 1—10 . No s. 1 1— 16 belong to the fo llowing grade.

Sho r t D raw ing Ro om P ieces.

A very a ttractive set beginning with a l i t tle prelude for theopen strings only. Book 1 conta ins 7 melod ious l it tle pieces

,

Books 2 and 3 belong to the next d ivision.

https://www.forgottenbooks.com/join

1 30GUIDE THR OUGH VI OL IN L I TE )

Vio l in and P iano , Step I b . (Cc

Fitzenhagen, W . Petits M o rceaux .

the compass o f a fo ur th):3 M o rceaux . Op . 3 8 . No . 2 , Barcarc

3 M o rceaux . Op . 39. No . 1,Cavati

No . 3 , T arantelle.

Very effect ive l i ttle pieces wi thin the

with very attract ive piano accomp anime

Gurlitt, C. Our Favo rite T unes. M el

M odern.

M o rceaux de Salon (fac iles). Op . 14

Landler , Neues Leben, No c t u rno , Imp iTwo miniat ure Sonatas (in first p o sF and D .

An excellent intro duction to concertec

intel l igent young beginners.

The Chase . (Die Jagd .) Op . 1 90 ,

Haup tmann, M . 3 Sona tinas. (7 3 84The rud imentary features o f the sonat:

into a very small compass indeed ; all

No . I occupying only one page in the

He im , E . Abecedarian inViolin Playing.

transcribed and arranged in progressiNo s. 2 6— 4 5 . (1 1 46 1 b).

H ering, Carl . 1 6 P ieces in p rogressiveOp . 1 4 . Revised and marked for te

Ernst Heim.

8 pieces. Op . 2 1 (Ernst Heim .)1 0 Petits M o rceaux . Op . 66 . (7 392Sho r t D rawing Room Pieces. Bks . 2

H ermann, F . 50 favourite M elod ies ;the first p osition. (546 5 c).

The same are also arranged for 1

2 vio lins and piano , (5465 d); VlOlll

p iano . (5465 f).

H i l l , Claud H . Three P ieces . No .

Allegretto ; No . 3 , Gavo t te.

Ho by,C Album o f D uets . Romance

,l

GUIDE THR OUGH VIOLIN LI TERATURE . 1 3 1

Vio l in and P iano , Step I b . (Continued .)

Hofmann, R i chard . Op . 1 0 1 . No . 1 , Animation.

Po tpourris on po pular M elodies from classical and moderno peras and o rato rios.

Adam. Der Po stillon. (540 1 c).Bellini . Nach twandlerin. (Sonnamb ula). (540 2 c).Bellini . No rma. (540 3 c).B o ield ieu . Le Calife de Bagdad . (5404 c).B o ield ieu . La Dame Blanche. (540 5 c).Donizet ti . La Fille da Regiment. (5406 c).Donizetti . Lucia di Lammermoo r . (540 7 c).Gluck . Orpheus. (540 8 c).Handel . The M essiah . (5409c).Haydn. The Creat ion. (54 10 c).Hero ld . Zampa . (54 x i e).Lortzing. W ildschutz . (54 1 2 c).Lo rtzing. Czar und Zimmermann. (54 1 3 c).M e

'

hu l. Joseph . (54 14 c).M endelssohn. St. Pau l. (54 1 5 c).M o zar t. Il Seraglio . (54 1 6 c).M ozart . ll Flauto M agico . (54 1 7 c).M o zar t . Don Giovanni . (54 1 8 c).Weber . D er Freischiitz . (54 19 c).

Horro cks, A. E . R igaudon.

Kayser. Op . 6 5 . Exercises and Po pular M elodies.

Kirchner, T h . 4 Albumblat ter. (F. Hermann.)Ko ch , F . Petite Su ite . (Allegret to , Ariet ta, Scherzo , Roman

zet ta,Alla M arcia .) Op . 1 2 .

Kreuz , E . Op . 3 0 . 6 easy Pieces.

Op . 36 . 6 easy Pieces. 2 Bks. (7 5 19 a,b).

M arch Album , Book I . Ed ited by Hermann. (8686 a).Contains 14 M arches by Lul ly, Couperin, Rameau , Handel

,

Haydn, &c .

M eo , Al fonso . The D olly’s Dance.

M of’fat , A . Album. 1 2 p ieces (in the easier po si tions).(7 5 2 4)English Classical Album. 1 2 Pieces for Vio lin

,with

figured Bass,by Engl ish M asters o f the 1 7 th and 1 8th

centuries.

1 2 Classical P ieces (in the first posi tion). 2 Books .

(7 5 2 6 a,b).

I 3 2GUID E THR OUGH I

'

IOLI.’ L I TERATURE .

Vio l in and P iano , Step I b . (Continued .)

M o ffat . (Continued .)1 2 P ieces by English M asters of the 1 7 th and 1 8 th Centuries.

(7 5 3 7 )These pieces are well wri tten fo r the vio l in. T hey are

,

moreover,melo dio us and have interesting accompaniments.

N ico le , L . M inuet and Gavo t te .

Our Favourite Tunes . From a co llec tion o f ancient andmo dern M elo dies by C. Gurlitt. Arranged by Fr. Hermann.

(7 3 88)P leye l . Op . 8 . 6 D uo s. (Hermann).Re inecke . Op . 1 2 2 a . 1 0 Pe ti ts M o rceaux .

No . 9 belongs to II .

Op . 2 1 3 . 1 0 Peti ts M o rceaux .

Characteristic l i ttle pieces with interest ing piano part .R ied ing, Oskar. 6 Easy P ieces. NOS. 4 , 5 and 6

,

“T empodi Valse” ,

“Po lonaise” and “Air

R i t ter, E. W . Brilliant Duets. (The Vio lin par t in the

first po si tion):No . 1 . Variations on

“The Carnival o f Venice (7 5 50 a).No . 2 . Stradella , by Flo tow . (7 5 50 b).No . 3 . Variations

,

“Rule,Britannia” . (7 5 50 c).

No . 4 . Rondo ,

“The Bay of B iscay and “Hearts o f

Oak (7 5 50 cl).No . 5 .

“Logie O’Buchan Fantasia . (7 5 50 e).

1 2 Sho r t P ieces: Bo ok IV. (Fo r all fo u r fingers .)NO . 8

,M arch ; No . 9, Gavo t te ; No . 1 0

,Intermezzo

No . 1 1 , Romance ; No . 1 2 , Tarantella.

Schmitt , J . 2 Sonatinas. Ed i ted and fingered by EmileThomas .

T aubert, W . Serenade. (M . F.

T ers chak , A . Po p ular M elod ies:Vo l. I . England . 1 8 Po pular M elodies. (8698 a).Vo l. II . Sco tland . 2 0 Po pu lar M elod ies. (8 698 b).Vo l. IlI. Ireland . 1 8 Popu lar M elodies. (8698 c).

T s cha‘

ikow sky. Favo urite airs from the o pera “EugeneOnegin

”. Arranged by V . So rreno . (5469 a).

V o lkmann.

“ In the M ill” . (No . 1 o f “Musical P icture(M . F.

W urm, M arie . March in D .

https://www.forgottenbooks.com/join

1 34GUIDE THROUGH I

'

I OL IA" LI TERATURE .

Viol in and P iano , Step II . (Co ntinued .)

Album Op ératique . Vol. 1,1 2 M elo d ies ; Vo l. 2 , 1 5 M e]

d ies . (86 89 a , b).Ario sti, A t t i l io . 6 Sonatas (Lezioni) fo r Viola d

’am01

transcribed by G. Saint-Geo rge. (1 1 3 1 1 a— f).A tk ins on, J . A . Pet i te Valse. Op . 1 .

B ach , Emanue l . Solfeggietto . Arr. by Oscar \Vagner .B ach , J . S . Gavo t te in D . (Hermann

,C. V . M .

Gavo t te from oth Sonata . (g4o 1 c).Fifth Prelude from “Das Klavier (F. He

mann.)My heart ever fai thful. (F. Hermann.) (M . F. 1 1 5)

B eaz l ey, J . C. Sonatina in F.

Sona tina in D mino r .B ee thoven . Andante Cantab i le fromT rio

,Op . 97 . (M .F. 92

B ennett , W . S terndale . The Lake. (M . F.

B o c cherini , L . M inuet in A.

B ro o ks, W . Op . 48 . Album Lyriq ue , 4 P ieces. (7 3 3 ~

B urgmuller. 3 No c t u rnes.

B us on i . Op . 2 8 . Bagatellen. No . 3 .

Chris tmas-Album . 10 P ieces suitable for Christmastid

arranged by F. Hermann. Albums,Vol. XIV. (7 3 2 2 (

Adam,Christmas ; G ruber

,T y ro lese Christmas Hym

Bach , Aria from the Christmas Orato r io ; Gurlitt, Andanreligio so ; Reinecke

,Cho rus o f Angels ; Go lterman

Berceu se ; Grieg, Christmas Song ; Bortnianski, Adoratio

M endelssohn ,Christmas P iece ; Gounod , L’

Angelus.

Clark , S . M arche aux Flambeaux . (9403 a).M arche indienne. (940 3 b).M arche mili taire . (9403 c).Procession M arch . d).P ilgrims

’M arch . (9403 e).

M ed i tation.

M elody in D .

1 2 M o rceaux (Original p ieces).One or two are fo r those entering Step I II , but all are ea:

Clement i , C. 6 Sonatinas,Op . 36 . Vio l in part by M . Reg

Courvo is ier, C. Bagatelles . 6 peti tes P ieces. Op . 3 5 .

Rec rea tions. Easy Pieces. Op . 48 . (Pasto rale, Gavo t

GUIDE THROUGH VIOLIN LI TERATURE . 1 3 5

Vio l in and Piano , Step II . (Continued .)

Czibulka . Gavo t tede laPrincesse. Arr. p arFr.Hermann. (9406g).D

’

Alquen, F . Nocturne in G .

D ancla, J . C. 1 2 Melodies. Arr. by C. Gurlitt.

Dav id , Ferd . Gondellied . (Hermann ) (M F. Kinderlied . (Hermann). (M . F. Remembrance (So uvenir)

D e-Ange lis , G . Due Pezzi facili. Op .9. (Berceuse, Gavo t ta .)(7 3 2 5 )

D iab e l l i . Sonata in F. (W Abert.)Sonata in G . (E . Thomas.)

D o lme ts ch , A . Romance.

D o rn, Ed . Grande M arche impériale. (9406 a).D

’

Ourville , L eon. Gondo lina . Arranged by E . Thomas.

So irées Musicales. Arranged by R . Ho fmann: The M ill.The Smithy. Spinning Song. Swing Song.

Dussek . Op . 2 0 . 6 Sona tinas.

Grade , N . W . Elegie. (M F. Spring-flower. (M F. 3 2 )Gaut ier, L . Le Secre t . (M . F.

Gavo t te Album . 1 4 o f the mo st celebrated I talian,French

and German Gavo ttes by Co relli, Couperin, Rameau , Bach ,Handel

,M ar tini

,Gluck

,&c . (F. Hermann).

G luck, C. W . Andantino afi’

ettuo so (Jensen, V.

G ounod , C. L’Angelus, arranged by F.Hermann. (M .F.

M inuet,arranged by Co rneli us Gurlitt.

Go ltermann, G . Op . 1 14 . Sona tine in F.

Gungl. J . Oberlandler. (M .F.

Gurlitt, C. M o rceaux de Salon (faciles). Op . 1 46 :

Bk. I I .LandlicherTanz ,Elegie,Aufschwung,Romanze. (867 7 b).Bk . I II . Barcaro lle, Andante religio so , Fantasie, Capriccio .

(86 7 7 c).Pleasing and useful teaching pieces

,Bo ok I II containing

the most d ifficult o f the set,lead ing into next Step . Also

publ ished fo lio size in separate No s.

Snowflakes (Schneeflo cken). Sho r t P ieces. Op . 1 64:

Bo ok I .Humo reske,No t turno , Standchen,Bauerntanz . (7 3 8 2 a).Bo ok II . Elegie, Canzonet ta, Impromptu ,

Landler. (7 3 8 2 b)Book III . Reverie , Intermezzo

,Adagio , Valse noble. (7 3 8 2 c)

Twelve pleasing and graceful teaching pieces, also in separateNos.

Idylle in D .

Op . 1 90 ,No . 7 .

“Under the Village Lime-T reeAndantino in B flat

,from the Sonatina, Op . 1 34, No . 2 .

I4 0 G UI D E I I I R U U GH VI UL /IV L I TE/{A T UR I:

V io lin and P iano,Step II . (Continued

H ande l , G . F . 2 Su ites, arranged by G . JerNo . 1 in D . (7 3 7 8 a).No . 2 in E mino r . (7 3 7 8 b).

Jensen has been particularly happy in the 5

pieces which form these Sui tes and his thor01o f the great master’s style has enabled him to ]

p animents which breathe Handel ian spiri t, and art

full o f interest .Adagio religio so ed Allegro (Jensen, V .

Sonata I II . (A Arr. by F. Hermann.

Sonata XII . (F. (Dr. R iemann.) (72 Sonatas for Flute with Basso continuo

,ar

'

marks o f expression by Gu stav Jensen. (7 3Sarabande . (M . F.

Hartog, Henri . Les Cloches, 5me M o rceauH aydn , J . Serenade . (Jensen,

V .

Adagio rec i tativo . (Jensen. V .

O x M inuet . (M . F.

Haup tmann. Sonata. Op . 6 . (F. Hermann.

H auser. D ie B lume (P reghiera). (M . F.

Dorflied . (M . F.

H e im ,Erns t . Abendlied (Evening Song).

H ennessy,Sw an. Op . 7 .

“ In the M ountai

Two po et ical l i ttle pieces enti tled “M i t tagsand “Zwiegesp rach

”

(Duet in Cano n).Henke l , H . Sicilienne.

Henselt, A . La Fontaine. (M . F.

Hermann, F . Sonatina in G . (7 3 89 a).Op . 2 8

,No . 2 . Sonatina in D . (7 390 a).

Dance M ovements from the wo rks o f Gr

The fo llowing are su itable for this Step :Bach

,Sarabande . (7 3 8 7 a).

Cherubini,Balle t music . (7 3 8 7 h).

Handel, Scherzo . (7 3 8 7 b).Gluck

,Muset te .

Hofimann, J . Cantilena in A.

H o fmann,R ichard . Op . 7 8 . 4 P ieces:

Romance, Gavo t te, M inuet .

https://www.forgottenbooks.com/join

I 3 8GUIDE THROUGH I

'

I OLL’V L I TERATURE

Vi o l in and P iano,Step II . (Continued .)

L achner, I . Op . 93 . 3 M o rceaux de Salon:No . 2 , T .

3 , Danse des M atelo ts. (7 5 f i b , c).No . 1

,No c turne belo ngs to I II .

Op . 1 0 8 . 4 D uo s. No c t urne,Grande Po lonais

liche Idylle (Co untry Idyll), Bohmischer Originatanz (Bohemian Peasants’ Dance).Op . 94. No . 1

,Siesta ; No . 2 , Grande Po lonaise

Op . 99. Sonatina in A.

Op . 1 00 . Sonat ina in B17 .

Op . 1 0 1 . Sona tina in G .

T hree excellent so natinas fo r yo ung pupils.

Lachner’

s music recalls much o f the spiri t o f I

i t is straightforward , healthy and genial in charac ‘

influence o f Schumann and the somewhat compl icamieal feel ing introduced by many modern German

into their o therwise technical ly easy pieces (renderd ifficul t to be understood by young beginners Wht

Specially gifted) are here co nspicuous by their absetL anger, G . Op . 2 0 .

“Gro ssmutterehen.

”Landlt

L aubach , F . 2 4 Sco t tish Songs, arranged . (7 5 1

Lee , M auri ce . Cantilena . Gavo t te de Lo u isRéve ce

'leste,M o rceau de Salon.

Gavo t te du Due de R ichel ieu . (9406 f).Sylvana. M enuet . (940 6 c).

L isz t , F. Conso latio n.

Lul ly, J . B . Entree de l’Op éra ,

“Les SongesA ’ A ‘ w vn ” {U n i-Q ‘h fl fl fl fl F ‘ 7 IVY r‘ \

GUIDE THR OUGH VI OLIN L I TERATURE . 1 39

Vio l in and P iano ,Step 11. (Continued .)

M oz art , W . A. Allegret to (Sonata in G). (7 3 2 4 e).Rondo (Sonata in F). (7 3 2 4 a).Sonata in D arranged from the Piano for te D uet SonataOp . 3 , No . 1 , by W . Aber t .Romanze aus der “Nacht-M usik (Jensen, V. I 7).

No lck, A. Berceuse. Op . 92 .

Our Favori te Tunes . (Hermann.)NOS. 1

,2, 5 and 14 belong to I b .

Pa p ini , G . D eux Airs Napolitains. No . 1 in D ; No . 2 in D .

P ergo lese , G . B . Air.

P leye l . Op . 48 . Six Sonatinas. (F. Hermann.)P o rp ora, N icco lo . La Chasse. Piano fo r te Accompaniment

,

arranged from the o riginal figured Bass by A. M o ffat .Po znanski, J . B . La Paresse.

Rameau, J . P . M enuet et Passep ieds de “Casto r et

Po llux” . (Hermann, C.V.M . No .

R igodon (Dardanus). (M .F.

Rigo don en Rondeau (Dardanus). (M . .F

Reber, H . Berceuse in G .

Re inecke , C. M iniat ure Sonatina in C . Op . 1 2 2,No . 9.

Sonate miniature, in B mino r.2 M iniat ure Sonatas (in first position). Op . 2 1 3 . NOS.

1 1 1 2 .

These four sonat inas would suitably follow those o f Gurlitt

under I .

Abendgebet .T ears (Thranen). (M .F.

Chant d’amo ur . (M .F.

Farando le. (M F

Rhe inberger, J . M asurek .

R ies,F. Sonatinas in F,

in A mino r, and in C. (Thomas).

(7 547)Ro eckel, J . L . Croquis musicaux . 6 M o rceaux . 2 Books.

(7 563 a , P)’No . 1 . A l

’antique. No . 2 . Mazourka-Caprice. No . 3 .

Simple Melod ie. No . 6. Sous la lune;No s. 4 and 5 belong to I II .

Air du Dauphin. (9406 d),La Kermesse de St. Clo ud . (9406 e).

Rub inste in, A. Romance (F).

1 40GUIDE THROUGH VIOLA/V L I TERATURE.

Vio l in and P iano,Step II . (Continued .)

Sa int-G eorge . L’anc ien regime. Pe tite Sui te . (7 5 7 0 a).

Entre nous,M o rceau de Salon. T ristesse. Vieille

Histo ire .

Schmitt , J . Sona tina in C (E . Thomas).

Schubert . Three Sonatinas . (E . Thomas).No . 1 in D

, No . 3 in G ; No . 2 belongs to III .

M oment musical.Balle t de Rosamonde .

M enu et favo ri .Divertissement a la hongro ise .

Am M eer . Arr. by Emile Thomas.

Romance from “Rosamonde .

”Arr. by Emile Thomas.

Serenade. Arr. by Emi le Thomas .

Schubert , F. (D resden). Cantab ile .

Romanza espressiva.

S chumann, R . Schlummerlied .

“Revery” and “At the Fireside (Hermann).Album . 56 P ieces arr. by F. Hermann.

Scenes o f Childhoo d (Kinderscenen). Easy Pieces. Op . 1 5 .

Arranged by F. Hermann.

NO5 . 1 2 and 1 3 belong to IV .

Album for the Yo ung (Jugend-Alb um). Op . 68 . Arrangedby F. Hermann.

No . 4 belongs to l a . No s. 2,2 3 and 4 2 to I h . No . 2 2

to I II , and 33 to IV.

Schytte , L . Berceuse.

Sena i l le, J . B . Aria in G mino r. (Jensen, V.

Sonate . (Jensen).S imon, A . Berceuse. Ed i ted and fingered by Ernst Heim.

Smith, Sydney. The Lily o f the Valley,o p . 1 4 . Arranged .

Spohr, L . Romanze in A.

1Barcaro lle from 3 D ue t tinos o p .

Larghet to in G .

Squire , W . H . Gavo tte sentimentale .

https://www.forgottenbooks.com/join

Vio l in and P iano . (Cont inued )

S tep III . F irs t five Po s i t ions .

Palaes tra. A Co llec tion o f P ieces , Sonatas, Su i tes and

Concert -P ieces , for Vio lin So lo wi th P ianofo rte Aecom

p animent ; arranged in p rogressive o rder,carefully marked

and anno tated by Ernst He im :

Book VA. P ieces with change from first to fo u rth po si tion,

by Lachner , Gurlitt,Ho fmann

,and M ofi

’

at. P iece w ithchange from first to fifth po sition

,by Lully. (1 1 47 5 a).

Book VB . P ieces up to the fifth po si tion,by Spohr ,

Geminiani , M o zart , and Handel . (1 1 47 5 b).Bo ok VC. Supplement to Books A and B . Pieces byLiszt , Jensen, Heller , Gade, and David . (1 1 47 5 c).Palaestra, a co llec tion o f graduated pieces, revised by Ernst

Heim,o ffers the most suitable material for the study o f style

and phrasing ; each book co rresponds in d ifficulty with the

same bo ok o f his Vio l in D uets , “Arena”, see page 1 2 4, and his

V io lin Stud ies, “Gradus ad Parnassum”

,see page 1 1 4.

Album d e D anses . Vo ls. 1 and 2,containing some o f

the most celebrated dances by Johann and Josef Strauss.

(7 3 19 a , blAlbum p our V io lon et P iano . 1 5 Vo ls. Arranged byF. Hermann. (7 3 2 2 a— n).

A number o f favouri te pieces,such as Rub inste in’

s“Melody

in F”

,Raff

’

s“Cavat ina”

,etc . , are contained in these bo oks

,

the majori ty being su i ted to III,but a few to the next Step .

Arensky, A. Serenade in G . (M .F.

B ach , J . S . Air and Gavo t te (from the Orchestral Su itein D). (Jensen, V . I ).Andante . (Sonata in A mino r

,No . (Jensen,

V.

Concerto s in A mino r and E mino r.

GUIDE THROUGH VI OLIN LI TERATURE. 1 43

Viol in and Piano, Step III . (Continued .)

B ee thoven. 2 Romances inG and F.

Two o f the cho icest gems o f vio l in l iterature . One o f the

best and clearest ed i t ions is that fingered and edi ted by G . Jensen.

B end a, Franz . 8th Sonata in A mino r.B enne t , W . S ternda le . Overt ure

,

“Parisina” . (86 7 1 a).Overture, “The Na'iades (867 1 b).Overtu re

,

“The W o od Nymphs. (867 1 c).B erio t, C. de . 6me Air varié.

7 me Air varié.

1 2 Melodies I taliennes. 2 Bks. (7 3 34 a , b).La Verginella . (M .F.

B lagrove , S tanley. Reverie .

B o rch, Gas ton . Berceuse in G. Op . 50 .

Romance in G . Op . 5 7 .

B ord ers , W . M o rceau a l’Irlandaise . Op . 8 7 .

Romance and Bo lero . Op . 8 8 . Duo Concertante.

B o rgh i, L . Sonata No . 2,in A majo r.

Sonata No . 4 ,in G mino r .

B rahms , J . Op . 39. W alzer .Ungarische Tanze. (4

Simpl ified arrangement by F. Hermann.

B rauer, M ax . M editation on“Li ttle Study by Schumann

(Ernst Heim).B urgmiiller. Nocturne. (M .F.

Campagno l i . E tude . (Hermann,C.V.M .

Chamber M us ic . Ed i ted by H. Ho lmes. A selection fromthe So lo Sonatas o f Co relli , T ar tini , Bach and Handel.

Chop in, F . M azurka. (M .F.

M arche funebre. (M .F.

Co re l l i , A . 1 2 Sonatas, Op . 5 (Gustav Jensen). Bound ,

w ith Po rtrai t .Part . I . (Sonatas 1 to (7 3 54 a).Part II . (Sona tas 7 to (7 3 54 b).

The accompaniments to these beautiful Sonatas are the worko f a true art ist, who , with all the technical resources at his

command , worked in reverential Spiri t with regard to the styleand character o f the o ld M aster . The accompaniments are

varied and very interesting in the ir wealth o f contrapuntaldevice and figuration. The careful way in which all the

ornaments are wri t ten out,and the bowing and fingering add

still further to the value o f this fine ed i t ion.

I 44GUIDE THROUGH VI OL IrV LI TERATURE.

Vio lin and P iano , Step I II . (Cont inued .)

Co re l li. 1 2 Sonatas, 0p . 5 . (Continued .)The same work in Score by Jo achim and Chrysander

Livre III . Op . 5 , Par te Prima : 6 Sonate a Vio lino So loe Vio lone

,o Cembalo . Par te Seconda: Preludii

,Alle

mande , Co rrent i , G ighe ,“

Sarabande,Gavo t te e Fo llia a

V io lino So lo e V io lone,o Cembalo . (4936 c).

Fo llia con variazioni . (G . Jensen).After a lapse o f two centuries the study o f Corell i is still

ind ispensable . The above new ed i t ion has been admirablyd one by G . Jensen,

who has ava iled himself o f the ornamentsas played by Corelli .

D anbé , J . M azu rka de Salon.

D avid , Ferd . 6 Salonstiicke. Op . 2 4. Revised by Fr.

Hermann.

Op . 30 .

“B unte Reihe“ . (F. Hermann). (7 3 63 a,b).

2 4 p ieces in two books.

No . 1 is an at tract ive Scherzo,No . 5 , a graceful Gondellied ,

No . 16,a go od wrist study

,No . 2 4 , an equally good staccato

leggiero study. In o thers, the keys o f 5 and 6 sharps and

flats are freely used .

Romance in F sharp majo r (o riginal key).Romance in F majo r (transposed).Scherzo . (M .F.

Ungarisch . Op . 30 ,No . 19. (Fr. Hermann).

D e-Ange l is , G . Andante religioso . Op . 7 .

Biond ina. Melodie . Op . 1 0 .

Petite Légende .

D el Val le d e Paz,E . 3 Capricci . Op . 1 5 .

Op . 2 8,No . 1 . Sere'nade I talienne .

Op . 3 2 ,Album . (Imp rovisation, T arantelle, M elodie, Ad ieu ,

Serenatella , Canzonetta amo rosa,Bo u rrée

,M azurka .)

D e l ibes , L .

“Sylvia” . Intro d uction and Valse Lente.

“Sylvia Barcaro lle and P izzicati. Arranged by M . M arsick.

D obrzynski, I . F . Les Larmes. (M .F.

Dunkler, E . M orceau de Salon,revised byHermann. (M .F.

Dussek. Op . 69,No . 1 . Sonata inB . flat. (E Thomas.)A very favouri te work .

D vo rak . Op . 1 5 . Ballade .

E l lerton . Duo in D mino r. Op . 5 6 . (86 7 5)Ers fe ld , C . Op . 1 5 . R omance in B l7 .

Gabriel-M ar ie . Sére’

nade Bad ine.

https://www.forgottenbooks.com/join

1 46GUIDE THROUGH VI OLIN LI TERATURE .

Vio l in and P iano . Step III . (Cont inued .)

He l ler, S tephen. P ondeau. (M .F.

Henke l , H . Gavo tte mo derne. Op . 8 1 .

Hermann. Dance M ovements from the wo rks of GreatM asters. The fo llowing may be taken in this Step :Beetho ven , Allegretto , (7 3 8 7 f); Haydn

,Nachtwachter

M enuett , (7 3 8 7 c); M arschner, T anzmusik , (7 3 8 7 i); M on

signy, Chaconne, (7 3 8 7 m); M o zart ,All’

Ongarese, (7 3 8 7 g);M o zar t

,M inuet

, (7 3 8 7 e); Rameau , Chaconne and Mn

se tte, (7 3 8 7 k).

H er‘

rmann, E . Op . 1 2 . Barcaro lle.

H offmann, J . Bo lero . Danse des sorcieres. Z ingaresca ,M o rceau carac téristique . Rob in Adair , Fantaisie brillante.

Ho fmann,R ichard . Shor t Study (Kleine Studie). Op . 1 10

,

No . 2 .

Ho l land er,V . Po lonaise .

Hurlstone, W . Sona ta in D mino r.Ireland , John. Berceuse .

Jensen, A. T raumerei.

As arranged by W ilhelmj th is makes a fine so lo for the

fo urth string.

Serenade (Standchen). Arranged by Hermann. (M .F.

\Vanderbilder. No s. 7 , 1 0 and 1 1 . (2 1 2 9a, b).Jensen, G . Op . 2 5 . Sui te in A mino r.Pre'lude from the same .

Barcaro lle from the same .

Op . 2 8 . Three P ieces .

Op . 3 1 . 3 M o rceaux Caracte’ristiques.

Op . 3 6 . 2 nd Romance in B7 .

Op . 3 8 . Berceuse .

Kayse 36 Elementary and Progressive Studies, Op . 2 0

(intro du c to ry to tho se of Kreu tzer), revised by E . Heim.

Bo ok III . (7 397 c).Kjerulf, H . Frtihlingslied .

Kreuz , E .

“Friihlingsgedanken. Op . 9.

Fo ur P ieces. Op . 2 8 .

Cavatina in EV. Op . 44, No . 1 .

Serenade napol i taine . Op . 44, No . 3 .

Le reve. M o rceau . Op . 4 5 , No . 3 .

Kucken, F. 6 Duo s. (868 1 a-f).

GUIDE THROUGH VIOLIN LI TERATURE. 1 47

Vio l in and P iano . Steep I II . (Continued .)

Kuhlau. Op . 8 8 . 4 Sonatinas. No s. 2, 3 and 4.

L achner, Ignaz . M o rceaux de Salon. Op . 93 :

No . 1 . Noc turne .

Lec la ir, J . M . Andante , Gavo tta e M inuet to . (Jensen,V .

Sarabanda and T ambourino . (Jensen, V.

T ambo urin. (Hermann,

Sonate IV . (G . Jensen).Le Jeune

,A. Co ronation M arch.

Lo eschho rn, A . A Child ’s D ream (Des Kindes T raum).Characteristic piece, arranged by Ernst Heim.

L o ew , J . Albumblat t .Lul ly, J . B . Gavo tte in D mino r . (Hermann

,C.V .M .

M ac Cunn,Hamish. Op . 30 .

“Highland M emo ries” ,Suite o f 3 Sco ttish Scenes: “By the Burnside” ,

“On the

Lo ch” and “Harvest DanceThree interest ing and quite uncommon pieces .

Three Romantic Pieces. Op . 2 7 .

No . 1 . L’Esp érance . No . 2 . Sérénade. No . 3 . Reve d ’amour.

M ackenz ie, A . C. Op . 3 7 , Nos. 3 and 4 .

“Bened ic t us”and “Zingaresca”

M al lard, C.

“Sehnsucht und Hoffnung” .

M arch A lbum . Bks. 3 and 4 . Ed i ted by Hermann.

(8686 c , d).M art ini , G . B . Siciliana . (Jensen,

V .

M atras , M aud . Ballade . Op . 8 .

M ende lssohn. Op . 4 . Ad ieu 51 Berlin.

M ofiat, Al fred . La Gracieuse . M azurka.

Le'

gende.

M azurka hongro ise .

Fantasia an Sco t tish M elod ies.

M olique , B . 6 M o rceaux Caraetéristiques. Op . 4 1 . (ErnstHeim).Op . 47 . 6 Melodies. 2 Bo oks. (940 5 a, b).

No . 6 is espec ia lly piquant .M onsigny. R igaudon. (7 3 8 7 d).M o sz kow ski , M . Op . 8 . 5 Valse5 .

Op . 2 1 . Album Espagno l .Arranged by E. Thomas from the piano duets.

Op . 2 3 .

“From Fo reign Parts” . (E . Thomas).Melo d ie.

1 48GUIDE THROUGH L

'YOL/IV LI TERATURE.

Vio lin and P iano . Step 111. (Continued.)

M o z art,W . A . 1 8 Sonatas.

M o zart ’s sonatas,although presenting no spec ial technical

d ifficulties,require great del icacy and refinement in rendering.

Nos. 8 , in C,1 1

,in G

,and 1 8 , in F,

might be first studied .

Andante,M inu et and Rondo (Haffner Serenade).

Larghet to ,from clarione t Qu intet . (Jensen,

V .

Andante in E l" (Sonata in B 9). (7 3 2 4 b).Adagio ,

ed ited by E . Heim.

Adagio .

Nic o d é, J . L . Barcaro lle.

No skow ski,S . Op . 2 3 . Craco vienne M élanco lique.

Op . 2 7 . Craco vienne in A.

Pap in i , Gu ido . T ro is M o rceau x de Salon.

No . 1 . Gavo tte . No . 2 . Romance sans Paro les. No . 3 .

Scherzettino .

Pap ini’s composi t ions belong to the better class o f salon

music,being especially melod io us and attract ive .

P fe iffer,G . Op . 7 7 . Gigue dans le genre ancien. (Thomas).

(1 1 630)P i t t , P ercy. Canzonet ta. Op . 8 , No . 1 .

Pleye l . Op . 44 . (Hermann).Pugnani, G . Sonata in E .

Rafi“

, Jo achim . Pasto rale. Op . 8 5 , No . 2 .

Chanson suisse .

Renard , F . B erceuse . (M .F.

R ies . Romance .

R i t ter . Opera tic D uets. The fo llowing can be taken in

this Step : Sonnamb ula , (940 7 c); La Favo rite , (9407 d)Luc ia di Lammermoo r

, (940 7 e); Zampa , (940 7 f); Zauberflo

'

te , (940 7 g); Lohengrin, (940 7 h); Tannhauser,Oberon, (940 7 k); T aming o f the Shrew ,

FlyingD u tchman

, (940 7 m); Fra D iavo lo (940 7 a).Rod e , P . Op . 1 0 . Air Varie'. (Jensen V. I 2 ),Roeckel

, J . L . Croqu is musicaux .

No . 4 . Theme dansant . No . 5 . Dans la barque.

Rub ins te in,A . 3 Salon Pieces

,Op . 1 1

,ed ited by ‘

E .

Heim:Allegro appassionato . (7 562 a).Andante . (7 56 2 b).Allegro . (7 562 c).

https://www.forgottenbooks.com/join

hirlw all. Favo u ri te Airs,with Variations :

No . 6 . Old English Song (Malibran’ s Favouri te). (g4 1 2 f).Go od study fo r the bow .

homas , Emile . 1 ere Fantasie sur les Airs éco ssais .

2 de Fantasie sur les Airs éco ssais.

Danse Sic ilienne .

D anse des Fe'

es .

Le'

gende .

Meditation re'ligieuse.

home, F. Op . 2 5 . Simp le Aveu.

scha’

ikow sky. Andante Cantab ile.

Romance .

T ro ika.

Album o f Favo u rite Pieces: 1 . M azurka , 2 . SweetD ream, 3 . Neapo li tan Song, 4 . Aut umn Song , 5 . Barcaro lle,6 . Andante cantabile

, 7 . Chant sans paro les,8 . T roika ,

9. Christmas. Edited and partly arranged by Fr. Her

mann.

NOS. 2 . 3 . 4 . and 5 III .

eracini, F . M . Concer t Sonata in E mino r.ivaldi, A. Sonata in A.

leux temp s , H . Op . 40 ,No . 1 . Romance in F.

o lkmann, R . Hungarian Sketch .

The Knights. (M F.46)M usical P ic t ure Bo ok (arranged by Hermann). No s. 2

,

The Po stillion” ; 3 . The Russians are coming ; 5 .

“The

Cuckoo and the \Vanderer”

l agner, R . Album Leaf.Rienzi

’s Prayer.

Sp inning Song (from Flying D u tchman).VO I G Q P fl o r l Q a r o n q ri o

GUIDE THROUGH VI OLIN LI TERATURE .

I 5 1

Vio l in and P iano . Step II I. (Continued .)

W ieniaw ski. Op . 1 2,No . 2 . Chanson po lonaise .

“Kuyawiak 2 de Mazurka.

G igue.

Effective and brill iant pieces. No . 1 o f Op . 1 2 belongs to IV.

W ilhelmj, A. VValter’s Preislied (from the “M eister

W iierst, R . Op . 2 5 . Two Romances .

W urm , M arie . Estera Gavo t te. (M .F.

Step IV . All P o sitions .

Palaes tra. A Co llec tion o f Pieces , Sonatas , Suites , and

Concer t Pieces for Vio lin so lo w ith Piano fo rte aecomp animent ; arranged in progressive o rder , carefu lly markedand anno tated by E . Heim:Bo ok VIA. Pieces up to the six th position ,

by M ax

Brauer , C. Gurlitt, and J . S. Bach . (1 1 47 6 a).Bo ok VIE. P ieces up to the seventh position , by E .

Thomas,R . Orlando M o rgan, and J. Hoffmann. (1 1 47 6 b).

Bo ok VIC. Supplement to Books A and B . Pieces by C.

E rsfeld , C. Gurlitt,B . M o lique , M . Hauser, and A.

Strelezki. (1 1 47 6 c).Bo ok VIIA. P ieces up to the thir teenth position by A.

Strelezki, P . Rode, de Angelis, and A. M o ffat. (1 1 47 7 a).Book VHB . P ieces up to the thirteenth position byBeethoven

,Baillo t

,de Angelis , and G . Papini . (1 147 7 b ).

Book VIIC. Supplement to Books A and B . Pieces byM olique, M azas

,and de Bériot. (1 147 7 c).

Palaestra , a collection o f graduated pieces,revised by Ernst

Heim, o ffers the most sui table material for the study o f style

and phrasing ; each book corresponds in d ifficulty with the

same boo k o f his Vio l in Duets,

“Arena see page 1 2 5 and his

Viol in Stud ies, “Gradus ad Parnassum”, see page 1 1 5 .

B ach, J . S . Aria from the Sui te for Orchestra,arranged

as a Concert Piece on the fo u rth string by Ernst Heim.

B ache , F. E. Romance . Op . 2 1 .

B a i l lo t , P . Rondo sur nu Air M o ldavien. (Hermann,

B ecker, A. Op . 2 0 . Adagio .

B eer-W albrunn. Op . 3 . Sho rt Fantasia in G min.

1 c3 GUIDE THROUGH VIOL IN L I TERATUR E.

Vio l in and P iano . Step IV. (Continued .)

B ee thoven. 6 Quar tets. Op . 1 8 . F,G

,D

,C mino r

,A

and B flat. Arranged by F. Hermann. (7 34 1B ee thoveniana . 3 Bks. Ex trac ts from the piano fo r te Sonatas

,

arranged fo r vio lin and p iano by F. Hermann. (7 3 30 aB er ie t , C. de . Op . 3 2 . z ud Concerto in B mino r .

Op . 100 . Scene cle Ballet (E . Heim).B o rtniansky. Ado rat ion.

Co leridge-T aylo r, S . Op . 9. Two Romant ic P ieces,

Lament” and “M erry-making”

.

Op . 1 4. Legend (from the Concertstiick),Of decided o riginality; fo r musical ly gifted students only.

Valse-Caprice . Op . 2 3 .

Danse negro , from “African Su ite .

”Op . 3 5 . (6 100 d).

A Negro Lo ve-Song. Op . 3 5 , No . 2 . (7 3 59 b).Co re l l i . Adagio and Allegro . (Hermann

,C.V .M .

Cui, Cesar. Berceuse .

D anb é , J . Berceuse.

D av id , Ferd . E t ude . (MF .

D e-Ange l is , G . Pense’

e me'

lancolique . Op . 8 .

Erns t . Elegy.

F ie ld . Noc turnes (Hermann).Fleurs d es Op eras . T annhauser . (Courvo isier).G o ltermann. G . Berceuse.

Gouno d . Faust . Po tpo u rri by R . Ho fmann. (5445 c).Gurlitt, C. Op . 1 0 5 . Ouverture des M arionet tes.

Op . 1 3 7 .

“Commedietta”O uverture.

G rieg, E . Op . 8 . Sonata in F.

Op . 1 3 . Sonata in G mino rOp . 4 5 . Sonata in C mino r.

T hree o f the freshest and most po etical o f modern sonatas.

Hartog, Henri . Priere , 3me M o rceau de Salon.

Reverie, 2 d M o rceau de Salon.

H auser, M . Chanson de Berceau . (M .F.

Ungarisch .

H aydn . Andante.

He l ler, Step hen. Feuille t d ’Album. T ranscri t p ar H. W .

Ernst . (E . Heim).H enselt, A. Chant d ’amour.H i l ler, F . Zur Guitarre. (M .F.

https://www.forgottenbooks.com/join

I 54GUIDE THROUGH VIOLIN LI TERA TURE.

Vio lin and P iano . Step IV. (Cont inued .)

Rachmaninoff, S . Romance in D mino r .Hungarian Dance .

Raff , Jo ach im . Six M o rceaux . Op . 8 5 : No . 1

No . 3 , Cavatina ; No . 4 , Scherzino ; No . 5 , Canzon

T arantella .

T hese pieces ded icated to the late Ludwig Strauso f vio l in l i terature . The Cavatina is one of the mo

vio l in pieces.

Meditation. (M .E.

Op . 7 3 , 7 8 , 1 2 8,1 2 9, 1 45 . 5 Sonatas. (2 562

Some movements o f these fine Sonatas belong te

Reger, M ax . Op . 1 . Sona ta in D mino r. (7 5 3Op . 3 . Sonata in D majo r .

Ro de . Concerto No . 7 .

Rub ins te in, A . Op . 1 3 . Sonata in G .

One of the compo ser's mo st genial works .

Sonata in D . Op . 1 8 .

Sa int-G eo rge, G . Chant sans Paro les.

Saure t , E. Souvenir d ’Orient. 6 M o rceaux , Op .

Book 1 . Souvenir de Constantino p le . Danse

(1 1 694 a).Bo ok 2 . La Revue, Gondo liera et A Pe

'ra . (1 1Interesting pieces, full o f o riental co louring.

M o rceaux caracte’

ristiques. Op . 47 :

No . I , Canzona ; No . 2 , Impromptu .

Scenes Villageo ises. Op . 50 . 5 M o rceaux de

GUIDE THROUGII VI OLIN LI TERATURE . I 5 5

Vio l in and P iano . Step IV. (Continued .)

S ind ing. (Continued .)Op . 30 . R omance.

Op . 6 1 . 4 Pieces. 3 Bks. (30 50 a-c).Sind ing

’s composi tions rank among the finest works by

modern Scand inavian composers. The Sui te Op . 10,resembles

in style the “Ho lberg” Suite by Grieg.

Sitt, H ans . Op . 7 1 , No . 1 . Romance.

Op . 7 1 , No . 2 . Nocturne.

Op . 7 1 , No . 3 . Scherzo -Tarantelle .

Sjiigren. Op . 1 9. Sonata in G mino r.This composer is a highly talented member o f the modern

Scand inavian Scho ol.Sme tana. 2 Salon-P ieces . (2 634 a-b).

Fine and charac terist ic pieces o f the famous Czechian master.Somervell, Arthur. 3 Original P iecesNo . 1

,R omance ; No . 2

,Barcarolle.

Sp ohr, L . Op . 2 . Concer to in D mino r .Op . 1 3 5 . Three D uettino s. (No . 2

,Scherzo ; 3 . Sarabande).

(8695)T he Barcaro lle, No . I

,belongs to II .

Op . 95 . Duet in G mino r.Op . 1 1 2 . D uet in E .

Op . 1 1 3 . Hamburg Sonata .

3 Adagios from the Vio lin Concerto s (Fr. Hermann).

(1 1 70 5)S tanfo rd , V i l l iers . Légende.

Strelezki, A . Romanza in F.

Serenade . Op . 191 , No . 4 . (Thomas).Sutclifl

'

e , W . Gavo t te Romantique .

T hirlw all. Favo u rite Airs,w ith Variations:

No . 1 . English Air. (94 1 2 a).No . 2 . Sco tch Air (Annie Laurie). (94 1 2 b).No . 3 . Irish Air (Sprig of Shillelagh). (94 1 2 c).No . 4 . W elsh Air (Po o r Mary Ann). (94 1 2 d).No . 5 . No rthumbrianAir (W eelmay the Keel row) (94 1 2 c).No . 7 . Ye Banks and Braes. (94 1 2 g).No . 8 . Carnaval de Venise . (94 1 2 h).

T hese pieces are excel lent bowing exerc ises .

T home, F . 1 er Andante Religioso . Op . 7 0 .

T s cha'

ikow sky. Christmas. (Noel). (M .E.

Se're'nade mélancolique. Op . 2 6 .

I 56GUIDE THROUGH VI OLLV LI TERA TURE .

Vio l in and P iano . Step IV. (Continued .)

V ieux temp s , H . Reverie , Adagio . Op . -2 , No . 3 . (7 594 c)‘

Elegie . Op . 30 . Revised by R . Scho lz .

Souvenir de Beauchamps. Op . 3 2 , No . 1 . (Fr. Hermann.)(1 1 7 5 1)Sui te . Op . 43 . (2 5 8 2 a).

V o lkmann, R . Chant du T ro ubado u r,M o rceau de Salon

,

Op . 1 0 . Revu p ar R . Scho lz .

W agner, R . M arch (from Tannhauser). (M .E.

W eb er. 6 Sonatas. Complete (David).W ichtl. Fantasias on National Songs. O p . 1 19:

No . 1 . Home, swee t Home . (94 1 3 21)

No . 2 . Long ,long ago . (94 1 3 b).

No . 3 . The Red Sarafan. (94 1 3 c).No . Santa Lu c ia . (94 1 3 d).No . 5 . Ro b in Adair. (94 1 3 e).No . 6 . D ie drei Ro sen. (94 1 3 f).

W ieniaw ski, H . Le’

gende . Op . 1 7 .

W uerst, R . Russian Su ite . (F. Hermann.)

S tep V . D i ffi cul t.

(Octaves , Springing B ow , S taccato etc .)

Palaes tra. A Co llection of P ieces,Sonatas , Su ites , and

Concert P ieces for Vio lin So lo w ith P iano fo r te-Accomp animent ; arranged in progressive o rder

,carefully marked and

anno tated by Ernst Heim :Book VIIIA. Concert P iece w ith employment o f staccato ,by Spohr . Concer t pieces with emp loyment of Springingbow by Bach and Paganini . (1 147 8 a).

B o ok VIIIB . Concer t p ieces w ith o ctave passages by No skowski and Co leridge -T aylo r. Concer t Pieces w i thdo uble - sto p and cho rd passages by Beethoven and

J . Ho ffmann. (1 1 47 8 b).Book VIII c . Supplement to Bo oks A and B . Concert Piecesby David , Vieux temp s, Saure t and \Vieniawski. (1 1 47 8 e).

Bo ok IXA. Concer t Sonatas in classical style by Leclairand T artini . (1 1 47 9 a).

B o ok IX B . Concer t P ieces in modern style by Ernst andSpohr . (1 1 479 b).

https://www.forgottenbooks.com/join

A mo st useful wrist study.

Varia tions de bravo ure sur M 015 e .

A fine study fo r the G string.

Raggh iant i , J . Aria di Danza (“La M onferina

An excellent study for salta/o bowing.

Rus t , F . W . Sonata in D mino r .Saure t , E . Op . 47 , No . 3 . Scene Po lonaise.

Scharw enka, Xaver. Danses po lonaises (Five Po lishDances.) Op . 3 . Arrange

'

es p ar G . Ho llander . No s. 1,

4 and 5 .

S ind ing.Op . 60 . Concerto No . 2 in D majo r.

S i t t , Hans . Op . 2 1 . 2 nd Concerto in A mino r .T art ini . T rille du D iable. Sonata.

V ieux temp s , H . Fantaisie-Cap rice . Op . 1 1 . (Hermann.)(7 592 )Fanta isie . Op . 2 1 . (Fr. Hermann).Andante Rondo . Op . 2 9.

Ro nd ino (Hermann) Op . 3 2 , No . 2 .

Fantasia appassiona ta. Op . 3 5 .

W ieniaw ski, H . Adagio élégique. Op . 5 . (R . Scho lz).(7 498)

S tep V I . V ery d i ffi cul t . (Concerto s e tc .)

Palaes tra . A Co llec tion of Pieces , Sona tas , Suites , and

Concer t P ieces for Vio l in so lo w ith P iano fo rte aecom

p animent ; arranged in progressive o rder, carefully markedand anno tated by Ernst HeimBo ok X A. Concert P ieces in the Po lyp honic

“

style by Bachand Ernst . (1 1 480 a).

Bo ok X B . Concer t P ieces in the virtuoso style by Ernstand Paganini . (1 1 480 b).

GUIDE THROUGH VIOLIN LI TERATURE . 1 59

Vio l in and Piano . Step VI . (Continued .)

Pa laes tra. (Continued .)Bo ok X C. Supplement to Books A and B . Concer t Piecesin the virtuo so style by M o szkowski and Vieux temp s.

(1 1 480 c).Palaestra, a co llection o f graduated pieces, revised byErnst

Heim, o ffers the most suitable material for the study o f styleand phras ing ; each book co rresponds in d ifficulty with the same

bo ok o f his Vio lin Duets, “Arena" , see page 1 2 7 , and his

Viol in Stud ies,

“Gradus ad Parnassum see page 1 1 8 .

B ach . Chaconne.

T his ed ition o f Bach ’s great wo rk is o f special interest and

value , as in i t the accompaniments provided by M endelssohnand Schumann may be compared .

Adagio and Fugue from 5th Vio lin Sonata. (B . M olique.)(940 1 a).

B rahms, J . Op . 7 7 . Concerto .

B ruch, M . Op . 2 6 . Concerto in G mino r .D ancla, C. Op . 50 . Romance and Bo lero .

A favorite and bril l iant piece.

Op . 5 3 . Elegie et Barcaro lle.

D avid , Ferd . Andante et Scherzo capriccioso . Op . 1 6.

(E . Heim.)Erns t, H . W . Fantaisie brillante sur la M arche et la

Romance d ’Otello deRossini. Op . 1 1 . (ErnstHeim.)Op , 2 2 . Hungarian M elod ies .

Op . 2 3 . Concerto in F mino r.Hauser. Op . 34. Bird on the tree .

Jo ach im , J . Op . 1 1 . Hungarian Concerto .

Laub . Op . 8 . Po lonaise . (Wilhelmj). (1 093 b).P agan ini . First Concerto in E flat.

Le Streghe (W i tches’ Dance).Le Carnaval de Venise .

1 Palpiti .Celebrated Composit ions.

Rub ins te in. Op . 46 . Concerto in G majo r.Sarasate, M . Airs Espagno ls.

Sp ohr, L . 7 th Concerto in E mino r.8 th Concerto in A mino r (Gesangscene).9th Concerto in D mino r .

C arnava l R usse . U p 1 1 . (Fr. H ermann).

Scherzo—T arantelle . Op . 1 6 . (Fr. Hermann). (1 1 7 7

String Trio s.

T hree V io l ins .

Iermann, Fr. The First Prac tice in Ensemble Playii

3 2 Sho rt P ieces , arranged . 2 Books. (5 2 91 a , b). I t

lo fmann, R i chard . 4 P ieces in an easy style for 1

use o fMusic-scho o ls, Academies etc . Op . 104.

.achner, Ignaz . 3 Sonatinas. Op . 92 : I I .No . 1

,in B flat majo r. (5 2 93 a).

2,in G majo r . (5 2 93 b).

3 , in A. (5 2 93 c).Vohlfahrt, F . Op . 8 8 . M elod ic p ieces. 2 Bks. I .Vichtl. 3 T rios. Op . 7 9. II .

https://www.forgottenbooks.com/join

I 6 2 GUIDE THR OUGH VIOLIIVLI TERATURE.

P iano forte Trio s .

P iano , V io l in, and V io lonce l lo .

B arnet t , John Franc is . T rio . Op . 49 ,in C minor .

(92 99) IV

B ee thoven. 6 Quartets. Op . 1 8 . Arranged by F. Her

mann. 6 Bo oks. (92 91 IV.

B ee thoveniana. Extraits des Sonates pour P iano de

Beethoven arranges p ar Fr. Hermann:

Livre A. Op . 7 ; Op . 1 0,No . 2 ; Op . 2 6 ; Op . 2 7 , No . 2 .

(7 2 42 a). III .Livre B . Op . 1 0

,No . 3 . Comp lete . (7 2 42 b). III

.

Livre C. Op . 2 , No . 3 ; Op . 1 3 ; Op . 1 4 , No . 2 ; Op . 3 1 ,No . 3 . (7 2 42 c). II I.

B ennett,W . S ternd ale . Chamber T rio . Op . 2 6 . III

.

B rahms , Johannes . T rio . Op . 8 . V .

D ancla, J . C . 1 2 Melodies . Arr. by Cornelius Gurlitt.

(7 2 48) lb .

Dussek, J . L . Favo u ri te Sonata. Op . 3 7 . I I.

E l lerton. T rio , in A. Op . 2 7 . III .T rio

,in G . Op . 4 5 . II .

T rio,in E mino r . Op . 46 . I I .

T rio,in C mino r. Op . 47 . II .

T rio , in F. Op . 48 . II .Gade , N ie ls . Novelletten. Op . 2 9. IV.

T rio . Op . 42 . IV .

Gurlitt, C. Op . 1 0 5 . Ouverture des M arione t tes. (7 2 5 8) II .Op . 1 3 7 .

“Commedietta”Ouverture . II

Our Favouri te Tunes. Arranged by F. Hermann.

la and b .

Op . 1 8 1 . M iniature T rio .

The same refinement o f conception which charac terises allGurlitt s compo sitions pervades also this work which on accounto f its simpl ici ty is very sui table fo r

_beginners.

Op . 1 2 9. T rio im leichten Style. II .Happily conceived fo r youthful minds. The compo ser has

been W 1se 1n g1v1ng as much impo rtance and melod ic interestas po ssible to every instrument .Op . 1 7 1 . Third T rio (im leichteren Style). (7 2 5 5)

The technique o f th is Trio makes greater demands than Op .

1 2 9, but the brilliant spiri t pervad ing th is work which appealsto sl ightly more advanced pupils, will amply repay its study.

GUIDE THROUGH VI OL IN LI TERATURE . 1 63

Piano T r ios. (P . ,V. and C.) (Cont inued .)

Hennessy, Sw an. Lieder an den M ond : 1 . Um M itternach t ; 2 . In der Fruhe ; 3 . Am Abend . Op . 1 0 . lb .

Hermann, F. Sonat ine en sol majeur . (7 3 89 b). Ih.

Sonatine en ré majeur . (7 390 b). II .

Ho rs ley. T rio in A. Op . 7 . IV.

Hudson, J . W . T rio in D . II .I vimey, J . W . Trio . Op . 1

,in D . IV.

An excellent Op . 1 . Interesting subjects well developed .

Kalliw oda. 1 st Grand T rio in Fmino r. Op . 1 2 1 . IV.

Kreuz , Emil . Trio facile. Op . 3 1 . I .

M aysed er. 4 th Grand T rio , in G . Op . 59. V

M eyer, L . T rio s faciles (Kinder-T rios):No . 1 , in G . (g3 1 7 a). I b .

2,in G . (g3 i 7 b). lb .

3 , in F. I b .

T hese are not only easy and excellent in form, but theircontents appeal to youthful minds, and they are invaluable to

awaken the love for chamber music in children.

M o lique. 1 st T rio , m B,flat. Op . 2 7 . IV.

Pleyel, I . J . Oeuvres arrangés p ar F. Hermann:

Op 8 . Six T rios. I .Op . 48 . Six Sonatinas. II and III.

P o tp ourris on Popular M elodies from classical and modernOperas and Orato rio s. Arranged by R . Ho fmann. 45Books.

Series I . (in the first position). I and II.Le Postillon. (540 1 c). Zampa .

La Sonnambula. (540 2 e) W ildschutz.No rma. (5403 c) Czar und ZimmerLe Calife de Bagdad . (5404e). mann.

La Dame Blanche. (540 5e). Jo seph .

LaFille duRegiment. (5406e). St. Paul.Lucia di Lammer Il Seraglio .

moo r. (540 7 e). Il Flau to M agico .

O rpheus . (540 8e). Don Giovanni .T he M essiah. (5409e). Der Freischiitz.

T he Creation. (54 10e).

1 64GUIDE THROUGH VI OLIN L I TERATURE .

P iano T rios. (P . , V. and C.) (Continued .)

H o fmann. Po tpo urris. (Continued .)Series II . (in vario us po sitions). II and III .

The Bohemian Girl . (542 0e) -A MidsummerEgmont . 42 1 e) N ight

’5 Dream. (542 9e).

Fidelio . 5430e).L’Elisire d

’Amore . (542 3 é): Les Hugueno ts. 543 1 e).

Lucrezia Bo rgia. (542 4e). Le Prophete. 543 2 e).Iphigenie enAulide. (542 5c). Le No zze di “

Figaro . (543 3e).Judas M accabaeus. (542 6e). Die lustigen W eiberDas Nachtlager in von Windso r. (5434e).Granada. (542 7 c). M aritama. (543 5e).

Hans Heiling. (s4z 8e). Oberon. (5436e),Preciosa. (543 7 e).

III and IV.

Der fliegende HO1 11 Barbiere di Se

lander . (543 8e). viglia . s442 e).Lohengrin. 5439e). Guillaume Tell . s443e).R ienzi . (5440e). M asaniello . 5444e).Tannhauser. (544 1 e) Faust . 5445e).

Saint-George , G . L’anc ien reg1me . Petite Suite. (7 5 7 0c). I b .

Schumann, R . T rio . Op . 63 . In D mino r. V

T r io . Op . 80 . In F. V .

Phantasiestucke . Op . 8 8 . V.

3 rd T rio,in G . Op . _ 1 10 . V .

S i las , E . T rio s.

No . 1 , in C mino r. IV.

2,in A (Op . III and IV.

3 , in C (Op . III .S ind ing. Op . 64 .

[

T rio in A min. VI.

S i t t . Op . 63 , No s. 1 Trios. (2 83 5_a and b).Sp ohr: T rio

,-ih E mino r. Op . 1 19 (W . S. B . W o o l

house). (9664 a) IV.

T rio,in F. Op . 1 2 3 . (W . S. B . W o o lhouse). (9664 b). V .

T rio,in A. Op . 1 2 4 . (W . S. B . W oo lho use). (9664 e). V .

T rio ,in B flat. Op . 1 3 3 . (W . S. B .W o o lhouse) (9664d). V .

https://www.forgottenbooks.com/join

1 66 GUIDE THROUGH VI OLIN L I TERATURE .

P iano T rio s. (P . and 2 Vio l ins.) (Co ntinued .)H o fmann . Po tpo urris. (Continued .)

Series II . (in various po sitions). I I—IV.

The Bohemian G irl. (54z o d). Die lustigenW eiberEgmont . (542 1 von W indso r . (5434dFidelio . (542 2 d). M aritana. (543 5L Elisire d ’Amore . (542 3 d). Oberon. (5436Lucrezia Bo rgia . 542 4d). Preciosa . 543 7 d).Iphigenie enAulide. (542 5d). Der fiiegende Ho l

Judas M accabaeus. (542 6d). lander . (543 8d).Das Nachtlager in Lohengrin. 5439d).Granada. (542 7 d). R ienz i . (544od).

Hans Heiling. (542 8d). T annhauser . (544 1 d).A M idsummer Il Barbiere di

Night’s D ream. (542 9d). Seviglia. (5442 d).

Elijah . (5430d). Guillaume T ell . (5443d).Les Hugueno ts. (543 1 d ). M asaniello (5444d).Le Pro phete . (543 2 d). Faust. (5445d).Le Nozze diFigaro . (543 3d).

P urcell , Henry. Sona tas. Arranged by G . JensenThe Go lden Sona ta . II .Sonata in B mino r . II .Sonata in A mino r . II .Sonata in C majo r. II .

Sa int-Geo rge . L’ancien re’gime . Peti te Suite. (7 5 7 o b). I b .

T o re l l i , G iusep p e . Concerto . Op . 8 . (G . Jensen).II .

Veracini,A. Sonate. C min. (G . Jensen). Il.

W e id ig, Ado l f. Kleines T rio . Op . 9. II .M o rceaux d

’

Ensemble . (F. Hermann)ChOp in. M arche funebre . (5 3 30 a).

Schubert . M oment musical . (5 3 30 b).M endelssohn. Dub. Op . 3 8 . (53 30 c).Fr. Hermann. Petite M arche . (s3 3o d).Nico lai . M erry \Vives o f W indso r . (5 3 30 e).Beethoven. M arche t urque des Ruines d ’Athenes. (5 3 30 f).M ozar t . Andante du 8me Quat uo r . (5 3 3o g)Fr. Hermann. Barcaro lle . (5 3 30 h).W eber . Finale d

’Euryanthe . (5

Schumann. Cho eu r de Paradis et Péri . (53 30 k).Schubert . Entr’acte de Ro samonde .

Beethoven.

“An die Freude ,” Hymn from 9th Symphony.

(5 3 39 m)

GUIDE THR OUGH VIOLIN LI TERATURE. 1 67

P iano Trios. (Continued .)

P iano fo rte, V io lin, and V io la.

Gade , Nie ls W . Novelletten. Op . 2 9. Arranged byErnst Heim. IV.

Very fine work,no t over-difficult, wo rthy o f be ing better

known.

Jensen, G . Phantasiestucke. Op . 2 7 . IV.

Kreuz,E . T rio in C. Op . 2 1 . IV.

Trio facile, in C. Op . 3 2 . II .Lachner, Ignaz . Grand T rio . Op . 10 2 . II .

T rio in C. Op . 1 0 3 . H.

P leye l . 3 T rios. Op . 44. (Hermann). III .Potp ourris on Popu lar M elodies from classical and modernOperas and Oratorio s. Arranged by R . Hofmann

III and IV.

W agner . Der fliegende Ho llander .W agner. Lohengrin. (5439 s).\Vagner. R ienzi .W agner. Tannhauser.Ro ssini . Il Barbiere.

Rossini . Guillaume Tell (5443 s).Auber . Masaniello . (5444 s).Go unod . Faust .

Reger, M ax . Trio . Op . 2 . V

W e id ig, Ado l f. Kleines Trio . Op . 9. II .

V io l in,P iano forte , and Organ (or H armonium).

Audibert . Andante religieuse. III .B ach ,

E. Solfeggietto , arr. by Oscar W agner. (97 8 5 b) II .Also for Flute

,Vio lin

,and Harmonium. (97 8 5 a). II .

B ach, J . S . Ado ration,M edi tation on the 7 th sho r t Pre

lude, composed by Oscar W agner . II .Also with 2 nd Vio l in, and zud Vio loncello .

Clark , Sc o ts on. M arche aux Flambeaux for P iano , Harmonium

,Vio lin

,and Vio loncello . II .

A te o cara (P uri tani). H.

M ed itation in B flat. II .F ie ld

, J . No c turne in B flat (Sco tson Clark). H.

G ounod , C. M ed i tation on the 1 5 1 Prelude o f J . S. Bach , forVio lin (or Vio loncello), Harmoni um and Piano . (1 1 45o h). III .

String Quartets .

Quarte ts for 4 V io l ins .

Clark,Sco tson. Gavo t te . IV.

L achner,I . Op . 1 0 7 . Q uartet in G . IV.

Leo ,Leonard o . Concerto a quat tro Vio lini obbligati ,

for 4 Vio lins with Piano accomp . by Gustav Jensen.

II and III .Shaw , Sydney. Reverie. II .

3 V io l ins and V io la.

Herrmann, E . Serenade . Op . 1 4 . III .L achner, Ignaz . Quar tet in C. Op . 1 06 . III.

3 V io l ins and V io lonce l lo .

H enke l,H . Introd uction and Po lacca . P iano accomp ani

ment ad lib . III.

Sa int-George . L’ancien regime. Petite Suite (7 5 7 0 m). II .

https://www.forgottenbooks.com/join

I 7OGUIDE THR OUGH VIOLIN LI TERATURE.

2 Vio l ins, Vio la and Cello . (Continued .)

Kreuz , E . Q uartet,Op . 42 , in D mino r.

Capriccio . Op . 43 . III .Lachner, Ignaz . Quartet in G . Op . 1 04.

and III .Quartet in A mino r . Op . 1 0 5 . I I and

Quartet in B flat (GZuv. Po sth .) I I and

M ende lssohn. 7 Quar tets.

M ozart . 1 0 celebrated Quar tets.

Ouseley, Sir F . A . G . Quartet in C. (92 66 a).Sco re . 8 vo . (92 66 b).Q uarte t in D mino r. (92 67 a) III.

Sco re . 8 vo . (92 6 7 b).Perry, E . Prize Q uartet . IV.

P leye l , I . J . (Euvres arranges p ar F. Hermann:

Op . 8 . Six Q uar te ts. I and II.

Op . 48 . Six Sonatinas. II and III .Prout , E . Op . 1 . Prize Q uar tet . IV.

Op . 1 5 . Second Q uar tet,in B flat. IV

R ies , H . 2 Q uat uo rs fac iles. Op . 2 0 . II .Ro de , P . Air varie'. Op . 1 0 . (Gustav Jensen.) (86g

Arranged by Jensen for So lo Vio l in with easy stringp animent.

Saint-George . L’anc ien re'gime . Pe ti te Suite. (7 5 7C

An excellent and melod ious quartet for beginners.

.t -n k n v-f fl . . n .-+ n +n a " A i r‘

1 1 4 0 n k \

GUIDE THROUGH VI OL IN LI TERATURE .

P iano Quartets .

V io l in, V io la, V io lonce l lo , and Piano .

B eethoven. Op . 1 6. Quartet in E l7 .

B eethoven iana . Ex trai ts des Sonates pour P iano de

Beethoven, a rranges p ar Fr. Hermann:

Livre A. Op . 7 ; Op . 10 , No . 2 ; Op . 2 6 ; Op . 2 7 , No . 2 .

(7 1 7 5 a). IV.

Livre B . Op . 1 0,No . 3 . Complete. (7 1 7 5 b) IV

Livre C. Op . 2 , No . 3 ; Op . 1 3 ; Op . 1 4, No . 2 ; Op . 3 1 ,No . 3 . (7 1 7 5 c). IV.

B rahms . Op . 2 5 , No s. 1 and 2 . Quartets in G mino rand A majo r . VI.

Op . 60 , No . 3 . Quartet in C mino r . VI.

M ende lssohn. Complete Quartets.M o zart . 2 Quar tets in G mino r E l) .P feiffer, G . Quatuo r en Fa mineur. Op . 1 19. IV

P leye l , I . J . (Euvres. Arrangées p ar F. Hermann

Op . 8 . Six Quartets.

Op . 44. 3 Quartets . III .Op . 48 . Six Sonat inas. I .

P rout, E . Op . 2,in C. Prize Quartet. IV.

Op . 1 8 , in F. IV .

Rhe inberger, J . Q uar tet in E flat. Op 3 8 . IV

Schubert . Adagio Rondo .

Schumann. Op . 47 . P iano Quartet .W eber. Op . 8 . P iano Quar tet .W estro p , H . Op . 2 . Quar tet in A flat. IV.

2 Vio l ins , V io lonce l lo, and P iano .

Abaco , Evaris to Fel ice D al l ’ . Suite (Sonata da Camera)in G mino r . Arranged by D r. H. Riemann. Sco re and

Parts. II .B oyce , W . Sonata in A majo r. (G . Jensen). II .Co re l l i, Arcange lo . 6 Sonate da Camera a tre (due Violini

, e Violone , o Cembalo). Opera IV. W i th P iano fo rteAccompaniment wo rked out from the Figured Bass o f the

au tho r, and w ith all necessary indications for the mode of

executing , for bowing and fingering by Gustav Jensen.

I and II .

Quartets (2 Vs ‘Cello and Piano). (Continued .)

) fmann, R . Po tpo u rris on melodies from Operas

Orato rios. 19 Bks. (540 1 f— 54 19f.) (Vio lin Pai

I st Po sition only). I .Po tpo u rris on melod ies from Operas and Orat

Second Series , with use o f the higher positions. 2 6

(542 0 1 II— IV.

eyel. 3 Quartets. Op . 44 . (Hermann)lrc ell , H enry. Sonatas . Arranged by G . JensenThe Go lden Sonata. (74 10 a). II .Sonata in B mino r . I I .Sona ta in A mino r . Il.

Sonata in C majo r . II .(uire , W . H . Serenade. Op . 1 5 . (7 1 2 2 c) IV.

racini,Antonio . Sonata in C mino r. Arranged l

Jensen. (7 4 1 5) I I .

3 V io l ins and P iano .

1rlitt , C. Ouverture des M arionettes. Op . 1 0 5 . (7 2 05“Commedietta

”Ouverture. Op . 1 3 7 . II .

arceaux d’

ensemble . (F. Hermann). I I-lVChop in. M arche funebre . (7 z 1 5 a).Schubert . M oment musical . (7 2 1 5 b).M endelssohn. Duo . Op . 3 8 . (7 2 1 5 c).Fr. Hermann. Petite M arche. (7 2 1 5 d).Nico lai . M erry W'ives o f W indso r . (7 2 1 5 e).Beethoven. M arche t urque des Ruines d ’Athenes. (7 2M o zart . Andante du 8me Quat uo r. (7 2 1 5 g).Fr. Hermann. Barcaro lle . (7 z 1 5 b).\Veber. Finale d

’Euryanthe . (7 z 1 5 i).

Schumann. Choeur de Parad is et Péri . (7 2 1 5 k).Schubert . Entr’ acte de Ro samonde .

Beethoven.

“An die Freude” , Hymn from 9th Symp

(7 2 1 5 m).p ini . G .

“Ho pe M arch. I .int-Geo rge . L

’ancien regime . Petite Suite. (7 5 7 o u

String Quintets .

https://www.forgottenbooks.com/join

1 7 4GUIDE THROUGH n ou n

:

L I TERATURE .

String Quinte ts. (Continued .)

So lo s w i th Quarte t Ac companiment.

M o z art, W . A . Adagio :For Vio lin

,with Quartet . III.

Fo r Viola, with Quar tet . III .For Vio loncello

,w ith Q uartet . III .

P iano forte Quintets.

P iano , 2 V io l ins , V io la, and’

Ce l lo .

B ee thoveniana . Ex traits des Sonates po ur P iano de Bee thoven

,arranges p ar Fr. Hermann

Livre A. Op . 7 ; Op . 1 0,No . 2 Op . 2 6 ; Op . 2 7 , No . 2 .

(7 1 4 5 a). V .

Livre B . Op . 10 ,No . 3 . Complete . (7 1 45 b). V.

Livre C. Op . 2,No . 3 ; Op . 1 3 ; Op . 1 4, No . 2 ; Op . 3 1 .

No . 3 . (7 1 4 5 c). V .

B rahms , J . Op . 34. Q u intet in Fminor. IV.

Gurlitt, Co rne l iusOp . 1 0 5 . Ouverture des M arione ttes. I I.Op . 1 3 7 .

“Commedietta”Ouverture. II.

P leyel , I . J . (Euvres arrangées p ar Fr. Hermann:

Op . 8 . Six Q u intets. I .Op . 48 . Six Sona tinas. (50 2 1) I .

P o tp ourr is on Po pular M elo d ies from classical and moderno peras and o rato rio s. Arranged by R . Hofmann. I II to IV\Vagner . Der fliegende Hollander. (543 8 q).

Lohengrin. (54399)R ienzi . (544o q).T annhauser. (544 1 q).

Rossini . 11 Barbiere . (5442 q).Guillaume T ell. (5443 q).

GUIDE THROUGH VI OLIA LI TERATURE . I 7 5

P iano Quintets. (Continued .)

P iano , 3 V io l ins , and V io lonce l lo .

Henke l , H . Introduction and Po lacca . III .Saint-George. L

’ancien regime. Petite Suite. II .

P iano and 4 Vio l ins .

Leo , Leonardo . Concerto a quattro Vio lini o bbligati, ar

ranged by Gustav Jensen. II and III .M aurer. Op . 5 5 . Concer tante. III .

P iano,V io lin, V io la, V io loncel lo , and B ass .

Hummel . Grand Q uintet in E flat mino r . Op . 8 7 . (W . S.

B . W o o lho use.) IV

Schubert . Op . 1 14. Trout Quintet .

Sex tets .

B ennet t , W . S. Op . 8 . Sex tetto . For Piano , 2 Vio lins,

Vio la, Vio loncello , and Double Bass. III .Jensen, G . Symphonies arrangées pour Flute (ou Vio lon),deux Vio lons, Vio la, Vio loncelle et Basse:

Jos. Haydn. En RE major (D majo r). III .En UT mineu r (C mino r). III'.

W . A. M o zart . En UT majeur (Cmajo r). III .En LAmajeur (Amajo r). III.

Jos.Haydn. En SI bémo l majeur (B flat majo r). IH.

P o tp ourris on Popu lar M elo dies from classical and moderno peras and o ratorios. (Flute, 2 Vio lins

,T eno r

,Vio loncello ,

and Piano fo rte.) Arranged by R . Hofmann. III to IV '

Wagner. Der fliegende Ho llander. (543 8 n).Lohengrin. (5439n).R ienzi. (5440 n).T annhauser. (544 1 n).

Ro ssini . Il Barbiere . (5442 n).Guillaume T ell. 5443 n).

Auber. M asaniello . (5444 n).Gounod . Faust . (5445 n).

Saint-Geo rge . L’anc ien régime. Petite Sui te II .

2 Violons, Alto , Vio loncelle, Contrebasse et P iano . (7 5 7 0 h).3 Violons , Violoncelle, Contrebasse et Piano . (7 5 7 o i).

I 7 6GUIDE THROUGH VI OLI IV LI TERATURE .

Sep tets.

B eethoven. Op . 2 0 . Sep tet .Co rell i , Arcange lo . (Euvres revues p ar J . Joachim et

F. Chrysander. 8 vo

Livres IV. ,V . Op . 6 . Concerti Gro ssi con duo i Violini

,

e Vio loncello di Concertino obligati , e duo i altri Violini,Vio la e Basso di Concer to Gro sso ad arbitrio che si p o

tranno‘

radop p iare . In Roma,1 7 1 2 . (In Sco re.) 2 Bo oks.

(4936 d , e). I I .M orceaux d ’

ensemble , for 3 Vio l ins, Vio la , ’Cello

, C. Bass,and P iano . (F. Hermann): II .Chop in. M arche funebre. (7 1 1 0 a).Schubert . M oment musical. (7 1 10 b).M endelssohn. Duo . Op . 3 8 . (7 1 10 c).Fr. Hermann. Petite M arche.

Nico lai . M erry W ives of W indso r. (7 1 1 0 e).Beethoven. M arche turque des Ruines d ’Athenes. (7 1 10 f).M ozar t . Andante du 8 me Quatuo r . (7 1 1 0 g).Fr. Hermann. Barcaro lle. (7 1 1 0 b).\Veber.

_Finale d ’Euryanthe. (7 1 1 0 i).

Schumann. Choeur de Paradis et Peri. (7 1 10 k).Schubert . Entr’ac te de Ro samonde.

Bee thoven.

“An die Freude,” Hymn from 9 th Sym

phony. (7 1 1 0 m).Squ ire, W . H . Serenade. Op . 1 5 . Piano , 2 Vio lins and

Vio loncello,w ith Flute, Clarine t , and Double Bass ad lib.

(7 1 2 2 c). IV

O ctets.

Gade, N. W . Octet , Op . 1 7 , for 4 Vio lins, 2 Vio las , and

2 Vio loncellos. V.

M ende lssohn. Op . 2 0 . Octet .Schubert. Op . 1 66 . Octet.

Old Chamber M usic .

R iemann, D r. Hugo . Old Chamber M usic (Alte Kammermusik). A selection o f Canzones, Sonatas, etc . (O

’a c/zz

'

esa

and dc:camera), for strings alone, or w ith a tho rough-bass,by composers o f the 1 7 th and 1 8 th centuries ; edited and

arranged. In sco re. 3 Bks. (5391

https://www.forgottenbooks.com/join

1 7 8GUIDE THR OUGH VI OLIN LI TERATURE .

String Orchestra . (Continued .)

Ro eckel. Air du Dauphin. Ancienne Danse de la Cour .Saint-George . L

’ancien regime. Petite Suite. (7 5 70 g). II .

Scharw enka, X . Andante religio so ,for String Orchestra

,

Harp , and Organ. Op . 46 B . IV.

Sco re. (7 0 8 8 a).Parts. (7 0 8 8 b).

Schlit t , E . Serenade in D . Op . 6 . Sco re and Par ts. III .W iierst, R . So us le Balcon

,Serenade fo r String Orchestra

w ith V io loncello Obbligato . Op . 7 8 . V

Full Sco re. (7 o g8 a).Orchestral Parts . (7 098 b).

Russian Su i te for String Orchestra wi thVio linObbligato . IV.

Full Sco re . (7 097 a). lV .

Orchestral Par ts. (7 097 b).W urm ,

M . Estera Gavo t te. Sco re and Parts. III.

D ance M ovements from the W o rks o f Grea t M asters .

(F. Hermann). II and III :J . S. Bach. Sarabande from the 2 nd Vio lin Sonata.

(7 1 5 1 a).G . F. Handel . Scherzo from the Concer to in G mino r.(7 1 5 1 b).

Joseph Haydn. Nachtwachter-M enuet t . (7 1 5 1 c).M onsigny. R igaudon from “La Reine de Golconde.

(7 1 5 1 d).W . A. M o zart . M inuet from the D ivertimento inD . (7 1 5 1 e).Beethoven. Allegret to from “Die Geschop fe des Pro

metheus. (7 1 5 1 f).M o zart . All’ ongarese fromViolin-Concerto inA. (7 1 5 1 g).Cherubini . Ballet-music from “Ali Baba .

”

(7 1 5 1 h).M arschner. Tanzmusik from “ Des Falkners Brau t .”

Rameau . Chaconne and M usette. (7 1 5 1 k).Gluck . Muset te from “Armida .

”

M onsigny. Chaconne from “La Reine de Golconde.

“

(7 1 5 1 m).

GUIDE THROUGH VIOLA LITERATURE.

M etho ds fo r the Vio la.

B runi , A. B . T eno r M ethod . Ed i ted,with fingering, bow

ings, and marks o f expression by Emil Kreuz.

Hermann, Fr. The Study o f the Vio la (Das Stud i um der

Vio la—L’Etude de l’Alto):Part 1. Instruction in Vio la Playing: 2 0 Introducto ryExercises with explanato ry remarks. (7 6 5 2 a).

Part II . 2 4 Easy Exercises (I st po sition), after the

Autho r’ s “Etudes spéciales , Op . 2 4 , Book I ,” with2 nd Vio la ad lib. (7 6 5 2 b).

Part III . 1 2 Easy Exercises and P ieces (1 st to 3 rd Posit ions), after Op . 2 4 ,

Book 2,w ith Pianofo rte aecom

p animent ml lib. (7 6 5 2 c).Laubach , A. A Practical Schoo l for the Viola (M éthodepratique po u r Alto), comprising the rudiments o f music

,

scales, arpeggi , progressive exercises, and pieces in all ma

jor and mino r keys.

Liitgen, H . Pract ical and Progressive M ethod ,intended

bo th for beginners and for mo re advanced players. Con

taining Exercises by the greatest M asters and some p as

sages from the W o rks o f Haydn, M o zart

,Beethoven, Schu

mann,etc .

Lutgen’s method consists largely o f extracts from the great

masters ; Hermann’s is the simplest course for young beginners.

In Laubach’s method the exercises are spec ially well graduated

as to d i fficulty.

Schro eder, C. Handbo ok of Violin Playing, has a chap teron Vio la M usic .

D I C p S 1— 1 1 .

H o fmann, R . Op . 86 . The first Stud ies.

Kreuz , E . Progressive St udies for the Vio la,wi th

p animent o f a second Vio la . Op . 40 :

Bo ok I . Commenc ing with exercises on the o penand gradually intro ducing the no tes o f C m:

the first position. (7 6 5 3 a).Selec t Studies, taken from the wo rks o f Campagno li ,Co relli

,Kreu tzer

,Spohr , Fio rillo ,

W enzel P ichl,Ro c

Gaviniés ; in.

p rogressive o rder,phrased , fingered

ranged :Bo ok I . 30 Elementary St udies in the first positio'

accompaniment o f a second Viola , by Camp agnM azas. (7 6 5 7 a).

Scales and Ap p eggios for the Vio la, thro ugh all majmino r keys ; systematically arranged , bowed , and fingeBook I . Through one and two octaves. (7 6 5 8

Step 111.

If Laubach’

s method be adopted,Bo ok 3 o f Ii

(7652 0) might suitably fo llow, to be succeeded byB runi . 2 5 St ud ies from his M ethod (E . Kreuz). (7Kreuz , E . Progressive Stud ies for the Vio la

,w ith

p animent o f a second Vio la . Op . 40 :

Book 11. Stud ies in the first position in the fla‘

majo r and mino r. (7 6 53 b ).Book III . St udies in the first position in the sharmajo r and mino r . (7 6 53 c).

Selec t Studies fo r the V io la,taken from the we

Campagno li , M azas, Co relli , Kreutzer, Spohr, Fio rillo ,

‘

P ichl,Rode, and Gaviniés ; in p rogressive o rder, p l

fingered , and arranged :Book II . 30 Stud ies in the first po sition by Co relli ,p agnoli, Kreu tzer , and Spohr . (7 6 5 7 b).

Bo ok III. 2 0 Studies in the first three po siti01Co relli , Campagno li , Kreu tzer , Fio rillo , Spohr,P ichl

,and M azas. (7 6 57 c).

Scales and Ap p eggio s for the Vio la, through all maj

mino r keys ; systemat ically arranged , bowed , finge

Bo ok II . Thro ugh two and three octaves. (7 6 5

https://www.forgottenbooks.com/join

1 8 2 GUIDE THROUGH VIOLA L I TERATURE .

Vio la and P iano . (Continued .)

Step II .

Kreuz , E . The V io list, Bk . 2 . Easy P ieces in C. (7 636 b).The Vio list , Bks. 3 , 4 . 2 0 progressive melodies in the

1 st po si tion. (7 636 c , d).2 5 Pieces in p rogressive o rder . (In the 1 st po sition)1 3 . Schumann.

“Canonisches Liedchen” and “Schnitterhedchenf

’

1 4. Kreuz . Gavo t te , from “The Vio list.1 5 . M o zar t . “Gib mir die Hand

” from, ,Don Gio vanni .

1 6 . Schubert . “Das Fischermiidchen.

”

1 7 . M endelssohn. Venetian Gondola Song.

1 8 . Schumann. Sic iliano .

1 9. Kreuz .

“Pensée fugitive,” from “The V io list.2 0 . Reinecke . Farando le

,Op . 2 1 3 , No . 10 .

2 1 . Weber. Air from “Der Freischutz.

”

2 2 . Beetho ven. Sonatina .

2 3 . Handel . Aria from Ouverture to“Ariadne.

2 4. Kreuz . Romance , from “The Vio list .”2 5 . Bach. Gavo t te , from French Suite .

M acCunn, Hamish. 3 Romantic P ieces. Op . 2 7

No . 1 . L’Esp érance.

M ende lssohn. Op . 7 2 . 6 P ieces. Arranged .

Re inecke . Op . 1 2 2 a . 1 0 Petits mo rceaux .Op . 2 1 3 . 1 0 Petits mo rceaux .

Albums . Vo ls. 1 and 2 . (7 62 5 31, b).Album Class i que . (M o ffat-Laubach).

Step III .

Burgmiiller. 3 Noc turnes .

Go ltermann, G . Op . 1 1 4 . Sonatina .

Hande l . Sonata for Vio la da Gamba and Cembalo concer

tato,arranged by G . Jensen.

H ermann , F . 1 2 easy Exercises and Pieces (1 st to 3 rdpo sitions). (7 6 5 2 c).

Kalliw o da. Op . 1 86 . 6 Nocturnes.

GUIDE THROUGH VI OLA LI TERATURE . I 8 3

Viola and P iano . Step III . (Continued .)Kreuz , E . Select p ieces in progressive o rder , Viola Partin the first three positions

2 6 . M o zart . Song from “Figaro .

2 7 . W eber. Air from “Der Freischutz.

2 8 . C. Gurlitt. “Buds and Blossoms.

”Op . 1 07 , No . 4.

2 9. M endelssohn. Song w i thou t Wo rds,No . 1 4.

30 . Handel. Largo .

3 1 . Schumann. Revery. Op . 1 5 , No . 7 .

3 2 . M endelssohn. Song w ithou t W o rds,No . 2 2 .

3 3 . Gluck . Ballet from “Orfeo .

34. C. Gurlitt. Slow waltz . Op . 146 , No . 1 .

3 5 . Kjerulf. Longing.

36 . Strelezki. Cavatina .

3 7 . M endelssohn. Song w ithou t wo rds,No . 2 5 .

3 8 . E . Kreuz. Sketch . Op . 1 3 e, No . 3 .

39. Schuber t. Serenade.

40 . Fr. Hermann. Rondino . Op . 2 4, No . 2 .

4 1 . M endelssohn. Christmas P ieces. Op . 7 2 , Nos. 4 and 5 .

42 . Handel . Sona ta .

43 . Haydn. Air from “The Creation.

44. M endelssohn. Song withou t W o rds, No . 1 3 .

45 . Schumann. Fairy P ic tures. Marchenbilder. Op . 1 1 3 .

No . 4 .

Kreuz , E . Op . 5 . Liebesbilder.

Op . 9.

“Friihlingsgedanken”

(Spring Fameies)Op . 1 3 The Vio list . A Series of p rogressive p ieces.

Bo ok V . Three easy Sketches in the first three positions. (7 636 e).

Book VI. Sonata in A mino r. (7 636 f).Op . 45 . Suite de P ieces. (Prelude, Nocturne, Le Reve,Danse rustique .)

Kiicken. 6 Duos Concertantes. 6 Bks. (7 6 2 9a—f).Laubach, A. 2 0 Sco t tish Songs.

M endelssohn. Op . 4. Adieu 51 Berlin.

Sitt, Hans . Op . 39. Albumblatter.Stehling , K. A. M orceaux Favoris. 1 0 arrangements in

separate NosAlbumblat t

, Wagner ; Conso la tion ,Liszt ; Abendgebet ,

Reinecke ; Tears , Reinecke ; La Fontaine ,Henselt ,

Gavo tte and Rondeau , Lully ; Romance, Ries ; Scherzo ;Dav id ; Berceuse, Reber ; M azurek

,Rheinberger.

1 84GUIDE THROUGH VI OLA L I TERATURE .

Vio la and P iano . Step I II . (Continued .)

Squire, W . H . Gavo tte Humo ristique.

T homas , E . Sans So uc i W altz.

Sonat ina in C.

0

V o lkmann . Op . 1 1 . M usical P ic t ure Bo ok.

Hermann.

W agner, R . Alb um-leaf.

Step IV .

Goltermann. Op . 1 5 . Duo .

Op . 2 5 .

Kreuz , E . Selec t P ieces in p rogressive o rder . Vio la Partin the higher po sitions :46 . Schumann. Lit tle Study. Op . 68 , No . 14.

47 . Schuber t . Am M eer .48 . G. Go ltermann. Romance from Sona tina . Op . 1 14 .

49. W . H. Squire . Gavo tte Humo ristique.

50 . Schumann.

“St ucke im Vo lks ton.

”Op . 1 0 2 , No . 2 .

5 1 . Schubert . Romance.

5 2 . A. Strelezki. L’Absence .

5 3 . E . Thomas. Sans So uci Valse.

54 . M endelssohn. Song w ithou t wo rds. No . 1 .

5 5 . W . H. Squ ire . Reverie.

56 . Schubert . Ave M aria.

5 7 . A. Strelezki. _Asphodel . Chant sans Paro les.

5 8 . J . S. Bach . Air from the Orchestral Suite in D .

59. E . Kreuz . Liebesbilder. Op . 5 , No . 2 .

60 . Schumann. Evening Song. Op . 8 5 , NO. 1 2 .

J o achim . Op . 9. Hebrew M elodies.

M acCunn Hamish . 3 Romantic P ieces. Op . 2 7

No . 2 . Se're'nade .

3 . Reve d’amo ur .

M o z art . Adagio .

P o pp er. Op . 5 . Romance.

P rout , E . Op . 2 6 . Sonata in D majo r.S chumann

,R . Evening Song.

3 Romances. Op . 94.

5 Stiicke im Vo lkston. Op . 10 2 . (7 645)Marchenbilder (Fairy P ic tures). Op . 1 1 3 .

V ieux temp s . Op . 30 . Elegie (Scho lz).

https://www.forgottenbooks.com/join

Symphonic Concertante .

P leye l . 3 Trios. Op . 44 (Hermann). II .P o tp ourris on Popular M elod ies from classical and moder.

operas and o rato rio s. Arranged by R . Ho fmann:

\Vagner . D er fliegende Ho llander. III.

Lohengrin. (54398) IV

R ienz i . III .T annhauser. IV .

Ro ssini . ll Barbiere . 111.

Guillaume T ell . (5443 s). IV.

Auber . M asaniello . (5444s). Ill.

Gounod . Faust . IV .

Reger, M ax . Trio . Op . 2 . IV.

W e id ig, Ad o l f. Kleines T rio . Op . 9. II .

Any o f the p ieces mentioned in the “Guide”be pro cured from M essrs. Augener Co . I t W111 beto give the Ed i tion No . where marked\ I n n o m o h r o r r f k n r f l fl f ] 01

GUIDE THROUGH VIOLIN LITERATURE.

Contents .

Vio lin M ethodsT echnical Exerc ises

Vio l in So los

Due t s .

Two Vio l ins.

Step I . First posi tion.

II. First four posit ionsIII. First five posi tionsIV. All po si t ions .

V. D ifficultVI . Concert Duets

Duets for Vio lin and V io loncelloVio lin and Organ

Vio l in, with P ianoforte accompaniment .Step I a. First po si t ion, elementary

I h . First posi t ion,easy and p rogressiVe

II . First four positionsIII . First five posi tionsIV. All po sitions .

V . D ifficult. (Octaves , Springing Bow, Stae

cato,etc .)

VI . Very d ifficult. (Concerto s, flute )

S tring T r io s .

Three Vio l insTwo Vio l ins and VioloncelloTwo Vio l ins and Vio laVio l in

,Vio la

,and Vio loncello

P iano T rio s .

Vio l in, Vio loncello , and P iano

Two Vio l ins and P ianoVio l in, Viola, and P iano .

Vio l in, P iano , and Organ (or Harinbnium) .

M usic with T oy Instruments

String Quarte ts .

Fo ur Viol ins .

T hree Vio lins and Vio la .

Three Vio l ins and Vio loncelloTwo Vio l ins, Viola, and Violoncello .

1 8 8

P iano Quarte t s .

V io l in, Vio la ,Vio loncello

,and P iano

Two Vi o l ins,V io lonce l lo

,and P iano

T hree V io l ins and Piano

S tring Quintets .

T hree V io l ins,Vio loncel lo

,and Bass

Two Vio lins, Vio la ,Vio lo ncel lo

,and Bass

Two V io l ins,two Vio las

,and Vio lonce l lo

So lo s with Quartet Accompaniments

P iano Qu inte ts .

Two V io l ins , Vio la, V io l-ont ello , and P ianoT hree V io lins , Vio loncel lo and P ianoFo ur V io l ins and Piano\ io lin

,Vio la

,Vio lonce llo

,Bass

,and Piino

Sexte ts , etc .

Sexte tsSeptets

Old Chamber MusicVio lin and OrchestraString Orchestra

VIOLA LITERATURE.

Due ts .

V io la w ith P iano forte accompaniment .Step I

II

I II

IV

V

Vio l in and Vio la

T rio s .

V io lin, V io la and P iano

https://www.forgottenbooks.com/join

GALLIA ST RINGS

(Note the co lours :Green—Yellow)

M essrs. AUGENER LTD . have much p leasure in introducing to the ir c l ientele the famous French Harmonic StringsGall ia , and are confident that the many fine qual i t ies

which d ist inguish these s t rings , and which have made theirreputa t ion on the Cont inent , viz .

DURABILITY RELIABILITY

BEAUTY and PURITY of TONE

(true in fi fthS)

w i ll commend themselves to all Str ingP layers in th is country.

These superlat ive qualit ies are the resul t of longexper ience , and the outcome of pat ient invest igations,method ical exper iments and tests , carr ied out by the makers.

The i r effor ts were crowned wi th success , and they are now

able to produce str ings o f a super ior i ty which is

incontestable .

M essrs . AUGENER LTD . feel sure that Art ists and

Amateurs in this co untry w ill readily endorse the Splendidtest imonials that have been accorded these Str ings by

leadingArt ists on the Cont inent (a few of which are printed)and respectfully solicit a tr ial of them.

A Few T estimonials on the Qualities Of the

GALLIA ST RINGS.

a go

From HERR O . SEVC IK.

VIENNA, Dec. 3 l st, 1911 .

My p up ils who use your Gallia Strings p raise their durabil ityand p urity (o f tone). I amo f the same o p inion. and send you all mycomp liments .

From SENOR PABLO CASALS.

ST . PETERSBURG , J an. 24th, 1912 .

I have strung my ’

Cello w ith your Strings , and, after p laying(on them) at many concerts , I have much p leasure in telling you thatthey give me the greatest satisfac tion. Kind ly send me some moreStrings to my Paris address , A , D , G and C Galha .

’

From PROFESSOR CESAR T HOM SON .

B RUSSELS CONSERVATOIRE .

I have tried your ‘

Gallia ‘

String s , and amhap p y to say that I findtheir sonorousness and accuracy remarkable Congratulations l

From MONSIEUR A . D’

AM BROSIO .

IO

have just rece ived the Gallia Strings you so kindly sentme.

They are absolutely p erfect, and I am hap p y to exp ress to you myentire satisfaction W ith them.

”

From MONSIEUR EM ILE SAURET .

LOND N , J an. 28th, 1913 .

I have p layed on the Gallia Strings for some years now andhlave always found themmost satisfactory . I can highly recommendt em.

From HERR HANS W ESSELY .

“As to p urity of tone and faultless fifths the Gallia Stringshave

no equal. It gives me great p leasure to recommend them.

"

From M ONSIEUR EUGENE YSAYE.

PAR I S, May 23rd , 1912 .

All my comp l iments for the Gal lia Strings.

From PROFESSOR HUGO HEERMANNGENEVA, 1912 .

Sincere congratulations for the famous Gallia Strings.

HARMONIC STR INGS

(IN SINGLE LE NGTHS)

NET PR ICES (if strings are sent by p ost , p ostageis to be added).

When o rder ing p lease state if. thin or thicker stringsare required .

The GALL IA ”ST R ING S are on sale in London

at the follow ing E stablishments

AUGENER Ltd 63 Condui t Stree t (Regent St. Corner), W .

16 Newgate Street , E C .

5 7 H igh St reet , M arylebone, W .

18 G reat M arlbo rough Street , W .

SOHOTT 00 48 G reat M arlbo rough Street , W .

LENGNICK 8: CO 14 Berners Stree t , W .

https://www.forgottenbooks.com/join

Ed ition

10116 POGHHAM M ER, A. Pop ular Handbook of MusicalInformation. (H . B eale .) Crown 8vo

PROUT , PROF. EBENEZER

9182 Harmony: Its Theory and Prac tice. Twenty-seventhImp ression. Demy 8vo

9182s Analytical Key to the Ex ercises in the same. Demy 8vo .

9183 Counterpoint: Strict and Free. Ninth Imp ression.

Demy Syo

91834 Additional Ex ercisesto Counterp oint,” withMelodies andUnfigured Basses forharmonizing. Seventh Imp ression.

Demy 8vo

Double Counterp oint and Canon. Fourth Imp ression.

9185 Fugue. Fifth Imp ression. Demy Syo Bound

9186 Fugal Analysis. Third Edition. Demy Syo

9187 Musical Form. Seventh Imp ression. Demy8vo . Bound

9188 Ap p lied Forms . Six th Impression. Demy 8vo BoundThe Orchestra. Fourth Imp ression. Demy 8vo.

I . Technique of the

Das Oacnssm . Deutsch von 0. Nikitits

Band I . Technik der InstrumentsBand I I . DieZusammenstellung der Instrumente‘Pap er b

PROUT , LOU IS B.

918 1

10106 Sidelights on Harmony Crown 8yo

10107 T ime, Rhythm and E x p ression. Second Imp ression.

Crown 8vo

9210 REINEOKE, O. The Beethoven Pianoforte Sonatas.

L etters to a Lady. Translated by E . M. Trevenen

Dawson. Crown 8vo

9198 RIEM ANN, DR. H. Harmony Simp lified ; or, the Theoryof the Tonal Functions of Chords. Translated from the

German. Second Imp ression.

Vereinfachte Harmonielehre, Oder die Lehre von den

tonalen Funktionen der Akkorde. Second Imp ressiom

10115 L’

Harmonie simp lifies, onThéorie des fonctions tonalesdes accords. Trans . by Prof. Georges Humbert. D my

Net.

EditionRIEMANN, DR. H. (continued ) Catechisms. Crown 8vo

9201 Catechism of Musical Instruments (Guide to Instru

mentation). Second Imp ression Bound 2

Catechism of Mus ical H is to ryPart I . H istoryof Musical Instruments, andHiswryofTone Systems and Notations . Third h p ression.

Part II . History of Musical Form, with BiographicalNo tices. Second

“

Imp ressionCatechism of P ianoforte P laying. Third Imp r. Bound 2

Catechism of Musical E sthetics. Second Imp r. Bound 2

Catechism of Orchestration Bound

Introduction to Playing from ScoreAnalysis of J . S. Bach’s “ 48 Preludes and Fugues.

Third Imp ression. Crown 8vo

Part I . 24 Preludes andmgues Bound

Part I I . 24 Preludes and Fugues Bound

Dictionary of Music. Thanslated by J . S. Shedlock, D.A.

Fourth Edit ion, wi th Ap p endix . Royal 8vc. 908

p ages. StronglybOund in 1 volume

10108 RIM BAULT. The P ianoforte :its Origin, Progress, andConstruction, with some account of instruments of the

same class which p receded it. Folio Bound

9193 RUB INSTEIN, A. Music and its Mas ters. AConversa

tion. Second Imp ression. Crown 8170 2

SOHROEDER. PROF. O . Catechisms, Handbooks, etc.Crown 8vo

Handbook of V iolin and Viola Playing. Third Imp ression.

92120 . Guide through Violin and Vio la Literature Bound 6d .

92 11 Catochi-m of Vio loncello P laying. Second Imp ression .

92114 Guide through Violoncello Li terature9213 Handbook of Conducting . (J . Matthews.) Third Imp res~

9194 SOHUMANN. Advice to Young Musicians. 16mo

10121 S lBLEY, 0. The Voice and its Control. Crown 8vo.

9196 ST IELER. J . The Great German Comp osers. Bio .

grap hical Notices, wi th some account of their W orks.

4to . Illustrated10109 WARREN . J . CatechismoftheHsrmonium. 2 4mo. Pap er

AUOENER LTD 6 3 Conduit Street.W. :16 Newgate Street. E .C

5 7 n h Street. Marylebone l. 18 Great Marlbo rough Street.W.

https://www.forgottenbooks.com/join