AUGENER’S EDITION, No. 9212.

HANDBOOK
OF
VIOLIN PLAYING

BY
Prof. CARL SCHROEDER

TRANSLATED AND EDITED BY
J. MATTHEWS

WITH AN APPENDIX CONSISTING OF A
GUIDE THROUGH VIOLIN LITERATURE
AND A CHAPTER ON THE VIOLA

FOURTH EDITION

AUGENER Ltd.

LONDON

Printed in England.

[Pg 1]

Origin of the violin.

The invention of stringed instruments is certainly of great antiquity, but exact information with regard to the origin of the violin has not come down to us. Although stringed instruments were in use before Christian times, we know that these had nothing in common with the violin, or that at any rate the bow was not then known. It is therefore presumed that its invention and use in connection with stringed instruments occurred in the first century of the Christian era.

Many are, notwithstanding, of the opinion that the use of the bow was known in pre-Christian times,—in India and in Persia. Pictures of Indian and Persian bowed instruments exist, but the period when they were employed is not exactly known. See Fig. a and b of page 2.

The oldest violins

known are those of the Tyrolese Lute maker Gaspard Duiffopruggar (Tieffenbrucker), made in the 16ᵗʰ century. A few of these instruments remain to the present day, and are noticeable on account of their fine, clear tone, as well as for the neatness and elegance of their workmanship. [Pg 2]

Development of the violin.

After Duiffopruggar the following makers were those who chiefly laboured to perfect the violin:—Gaspard da Salo (middle of the 17ᵗʰ century), Giovanni Paolo Maggini (1590-1640), Andreas Amati (1520-1580), his sons Antonius and Hieronymus Amati, the son of the latter, Nicolas Amati (1596-1684), the pupils of the same: Jacob Stainer (1621-1683) and Antonius Stradivarius (1644-1737). Of the Amati violins, those of Nicolas Amati are the best; the most perfect specimens of violin making, at present unsurpassed, were made by Stradivarius. In his instruments everything is perfected, — tone, model, varnish, etc.

a. Rabab—Arabian bowed instrument
(of Persian origin).
b. Raba—Indian violin.

After Stradivarius the finest violins are those of his pupil Joseph Guarnerius del Gesu (1683-1745), and there are many of them which rank [Pg 3] with those of Stradivarius. To the Guarnerius family of violin makers belong Andreas Guarnerius, pupil of Amati (middle of the 17ᵗʰ century), his son Joseph Guarnerius (1680-1730), Peter Guarnerius and the son of the elder (Andreas) Guarnerius (1725-1740). The names Stradivarius and Joseph Guarnerius mark the highest achievement of violin making, and to the present day none have succeeded in surpassing them. Of other Italian violin makers who have furnished us with good instruments may be mentioned Alessandro Gagliano (1695-1725), Carlo Bergonzi (1712-1750), Laurentius Guadagnini (close of the 17ᵗʰ and beginning of the 18ᵗʰ century), Joh. Bapt. Guadagnini (1755-1785), Dominicus Montagnana (1715-1750), Vincent Ruggeri, Giov. Bapt. Ruggeri, and Peter Jacob Ruggeri (beginning of the 18ᵗʰ century). In France, good violins were made by Lupot (18ᵗʰ century), Gand, Bernardel (19ᵗʰ century) and Vuillaume (1798-1875). In Germany, besides Stainer and his pupil Albani of Botzen, Klotz, (father and son) 17ᵗʰ and 18ᵗʰ century in Mittenwalde; Witthalm (18ᵗʰ century, Nuremburg); Bausch (father and son, Leipsic, 1805-1871 and 1829-1871), Jacob Diehl (Hamburg). In England, B. Banks, Salisbury (1727-1795); R. Duke, London (1754-1780); Jacob Fendt and C. Harris (early part of the present century), and Matthew Hardie (Edinburgh), have left many good violins.

Prominent makers of the present day.

Good violins are made in the present day by Hammig in Leipsic; Reichers, Berlin; Schunemann, Schwerin; Pfab, Hamburg; Lenk, Frankfort; Reuner, Berlin; Roth, Markneukirchen, etc.

[In England excellent instruments have been and are being made by Hill, Hart, Chanot, E. Withers, and Boullangier, London; W. H. Mayson, Manchester; F. Devoney, Blackpool; J. Monk, Merton, Surrey; and others. In France, by Miquel, Foucher, Lotte; and in America, Gemunder. These have all produced serviceable instruments. Ability to judge properly the merits of a violin,—whether new or old,—comes only with experience; beginners should therefore before purchasing consult a player or teacher possessing the necessary knowledge. Violins by the same maker, to all appearance exactly alike, yet frequently differ [Pg 4] greatly in tone quality, and an instrument of bad tone is a stumbling block in the path of progress, disheartening the learner. Tr.]

Attempts at improving the violin.

Many attempts have been made at improving the violin by altering its form and proportions, and by using other kinds of wood:—metal, glass, and porcelain violins have also been constructed. Experiments have been made with the bass bar, bridge, soundpost, etc., in endeavours to make a further advance in violin making; but all these attempts have yielded no results of importance. The most remarkable attempted alteration of latter days proceeds from the piano maker Hagspiel in Dresden, and consists in bending or arching the upper table of the violin instead of working it out, the sound-holes appearing as round openings in the ribs instead of in the upper surface. The tone of these violins is of surprising power and volume, but they demand a peculiar, and somewhat firm bowing; a heavier bow is also needed. The maker proceeds on the assumption that there exists, in modern orchestras a tonal gap between the string and the brass instrument. The tone of the stringed instruments is often quite overpowered by the predominating force of the wind instruments. This is especially noticeable in opera orchestras, where their space will seldom permit of more than 10 or 12 first violins, and the same number of second violins; for instance in the instrumentation of Wagner’s Nibelungen Ring. In its production the wind instruments need so much space in the orchestra, that instead of a corresponding increase in the number of the strings, they must often be lessened, naturally occasioning a want of balance. A selection of the instruments made by Herr Hagspiel,—violins, violas, violoncelli and double basses, would probably tend to lessen this disproportion, as one of them yields at least as much tone as two of the ordinary instruments. By sufficient familiarity with the method of using them, the tone might be made to blend uniformly with that of the other instruments in passages of a light and soft character. In any case the inventor has thrown out a suggestion, and made a beginning towards preparing the way for a correct balance of tone in the orchestra, and [Pg 5] his idea therefore deserves consideration. The author is not aware if practical experiment in the orchestra has been made with these instruments, but it should certainly give some advantageous result.

Another invention has been produced recently by Herr Christopher Scheinert in Berlin. It consists of a vibrating hammer or tongue for stringed instruments. This is a little instrument placed under the bridge of the violin, so that, (it being furnished with a slender hammer), elastic metal tongues vibrate freely between the upper table and the strings. The vibrating hammer is set in motion through the strings by the bow, through which simultaneous movement the power of the instrument is increased, and the tone colour elicited. Experts have tested the contrivance, declaring it to be a happy idea.

Professor H. Ritter’s invention of the normal three-footed bridge must also be mentioned. Assuming that the bridge in use for centuries, with its prescribed feet, does not fully convey the vibrations of the strings to the upper table,—the two middle strings sounding feebler than the outer,—Prof. Ritter has made a middle point of contact between the bridge and the upper table. This inner support is intended to make the middle strings sound with the same intensity as the outer ones.

In his pamphlet on the subject (Wurzburg, G. Herz), Herr Ritter [Pg 6] demonstrates that his three-footed bridge has not only an aesthetic significance, but claims consideration scientifically.[1]

Attempts to discover the secrets of measurement
of the Italian violin makers.

For a long period violin making was restricted (deviations such as the experiments explained above, notwithstanding) to imitating the first Italian masters of the art, and endeavouring to equal them. But so conscientious and true in all their parts and contents is the workmanship of the Italian instruments that this has not been attained. A very general opinion is, that certain secrets in instrument making were known to the Italian masters but have become lost, and many have made the attempt to re-discover these secrets. A maker in Aix la Chapelle, named Niederheitmann, a violin amateur, possessing a collection rich in valuable old violins, believed the mystery to be discovered, and that it consisted in impregnating the wood. The substance used was a species of pine found in the vicinity of Cremona, or the instrument was mainly built of this wood. This pine (balsam pine) became quite decayed by the drying up of its resin, and thereby the key to the enigma why in spite of the closest imitation the old Italian tone was not arrived at, was found. This pine exists no longer in Italy, and thus was to be explained the reason why notwithstanding the closest copying of existing instruments, the old Italian tone quality was not reproduced. A friend of Niederheitmann’s, Concertmeister Henry Schradieck (formerly of Leipsic) interested himself greatly in this discovery, and having obtained through a [Pg 7] chemist a similar resinous substance, made, with the aid of Herr Hammig in Leipsic many trials with this impregnation, from which a remarkable result was to be got, but which was not of long duration. 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 instruments made from it would again approach the old Italians. Several violins were found already made with balsam pine wood, but the brilliant expectations that were cherished were not fulfilled.

Points of note in the old Italian violins.

Maggini violins. These instruments are of large outline. The upper table is highly arched and the arching rises somewhat suddenly from the edges. The wood of the upper table 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 being cut in layers across the whole breadth).[2] The sides are shallow. The varnish is thin, transparent, and of a clear brown colour. The purfling is frequently doubled; and spread over the back in arabesques. The tone of the Maggini violins is full and heavy, resembling the viola quality. The ticket is as follows:—

Andreas Amati. These are mostly of small model. The upper table is of good, fairly thick wood, and very highly arched towards the middle. The back is cut on the slab. The varnish is brown and transparent. The tone is delicate and not powerful.

Antonius and Hieronymus Amati. The violins issued as the work of the two brothers in partnership are much esteemed. More instruments of small than of large size were, however, produced by them. The upper table is highly curved, and has towards the edges a groove or furrow. [Pg 8] The wood of the back and of the ribs cut slab-wise. The varnish resembles that of Andreas Amati’s violins. The tone is also small. The label runs:—

Nicolas Amati. These instruments are distinguished from those of the other Amati violins by a grander appearance, better and thicker varnish, and a more brilliant and penetrating tone. The scroll is somewhat small in proportion to the body. Label:—

Stradivarius. In the career of Stradivarius three periods may be traced, and the violins proceeding from each, of these distinct periods themselves vary more or less. The instruments of the first period differ but little from Amati violins, and are classified as being of the school of Nicolas Amati. The instruments of the second period are already quite different from the first. The whole model is larger, the arching finer, the wood of the upper table and also of the back is stronger, and the varnish redder in colour. From the third period proceeded the finest violins that are in existence. The model is again somewhat larger, the upper table is flatter, the wood of the back and of the ribs instead of being cut on the layers in slab form (sur couche), is taken on the quarter (sur maille). The varnish is still more brilliant, yet soft looking, and so transparent that the beauty of the wood underneath it is fully brought out. The f holes are wonderfully cut, and the entire work is finely finished in every detail. The tone fulfils every possible requirement, it is of great power and body, sparkling, noble, and yet sympathetic and sweet. The [Pg 9] violins made in the last years of Stradivarius reveal the weakness pertaining to old age. The tone is still fine, but the workmanship is altogether inferior. From this time forward, when the arching is more prominent, and the varnish darker, the beauty of the tone is diminished. Label:—

Labels of various other Italian makers:—

[Pg 10]

Imitations of old Italian violins.

The old Italian violins have been so closely copied by many makers, with regard to model, wood, varnish and appearance of age, that it is difficult to discriminate between the genuine and the spurious. It is still more difficult when the copy possesses a fine quality of tone. It needs a practised, keen eye to determine the genuineness or spuriousness of an instrument, and it may well be that many, believing themselves to have bought a real old Italian instrument, have only obtained an imitation thereof. The inside ticket has of itself been closely copied, and may be purchased in sheets.

Constituent parts of the violin.

Exterior.

The most important part is the upper table or belly (a). The other [Pg 11] parts are the ribs or sides (b), the back (c), the neck (d), the head comprising the scroll and peg box (e), the pegs (f), the finger board (g), the bridge (h), the tailpiece (i), the button[3] (k), the nut (l), and the f or sound-holes (m). The interior of the violin contains the soundpost and the bass bar.

Interior.

[Pg 12]

Function of the Soundpost
and the bass bar.

The soundpost, placed underneath the right foot of the bridge (a little way behind it) supports the upper table against the pressure of the strings upon the bridge, and the bass bar serves a similar purpose under the left foot of the bridge. The sound post, by connecting the upper table with the back, sets the entire instrument into vibration, and by its help the sound waves radiate to all parts.

Position of the Bridge

The bridge must stand on the middle of the upper table so that both feet are in line with the nicks of the f holes. Through the forward pull of the strings,—increased during playing,—the bridge has a tendency to bend forward. To avoid this one must frequently watch, and pull it backward, yet keeping the feet in the same place. The bridge may be fixed sloping somewhat backward rather than forward.[4]

[Pg 13]

Amount of pressure upon
the upper table.

Through the combined influence of the strain and pressure of the strings upon the upper table, it supports a weight of about 100 lbs. Against this burden, this, in other respects, fragile instrument, opposes a wonderful power of resistance, an example of its ingenious yet simple construction.

Size of the violin.

The violin measures in the length of its body 14 in., in breadth in the upper part 6⁹/₁₀ in., in the lower 8³/₁₆ in. The top height of sides 1³/₁₆ in.; bottom height of sides 1¼ in. Three sizes are distinguished,—“full”, “three-quarter”, and “half” size. These last serve for children.

The wood of the violin.

The upper table is made of pine. This must be very old, dry, compact, straight in grain, whereby the choice of suitable wood is rendered difficult. For the back, ribs, neck and bridge, maple is used. The sound post and bass bar consist usually of pine. For the fingerboard and pegs[5], ebony is the most serviceable.

The old Italian violin makers procured their pine wood from Italian Switzerland, and from the South Tyrol; maple from Croatia, Dalmatia, and Turkey. [Pg 14]

The varnish.

This is of great importance for the instrument. In the first place it preserves it from the influence of the weather, and then it also has its influence upon the tone. A fine varnish must be transparent, so that the wood underneath may be fully shown up, and it must also be of a fine, but not glaring or staring, colour. The finest varnish is found on the violins of Stradivarius. Two kinds of varnish are used,—spirit varnish,—a gum dissolved in alcohol; and oil varnish,—a gum dissolved in oil of turpentine.

The strings.

Violin strings are made from the intestines of sheep. The lowest string has fine wire spun round it, silver wire being the best. Copper wire is greatly used, it being much cheaper. The best strings are obtained from Italy, from Rome, Padua, and Naples, although very good strings are also manufactured in Germany, at Markneukirchen. The value of a string consists principally in its perfect equality of thickness throughout; above all, there must not be knots in it. A string spun quite evenly yields accurate vibrations, and is on this account pure in tone.

In order to test the purity of tone of each string, it may be held as shown at both ends, pulling it rather tight, and then setting it into vibration with one of the fingers. If it appears double, thus:—

it possesses a pure tone; if, however, it appears threefold,—if only at one part of it,—it will be false.

[Pg 15]

Strings pure in fifths.

To obtain absolutely pure intonation, the strings must be pure in fifths, i. e., the notes in those higher positions which are pressed by one finger across two strings, must sound perfectly true. Many strings are rather thicker at one end than at the other; if this is not also the case with the adjacent string, or if the thicker end of it be not stretched in the same direction as the other string, then the two are not true in fifths with each other. Both strings must therefore lie from one end to the other regular in thickness, or else their thin ends must be laid in one direction.[6] In the latter case, however, all the harmonic notes are not true, and one also notices that the intervals in double-stopping generally, as well as in fifths, are not regular upon all the strings. A treatment is in vogue by makers of strings and instruments by means of which the strings are rendered quite pure in fifths. These prepared strings are, however, not so durable, nor so good in tone, as the unprepared. But it is of service to have always a few of these in readiness, as the violinist has not always time enough to select those strings which are true. Weichhold, Dresden, supplies strings pure in fifths, which may be recommended.

The string guage.

In order always to have strings of the same thickness, a string guage is used, which may be procured at any instrument maker.[7]

String guage.

[Pg 16]

Care of the strings.

That the strings may be kept fresh, it is advisable to wrap them in oil paper and then preserve them in a close, air-tight tin box. In this way they may be preserved in fit condition for a year or more.

The bow.

This received its name from its ancient form, which has undergone many alterations before the present form was arrived at.

[Pg 17]

The greatest improvement in the bow was attained by the Frenchman, Tourte, at the end of the 18th century. His bows possess the greatest elasticity and firmness, and are, in consequence, the most successful. After Tourte, 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 en gros to Paris, stamped there as French, and issued to the world as of Parisian make.

Constituent parts of the bow.

These are (a) the stick, (b) the hair, (c) the nut, (d) the screw, (e) the head or point, (f) the lapping.

The stick is made of Pernambuco or Brazil wood; the hair is white horse [Pg 18] hair, that taken from living horses being the best, though less often obtained. The screw serves to give the stick its proper curve. The lapping helps to give the fingers a firmer hold, avoiding contact with the smooth stick. Silk, silver wire, or leather is used for the lapping.[8]

Resin.

To set the strings in vibration, the hair of the bow must be rubbed with resin. Its German name “Kolophonium” is derived from the Grecian town Kolophon, from whence it was first procured. The unprepared hair of a new bow requires a small quantity of powdered resin rubbed into it. Before the bow is used, the hair should be tried upon some instrument not in use, or upon a stretched string. During the ordinary rubbing upon the hair, care must be taken that the resin is not rubbed hard, but allowed to glide lightly over the hair.

It is very usual to hold the resin with the left and the bow with the right hand. In this way the fingers of the left hand become sticky with resin dust, which is detrimental to the stopping, and also soils the strings and fingerboard. It is better, therefore, to reverse this procedure. Good resin is supplied by Gand and Bernadel in Paris, Hammig in Leipsic, Pfab and Diel in Hamburg, and others. The most suitable holders are those which open on two sides, and are also provided with a cover.[9]

Violin cases.

A good violin is worthy of a good case, to protect it against dust and damp. It should be so filled that the violin lies in it securely, and yet may be easily taken out. A leather covering for the case is also [Pg 19] convenient, by means of which the effects of any sudden shock are minimised. The best cases are mostly obtained from Paris, though some very good ones are made in Markneukirchen.

Prices of violins.

It is not easy to state the exact price of a violin, especially of an old one, and here particular fancy and habit come also into the question. The best old Italian violins, such as those by Stradivarius and Guarnerius, are in our own time excessively dear, often £300 to £1000, and even more. Stradivarius received for his violins about 4 Louis d’or. Amati violins are considerably less, costing from £150 to £300. Other old Italian violins, if in fine condition, cost £30 and upwards. New violins by celebrated makers may cost from £15 to £30, yet one can often get a very useful instrument for from 50/- upwards.

Prices of Violin cases.

Cases cost from 5/- to £3, the latter price including a leather covering.

Prices of bows.

The bows of Tourte now cost £25 and upward. New silver mounted bows of best quality cost about 30/-, mounted in German silver about 18/-. Inferior qualities may be had from 3/- upward. The worth of a bow to its possessor consists in its firmness and elasticity, and in its proving fit to execute every kind of bowing with certainty.

Care of the instrument.

The instrument must always be kept clean and in order; every part should always be in proper condition. The dust from the resin must, every time after playing, be wiped from the upper table, fingerboard and bridge with a soft cloth. The strings, fingerboard and neck are then rubbed with an old silk handkerchief, taking care not to rub the strings to and fro, but always in one direction, else small fibres may be loosened. If the strings are dirty through perspiring fingers, the upper three strings may be rubbed with a little neats’ foot oil or [Pg 20] almond oil, or a notched almond may be used. The G string may be cleaned with spirits or by rubbing with fine (No. 1) glass paper. The encrustation of resin upon the surface of the strings may be removed with spirits, observing that nothing drops upon the upper table, to injure the varnish.

To keep the neck quite smooth it may be occasionally rubbed with pulverized pumice stone put into a little muslin bag.[10]

The dust that accumulates inside the violin may be removed by warming some very fine gravel or grains of wheat, and throwing them inside. The instrument is then shaken about, and on shaking the grains out again through the f holes, the dust comes away also. To make the pegs work easily and yet hold fast, they must frequently be rubbed with dry soap and then with chalk, where they come in contact with the peg box.

Cleaning the hair of the bow.

If dirty, unscrew the nut from the stick, and wash the hair with warm water and soap. Then rinse in cold water, and hang up the bow to dry. When again screwed up, powdered resin is rubbed into the hair with a little brush. Spots of grease are extracted by rubbing with salt in blotting paper, or by a hot iron with blotting paper wrapped around it.

Naming and tuning of the strings.

The four strings of the violin are tuned in perfect fifths. The first is the E string (1ᵃ), the second the A (2ᵈᵃ), the third the D (3ᵃ), and the fourth the G (4ᵃ). The usual practice, when the pitch of the A is determined, is to tune the D to it, the G to that, and lastly the E to the A.[11]

[Pg 21]

Compass of the violin.

The compass of the violin extends over about 4½ octaves. In the orchestra to this extent at most:—

Attitude of the player.

When playing from notes the player places himself opposite the desk a little to the left, so that the violin does not hide the notes from view. The body should be erect, but not stiffly so. The right foot is put outward, the left straight, so that the toes are in a line. The weight of the body must rest chiefly on the left foot.

Holding the violin.

Chin-rest.

The violin is held with the left hand and rests on the left collar bone. The instrument must be horizontal. To give a firm grip, a small pad is often placed between the violin and the left shoulder. A chin-rest screwed to the ribs, and covering a part of the upper table, is also to be recommended. The chin-rest serves also to protect the varnish. [Pg 23]

To prove that the violin 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 violin is held between the lower joint of the thumb and the third of the index finger. The neck must not be gripped, but lightly held[12], and care taken that between the neck and that part of the hand which connects the thumb and first finger, there is an open space. The inner part of the hand is kept away from the fingerboard, so that the fingers may fall upon the strings from above. The position of the left arm must [Pg 24] be such as to bring the elbow far enough to the right to place it underneath the middle of the violin. To attain a correct manner of holding, place the first finger on

the second on the 2ⁿᵈ note of the A string,

the third on the D string,

and the fourth on the G string,

so that the fingers lie as follows:

The fingers being lifted simultaneously, and allowed to remain in position over the strings, the position of the hand will be correct. [Pg 25]

Holding the bow.

The thumb is placed with its fleshy part close to the projection from the curved part of the nut, taking care that the middle knuckle is not bent inward, but always in an outward direction. The second joint of the index finger must rest against the stick. The middle finger is placed opposite the thumb upon the stick, whereupon the other two fingers follow, close to these. The little finger will then about rest with the lower part of its point on the stick.

Position of the right hand and arm.

The right hand must project somewhat forward, and above the bow, and must be suitably arched. The carriage of the arm must be light, and the elbow not prominently lifted. When playing on the lower strings, the position of the hand and the lower part of the arm will naturally be higher.

Testing the position.

Having succeeded in acquiring a firm hold of the instrument and of the bow, it is best to examine before a looking-glass the attitude of the whole body, which must be natural and unconstrained. The body and head should be held erect, the shoulders somewhat back. When beginning to draw the bow across the strings the manner of holding should be examined and corrected after every stroke before proceeding further.

Bowing.

The bow is placed on the string at the nut, or lower part of the bow, the stick being tilted towards the fingerboard. The bow must be drawn [Pg 26] steadily to its point, and exactly parallel with the bridge, whereby the wrist is compelled to move, and at the end of the stroke, on reaching the point of the bow, sinks so that the little finger only rests at its extreme tip upon the stick.

The upper arm is so held that with down strokes the elbow remains below the shoulder, until a third of the bow is left over. If the production of a louder tone is desired, the bowing is made closer to the bridge and in piano passages further away from it. The necessary power [Pg 27] for producing louder tone is obtained only from the thumb, index finger, and wrist and the fore-arm is held as independently as possible of the upper arm.

Principal signs used for the left hand
and for the Bowing.

[Pg 28]

Use of the down and up bows.

As a rule, in every piece beginning with a full bar a down bow is used for the first note, and in a piece beginning with a single stroke on the up-beat (unaccented beat) or an up-beat consisting of several notes bound together, legato, the up bow is used. If the up-beat contains several notes, it must be so arranged that the last of these is played with an up bow. For example:—

[Listen]

Exceptions to the rule of beginning a full bar with a down bow often occur; for instance, if the first bar begins piano, gradually to forte, as in the opening of the Freischütz overture:—

[Listen]

Here one begins with the up bow, because afterwards at the nut end more power can be brought to bear, thus bringing the forte into effect. A further example of exceptional treatment is the beginning of the Euryanthe overture:—

[Listen]

Equally there are exceptions to the rule of beginning up-beats with the up bow:— [Pg 29]

[Listen]

[Listen]

The first bowing exercises.

The violin being properly held, and the entire attitude being correct in every particular, the fingers of the left hand are placed on the strings as follows:—

Upon lifting them, let them remain over the strings in the same position.

The open strings are then bowed, and preferably at first the D string.

After each bow, let a pause be observed, to examine every detail of the position, and to revise it. The bowing exercises on the open strings are to be continued until at last notes varying in value from semibreves to crotchets are played with ease and certainty, and an even tone of good quality produced. The first bowing exercises are usually as follows:—

[Pg 30]

Each of these exercises should also be played upon the other strings. The exercise in minims and crotchets in half strokes and in the middle.

Placing the fingers.

The first exercise consists in setting the first finger on all the strings in succession, then the second in conjunction with the first, the third in conjunction with the other two, and finally the fourth is added.

In the same manner on the other strings. If one desires to remain in the key of C[13], the first finger when on the E string must be drawn back a semitone to stop F, and on the G string, the 2ⁿᵈ finger must be put forward a semitone to play the note B. The remaining notes are stopped alike on all the strings. It is better at first not to adhere to the scale, but to stop the notes of the other strings as shown above on the D string; thus producing the following tones:—

[Pg 31]

Next must be practised the putting back of the first, and the advancing of the second fingers on all the strings, then the advancing and withdrawal of all the fingers. Example:—

[Pg 32] The fingers must so descend upon the strings that the first joint stands perpendicularly upon them. The pressure of the fingers upon the strings must always be in excess of the pressure of the bow. According to one’s playing, whether forcible or light, so the pressure of the finger is increased or decreased. In slow movements and long notes only that finger is pressed down which has to play the note. The others are lifted, yet so that each one is suspended exactly over its proper place. In ascending scale passages in quick time, the fingers are allowed to remain; in descending passages, one finger is lifted at a time. The observance of this rule greatly facilitates true intonation in descending scale passages, as, each finger being already in its place upon the note to be played, these places have not again to be separately found. There are, however, exceptions which will come under notice later. After the setting back of the first finger and the putting forward of the second finger have been successfully practised, the “free”[14] setting of the 2ⁿᵈ, 3ʳᵈ, and 4ᵗʰ fingers follows.

All the notes in regular order from the open G on the G string to B on the E string must now be played.

To attain certainty of fingering in the lower position, one of these two methods must next be adopted. Either intervals—thirds, fourths, fifths, sixths, sevenths, and octaves from each note on each string, in C major, must now be practised, or all the major and minor scales may [Pg 33] next be played, with the practice of the intervals in all the keys. Choice must be made as to which method of study be next pursued, according to the individuality and intelligence of the learner.

Practice of intervals in C major:

[Listen]

[Pg 34]

[Fourths.]

[ Fifths. ]

[ Sixths. ]

[Sevenths.]

[Octaves.]

[Pg 35] Here great care must be taken to distinguish between the differences that exist in these intervals, whether the 3ʳᵈ is minor 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 another must be taken, also skipping over a string as in sevenths and octaves. The scales, and, later, intervals and chords, must likewise be studied with various bowings and also legato. First, two notes should be taken to one bow, then gradually more, also with single notes and bound notes mixed. The practice of intervals may now be extended to the following.

Chord exercises in arpeggio form.

[Pg 36]

[Listen]

Stretching the little finger.

To reach the C in the second octave with the little finger,—whose natural position on the E string is on the note B,—it must be stretched, care being taken to avoid moving the wrist and altering the whole position of the hand.

[Listen]

[Pg 37]

The various kinds of bowing.

These are best classified into “primary” bowings (Grund-Bogenstriche) of which there are six different examples, and “secondary” bowings (Neben-Bogenstriche).

Primary bowings.

1. The rapid detached stroke with the whole bow (Grand detaché). This is executed in such a manner that the bow moves quickly from its nut to its point, and back again in the same line,—parallel to the bridge. Between each stroke there must be a pause, but during it the bow must not leave the string. It must be so quickly executed that a crotchet is made to sound like a semiquaver.

Rendering:—

[Listen Line 1]

[Listen Line 2]

The stick must be firmly held between the thumb and the first and second fingers. The elbow, at the commencement of the down stroke must rest close to the body, and, on reaching the point of the bow, not be raised above the stick. Especial care is needed in order to make the up strokes equal in power to the down strokes.

2. The “singing” stroke. Also executed with the whole bow. The first contact must be delicate, and the single tones must follow each other without interruption. The player, drawing the bow quite parallel with the bridge, must press more and more as the point is reached. At the change of stroke, the wrist makes a slight movement, and the elbow assumes the same positions as in the previous grand detaché bowing.

[Pg 38] 3. The detached hammered (martellato) bowing. This stroke is chiefly made at the point of the bow, which must not leave the string. With every note the stick is pressed or pushed by the thumb in the direction of the index finger, so that each tone is sharply cut out, but with a musical quality. The up strokes must receive a stronger pressure.

This bowing can also be played at the nut end, and of course entirely with the wrist, which must be held lightly over the strings. The elbow must be tolerably close to the body. The martelé bowing is an excellent preparatory study for staccato, which is really only one out of a number of martelé notes taken in one bow.

Rendering:—

[Listen Line 1]

[Listen Line 2]

4. Detached stroke with the fore-arm. As indicated by its name, is executed by the fore-arm and the wrist, and from the middle to the point of the bow. The upper arm must remain quite still. In this bowing no pause must be made between the notes, but they must be connected easily and agreeably together.

[Listen]

5. The “skipping” stroke. This stroke is made at the middle of the bow, which must be lightly held between the fingers and controlled by the wrist. The stick is made to vibrate strongly, whereby the bow is caused to move up and down. It is difficult to attain an agreement between the placing of the fingers and the skipping movement of the stick, for which reason this bowing must first be practised on one note:— [Pg 39]

Afterwards several notes may be taken on one string, then on the different strings.

[Listen Line 1]

[Listen Line 2]

6. The rebounding or springing (sautillé) bow. This bowing differs from the foregoing in that the bow rebounds from the string after each note, and is then permitted to fall upon it again from above. In order to avoid too great dryness or hardness in the tone, the bow when falling on the string must be gently controlled.

Rendering:—

[Listen Line 1]

[Listen Line 2]

Secondary bowings.

1. The bound, or legato bowing. In this, as many notes are played at one stroke as may be found connected by the curved legato sign, or as necessitated by the phrasing. In passing from one string to another the wrist will require special watchfulness.

[Listen]

2. The staccato stroke. This is, as already stated, a series of martelé notes taken in one bow, and must first be slowly practised with the up bow, to the point, and with a free wrist; the thumb only exerting a [Pg 40] slight pressure upon the stick. The staccato is also executed with the down bow, beginning near the nut.

[Listen]

3. The springing staccato stroke. This consists of a series of rebounding notes (“Primary bowing” No. 6) taken in one bow, and can be rendered both by the up and the down bows.[15]

[Listen]

[Listen]

[Listen]

4. The Tremolo is a succession of quick notes in very short strokes, and is executed with a loose wrist, the upper half of the bow lying upon the strings.

[Listen]

Another species of Tremolo is the following:—

[Listen]

[Pg 41] Here two notes are included in one bow, thus causing it to resemble the skipping stroke. Only the upper half of the bow is used, and it is held lightly with the thumb and first two fingers.

5. The Ponticello. This is executed with the bow lying quite close to the bridge, whereby the tone becomes somewhat nasal. When so produced by the whole string orchestra it often makes a fine effect.

6. Flautando. Also with the bow resting on the string, but, unlike the foregoing bowing, it is executed just over the fingerboard. The notes so played yield a delicate flute-like quality of tone.

Arpeggi.

By arpeggi is meant the intervals of a chord in quick succession. These may be extended over three or four strings with the most varied bowings and rhythms. Particular care must be taken to keep the wrist flexible.[16]

[Listen]

[Listen]

[Listen]

[Pg 42]

[Listen]

[Listen]

The Vibrato or close shake

is a trembling similar to the vibrato of a vocalist. Employed occasionally and with discretion it is of good effect. On the violin it is produced by setting the finger in tremulous movement upon the string, so that the pitch slightly rises and falls. Only the thumb and the finger in use must participate in the holding of the instrument. There is no special sign for the close shake in general use, its employment depending upon the player’s taste. Sometimes it is indicated by the word vibrato.[17]

The Trill.

The trill is an even alternation,—usually quick,—of two adjacent notes and may be executed on all the notes of the violin. The note played alternately with the principal note may be either a tone or a half tone distant. The trill is made both with and without a turn at the end. The turn is played in one bow with the shake, and at the same [Pg 43] speed. Exceptions exist in shakes ending with a full close. In a series of shakes the turn is reserved for the last:—

[Listen]

Various kinds of turns:—

[Listen]

Final shake.

[Listen]

Usually the lower note of the two constituting the trill is taken first. If it is intended that the upper note should begin the trill, it will be indicated by a small note before the principal note:—

The upper note of the trill is always understood to be in accordance with the key. If it is meant to be raised or lowered a semitone, a sharp or flat will be placed over the shake.

Final shake.

[Listen]

To execute the trill evenly, it must first be practised slowly. The finger making the trill must be lifted high, falling upon the string with firmness and elasticity, so that it is again lifted high. The bow meantime passes lightly over the string. The trill is studied upon every note in both tones and semitones. [Pg 44]

The Mordent (Pralltriller).

The mordent is a single alternation of two notes preceding the principal note, and is generally indicated by the following sign:—

Rendering.

[Listen]

or:

[Listen]

[Listen]

Rendering.

[Listen]

or:

[Listen]

The double trill.

To this species of shake, difficult of execution, applies all that has been said about the single trill. The player’s chief care will consist in making both fingers fall quite simultaneously upon the strings.

[Listen]

[Pg 45]

Scale practice.

Scale practice demands diligent application. By its means we attain certainty of intonation, power and flexibility of tone, as well as familiarity with the various kinds of bowing.

The beginner must now practise all the major and minor scales, in the first position, first in moderate tempo, with whole bows:

[Listen]

[Listen]

Then with short detached strokes in the middle of the bow, at the point, and also at the nut, and with the foregoing “primary” bowings,—

[Listen]

all with the utmost possible tone, and afterwards with varying nuances:—

[Listen]

[Pg 46] The scales are then practised with varying bowings and rhythms, legato and staccato, for example:—

[Listen]

Fingering of the scales.

To each note in the first position belongs its own finger, whether the note is raised or lowered a semitone, the same finger being used. As a rule in ascending passages the open string is used; downwards, the 4ᵗʰ finger is preferred in its stead. If the notes of the open strings are raised a semitone, usually the 4ᵗʰ finger plays it on the string below.

[Listen]

[Pg 47] If the scale begins with such a note, the first finger will be used twice in succession; for example:—

[Listen]

The chromatic scales.

In the chromatic scales, the 1ˢᵗ, 2ⁿᵈ and 3ʳᵈ fingers will each be used twice in succession, and of course must be pushed forward (or backward) with firmness to the next note. The 4ᵗʰ has one note only on each string assigned to it. The fingering will be the same, whether the scale is expressed by sharps or flats:—

[Listen]

Another system of fingering, utilizing the open strings, is as follows:—

[Pg 48]

[Listen]

The Positions.

The various places for the left hand, up and down the neck, are known as the positions, and each is determined by the place reached by the first finger. If the hand is so placed that the first finger is ready to press down these notes

it will be termed the first position. If the first finger is upon these

it will be the second position.

The ball of the thumb must not touch the neck. As in the first position the first finger remains upon the strings as guide. The thumb also, lies opposite the first and second fingers.

III. Position.

In this position the ball of the hand comes in contact with the ribs of the violin.

IV. Position.

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

[Pg 49]

V. Position.

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 frequently change the finger in enharmonic passages, or the position.

Changing the position.

Sliding from one position to another must be executed with ease and certainty, and it is especially necessary to grip the violin between the chin and the collar bone, in order to give the hand free play. Particular care must be bestowed upon

Sliding the fingers whilst
changing positions.

If in passing to a higher or lower position, the last note of the position just left, and the first of the position aimed at, have to be played by the same finger, it must slide over the string firmly, and without leaving it, whether the notes in question are legato or not. [Pg 50]

[Pg 51]

[Listen]

[Listen]

If the first note, when ascending to a position, is to be played by a finger following that used in the lower position, the first must slide with it, remaining until the position of the hand is again changed, or until released by an advancing finger. The first note must be played firmly by the finger assigned to it, without causing the slide to be heard.

In the following examples, the accompanying fingers are indicated by small notes.

[Listen]

[Listen]

[Listen]

If the notes of the different positions are to be taken upon two [Pg 52] strings, the finger goes with it to the higher position, but without necessarily remaining on the string.

[Listen]

In proceeding downward to another position, the finger on the last note slides with that which is proceeding in advance so far as to find its place in the lower position, but with the understanding that in case the note that follows is not to be played with the same finger, it must not remain down.

[Listen]

If the first note of higher position is to be played by a finger which is not the last used in the lower position, it must slide with it until the proper place in the higher position is reached, but must be lifted as soon as the finger which has to play the first note is put on the string.

[Listen]

If the first note in a lower position is to be played with a finger that in the upper position is ultimately replaced by the finger following, the finger in question must slide from the upper position to its place in the lower. But ere it has reached it, the first note in this position must be gripped.

[Listen]

[Pg 53] If the notes of the different positions are not bound together by means of legato signs, this sliding of the finger must take place so quickly that no notes are heard between. If the notes are bound together to be played in one bow, then the portamento or slide will be audible. The player must beware lest the portamento from one tone to another becomes exaggerated, or perhaps the entire enharmonic scale lying between the notes will be produced. All “whining” must be avoided, and the note next that to which the finger is sliding should not be heard.

The violinist must know the major and minor scales in all the positions, above all acquiring certainty in the various positions. On this account stress must be laid on the study of the same with the greatest possible diligence.

Double stops.

The violin is capable of producing a great variety of double notes or double stops. In conjunction with an open string, all the intervals may be given.

Unisons:

[Listen]

In unisons, the note given by the open string is produced simultaneously on the next lower string. The fingering adjusts itself according to the position in which one is playing, and it may be practised in the first four positions.

Seconds:

[Listen]

At a, the lower note will be played on the lower string, but at b the upper note is produced on the lower string. The fingering at a is conformable to the position employed—either the 3ʳᵈ, 2ⁿᵈ or 1ˢᵗ finger may be on the lower note. At b, the upper note can be played either in the 2ⁿᵈ, 3ʳᵈ, 4ᵗʰ or 5ᵗʰ position and either the 4ᵗʰ, 3ʳᵈ, 2ⁿᵈ or 1ˢᵗ finger may be placed on the upper note.

Thirds:

[Listen]

[Pg 54]

[Listen]

The thirds at a lie in the first two positions. At b, the upper note is taken on the lower string, and either in the 3ʳᵈ, 4ᵗʰ, 5ᵗʰ or 6ᵗʰ position.

Fourths:

[Listen]

a lies in the first position, at b the higher note is again produced on the lower string (as a harmonic note) in the 4ᵗʰ position.

Fifths:

[Listen]

The perfect fifths in this example have each two open strings; the imperfect fifths are played either in the first or half position.

Sixths:

[Listen]

in the first position.

Sevenths:

[Listen]

in the first and second positions.

Octaves:

[Listen]

in the first three positions. [Pg 55]

Ninths:

[Listen]

The upper notes in the 1ˢᵗ, 2ⁿᵈ, 3ʳᵈ or 4ᵗʰ positions.

Tenths:

[Listen]

The upper notes in the 2ⁿᵈ, 3ʳᵈ, 4ᵗʰ or 5ᵗʰ positions.

Double stops without open strings.

Unisons.

[Listen]

Seconds.

[Listen]

Major Thirds.

[Listen]

Minor Thirds.

[Listen]

Thirds are fingered with the 1ˢᵗ and 3ʳᵈ, or the 2ⁿᵈ and 4ᵗʰ, also with the 3ʳᵈ and 4ᵗʰ fingers in a series of thirds.

Fourths.

Perfect 4ᵗʰˢ.

[Listen]

[Pg 56]

Augmented 4ᵗʰˢ.

[Listen]

Fifths.

Perfect 5ᵗʰˢ.

[Listen]

Imperfect 5ᵗʰˢ.

[Listen]

Perfect fifths are fingered

Imperfect fifths are fingered with the same fingers as fourths.

Sixths.

Major 6ᵗʰˢ.

[Listen]

Minor 6ᵗʰˢ.

[Listen]

[Pg 57]

Sevenths.

[Listen]

Octaves.

[Listen]

It is necessary to remark that the foregoing examples do not give the fingering of the scales in double stops, only the fingerings which may be used in double stops as met with singly.

To these double stops without open strings, those in conjunction with an open string (pp. 53, 54) can still be added by this means, —that they are played on two lower strings; e. g.

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

[Pg 58]

Chords of three notes.

In triple stops the two upper notes have mostly the same duration, the lower note being previously released by the bow. Three notes may, however, be made to sound simultaneously, but special skilfulness is requisite, and the sounds cannot be of long duration. Formerly Paganini, Ole Bull, and other violin virtuosi, used a very flat bridge in order to play in three and four parts. Such tricks may be produced even with the ordinary bridge, by unscrewing the nut of the bow, passing the stick underneath the fiddle, letting the hair lie upon the strings, and holding both hair and stick together with the right hand.

As a rule, when several chords in three or four parts succeed each other, they are played with down bows in order to obtain the necessary power and equality of tone. Here and also in the four part chords which follow, the easiest are those which make use of the open strings:

Triple stops with two open strings:

[Listen]

[Listen]

With one open string:

[Listen]

[Pg 59]

[Listen]

[Listen]

[Listen]

[Listen]

[Listen]

Without open strings:

[Listen]

[Pg 60]

[Listen]

[Listen]

[Listen]

[Listen]

[Listen]

[Pg 61]

[Listen]

[Listen]

[Listen]

[Listen]

[Listen]

[Listen]

[Pg 62]

[Listen]

[Listen]

[Listen]

Chords in four parts
(quadruple stops).

With two open strings:

[Listen]

[Listen]

[Listen]

[Pg 63]

With one open string:

[Listen]

[Listen]

[Listen]

[Listen]

Without open strings:

[Listen]

[Pg 64]

[Listen]

Harmonics.

Natural and artificial Harmonics, or Flageolet tones, may be produced on the violin. The natural harmonics are obtained by placing the finger quite lightly, and without pressure, upon the string, and bowing with great care. From the middle of the string upwards towards the bridge, and also from the middle towards the nut, lie natural harmonics at the nodes of the string. The sign indicating that a note is to be played as a harmonic, is either 0, flageolet or son harmonique.

In the case of harmonics which yield a note differing from that stopped by the finger, the actual sound produced is indicated by the sign  ⟡.

G string.

[Listen]

D string.

[Listen]

A string.

[Listen]

[Pg 65]

E string.

[Listen]

Natural harmonics are also produced by placing two fingers lightly and simultaneously on one string:

G string.

D string.

A string.

E string.

Artificial harmonics.

These are produced by playing two notes on one string, the lower one being pressed down firmly, the upper one lightly. The distance of these two notes from each other may be either a third, fourth, fifth or octave. The most usual artificial harmonics are those at a fourth.

At a fourth:

[Listen]

[Pg 66]

[Listen]

At a fifth:

[Listen]

[Listen]

At a third:

[Listen]

[Listen]

Artificial harmonics may also be produced at the distance of a minor third, but these speak with difficulty. [Pg 67]

At an octave:

[Listen]

In like manner on the higher strings.

In the lower positions those at the octave necessitate a wide stretch between the 1ˢᵗ and 4ᵗʰ fingers, rendering them impossible for small hands.

Double harmonics.

Both natural and artificial harmonics may be played as double stops. The former speak best, the latter being more difficult. They require very thin stringing.

a. Natural double harmonics:

[Listen]

Similarly on the upper strings.

b. Artificial double harmonics:

The large notes indicate the notes which are to be pressed down firmly, the small notes those to be lightly touched, and the sign ⟡ the actual sounds produced.

[Pg 68]

a. Fifths, produced at the distance of a fifth, fourth and third:

[Listen]

[Listen]

b. Thirds.

[Listen]

c. Fourths.

[Listen]

d. Sixths.

[Listen]

[Pg 69]

e. Octaves.

[Listen]

The pizzicato.

The most usual method of playing pizzicato is by means of the index finger of the right hand, by which the string is gripped and plucked. The thumb is placed against the fingerboard. In pieces to be played pizzicato throughout, the thumb may be employed. In this case the violin is held down (underneath the right arm), as, for instance, in the Serenade in Don Giovanni, when the violin replaces the mandoline:

[Listen]

The sign used is pizz., its cessation, arco. The pizzicato is also possible with the left hand, and is chiefly thus employed when notes played by the bow and pizzicato notes follow each other quickly. Left hand pizzicato is indicated by + over the notes, and is usually executed by the finger which has pressed down the preceding note, or else with the fourth finger.

[Listen]

[Pg 70]

[Listen]

Notes may be also played arco and pizzicato simultaneously, for example,

[Listen]

Chords also sound well pizzicato, as for instance,

[Listen]

[Pg 71] If it is desired that the tones shall vibrate well, the thumb is released from the fingerboard, and the fingers of the left hand remain pressed down on their notes. Pizzicato stops in chords are also mixed with notes played by the bow, and are then plucked with the second finger of the right hand.

[Listen]

The arco notes are played at the heel of the bow, and with the up stroke.

The rendering.

The rendering of a piece implies its artistic reproduction, every necessary artistic resource being therein blended. The violinist is capable of a perfect rendering only if,—in addition to a firm, easy technique of the left hand, adroitness in bowing and susceptibility to the modifications of tone, and a technique equal to all demands made upon it,—he has under his control a higher spiritual musical development, fine taste, and a warm individual feeling. Only through the combination of all these qualities can one reinvest the dead signs of the composer with spirit and life, and cause his work to pass before the hearer’s soul as an ideal, living picture.

Intellectual culture.

Under this head must be included a knowledge of the theory of music, which renders possible the clear understanding of the sequence of ideas which the composer has expressed through time, degrees of movement, dynamic signs, melodic periods, and the harmonies upon which they are constructed, the rhythmic combinations; and through all these peculiarities the character of a piece as well as the individuality of the composer. And where special directions for the rendering are not employed, to perceive from the text of the work itself the correct rendering.

Taste.

To render a piece of music with taste, signifies the reproduction of the same so that the hearer perceives through the player a complete [Pg 73] understanding of it, and throughout its performance receives a correct impression of its character. If an artist has given expression to all the composer’s written dynamic gradations of tone colour with understanding and feeling, it will be artistically refined; if infused with his own individuality, and if no awkwardness appear technically with respect to the manipulation of his instrument, his performance will be regarded as tasteful.

It should be especially his concern to avoid the numerous faults common to many players; for example, “whining,” a mawkish drawling from one tone to another, exaggeration of the close shake on the part of the left hand, inartistic accentuation, unmeaning throwing of the bow upon the strings, &c.

Individuality.

If the artist has studied and learned how to give expression to the individual feeling of the composer, his own individuality in the performance is also of great consequence. It consists in this: that the same piece in performance shall appear ever fresh and new. Individual feeling is subject to continuous change, through influences from within and without, consequently an artist who has acquired a full and active control over all his powers does not perform a piece the second time in precisely the same manner as the first time. Where however, this is the case, it may be regarded as a sign that the performer has not yet arrived at a complete artistic freedom.

Phrasing.

Upon this subject no exhaustive treatise will be given, but only some observations upon intelligent phrasing as applied technically to violin playing. As in singing, and in wind instruments the breath, so in the playing of stringed instruments the change of bowing, is the potent medium through which phrases are divided, distinguished from each other, and rendered clear. Stringed instruments present considerably greater difficulty in this respect than singing, on account of the manifold kinds of stroke in bowing,—often within the compass of a short phrase the most varied bowings occur; moreover, it cannot be laid down that with each phrase or period the stroke must be changed. These phrases may, however, in many cases coincide with the change of bowing, [Pg 74] and the player must in general make it his aim to obtain correct phrasing by a suitable application and adjustment of the changes in the stroke.

The following examples from Mendelssohn’s violin concerto are often incorrectly phrased, through changing the bow in the wrong places:—

[Listen]

The above passage is thus rendered by many violinists:

[Listen]

and in David’s edition of the concerto it is even marked thus:—

[Listen]

and a similar passage in this way:—

[Listen]

[Pg 75] A prolongation of this theme also shows incorrect changes of bow, from which wrong phrasing ensues:—

[Listen]

The bowings indicated underneath the notes show the correct phrasing, and also the effect aimed at in connecting the idea with the previous example.

In passages where the phrasing is not plainly defined by the changes of bow, the change occurring in the middle of a phrase, the strokes must be made to follow each other as smoothly as possible (i. e. without a break):

[Pg 76]

[Listen]

Passages which, owing to rapid time and bowing, are not easily to be rendered clear by the player, must at least have the real meaning of the phrase indicated with correct accentuation. It will then become apparent in the rendering; for example.

[Listen]

[Listen]

[Pg 77]

c. Concerto by Lipinski (Bowing marks by David).

[Listen]

Here the phrasing would become clearer and more intelligible if the legato signs were made to include the notes next to them in the following passages: (1) the E in the second bar; (2) as far as D in the fourth bar; (3) E in the sixth bar, (which would be better tied to the F♯); then in the following bar the two d’s could be played in one bow, &c.

It is still harder than in compositions by violinists or in pieces marked by them, to make the right changes of bow in the sense of the phrasing in the works of composers who are not thoroughly familiar with the technical handling of the violin, and whose indications of bowing are somewhat eccentric, or merely mark the difference between staccato and legato. Even our classical composers have not always been sufficiently strict in this respect, and the appropriate phrasing has been supplied by many violinists, as for example in the Quartets of Mozart and Beethoven. [Pg 78]

The fingering is just as essential to correct phrasing as the bowing. Generally the changes of position are made so as to suit the requirements of the phrasing, that it may be rendered smoothly. This is particularly needful in long sequences of notes on one string.

[Listen]

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

[Listen]

In this passage from Richard Wagner’s “Siegfried”, most players change the position with the first note of the third bar, whereas it should occur after this note, on the C♯. In order to render it so, the 4ᵗʰ [Pg 79] finger may be taken three times in succession, beginning with the highest C♯. Here also the changes of bowing should coincide with the phrasing marked.

It is essential to a correct rendering that, even in the first pieces played by a beginner, a perception of the phrasing as a whole should be acquired; not, as is usually the case, regarding the bowing marks and the legato signs as exclusively determinative of it. In this respect, unfortunately, there is nothing offered for the student’s enlightenment and the improvement of his taste in the existing violin methods; at least, no method is known to me containing apposite suggestions and remarks on this head.

Pictorial representation
of the bow-strokes.

The signs in general use indicating the down and up strokes, are these ┌─┐ ٧.

The first sign indicates the lower end of the bow, or nut (Ger. “Frosch”), the second, the upper part or point (“Spitze”).

Hermann Schroeder, in his edition of Kreutzer’s 42 Studies (dedicated to Joachim), has introduced a further development of these signs. They are not placed in their usual position, but sideways.

Example:—

[Listen]

[Pg 81]

The same in a simpler and more condensed style.

Read from the left, the bowings in the first example are shown together with their notes, and the signs of up and down strokes are then to be found in their ordinary positions. The editor of the Studies has, however, given the preference to the employment of the second manner of writing these, on account of the simplified and easily produced representations of the bow, and also because of the compressed form of the bowing strokes given below it. The pictorial signs for the bowing are more particularly for use in such studies as exemplify different methods of playing, or such as have groups of repeated phrasings and bowings; in the remaining studies they are employed wherever the ordinary signs and terms do not suffice to show the relative extent of the distribution of the bow.

The mute.

The mute is a clamp with three notches, which, to obtain a muffled tone, is fastened on the bridge between the strings. Its use is indicated by “con sordino,” its removal by “senza sordino,” or by “with” and “without mute”. There are also mutes which are fastened to the violin in order to avoid this noisy fixing and unfixing, being brought into action by a slight push. These mutes are not made as a clasp, but consist of a small plate which presses against the bridge, and not upon it. [Pg 82]

The simultaneous sounding of
subordinate and combination tones.

Without entering into the province of musical acoustics, the well-known experiment only can be mentioned here demonstrating that mingled with the notes one plays, others are audible. It is with this object that a snuffbox or a key is laid on the upper table of the violin. If one plays double stops in slow tempo whilst one of these articles is thus placed, not only two notes, but three, four, or even more, may be heard. In order to obtain good and correct progressions in harmony, the double notes played must follow in suitable sequence. Generally, two intervals of the same kind should not follow each other.

In order to make the sympathetic tones more plainly audible, and at the same time to obviate the whizzing noise produced during the bowing by the article placed on the upper table, Hermann Schroeder has invented an apparatus called “Vibrator for the production of harmonic overtones, and for the reinforcement of the combination tones of stringed instruments” (Germ. R. Patent No. 40224).

The inventor says in his specification “Researches into the sympathetic tones of instruments of the violin species, and a theory deduced therefrom as to the movement of the bow upon the strings”, (Leipsic, C. W. Fritzsch) amongst other things the following:—In order to produce upon stringed instruments—more especially the violin,—the harmonic overtones of the notes played, as well as the combination tones, a weight (g) is brought over the upper table of the violin fastened to it, but allowed free play. This weight, when the instrument is being played, vibrates with the vibrations of the upper table, being kept in its place by the spring (h, f). That the weight, during its vibration, may be firmly kept in one fixed position, the holder (f) is fastened to the ribs of the violin. On the other hand the shifting, very elastic tail (h) above this holder, with its fastened end (h¹) over a peg (s), grips the vibrating weight (g) controlling its movements up and down upon the instrument.

With the spring (h) in position, one can then fix the screw and holder (f) over any part of the ribs, bringing the weight (g) into action upon various parts of the body of the violin. Yet its application will best [Pg 83] succeed if brought upon the upper table, either in front of, or behind, the bridge, under the two strings G and D, because here the wood of the upper table is brought most into vibration, and also because the most serviceable tones of these strings—particularly the notes of the middle part of the scale—cause these subordinate and combination tones most clearly to be heard. The spring being quite flexible, may be bent to any shape, and in the circular form shown above helps the firm position of the weight with respect to the amount of pressure. The under, and somewhat concave, disk of the weight is covered with paper, which agreeably modifies the tone quality.

Vibrator.

The use of the vibrator permits the production of curious and often striking effects, especially in light and flowing playing, as, perchance, in chorales, when three, four or more parts become audible in regular harmonic sequence. The tone of the violin is caused to resemble very much that of the harmonium, and nuances from the lightest piano to at least mezzo forte are obtainable.

Some Violinists of the 20ᵗʰ Century.

The Viola.

The terms “Viola”, “Tenor”, “Bratsche”, “Alto”, and “Quinte”, are all used in different countries to designate that member of the violin family which is tuned a fifth lower than the violin. In England it is commonly known as the Tenor, from the fact of its playing a part in the string quartet analogous to that of the tenor voice in relation to the other voices in part-singing. In Italy it was termed the “Viola di braccio” to distinguish it from the larger viols which rested on the ground or were supported by being placed between the performer’s knees. “Viola” or “Alto” the Italians now term it, the music written for it being in the alto clef (middle C on the 3ʳᵈ line):—

The German term “Bratsche” is simply a corruption of “Braccio”. “Quinte” is the name by which it is usually called in France, indicating that it is tuned a fifth lower than the violin.

The tuning is as follows:—

The G and C are both covered strings.

Occasional high passages necessitate the employment of the treble or “violin” clef. Although its three upper strings are identical in pitch with the three lowest of the violin, the quality is quite different, the viola being more reedy and penetrating. This is due to the [Pg 108] disproportion between the deeper tuning of the instrument and its dimensions, which are only about one-seventh greater than those of the violin. Tenors were formerly made in several sizes. The ponderous instruments of Gaspar da Salo and other Italian makers are of greater interest to collectors than of practical utility, requiring arms of exceptional length to play them. The large sized Violas were known as the “Viola tenore”, and the ordinary sized instrument as the “Viola alto”, and the two had often separate parts assigned to them in the same composition, down to the time of Handel. Hence the survival of the two names Alto and Tenor, applied in our own day to the same instrument.

The rich and sympathetic quality of tone of the viola renders it eminently suited for the performance of Nocturnes, Elegies, and melodies of a pathetic or tragic character. Some beautiful compositions have been specially written for it, and it is to be regretted that these are so very seldom heard in public.

From the penetrating character of the tone, new violas are invariably harsher than new violins or violoncellos, but fortunately several good makers of the last century have left a number of instruments which have now become matured, and the demand being so much less than for violins, a good medium sized viola may often be obtained at about half the cost of a violin of the same quality.

Mr. Hermann Ritter of Heidelberg has in recent years endeavoured to revive the large tenor under the name of Ritter’s Viola Alta. Several of these instruments have been made, and they have been used with good effect at the Bayreuth Wagner Festivals.

Vidal’s measurements of a Stradivarius Viola dated 1723, are as follows:—

NB. For Guide through Viola Literature see page 179.

The Roman Figures (I, Ia, Ib, II, etc.)
indicate the Steps to which the
respective works belong.

Violin Methods.

Courvoisier, C. Violin School. (7600 a-c).

An elaborate method in three parts, with five supplementary parts constituting a “School of Velocity” (7603 a-e), with copious explanations given in English, German and French.

David, F. Violin School.

Hofmann, R. The First Instruction in Violin Playing, complete (5668) or in 2 Bks. (5668 a, b). (Der erste Unterricht im Violinspiel.) Op. 92.

The first elements are explained in a very thorough and systematic manner. For young amateurs it has moreover the advantage of engaging their interest by the frequent use of well known melodies in the places of dry meaningless figures.

Kayser, H. E. Popular Violin Tutor (Elementary). Op. 65. (7606.)

A clear and systematic primer which leads the pupil on by the aid of favourite melodies will be always attractive for young beginners.

Mazas. Petite Méthode.

Popular Instructor in Violin Playing (2 Bks.). (7623 a, b).

Simple and progressive, making much use of operatic airs and national melodies.

Ritter, E. W. Practical School (10 Bks.). (7610 a-k).

The explanatory text is clear and to the point.

Scholz, Richard. School of Artistic Violin Playing. A theoretical and practical Instruction Book, in all matters relating to style, for moderately advanced players. Op. 9. (5681).

Excellent work for style and phrasing. Clear and exhaustive explanations of every chapter make the work particularly useful, especially for those who have not the opportunity for individual teaching. [Pg 110]

Schoen, M. Practical Course of Instruction (12 Bks.). (7611-22).

Spohr, L. Violin School.

This monumental work is of great utility to advanced students, but is seldom used for beginners by experienced teachers, the exercises being not sufficiently graduated as to difficulty.

Schröder, Prof. C. Catechism of Violin and Viola Playing. 3ʳᵈ Edition (9212).

Casorti. Technique of the Bow.

Courvoisier. L’École de la Vélocité.  (7603 a, b).

Dancla. Op. 74.  École du Mécanisme.

Kreuz, E. Scales and Arpeggios (3 Bks.).  (5664 a-c).

Lütgen, H. Scales and Exercises.  (8663).

Ritter. Scale and Chord Exercises.  (5676).

Wohlfahrt, F. Daily Exercises.  (7624).

Step I. First position only, and in easy keys.

Böhmer, C. 75 Exercises in Intonation, through all keys. Op. 54. (E. Heim.) 2 Books. (5643 a, b).

An excellent work greatly facilitating the knowledge of extreme keys. Book 2 belongs to the next step.

Courvoisier, C. The School of Velocity.

[Pg 111]

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hering, C. Op. 16. 25 Studies for 2 Violins in all major and minor keys; revised, phrased, and fingered by E. Heim. The Scales as contained in 2ⁿᵈ Violin part to be played by the student. (5618).

Hermann, F. Le Commencement de l’Etude. (5612 a, b).

In two books, containing familiar airs interspersed with easy studies, with a 2ⁿᵈ violin part.

Hofmann, R. The First Instruction in Violin Playing. (Der erste Unterricht im Violinspiel.) Op. 92. 2 Books. (5668 a, b).

A thorough elementary course leading on to the following work of the same author.

Op. 90, Book I. 80 Melodic Studies. (5666 a).

A well graduated course. Book 2 belongs to the next grade, and would prove an excellent preparation for Kayser’s 36 Studies. (8662 a).

Kreuz, E. Progressive Studies. Op. 34, Bk. 1. (5663 a).

Contains 40 progressive exercises gradually introducing the notes of C major in the 1ˢᵗ position.

Scale and Arpeggio Manual for the Violin, arranged with a special view to the requirements of candidates at the various Local Examinations, by A. Laubach. (5672). [Pg 112]

This Manual is written for Students of all Grades.

Popular Instructor in Violin Playing:—

Part I. Elementary and First Position. (7623 a).

Schön, M. Practical Course of Instruction:—

Part	I.		ABC of Violin Playing. Introductory School. (7611).
”	II.		First Steps in practical Violin Playing.
”	III.		Progressive exercises in the first position
”	IV.		and in all Scales. In 3 Books. (7612-14).
	Parts V to XII belong to the following Grades.

Steffani, R. 12 Progressive Studies, in the first position. (5683).

Step II. First four Positions.

Alard, D. Op. 10. Études mélodiques et progressives. (5640).

also with 2ⁿᵈ Violin in 2 Books. (5600 a, b).

Böhmer, C. 75 Exercises in Intonation, through all keys. Op. 54. (E. Heim.) Book 2. (5643 b).

Courvoisier, C. The School of Velocity.

Book IV (12 Melodic Studies in the first position, Minor). (7603 d).

Dont, J. 24 Exercices préparatoires aux études de R. Kreutzer et P. Rode. Op. 37. (7604).

except Nos. 6, 8, 9 and 15 which belong to Step III.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hermann, F. Op. 24, Bk. 1. 30 Studies in the 1st position. (5659). [Pg 113]

also with 2ⁿᵈ Violin. (5613).

Hofmann, R. Melodic Studies. Op. 90, Book 2. (5666 b).

Kayser, H. E. Violin Studies, carefully revised and fingered, with instructive annotations by Ernst Heim:—

Kreuz, E. Progressive Studies. Op. 34, Bks. 2 and 3. (5663 b, c).

Book 2 contains 20 progressive studies in the sharp major and minor keys, Book 3, 20 in the flat major and minor keys.

Mazas, F. 75 Melodic and Progressive Studies for the Violin. Op. 36. Revised and fingered by C. Courvoisier:—

Bk. I. 30 Special Studies. (7607 a). Bk. II. 27 Brilliant Studies. (7607 b).

Popular Instructor in Violin Playing:—

Part I. Elementary and First Position. Part II. Higher Positions. (7623 b).

Schön, M. Practical Course of Instruction:—

Book V. 46 short Exercises for the Violin with a second violin. (7615).

Step III. First five Positions.

Corelli, Arcangelo. Œuvres revues par Joachim et F. Chrysander. (In score.) 8vo:—

Dont, Jacques. 20 Exercices progressives, pour le Violon (avec accompagnement d’un second Violon), Op. 38. (7605).

The last of these exercises belong to Step IV.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hermann, F. Op. 24, Bk. 2. 25 Studies in the 1st, 2nd and 3rd positions. (5660 a, b).

Hofmann, R. Op. 91. 40 Studies in all positions, for practice in shifting. 2 Bks. (5667 a, b).

Kayser, H. E. 36 elementary and progressive Studies (introductory to those of Kreutzer) carefully revised, fingered, and with instructive annotations by Ernst Heim. Op. 20, Bk. III. (8662 c).

also with Second Violin (5610 c), or with Pianoforte Accompaniment (7397 c).

Kreuz, E. Progressive Studies. Op. 34, Bks. 4 and 5. (5663 d, e).

Schön, M. Practical Course of Instruction:—

Step IV. All Positions.

Blagrove, H. 12 Studies. (9415).

Courvoisier, C. The School of Velocity.

Book V. Special Studies in Shifting. (7603 E).

Dancla. Op. 2. 6 Studies, (5644).

Fiorillo, F. 36 Études en forme de Caprices (Ernst Heim) (5654).

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hermann, F. Op. 24, Bk. 3. 25 Studies, 3rd to 7th positions. (5661). [Pg 116]

also with 2ⁿᵈ Violin accompaniment. (5615).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Kreutzer, R. 42 Studies. New Edition, revised and fingered by Ernst Heim. (5671).

Kreuz, E. Progressive Studies. Op. 34, Bks. 6 and 7. (5663 f, g).

Mazas, F. Op. 36, Bk. III. 18 Studies for Artists. (7607 c).

Schön, M. Practical Course of Instruction:—

Scholz, Richard. School of Artistic Violin Playing. A theoretical and practical Instruction Book, in all matters relating to style, for moderately advanced players. Op. 9. (5681).

Wessely, Hans. Comprehensive Scale Manual. (5686). [Pg 117]

Step V. Difficult. (Octaves, Springing Bow, Staccato etc.).

Bériot, C. de. 6 Études brillantes. (5646).

Also, published with pianoforte accompaniment (7339 a, b).

Campagnoli. 7 Divertissements. Edited by G. Jensen. 7601.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Rode, P. 24 Caprices in the form of Studies for the Violin. Revised and fingered by Ernst Heim. (5679).

Rode, P. Caprices, revised by Carl Courvoisier 5678.

Vieuxtemps, H. Op. 16. 6 Concert Studies.

Step VI. Very difficult.

Gaviniés, P. 24 Études 24 Matinees.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by K. Heim:—

Wieniawski, H. L’École moderne. Études-Caprices. Op. 10. E. Heim. (5687).

Step I. In the first position.

Hermann, Fr. 50 favourite Melodies. 5465 a.

Hofmann, R. Potpourris on Popular Melodies from Classical and Modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books

in the first position:—

Step II. In various positions.

Gurlitt. Our Favourite Tunes. (7608).

Hofmann, Richard. Potpourris on Popular Melodies from Classical and Modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books.

Step I. First Position.

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Dancla, C. Op. 25. 3 Duos faciles. (5601).

Gurlitt. Op. 150. Duos faciles et progressifs. (5605).

Our Favourite Tunes. Arranged. (7609).

Heim, Ernst. Abecedarian in Violin Playing. 45 Elementary Pieces for Violin with accompaniment of a second Violin. 2 Books. (5598 a, b).

Hermann, Fr. 50 Favourite Melodies. (5465 b).

Hofmann, Richard. 30 short, instructive Melodic Pieces. Op. 113. (5624).

Step 1. (in the first position):—

Mazas, F. Duos faciles et progressifs. 2 Bks. (5608 a, b).

Pleyel. Op. 8. 6 Duos. (7597).

Reinecke. Op. 122a. 10 Petits Morceaux. (5630).

Ritter, E. W. 30 Exercices faciles. Bk. I. (5631 a).

Schön, M. 18 short modern Duets for two Violins. In various major and minor keys (First Position). (7616). 6 easy and melodious Duettinos for two violins. In various major and minor keys (First Position). (7617).

Step II. First four Positions.

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Album opératique. (5639).

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Dancla, C. Op. 24 and 25. Duos faciles. 2 Bks. (5602-3).

Gurlitt. Our Favourite Tunes. Arranged by F. Hermann. (7609).

Hering, Carl. 2 Duos, both in the first, and occasionally the half and second positions. Op. 15. Revised, phrased, and fingered by Ernst Heim. (5617).

Hofmann, Richard. 14 instructive Melodic Pieces. Op. 114. (5625).

Kalliwoda. Op. 243. Duos faciles et brillants. 3 Bks. (5606 a-c).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Lachner, I. Op. 96, 97 and 98. Sonatinas in A, D and B♭. (5621-2-3).

Mazas, F. Duos faciles et progressifs; Letters C, D & E. 3 Bks. (5608c-e).

Pleyel, I. Op. 48. 6 Sonatinas. (7598).

Ries, H. Progressive Duets. (Ernst Heim) 9 Books:—

Ritter, E. W. 30 Exercices faciles. Bk. 2. (5631b).

Thomas, E. 4 Duos. (5634a, b).

Step III. Five Positions.

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Dont. 20 Exercices progressifs. Op. 38. (7605).

Gurlitt. Op. 105. Ouverture des Marionettes. (7596). Op. 137. “Commedietta” Ouverture. (7599).

Hermann. Op. 26. Morceaux mélodiques; Bks. 1, 2, 3. (Piano ad lib). (5328 a-c).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Molique, B. 3 Duets. Op. 3. 3 Books. (10008 a-c).

Mozart, W. A. Op. 70. 12 Duets. 4 Bks.

Pleyel, I. Op. 23. Duos. (1085 d).

Ries, H. Progressive Duets, (Ernst Heim).

Rode, P. Op. 1. 6 Duos. 2 Bks.

Viotti. Concert duets. 13 Bks.

[Pg 125]

Step IV. All Positions.

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Hauptmann, M. Op. 2. 2 Duets. (1082).

Hermann. Op. 26. Morceaux mélodiques. Bks. 4, 5. (5328 d, e).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Mayseder. 3 celebrated Duets. Op. 30, 31, and 32. (10007 a-c). [Pg 126]

Ries, H. Progressive Duets. (Ernst Heim).

Step V. Difficult.

Arena. A Collection of Duets for Two Violins, arranged in progressive order, carefully marked and annotated:—

Hermann. Op. 24. Études spéciales. On double stops, shifting &c. (5615 a).

Kalliwoda. Op. 234. Grand Duo brillant. (5607).

Rode. 24 Caprices in the form of Studies, with 2nd Violin by Ludwig Abel; revised by E. Heim. (5632).

[Pg 127]

Step VI. Concert Duets.

Heim, Ernst. Arena. A Collection of Duets for 2 Violins, arranged in progressive order, carefully marked and annotated:—

Spohr, L. Op. 3, 39, 67, 148, 150 and 153. 14 Grand Duets. (7 Bks.).

Duets for Violin and Violoncello.

Kreutzer. Sonatas. Op. 16 and 17. 2 Bks. II.

Beethoven. 3 Duets. III.

Haydn, J. Duet in D. III.

Hoffmann, H. A. 6 Duos. Op. 5. III.

Leonard & Servais. Grand Duo de Concert (Airs Anglais). VI.

Duets for Violin and Organ.

Album. 10 Pieces. (2450).

Becker, A. Op. 20. Adagio. (2078). IV.

Henkel, H. 3 Tonsätze von J. S. Bach, arr. No. 1, Berceuse; 2, Sarabande; 3, Toccata. (7326). II.

Jensen, Gustav. Arioso e Rondo patetico. Op. 40. (5380). IV.

Lachner, I. 2 Pieces. Op. 66. No. 1, Andantino; 2, Nocturno. IV.

Mozart. Andante Cantabile from Violin Concerto. Op. 121. Arr. by I. Lachner. IV.

Rheinberger, J. Op. 150. 6 Pieces. No. 1, Theme with variations; 2, Abendlied; 3, Gigue; 4, Pastorale; 5, Elegie; 6, Overture.

Spohr. Adagio from 9th Violin Concerto, arr. by I. Lachner. IV. [Pg 128]

Pieces for Violin with
piano accompaniment.

Step I A. First Position, Elementary.

The simplest pieces only (rhythmically, as well as technically) are included under this head, the melodies being almost entirely either in minims and crotchets, or in crotchets and quavers.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment: arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Fitzenhagen, W. Petits Morceaux. (Violin part within the compass of a Fourth):—

  Op. 38. No. 1. Ave Maria.

Heim, Ernst. Abecedarian in Violin Playing. Elementary Pieces in progressive order. Nos. 1-25. Bk. 1. (11461 a).

  Most useful and attractive collection for young beginners.

Hering, Carl. 16 Pieces in progressive order. Op. 14. Revised and marked for teaching purposes by Ernst Heim. (11493).

Kreuz, E. Op. 25. 30 Melodies. 3 Bks. (7515 a-c).

Laubach, A. 3 Pieces (Menuetto, Nocturne [Ib], Marche militaire).

Moffat, A. 6 Easy Pieces for young Violinists. (7525).

Rieding, O. 6 Easy Pieces.

Ritter, E. W. 12 Short Pieces.

Step Ib. First Position,
Easy and progressive.

In the easiest keys only, but containing a little more movement and rhythmic variety.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Beazley, J. C. 6 Little Pieces. Book 1, “A stray thought,” “On the lake”, and “A happy moment”; Book 2, “Eventide”. “Meditation” and “March”.

Clark, Scotson. Melody in A.

Danbé, J. 6 Petits Morceaux. Cantabile & Allegro, Petite Valse, Caprice, Adagio and Rondo, Minuet, Petite Barcarolle. [Pg 130]

Fitzenhagen, W. Petits Morceaux. (Violin part within the compass of a fourth):—

Gurlitt, C. Our Favorite Tunes. Melodies, Ancient and Modern. (7375).

Hauptmann, M. 3 Sonatinas. (7384).

Heim, E. Abecedarian in Violin Playing. Elementary Pieces, transcribed and arranged in progressive order.

Hermann, F. 50 favourite Melodies; the Violin Part in the first position. (5465 c).

Hill, Claud H. Three Pieces. No. 1, Prelude; No. 2, Allegretto; No. 3, Gavotte.

Hoby, C. Album of Duets. Romance, Bourrée, Fairy Tale, Alla Mazurka.

Hofmann, Richard. Op. 101. No. 1, Animation.

Horrocks, A. E. Rigaudon.

Kayser. Op. 65. Exercises and Popular Melodies. (7398).

Kirchner, Th. 4 Albumblätter. (F. Hermann.) (7400).

Koch, F. Petite Suite. (Allegretto, Arietta, Scherzo, Romanzetta, Alla Marcia.) Op. 12. (7508).

Kreuz, E. Op. 30. 6 easy Pieces. (7518).

March Album, Book 1. Edited by Hermann. (8686 a).

Meo, Alfonso. The Dolly’s Dance.

Moffat, A. Album. 12 pieces (in the easier positions). (7524).

Nicole, L. Minuet and Gavotte.

Our Favourite Tunes. From a collection of ancient and modern Melodies by C. Gurlitt. Arranged by Fr. Hermann. (7388).

Pleyel. Op. 8. 6 Duos. (Hermann). (7545).

Reinecke. Op. 122 a. 10 Petits Morceaux. (7541).

Rieding, Oskar. 6 Easy Pieces. Nos. 4, 5 and 6, “Tempo di Valse”, “Polonaise” and “Air varié”.

Ritter, E. W. Brilliant Duets. (The Violin part in the first position):—

Taubert, W. Serenade. (M.F. 17)

Terschak, A. Popular Melodies:—

Tschaïkowsky. Favourite airs from the opera “Eugène Onégin”. Arranged by V. Sorreno. (5469 a).

Volkmann. “In the Mill”. (No. 1 of “Musical Picture Book”). (M.F. 59).

Wurm, Marie. March in D. [Pg 133]

Step II. First four Positions.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Adam, A. Christmas. (M.F. 108).

Agrell, J. Sonata, edited by W. Abert. (11305).

Albums. Arranged by F. Hermann, containing pieces by modern composers:—

Album Opératique. Vol. 1. 12 Melodies; Vol. 2. 15 Melodies. (8689 a, b).

Ariosti, Attilio. 6 Sonatas Lezioni for Viola d’amore, transcribed by G. Saint-George. (11311 a-f).

Atkinson, J. A. Petite Valse. Op. 1.

Bach, Emanuel. Solfegietto. Arr. by Oscar Wagner.

Bach, J. S. Gavotte in D. (Hermann, C. V. M. 9).

Beazley, J. C. Sonatina in F.

Beethoven. Andante Cantabile from Trio. Op. 97. (M. F. 98).

Bennett, W. Sterndale. The Lake. (M.F. 78).

Boccherini, L. Minuet in A.

Brooks, W. Op. 48. Album Lyrique. 4 Pieces. (7333).

Burgmüller. 3 Nocturnes. (8673).

Busoni. Op. 28. Bagatellen. No. 3. (2449).

Christmas-Album. 10 Pieces suitable for Christmastide, arranged by F. Hermann. Albums, Vol. XIV. (7322 o).

Clark, S. Marche aux Flambeaux. (9403 a).

Clementi, C. 6 Sonatinas. Op. 36. Violin part by M. Reger. (7351).

Courvoisier, C. Bagatelles. 6 petites Pièces. Op. 35. (9404).

Czibulka. Gavotte de la Princesse. Arr. par Fr. Hermann, (9406 g).

D’Alquen, F. Nocturne in G.

Dancla, J. C. 12 Mélodies. Arr. by C. Gurlitt. (7361).

David, Ferd. Gondellied. (Hermann.) (M.F. 69). Kinderlied. (Hermann). (M.F. 12). Remembrance (Souvenir.)

De-Angelis, G. Due Pezzi facili. Op.9. (Berceuse, Gavotta.) (7325).

Diabelli. Sonata in F. (W. Abert.) (11373).

Dolmetsch, A. Romance.

Dorn, Ed. Grande Marche impériale. (9406 a).

D’Ourville, Leon. Gondolina. Arranged by E. Thomas.

Dussek. Op. 20. 6 Sonatinas. (2507).

Gade, N. W. Elegie. (M.F. 13). Spring-flower. (M.F. 32)

Gautier, L. Le Secret. (M.F. 114).

Gavotte Album. 14 of the most celebrated Italian, French, and German Gavottes by Corelli, Couperin, Rameau, Bach, Handel, Martini, Gluck, &c. F. Hermann). (8687).

Gluck, C. W. Andantino affettuoso (Jensen, V. 22).

Gounod, C. L’Angelus, arranged by F. Hermann. (M.F. 113).

Goltermann, G. Op. 114. Sonatine in F. (7381).

Gungl, J. Oberländler. (M.F. 19).

Gurlitt, C. Morceaux de Salon (faciles). Op. 146:—

Handel, G. F. 2 Suites, arranged by G. Jensen:—

Hartog, Henri. Les Cloches. 5me Morceau de Salon.

Haydn, J. Serenade. (Jensen. V. 2).

Hauptmann. Sonata. Op. 6. (F. Hermann.) (7383).

Hauser. Die Plume (Preghiera). (M.F. 55).

Heim, Ernst. Abendlied (Evening Song).

Hennessy, Swan. Op. 7. “In the Mountains”.

Henkel, H. Sicilienne.

Henselt, A. La Fontaine. (M.F. 35).

Hermann, F. Sonatina in G. (7389 a).

Hoffmann, J. Cantilena in A.

Hofmann, Richard. Op. 78. 4 Pieces:—Scherzino, Romance, Gavotte. Minuet.

Hofmann. Potpourris on popular Melodies from classical and modern operas and oratorios.

Holländer, G. Op. 3. Spinnerlied.

Jansa, L. Op. 54. Concertino. (7391).

Jensen, A. Ländler. (M.F. 8).

Jensen. Wanderbilder. 2 Bks. (2129 a, b).

Kayser. 36 Elementary and Progressive Studies, Op. 20 (introductory to those of Kreutzer), revised by E. Heim.

Kearne, L. Canzonetta.

Kirchner, F. Op. 184 a. Slumber Song.

Kirchner, Th. Feuillet d’Album. (M.F. 15).

Kreuz, Emil. Chant d’amour. Op. 44, No. 2.

Kuhlau, F. Sonatines. Op. 88. (Emile Thomas):—No. 1, [Pg 138] en Ut (in C). 3. en La bémol (in A minor).

Lachner, I. Op. 93. 3 Morceaux de Salon: No. 2. Tarantelle; 3. Danse des Matelots. (7511 b, c).

Langer. G. Op. 20. “Grossmütterchen.” Ländler.

Laubach, F. 24 Scottish Songs, arranged. (7513).

Lee, Maurice. Cantilena.—Gavotte de Louis XV.—Rêve céleste, Morceau de Salon.

Liszt. F. Consolation. (M.F. 16).

Lully. J. B. Entrée de l’Opéra, “Les Songes funestes d’Atys”. (Hermann, C.V.M. 5).

March Album. Bk. 2. Edited by Hermann. (8686 b). Contains 5 Marches by Beethoven, 3 by Cherubini, and 1 by Lesueur.

Martini, G. B. Gavotta. (Jensen, V. 16).

Mendelssohn. 4 Marches (Wedding March, War March, March from Italian Symphony, Lied ohne Worte in E minor). Bk. 5 of March Albums. (8686 e).

Meo, Alfonzo. The Cubanese Dance.

Moffat, A. Bourrée et Musette. Gigue anglaise. Hebridean Jorram (Hebriden Schifferlied). Mélodie élégiaque. [Pg 139] Pierrette. Danse Gracieuse. Fantasia on English Airs. Fantasia on Irish Melodies.

Mozart, W. A. Allegretto (Sonata in G). (7324 c).

Nölck, A. Berceuse. Op. 92.

Our Favorite Tunes. (Hermann.) (7388).

Papini, G. Deux Airs Napolitains. No. 1 in D; No. 2 in D.

Pergolese, G. B. Air. (M.F. 116).

Pleyel. Op. 48. Six Sonatinas. (F. Hermann.) (7546).

Porpora, Niccolo. La Chasse. Pianoforte Accompaniment, arranged from the original figured Bass by A. Moffat.

Poznanski, J. B. La Paresse.

Rameau, J. P. Menuet et Passepieds de “Castor et Pollux”. (Hermann, C.V.M. No. 7).

Reber, H. Berceuse in G.

Reinecke, C. Miniature Sonatina in C. Op. 122, No. 9.

Rheinberger, J. Masurek. (M.F. 20).

Ries, F. Sonatinas in F, in A minor, and in C. (Thomas). (7547).

Roeckel, J. L. Croquis musicaux. 6 Morceaux. 2 Books. (7563 a, b).

Rubinstein, A. Romance (F). (M.F. 24).

Saint-George. L’ancien régime. Petite Suite. (7570a).

Schmitt, J. Sonatina in C. (E. Thomas).

Schubert. Three Sonatinas. (E. Thomas). (7571).

Schubert, F. (Dresden). Cantabile. (M.F. 84).

Schumann, R. Schlummerlied. (M.F. 26).

Schytte, L. Berceuse. (M.F. 82).

Senaillé, J. B. Aria in G minor. (Jensen, V. 7).

Simon, A. Berceuse. Edited and fingered by Ernst Heim.

Smith, Sydney. The Lily of the Valley, op. 14. Arranged.

Spohr, L. Romanze in A. (M.F. 22).

Squire, W. H. Gavotte sentimentale.

Strelezki, A. “L’Absence”, Mélodie.

Struss, Fritz. 2 Characteristic Pieces. Op. 12.

Sutcliffe, W. Andante in E.

Tartini, G. Larghetto (G minor). (Jensen, V. 6).

Thomas, Emile. Air de Ballet.

Tschaïkowsky, P. Album of Favourite Pieces:—

Valle de Paz, E. del. Op. 29, No. 2. Minuet.

Veracini, A. Sonata in A minor. (G. Jensen.) (7416).

Veracini, F. M. Minuet. (Jensen, V. 5).

Volkmann, R. Musical Picture Book. Arranged by F. Hermann:—

Weber, C. M. von. Lonely. (Krug.)

Witting, C. Andante alla Siciliana.

Wolfermann, A. Fantasia No. 1 in G, No. 2 in G.

[Pg 142]

Step III. First five Positions.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces, for Violin Solo with Pianoforte Accompaniment: arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Album de Danses. Vols. 1 and 2, containing some of the most celebrated dances by Johann and Josef Strauss. (7319a, b).

Album pour Violon et Piano. 15 Vols. Arranged by F. Hermann. (7322 a-n).

Arensky, A. Serenade in G. (M.F. 102).

Bach, J. S. Air and Gavotte (from the Orchestral Suite in D). (Jensen, V. 1).

Barthélemon, E. H. Sonata in E minor. (7421).

Batiste, E. Voix céleste. (M.F. 70).

Becker, J. Romance. (M.F. 42). [Pg 143]

Beethoven-Album. (Arranged by F. Hermann). (7329).

Beethoven. 2 Romances in G and F. (Jensen, V. 10, 11). (7331).

Benda, Franz. 8th Sonata in A minor. (7433).

Bennet, W. Sterndale. Overture, “Parisina”. (8671a).

Bériot, C. de. 6me Air varié. (7335).

Blagrove, Stanley. Rêverie.

Borch, Gaston. Berceuse in G. Op. 50.

Borders, W. Morceau à l’Irlandaise. Op. 87.

Borghi, L. Sonata No. 2, in A major. (7413).

Brahms, J. Op. 39. Walzer. (9402).

Brauer, Max. Meditation on “Little Study”, by Schumann (Ernst Heim).

Burgmüller. Nocturne. (M.F. 91).

Campagnoli. Etude. (Hermann, C.V.M. 3).

Chamber Music. Edited by H. Holmes. A selection from the Solo Sonatas of Corelli, Tartini, Bach and Handel. (8679).

Chopin, F. Mazurka. (M.F. 34).

Corelli, A. 12 Sonatas. Op. 5 (Gustav Jensen). Bound, with Portrait. (7354*).

Danbé, J. Mazurka de Salon.

David, Ferd. 6 Salonstücke. Op. 24. Revised by Fr. Hermann. (7349).

De-Angelis, G. Andante religioso. Op. 7.

Del Valle de Paz, E. 3 Capricci. Op. 15. (7362).

Delibes, L. “Sylvia”. Introduction and Valse Lente.

Dobrzynski, I. F. Les Larmes. (M.F. 104).

Dunkler, E. Morceau de Salon, revised by Hermann. (M.F. 48).

Dussek. Op. 69, No. 1. Sonata in B♭. (E. Thomas.) (7360).

Dvorak. Op. 15. Ballade. (7365).

Ellerton. Duo in D minor. Op. 56. (8675).

Ersfeld, C. Op. 15. Romance in B♭. (7373). [Pg 145]

Gabriel-Marie. Sérénade Badine.

Gade, N. W. Op. 6. Sonata in A. (7369).

Geminiani, F. Sonatas No. 1 in A major (7401), No. 2 in B minor (7402), No. 8 in D minor (7411).

German, Edward. Song without Words. (11441).

Godard, B. Berceuse de “Jocelyn”.

Goltermann. Op. 13. 2 Salon Pieces. (Les Adieux and Le Rêve.) (1996).

Gounod, C. Serenade. (M.F. 72).

Grieg, E. Christmas Song, arr. by F. Hermann. (M.F. 110).

Guillaume. Op. 4. Mélancolie; Romance.

Gurlitt, C. Op. 134. Sonatinas:— No. 1, in A major (7372a); No. 2, in F (7372b).

Handel. Largo. Aria, “Ombra mai fu”, arr. by R. Hofmann.

Hartog. “Home, sweet home”. Variations. (7380).

Hauser, M. Le Désir. (M.F. 4).

Haydn. Variations “Gott erhalte Franz den Kaiser”. (Thomas).

Heller & Ernst. Pensées fugitives. (Fr. Hermann):—

Heller, Stephen. Rondeau. (M.F. 88).

Henkel, H. Gavotte moderne. Op. 81.

Movements from the works of Great Masters. The following may be taken in this Step:—

Herrmann, E. Op. 12. Barcarolle. (8678).

Hoffmann, J. Bolero.—Danse des sorcières.—Zingaresca, Morceau caractéristique.—Robin Adair. Fantaisie brillante.

Hofmann, Richard. Short Study (Kleine Studie). Op. 110, No. 2.

Holländer, V. Polonaise. (11501).

Hurlstone. W. Sonata in D minor. (7507).

Ireland, John. Berceuse.

Jensen, A. Träumerei.

Jensen, G. Op. 25. Suite in A minor. (8680).

Kayser. 36 Elementary and Progressive Studies. Op. 20 (introductory to those of Kreutzer), revised by E. Heim. Book III. (7397 c).

Kjerulf, H. Frühlingslied. (M.F. 75).

Kreuz. E. “Frühlingsgedanken.” Op. 9. (7510).

Kücken, F. 6 Duos. (8681 a-f).

Kuhlau. Op. 88. 4 Sonatinas. Nos. 2, 3 and 4. (7399).

Lachner, Ignaz. Morceaux de Salon. Op. 93:— No. 1. Nocturne.

Leclair, J. M. Andante, Gavotta e Minuetto. (Jensen, V. 18).

Le Jeune, A. Coronation March.

Loeschhorn, A. A Child’s Dream (Des Kindes Traum). Characteristic piece, arranged by Ernst Heim.

Loew, J. Albumblatt. (M.F. 6).

Lully, J. B. Gavotte in D minor. (Hermann, C.V.M. 10).

Mac Cunn, Hamish. Op. 30. “Highland Memories”, Suite of 3 Scottish Scenes: “By the Burnside”, “On the Loch” and “Harvest Dance”. (7520).

Mackenzie, A. C. Op. 37, Nos. 3 and 4 “Benedictus” and “Zingaresca”.

Mallard, C. “Sehnsucht und Hoffnung”.

March Album. Bks. 3 and 4. Edited by Hermann. (8686c, d).

Martini, G. B. Siciliana. (Jensen, V. 15).

Matras, Maud. Ballade. Op. 8. (7534).

Mendelssohn. Op. 4. Adieu à Berlin. (8683).

Moffat, Alfred. La Gracieuse. Mazurka.

Molique, B. 6 Morceaux Caractéristiques. Op. 41. (Ernst Heim). (11562).

Monsigny. Rigaudon. (7387d).

Moszkowski, M. Op. 8. 5 Valses. (7527)

Mozart, W. A. 18 Sonatas.

Nicodé, J. L. Barcarolle. (M.F. 31).

Noskowski, S. Op. 23. Cracovienne Mélancolique. (M.F. 77).

Papini, Guido. Trois Morceaux de Salon. (8685):—

Pfeiffer, G. Op. 77. Gigue dans le genre ancien. (Thomas). (11630).

Pitt, Percy. Canzonetta. Op. 8, No. 1.

Pleyel. Op. 44. (Hermann). (7544).

Pugnani, G. Sonata in E. (7404).

Raff, Joachim. Pastorale. Op. 85. No. 2.

Renard, F. Berceuse. (M.F. 44).

Ries. Romance. (M.F. 9).

Ritter. Operatic Duets. The following can be taken in this Step:—Sonnambula, (9407c); La Favorite, (9407d); Lucia di Lammermoor, (9407e); Zampa, (9407f); Zauberflöte, (9407g); Lohengrin, (9407h); Tannhäuser, (9407i); Oberon, (9407k); Taming of the Shrew, (9407l); Flying Dutchman, (9407m); Fra Diavolo (9407a).

Rode, P. Op. 10. Air Varié. (Jensen V. 12). (8691).

Roeckel, J. L. Croquis musicaux.

Rubinstein, A. 3 Salon Pieces, Op. 11, edited by E. Heim:

Saint-George, G. Désir.

Scharwenka, X. Op. 20. Tone Pictures. (9408).

Scholtz, H. 3 Albumblätter. (M.F. 47).

Schubert, F. Sonatine, Op. 137, No. 2, in A minor. Revue et doigtée par Emile Thomas.

Schubert, F. (of Dresden). L’Abeille (The Bee).

Schumann. Op. 94. 3 Romances. (7581).

Somervell, Arthur. Whims. (No. 3 of 3 Original Pieces).

Squire, W. H. Serenade. Op. 15. (7122 b).

Strelezki, A. Appassionata.

Struss, Fritz. 2 Characteristic Pieces. Op. 12:— No. 2. Idylle. [Pg 150]

Sutcliffe, W. Romance.

Svendsen, J. S. Op. 26. Romance in G. (7587).

Tartini. Andante Cantabile (8th Sonata). (Jensen. V. 8).

Thirlwall. Favourite Airs, with Variations:—

Thomas, Emile. 1ère Fantasie sur les Airs écossais.

Thomé, F. Op. 25. Simple Aveu.

Tschaïkowsky. Andante Cantabile. (M.F. 45).

Veracini, F. M. Concert Sonata in E minor. (7424).

Vivaldi, A. Sonata in A. (7423).

Vieuxtemps, H. Op. 40. No. 1. Romance in F.

Volkmann, R. Hungarian Sketch. (M.F. 38).

Wagner, R. Album-Leaf. (8699).

Walger, Carl. Serenade. [Pg 151]

Weber, C. M. von. Invitation à la Valse. (Thomas).

Wieniawski. Op. 12. No. 2. Chanson polonaise. (7494).

Wilhelmj, A. Walter’s Preislied (from the “Meistersinger”).

Wüerst, R. Op. 25. Two Romances.

Wurm, Marie. Estera Gavotte. (M.F. 79).

Step IV. All Positions.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin solo with Pianoforte accompaniment; arranged in progressive order, carefully marked and annotated by E. Heim:—

Bach, J. S. Aria from the Suite for Orchestra, arranged as a Concert Piece on the fourth string by Ernst Heim.

Bache, F. E. Romance. Op. 21. (7664).

Baillot, P. Rondo sur un Air Moldavien. (Hermann, C.V.M.4).

Becker, A. Op. 20. Adagio. (2078). [Pg 152]

Beer-Walbrunn. Op. 3. Short Fantasia in G min. (2930).

Beethoven. 6 Quartets. Op. 18. F, G, D, C minor. A and B flat. Arranged by F. Hermann. (7341-6).

Beethoveniana. 3 Bks. Extracts from the pianoforte Sonatas, arranged for violin and piano by F. Hermann. (7330a-c).

Bériot, C. de. Op. 32. 2nd Concerto in B minor.

Bortniansky. Adoration. (M.F. 111).

Coleridge-Taylor, S. Op. 9. Two Romantic Pieces, “Lament” and “Merry-making”. (7352).

Corelli. Adagio and Allegro. (Hermann, C.V.M. 1).

Cui, César. Berceuse.

Danbé, J. Berceuse.

David, Ferd. Etude. (M.F. 36).

De-Angelis, G. Pensée mélancolique. Op. 8.

Ernst. Elegy. (7366).

Field. Nocturnes (Hermann). (2128).

Fleurs des Opéras. Tannhäuser. (Courvoisier). (7470).

Goltermann, G. Berceuse. (M.F. 109).

Gounod. Faust. Potpourri by R. Hofmann. (5445 c).

Gurlitt, C. Op. 105. Ouverture des Marionettes. (7371).

Grieg, E. Op. 8. Sonata in F.

Hartog, Henri. Prière, 3me Morceau de Salon.

Hauser, M. Chanson de Berceau. (M.F. 53).

Haydn. Andante. (M.F. 97).

Heller, Stephen. Feuillet d’Album. Transcrit par h. W. Ernst. (E. Heim).

Henselt, A. Chant d’amour. (M.F. 29). [Pg 153]

Hiller, F. Zur Guitarre. (M.F. 49).

Hoffmann, J. Bourrée; Gavotte.

Hofmann, Richard. Potpourris on Popular Melodies from classical and modern Operas and Oratorios, arranged by R. Hofmann:—

Holländer, G. Op. 50. Waldmärchen.

Jensen, Gustav. Op. 39. Capriccio.

Jensen, G. Bolero in D minor.

Kalliwoda, J. W. Op. 237. Ländler. (M.F. 57).

Kreuz, E. Op. 20. Barcarolle, from Concerto.

Lassen, E. Liederstrauss. (M.F. 50).

Leclair. “Le Tombeau”. Sonata. (7428).

Molique, B. 6 melodies. Op. 36. (Ernst Heim). (11561).

Moffat, A. Melodie amoureuse.

Morgan, R. Orlando. Ballade. Op. 28.

Moszkowski, M. Op. 17, No. 2. Minuet (E. Thomas).

Mozart, W. A. Adagio and Rondo. (7420).

Noskowski, S. Dumka. Op. 29. (Emile Thomas.)

Palmer, G. A Dream. Nocturne.

Papini, G. Deux Airs Suédois. (11622).

Parkyns, Beatrice. Berceuse. [Pg 154]

Popper, D. Romance. (7548).

Rachmaninoff, S. Romance in D minor.

Raff, Joachim. Six Morceaux. Op. 85:—No. 1, Marcia; No. 3, Cavatina; No. 4, Scherzino; No. 5, Canzona; No. 6, Tarantella.

Reger, Max. Op. 1. Sonata in D minor. (7535).

Rode. Concerto No. 7.

Rubinstein, A. Op. 13. Sonata in G.

Saint-George, G. Chant sans Paroles.

Sauret, E. Souvenir d’Orient. 6 Morceaux, Op. 63:—

Scharwenka, Xaver. Op. 3. Cinq Danses polonaises. Arranged by G. Holländer:—

Schubert. Op. 70, 159, 160 and 162.

Schumann. Op. 105 and 121, Sonatas in A minor and D minor. (7579, 7580).

Simonetti, A. Mazurka.

Sinding. Op. 10. Suite. (2477). [Pg 155]

Sitt, Hans. Op. 71. No. 1. Romance.

Sjögren. Op. 19. Sonata in G minor. (2215).

Smetana. 2 Salon-Pieces. (2634 a-b).

Somervell, Arthur. 3 Original Pieces:—

Spohr, L. Op. 2. Concerto in D minor.

Stanford, Villiers. Légende.

Strelezki, A. Romanza in F.

Sutcliffe, W. Gavotte Romantique.

Thirlwall. Favourite Airs, with Variations:—

Thomé, F. 1er Andante Religioso. Op. 70.

Tschaïkowsky. Christmas. (Noël). (M.F. 117). [Pg 156]

Vieuxtemps, H. Rêverie. Adagio. Op. 22, No. 3. (7594 c).

Volkmann, R. Chant du Troubadour, Morceau de Salon, Op. 10. Revu par R. Scholz.

Wagner, R. March (from Tannhäuser). (M.F. 73).

Weber. 6 Sonatas. Complete (David). (191).

Wichtl. Fantasias on National Songs. Op. 119:—

Wieniawski, H. Légende. Op. 17. (7495).

Wüerst, R. Russian Suite. F. Hermann. (7501).

Step V. Difficult.
(Octaves, Springing Bow, Staccato etc.)

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Beethoven. Ten Sonatas. Joachim. (3031).

Bériot, C. de. Op. 30. Le Tremolo. Caprice. (9419).

Bériot and Osborne. Fantasia on “William Tell”.

Berlioz, Hector. Rêverie et Caprice. Romance, Op. 8. (E. Heim.) (11321).

Böhm, C. Op. 314, No. 2. Cavatina.

Bruch, M. Op. 42. Romanza in A minor.

Coleridge-Taylor, S. Hiawathan Sketches. Op. 16. No. 1, A Tale; No. 2. A Song; No. 3, A Dance. (7356).

David, Ferd. Introd. and Variations on Air by Mozart. Op. 11. (8674).

Eller, L. Op. 3. Concert Fantasia on Styrian Melodies.

Hauser. Op. 43. Hungarian Rhapsody. (2567 a).

Holländer, G. Op. 10. Romance.

Kreutzer. Concertos, Nos. 13, 14, 18, 19. (1091 a-d).

Laub. Op. 7. Romance & Impromptu. (1092).

Lauterbach. Tarantelle. (2203).

Leonard, H. Op. 2. Souvenir de Haydn.

Lipinsky. Op. 21. Concert militaire. (2642).

Mackenzie, A. C. Op. 47, No. 1, Highland Ballad. [Pg 158]

Mendelssohn. Op. 64. Concerto.

Moszkowski. Op. 16. No. 1. Ballade; No. 2, Bolero. (7528 a, b).

Nicodé, J. L. Romance. Op. 14.

Paganini, N. Moto Perpetuo. Revised and the original Orchestral accompaniment arranged for the Pianoforte by Ernst Heim.

Ragghianti, J. Aria di Danza (“La Monferina”).

Rust, F. W. Sonata in D minor.

Sauret, E. Op. 47, No. 3. Scène Polonaise. (11693).

Scharwenka, Xaver. Danses polonaises (Five Polish Dances.) Op. 3. Arrangées par G. Holländer. Nos. 1, 4 and 5. (7565).

Sinding. Op. 60. Concerto No. 2 in D major. (2976).

Sitt, Hans. Op. 21. 2nd Concerto in A minor.

Tartini. Trille du Diable. Sonata.

Vieuxtemps, H. Fantaisie-Caprice. Op. 11. (Hermann.) (7592).

Wieniawski, H. Adagio élégique. Op. 5. (R. Scholz). (7498).

Step VI. Very difficult.
(Concertos etc.)

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin solo with Pianoforte accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Bach. Chaconne. (2474).

Brahms, J. Op. 77. Concerto.

Bruch, M. Op. 26. Concerto in G minor.

Dancla, C. Op. 50. Romance and Bolero.

David, Ferd. Andante et Scherzo capriccioso. Op. 16. (E. Heim.) (7348).

Ernst, H. W. Fantaisie brillante sur la Marche et la Romance d’Otello de Rossini. Op. 11. (Ernst Heim.) (11401).

Hauser. Op. 34. Bird on the tree. (2565).

Joachim, J. Op. 11. Hungarian Concerto.

Laub. Op. 8. Polonaise. (Wilhelmj). (1093 b).

Paganini. First Concerto in E flat. (1991).

Rubinstein. Op. 46. Concerto in G major. (1339).

Sarasate, M. Airs Espagnols.

Spohr, L. 7th Concerto in E minor. [Pg 160]

Vieuxtemps. Fantaisie sur Norma. Op. 18. (2573).

Wieniawski, H. Polonaise de Concert. Op. 4. (R. Scholz). (7491).

String Trios.

Three Violins.

Hermann, Fr. The First Practice in Ensemble Playing. 32 Short Pieces, arranged. 2 Books. (5291 a, b). Ib.

Hofmann, Richard. 4 Pieces in an easy style for the use of Music-schools, Academies, etc. Op. 104. (5292). III.

Lachner, Ignaz. 3 Sonatinas. Op. 92:—II.

Wohlfahrt, F. Op. 88. Melodic pieces. 2 Bks. I.

Wichtl. 3 Trios. Op. 79. II. [Pg 161]

Two Violins and Violoncello.

Corelli, Arcangelo. Œuvres revues par J. Joachim et F. Chrysander. (In Score.) 8vo.:—

Gurlitt, Cornelius. Op. 105. Ouverture des Marionettes. (7312). II.

Handel. Zwei Suiten nach Händel’schen Original-Compositionen herausgegeben von Gustav Jensen. (5312). II.

Herrmann, E. Petites Variations faciles. Op. 13. (5332). Ib.

Pleyel, I. J. Œuvres. Arrangées par F. Hermann:—

Reinecke, C. Toy symphony (with 9 toy instruments). (7115). II.

Wanhal. 15 Trios Faciles. (5360). I.

Two Violins and Viola.

Hofmann, Richard. Op. 112. Trio. (5323). II and III.

Violin, Viola, and Violoncello.

Pleyel, I. J. Op. 44. 3 Trios. (5365). II and III.

Haydn. Op. 53. 3 Trios. III.

Mozart. Divertimento. Op. 19. III and IV.

Beethoven. Op. 8, 25. Serenade and Trios. IV. [Pg 162]

Pianoforte Trios.

Piano, Violin, and Violoncello.

Barnett, John Francis. Trio. Op. 49, in C minor. (9299). IV.

Beethoven. 6 Quartets. Op. 18. Arranged by F. Hermann. 6 Books. (9291-96). IV.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven arrangés par Fr. Hermann:—

Bennett, W. Sterndale. Chamber Trio. Op. 26. (9659). III.

Brahms, Johannes. Trio. Op. 8. (7246). V.

Dancla, J. C. 12 Mélodies. Arr. by Cornelius Gurlitt. (7248). Ib.

Dussek. J. L. Favourite Sonata. Op. 37. (7249). II.

Ellerton. Trio, in A. Op. 27. (9304). III.

Gade, Niels. Novelletten. Op. 29. (7257). IV.

Gurlitt. C. Op. 105. Ouverture des Marionettes. (7258) II.

Hennessy, Swan. Lieder an den Mond: 1. Um Mitternacht; 2. In der Frühe; 3. Am Abend. Op. 10. (9309). Ib.

Hermann, F. Sonatine en sol majeur. (7389 b). Ib.

Horsley. Trio in A. Op. 7. (9660). IV.

Hudson, J. W. Trio in D. (7263). II.

Ivimey, J. W. Trio. Op. 1, in D. (7262). IV.

Kalliwoda. 1st Grand Trio in F minor. Op. 121. (9661). IV.

Kreuz, Emil. Trio facile. Op. 31. (7264). I.

Mayseder. 4th Grand Trio, in G. Op. 59. (9662). V.

Meyer, L. Trios faciles (Kinder-Trios):—

Molique. 1st Trio, in B flat. Op. 27. (9663). IV.

Pleyel, I. J. Œuvres arrangés par F. Hermann:—

Potpourris on Popular Melodies from classical and modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books.

Series I. (in the first position). I and II.

Series II. (in various positions). II and III.

III and IV.

Saint-George, G. L’ancien régime. Petite Suite. (7570 c). Ib.

Schumann, R. Trio. Op. 63. In D minor. (7274). V.

Silas, E. Trios.

Sinding. Op. 64. Trio in A min. (3051). VI.

Sitt. Op. 63, Nos. 1 & 2. Trios. (2835 a and b). II.

Spohr. Trio, in E minor. Op. 119 (W. S. B. Woolhouse). (9664 a). IV.

Turner, Bradbury. Trio in C minor. (9329). II.

Volkmann, R. Trio in B flat minor. Op. 5. (7286). III. [Pg 165]

Pianoforte and Two Violins.

Boyce, William. Sonata in A major. (G. Jensen). (7432). II.

Corelli, Arcangelo. 6 Sonate da Camera a tre (due Violini, e Violone, o Cembalo). Opera IV. With Pianoforte Accompaniment worked out from the Figured Bass of the Author, and with all necessary indications for the mode of executing, for bowing and fingering by Gustav Jensen. (5302). I and II.

Gurlitt, Cornelius. Op. 105. Ouverture des Marionettes. (7307). II.

Hermann, F. 50 Favourite Melodies. (5465d). I.

Herrmann, E. Petites Variations faciles. Op. 13. (5332). Ia.

Langer, Gustav. Grossmütterchen. (Granny.) Ländler. Op. 20. II.

Pleyel, I. J. (Œuvres, arrangées par F. Hermann:—

Potpourris on Popular Melodies from classical and modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books.

Series I. (in the first position). I and II.

Series II. (in various positions). II-IV.

Purcell, Henry. Sonatas. Arranged by G. Jensen:—

Saint-George. L’ancien régime. Petite Suite. (7570b). Ib.

Torelli, Giuseppe. Concerto. Op. 8. (G. Jensen). (7417). II.

Veracini, A. Sonate. C min. (G. Jensen). (7415). II.

Weidig, Adolf. Kleines Trio. Op. 9. (5286). II.

Morceaux d’Ensemble. (F. Hermann):—

[Pg 167]

Pianoforte, Violin, and Viola.

Gade, Niels W. Novelletten. Op. 29. Arranged by Ernst Heim. (5268). IV.

Jensen, G. Phantasiestücke. Op. 27. (5275). IV.

Kreuz, E. Trio in C. Op. 21. (5271). IV.

Lachner, Ignaz. Grand Trio. Op. 102. (5277). II.

Pleyel. 3 Trios. Op. 44. (Hermann). (5280). III.

Potpourris on Popular Melodies from classical and modern Operas and Oratorios. Arranged by R. Hofmann:—III and IV.

Reger, Max. Trio. Op. 2. (5283). V.

Weidig, Adolf. Kleines Trio. Op. 9. (5286). II.

Violin, Pianoforte, and Organ
(or Harmonium).

Audibert. Andante réligieuse. (9551). III.

Bach, E. Solfeggietto, arr. by Oscar Wagner. (9785b). II.

Bach, J. S. Adoration, Meditation on the 7th short Prelude, composed by Oscar Wagner. (9550). II.

Clark, Scotson. Marche aux Flambeaux for Piano, Harmonium, Violin, and Violoncello. (8781). II.

Field, J. Nocturne in B flat (Scotson Clark). (9554). II.

Gounod, C. Meditation on the 1st Prelude of J. S. Bach, for Violin (or Violoncello), Harmonium and Piano. (11450b). III. [Pg 168]

Music with Toy Instruments.

(The Toy Instruments may be had of the Publishers)

Gurlitt, C. Kindersymphonie. Toy Symphony for Pianoforte (Violin and Violoncello ad lib.). Cuckoo, Quail, Nightingale, Trumpet, Triangle, and Drum. Op. 169. (7108). II.

Haydn, J. Toy Symphony for Pianoforte or 2 Violins and Bass, and 7 Toy Instruments. Score and Parts. (7109). II.

Reinecke, C. Kinder-Symphonie. Toy Symphony for Pianoforte, 2 Violins, Violoncello, and 9 Toy instruments (Nightingale, Cuckoo, 2 Trumpets, Drum, Rattle, Bells, Glass-bell, and Tea-tray). Score and parts. (7115). II.

Romberg, B. Toy Symphony (Kinder-Sinfonie) for Piano (or 2 Violins and Bass) with 7 Toy Instruments. (7116). II.

String Quartets.

Quartets for 4 Violins.

Clark, Scotson. Gavotte. (7231). IV.

Lachner, I. Op. 107. Quartet in G. (7220). IV.

Leo, Leonardo. Concerto a quattro Violini obbligati, arr. for 4 Violins with Piano accomp. by Gustav Jensen. (5001). II and III.

Shaw, Sydney. Reverie. (7239). II.

3 Violins and Viola.

Herrmann, E. Serenade. Op. 14. (7228). III.

Lachner, Ignaz. Quartet in C. Op. 106. (7219). III.

3 Violins and Violoncello.

Henkel, H. Introduction and Polacca. Piano accompaniment ad lib. (7213). III.

Saint-George. L’ancien régime. Petite Suite (7570m). II. [Pg 169]

2 Violins, Viola and Violoncello.

Barnett, J. F. Op. 8. Quartet in D minor. (9255). IV.

Beethoven. 6 Quartets. Op. 18. No. 1, in F; No. 2, in G; No. 3, in D; No. 4, in C minor; No. 5, in A; No. 6, in B flat. Revised by Fr. Hermann. 6 Books. (7201-6). IV.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Brahms. Op. 51. 2 Quartets, C minor and A minor.

Cherubini. 3 Quartets. (1346).

Coleridge-Taylor, S. Fantasiestücke. Op. 5. (7207). V.

Deane, C. Quartet in B flat. (9634). IV.

Ellerton. Op. 62. Quartet. No. 10. (9259 a). V. Score. 8 vo. (9259 b).

Grieg. Op. 27. Quartet. (2489). V.

Gurlitt, Cornelius:—

Haydn. 83 Quartets, complete. (15).

Hermann, Fr. Leichte Streichquartettsätze. 6 easy movements (Mendelssohn, 2 Lieder ohne Worte; Beethoven, Scherzo; Schumann, Nachtstück; Tschaïkowsky, Romance; Bach, Gavotte). (7214). II and III. [Pg 170]

Kreuz, E. Quartet. Op. 42, in D minor. (9262). V.

Mendelssohn. 7 Quartets. (1742).

Mozart. 10 celebrated Quartets. (16).

Ouseley, Sir F. A. G. Quartet in C. (9266 a). IV.

Perry, E. Prize Quartet. (9635). IV.

Pleyel, I. J. Œvres arrangés par F. Hermann:—

Prout, E. Op. 1. Prize Quartet. (9636). IV.

Ries, H. 2 Quatuors faciles. Op. 20. II.

Rode, P. Air varié. Op. 10. (Gustav Jensen.) (8691). V.

Saint-George. L’ancien régime. Petite Suite. (7570 d). II.

Schubert. Quartets. 2 vols. (168 a-b).

Schumann. Op. 41. 3 Quartets. (2379).

Spohr. Op. 4, No. 1 & 2. Quartets. (2483 a-b).

Stanford, C. Villiers. Quartet. No. 3, in D minor. Op. 64. V.

[Pg 171]

Piano Quartets.

Violin, Viola, Violoncello,
and Piano.

Beethoven. Op. 16. Quartet in E♭. (294).

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Brahms. Op. 25, Nos. 1 and 2. Quartets in G minor and A major. VI.

Mendelssohn. Complete Quartets. (1741).

Mozart. 2 Quartets in G minor & E♭. (272).

Pfeiffer, G. Quatuor en F a mineur. Op. 119. (7183). IV.

Pleyel, I. J. Œvres. Arrangés par F. Hermann:—

Prout, E. Op. 2, in C. Prize Quartet. (9637). IV.

Rheinberger, J. Quartet in E flat. Op. 38. (7185). IV.

Schubert. Adagio & Rondo. (1347).

Schumann. Op. 47. Piano Quartet. (2380).

Weber. Op. 8. Piano Quartet. (2177).

Westrop, H. Op. 2. Quartet in A flat. (9638). IV.

2 Violins, Violoncello, and Piano.

Abaco, Evaristo Felice Dall’. Suite (Sonata da Camera) in G minor. Arranged by Dr. H. Riemann. Score and Parts. (5390) II.

Boyce, W. Sonata in A major. (G. Jensen). (7432). II.

Corelli, Arcangelo. 6 Sonate da Camera a tre (due Violini, e Violone, o Cembalo). Opera IV. With Pianoforte Accompaniment worked out from the Figured Bass of the author, and with all necessary indications for the mode of executing, for bowing and fingering by Gustav Jensen. (7171). I and II. [Pg 172]

Hofmann, R. Potpourris on melodies from Operas and Oratorios. 19 Bks. (5401 f-5419 f.) (Violin Parts in 1st Position only). I.

Pleyel. 3 Quartets. Op. 44. (Hermann.) (7178). III.

Purcell, Henry. Sonatas. Arranged by G. Jensen:—

Squire, W. H. Serenade. Op. 15. (7122 c.) IV.

Veracini, Antonio. Sonata in C minor. Arranged by G. Jensen. (7415.) II.

3 Violins and Piano.

Gurlitt, C. Ouverture des Marionettes. Op. 105. (7209). II.

Morceaux d’ensemble. (F. Hermann). II-IV.:—

Papini, G. “Hope” March. I.

Saint-George. L’ancien régime. Petite Suite. (7570 n). II.

String Quintets.

3 Violins, Violoncello, and Bass.

Saint-George. L’ancien régime. Petite Suite. (7570 k). II. [Pg 173]

2 Violins, Viola (Tenor),
Violoncello, and Bass.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Boccherini. Quintet for 2 Violins, Alto, and 2 Celli. (2231).

Borch, Gaston. Elégie. Op. 56, No. 1. (7013). IV.

Dance Movements from the Works of Great Masters. (F. Hermann):—

Smyth. Quintet for 2 Violins, Alto and 2 Celli. (2171). V.

2 Violins, 2 Violas, and Violoncello.

Beethoven. 4 String Quintets. (599).

Gade, Niels W. Quintet. Op. 8. (7138). IV.

Haydn. Quintet concertant. Op. 88.

Kreuz, E. Prize Quintet. Op. 49. (7165). V.

Mendelssohn. Op. 18, 87. 2 Quintets. (1743).

Mozart. 10 String Quintets. (18-19).

Schubert. Op. 163. String Quintet. (775). [Pg 174]

Solos with Quartet Accompaniment.

Mozart, W. A. Adagio:—

Piano, 2 Violins, Viola, and ’Cello.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Brahms, J. Op. 34. Quintet in F minor. IV.

Gurlitt, Cornelius:—

Pleyel, I. J. Œuvres arrangées par Fr. Hermann:—

Potpourris on Popular Melodies from classical and modern operas and oratorios. Arranged by R. Hofmann. III to IV:—

Prout, E. Op. 3. Quintet in G. (9245). IV.

Saint-George. L’ancien régime. Petite Suite. (7570 f). II.

Saint-Saëns, C. Op. 14. Quintet in A. V.

Schumann. Op. 44. Piano Quintet. (2381). V.

Spohr. Op. 130. Quintet. (W. S. B. Woolhouse.) (9632). IV. [Pg 175]

Piano, 3 Violins, and Violoncello.

Henkel, H. Introduction and Polacca. (7213). III.

Saint-George. L’ancien régime. Petite Suite. (7570 l). II.

Piano and 4 Violins.

Leo, Leonardo. Concerto a quattro Violini obbligati, arranged by Gustav Jensen. (5001). II and III.

Maurer. Op. 55. Concertante. (2908). III.

Piano, Violin, Viola,
Violoncello, and Bass.

Hummel. Grand Quintet in E flat minor. Op. 87. (W. S. B. Woolhouse.) (9622). IV.

Schubert. Op. 114. Trout Quintet. (169).

Sextets.

Bennett, W. S. Op. 8. Sextetto. For Piano, 2 Violins, Viola, Violoncello, and Double Bass. (9621). III.

Jensen, G. Symphonies arrangées pour Flûte (ou Violon), deux Violons, Viola, Violoncelle et Basse:—

Potpourris on Popular Melodies from classical and modern operas and oratorios. (Flute, 2 Violins, Tenor, Violoncello, and Pianoforte.) Arranged by R. Hofmann. III to IV:—

Saint-George. L’ancien régime. Petite Suite:—II.

[Pg 176]

Septets.

Beethoven. Op. 20. Septet. (2466).

Corelli, Arcangelo. Œvres revues par J. Joachim et F. Chrysander. 8vo:—

Morceaux d’ensemble, for 3 Violins, Viola, ’Cello, C. Bass, and Piano. (F. Hermann):—II.

Squire, W. H. Serenade. Op. 15. Piano, 2 Violins and Violoncello, with Flute, Clarinet, and Double Bass ad lib. (7122 c). IV.

Octets.

Gade, N. W. Octet, Op. 17, for 4 Violins, 2 Violas, and 2 Violoncellos. (7107). V.

Mendelssohn. Op. 20. Octet. (1782).

Schubert. Op. 166. Octet. (1849).

Old Chamber Music.

Riemann, Dr. Hugo. Old Chamber Music (Alte Kammermusik). A selection of Canzones, Sonatas, etc. (da chiesa and da camera), for strings alone, or with a thorough-bass, by composers of the 17th and 18th centuries; edited and arranged. In score. 3 Bks. (5391-93). [Pg 177]

Violin and Orchestra.

Nardini, Pietro. Adagio for Violin, arranged for Violin and small Orchestra (2 Flutes, 2 Bassoons, Violins, Violoncellos, and Contrabass) by Gustav Jensen. Score and parts. (7072). III.

String Orchestra.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Borch, Gaston. Elégie. Op. 56, No. 1. (Parts.) (7013). IV.

Corelli, Arcangelo. Œuvres revues par J. Joachim et F. Chrysander. 8 vo:—

Del Valle de Paz, E. Prélude. Op. 9, No. 3. (7045). II.

Haydn, J. Symphonies arranged by Gustav Jensen:—

Iliffe, F. Pizzicato Serenade. Score and Parts. (7057). II.

Kreuz, Emil. Suite in G (Prelude, Allemande, Gigue, Intermezzo, Scherzo, and Finale). Op. 38. (7015). IV.

Lee, Maurice. Gavotte du Palais-Royal. (7066). II.

Mozart, W. A. Symphonies, arranged by Gustav Jensen:—

Roeckel. Air du Dauphin. Ancienne Danse de la Cour. (7083). [Pg 178]

Saint-George. L’ancien régime. Petite Suite. (7570 g). II.

Scharwenka, X. Andante religioso, for String Orchestra, Harp, and Organ. Op. 46 B. IV.

Schütt, E. Serenade in D. Op. 6. Score and Parts. III.

Wüerst, R. Sous le Balcon. Serenade for String Orchestra with Violoncello Obbligato. Op. 78. V.

Wurm, M. Estera Gavotte. Score and Parts. (7099). III.

Dance Movements from the Works of Great Masters. (F. Hermann). II and III:—

Methods for the Viola.

Bruni, A. B. Tenor Method. Edited, with fingering, bowings, and marks of expression by Emil Kreuz. (7659).

Hermann, Fr. The Study of the Viola (Das Studium der Viola—L’Étude de l’Alto):—

Laubach, A. A Practical School for the Viola (Méthode pratique pour Alto), comprising the rudiments of music, scales, arpeggi, progressive exercises, and pieces in all major and minor keys. (7654).

Lütgen, H. Practical and Progressive Method, intended both for beginners and for more advanced players. Containing Exercises by the greatest Masters and some passages from the Works of Haydn, Mozart, Beethoven, Schumann, etc.

Lütgen’s method consists largely of extracts from the great masters; Hermann’s is the simplest course for young beginners. In Laubach’s method the exercises are specially well graduated as to difficulty.

Schroeder, C. Handbook of Violin Playing, has a chapter on Viola Music. (9212). [Pg 180]

Viola Studies.

Steps I—II.

Hofmann, R. Op. 86. The first Studies. (2732).

Kreuz, E. Progressive Studies for the Viola, with accompaniment of a second Viola. Op. 40:—

Step III.

Bruni. 25 Studies from his Method (E. Kreuz). (7659a).

Kreuz, E. Progressive Studies for the Viola, with accompaniment of a second Viola. Op. 40:—

Step IV.

Campagnoli, B. 41 Caprices pour le Viola, revus et doigtées par E. Kreuz. (7651).

Kreuz, E. Progressive Studies for the Viola, with accompaniment of a second Viola. Op. 40:—

Pieces for Viola and Piano.

Step I.

Kreuz, E. The Violist. A Series of progressive pieces. Op. 13:—

[Pg 182]

Step II.

Kreuz, E. The Violist, Bk. 2. Easy Pieces in C. (7636 b).

MacCunn, Hamish. 3 Romantic Pieces. Op. 27:—

Mendelssohn. Op. 72. 6 Pieces. Arranged. (7631).

Reinecke. Op. 122 a. 10 Petits morceaux. (7642).

Albums. Vols. 1 and 2. (7625 a, b).

Album Classique. (Moffat-Laubach). (5566).

Step III.

Burgmüller. 3 Nocturnes. (7626).

Goltermann, G. Op. 114. Sonatina. (7635).

Handel. Sonata for Viola da Gamba and Cembalo concertato, arranged by G. Jensen. (5551).

Hermann, F. 12 easy Exercises and Pieces (1ˢᵗ to 3ʳᵈ positions). (7652 c). [Pg 183]

Kalliwoda. Op. 186. 6 Nocturnes. (2104).

Kreuz, E. Select pieces in progressive order, Viola Part in the first three positions:—

Kreuz, E. Op. 5. Liebesbilder. (7627).

Kücken. 6 Duos Concertantes. 6 Bks. (7629a—f).

Laubach, A. 20 Scottish Songs. (7633).

Mendelssohn. Op. 4. Adieu à Berlin. (7632).

Sitt, Hans. Op. 39. Albumblätter. (2549).

Stehling, K. A. Morceaux Favoris. 10 arrangements in separate Nos:—

Squire, W. H. Gavotte Humoristique. (7647). [Pg 184]

Thomas, E. Sans Souci Waltz.

Volkmann. Op. 11. Musical Picture Book. Arr. by Hermann. (7650).

Wagner, R. Album-leaf. (7649).

Step IV.

Goltermann. Op. 15. Duo. (1997).

Kreuz, E. Select Pieces in progressive order. Viola Part in the higher positions:—

Joachim. Op. 9. Hebrew Melodies. (7630).

MacCunn Hamish. 3 Romantic Pieces. Op. 27:—

Mozart. Adagio. (7634).

Popper. Op. 5. Romance. (7637).

Prout, E. Op. 26. Sonata in D major. (7639).

Schumann, R. Evening Song. (9676).

Vieuxtemps. Op. 30. Elegie (Scholz). (7648). [Pg 185]

Step V.

Brahms, J. Op. 120. Sonatas in F minor and E♭.

Kreuz, E. Op. 20. Concerto in C minor. (5571).

Kreuz, E. Select Pieces in progressive order, in the higher positions:—

Rubinstein, A. 3 Salon Pieces, Op. 11, edited by F. Hermann:—

Duets for Violin and Viola.

Fiorillo. Op. 9. 6 Sonatas. II.

Jansa. Op. 70. 6 Duets. 2 Bks. (2234a-b). III.

Kalliwoda. Op. 208. 2 Duets. (2105). III.

Kreuz, E. 4 Duos. 2 Bks. (5594a, b). II.

Mozart, W. A. Op. 28. 2 Duets. III.

Pleyel. Op. 44. 3 Duets. (7858). III.

Schoen, M. 6 Easy Duettinos. 1ˢᵗ and 3ʳᵈ positions. (7620). I-II.

Spohr, L. Op. 13. Grand Duo. V.

Trios for Violin, Viola and Piano.

Gade, Niels, W. Novelletten. Op. 29. Arranged by Ernst Heim. (5268). IV. [Pg 186]

Jensen, G. Phantasiestücke. Op. 27. (5275). IV.

Kreuz, E. Trio in C. Op. 21. (5271). V.

Lachner, Ignaz. Grand Trio. Op. 102. (5277). II.

Mozart. Trio. Op. 14. in E♭. Clarinet or Violin, Viola and Piano.

Pleyel. 3 Trios. Op. 44 (Hermann). (5280). II.

Potpourris on Popular Melodies from classical and modern operas and oratorios. Arranged by R. Hofmann:—

Reger, Max. Trio. Op. 2. (5283). IV.

Weidig, Adolf. Kleines Trio. Op. 9. (5286). II.

Contents.

Footnotes:

[1] With the same intention, Mr. E. J. Bonn, of Brading, Isle of Wight, has produced a four-footed bridge, which, upon the testimony of those who have tried it, has in some cases effected an improvement. Testimonials from great artists concerning these and other attempts at improving the violin frequently appear; meanwhile, the artists themselves are well content with the bridge and the instrument generally as left by Stradivarius. One would not desire to deny the possibility of further improvements to the instrument, yet nearly two centuries of ceaseless experimenting have yielded no result that has been considered worthy of universal adoption. Tr.

[2] Regarding these two figures as sections of a trunk of maple the first shows how the slab back is obtained, (sur couche) and the second the other method. Tr.

[3] The semi-circular projection at the top of the back is also termed the button. Tr.

[4]

The quality of the wood in a bridge,—whether hard or soft—and its thickness (according to Otto, its weight), materially affect the tone of a violin. Bridges as supplied by dealers are usually almost twice the proper thickness, to allow for rubbing down with sandpaper. The best bridges are the genuine “Aubert” (with the name stamped inside an oval); those with large and decided reddish markings showing hardness of grain, and the less distinct markings a softer quality. When fitting a violin, a few of each should be tried, first cutting the feet to the approximate slope with a sharp penknife, then with a small piece of fine (No. 0.) glass paper held steadily between the ff holes, rub the bridge to and fro over the glass paper between the notches of the ff holes, until, on removing the glass paper it is seen to fit perfectly, standing upright when the instrument is level. The sketch shows the amount of slope to be made on the E side; the distances for the notches to receive the strings, and the amount to which the feet must be thinned in an ordinary full sized instrument. The height of the bridge is dependent, (for convenience of stopping), upon the height of the fingerboard. A high bridge gives more power, but often the quality of tone is not so good. The E string being harder to press down (by reason of its greater tension) is kept a little nearer the fingerboard than the others. From the end of the fingerboard, the E string should be about this distance

the G

On ½ size and ¾ size instruments for children these distances must be reduced about one-third. Tr.

[5] Box wood and rosewood are also frequently used for the pegs. The former gives a firm hold, but makes a creaking noise when tuning. Rosewood answers its purpose well, though it is not so strong as ebony, which however is more apt to slip. Tr.

[6] It is best to compare the ends before putting the string on, tying the knot at the end which appears thinnest. The last inch or so at each end of even the best string is often rough, and not so durable as the rest of it. Tr.

[7] To ensure equality of tone it is very important that the strings should be correctly guaged with regard to their relative thicknesses. If all the strings are too thick, the instrument will speak with difficulty in delicate passages, demanding a heavier pressure of the bow; if too thin, loss of power will be the result, though with a corresponding gain in sweetness and clearness, and if one string be much out of proportion to the others, the first finger when placed properly on that string and the adjacent one will not yield a perfect fifth, besides the inequality in power. The following diagram shows a set of strings of medium thickness, together with the distances apart near the bridge on a full sized violin, as suitable for ordinary hands. For fingers that taper much towards the tips, or for those that are very broad, the distances may be made a little narrower or wider accordingly. First strings of silk, known as “Acribelles” are in great demand by players with perspiring hands, as they are less affected by moisture than gut, but the tone is not so good. They possess certain advantages in durability, and standing well in tune, but are more difficult to tune, as a very slight movement of the peg will send them up half a tone. When frayed, they should be removed, the quality of tone they then yield being very bad, affecting the other strings. If gut strings of good quality are bought, and the strings carefully looked at before playing, breakages at awkward moments will seldom occur, as the strands generally give warning before breaking by showing symptoms of unravelling, especially at the knot end, or under the bow,—when they should at once be replaced. Tr.

[8] Kid of reasonable substance gives a pleasant hold for the fingers, although wire is in greater favour with bow makers for appearance sake. But it is apt to tarnish and unravel, especially where the thumb comes in contact with it. Tr.

[9] A convenient form is that provided by many English dealers, consisting simply of a round box,—preferably of tin,—with a hole in the bottom for the finger to push the resin up, preserving the upper surface level. Tr.

[10] New work is first prepared with a staining mixture to the desired depth of colour, smoothed and coated with hard spirit varnish, and again polished. Tr.

[11] The A may be taken from a pitch pipe, tuning fork, or piano, which should be maintained at concert pitch. In old violins, if the belly has yielded to pressure under the right foot of the bridge, it is well after playing to let down the first string. If a string is too flat, pull it up about a tone above the proper pitch, let it so remain for a few seconds and then lower it to the correct pitch. If too sharp, reverse the process. Only the A must be taken from a keyboard instrument, the fifths on the keyboard being not quite perfect, but “tempered”. Perfect fifths can only be obtained by a good deal of practice. Advanced students may test the tuning quietly by taking any two adjacent strings (with the little finger equally on both) in harmonics, or by beating lightly with the stick on the string. In the course of a piece, if even this is not possible, a slight pressure above the nut will sharpen a string, tugging it between nut and bridge will flatten; but this must only be regarded as a temporary expedient. Tr.

[12] The real “holding”—as regards the weight of the instrument—is done at the other end by the chin pressing the violin against the collar bone. What further steadying power is necessary, the lower joint of the thumb must supply, rather than the first finger. Players who have attained considerable freedom are able to play certain passages without any portion of the side of the index finger coming into contact with the neck. Chin-rests of various patterns should be tried, and that which best suits the particular player selected, as bodily proportions differ. Tr.

[13] The easiest keys for beginners are G, D and A major, as in these keys the open strings may all be utilized; the fingers fall more naturally into position, and do not require to be “set back” a semitone, as in C major (F on the E string) and in the keys with flats. The scales and easy melodies in G, D and A might therefore, be practised with the following exercises, or if deemed advisable, precede them. Tr.

[14] i. e. without the aid of the intervening fingers. Tr.

[15] Also known as the elastic staccato, Ricochet or Balzate. Tr.

[16] In the above examples the lowest note is played with a firm accent, beginning with the down bow, the wrist remaining flexible. In example e the bow should be turned over so as to bring the hair almost flat upon the string, (the hair preferably being rather tighter than usual). A slight “jerk” imparted to the down stroke sends the bow skipping over the strings of its own accord, on repeating the same arpeggio a few times. Tr.

[17] In Spohr’s method, and in a few other works, a wavy line ~~~ over the note indicates its employment. Tr.