Documente Academic
Documente Profesional
Documente Cultură
No. 9212.
HANDBOOK
OF
VIOLIN PLAYING
BY
Prof.
CARL SCHROEDER
MATTHEWS
FOURTH EDITION
AUGENER
LONDON
LTD.
OCT
3 20W
Printed in England.
CONTENTS.
PART
I.
The instrument.
page
13
page
The
oldest violins
The wood
The varnish
The strings
The
makers
Prominent
of
Attempts
at
improving
violin
The bow
Resin
Violin cases
Price of violins
......
...
Holding the
22
Position of
holding
25
25
Bowing
Principal
hand and
for bowing 27
Employment of up and down
bows
28
The first exercises
29
left
bow
15
16
16
17
18
18
19
19
19
Preservation of the instrument 19
Cleaning the hair of the bow 20
Names of the strings, and
....
tuning
Compass of
the violin
20
21
II.
15
13
PART
Position of
strings
upper table
....
guage
10
violins
13
Preservation of the
the
string
14
14
the
present day
playing.
the fingers
Exercise in intervals
Chords
30
in arpeggio
their signs
37
41
Arpeggi
33
35
36
42
42
44
44
45
46
CONTENTS.
IV
page
Chromatic scales
The
47
48
positions
Movement of
.... 49
the fingers in
PART
Double stops
Chords in three parts
Chords in four parts
Harmonics
page
53
.... 58
62
64
Pizzicato
69
III.
The performance.
Artistic rendering
Taste .-..,,.
72
72
73
73
Individuality
Phrasing
APPENDIX.
Pictorial representation of the
80
bowing
The mute
The
Vibrator.
81
and 19 th
82
Violinists of the
.... 84
2O th century 106
centuries
TRANSLATOR'S APPENDIX.
The Viola
.106
109
179
PART
I.
The instrument.
Origin of the violin.
The
oldest violins
known
manship.
Schroeder, Catechism
of Violin playing
FIRST PART.
Development
who
of the violin.
da
Maggini (15901640), Andreas Amati (15201580), his
sons Antonius and Hieronymus Amati, the son of the
latter, Nicolas Amati (15961684), the pupils
of the
Rabab
a.
Arabian
bowed instrument (of
Persian origin).
b.
Raba
Indian
violin.
same:
Of
(16441737).
THE INSTRUMENT.
To
1785), Dominicus
century), Joh. Bapt. Guadagnini (1755
Montagnana (17151750), Vincent Ruggeri, Giov. Bapt.
th
Ruggeri, and Peter Jacob Ruggeri (beginning of the i8
In
violins
were
made
France,
good
by Lupot
century).
th
th
(i8 century), Gand, Bernardel (i9 century) and Vuillaume
(17981875). In Germany, besides Stainer and his pupil
Albani of Botzen, Klotz, (father and son) 17 th and i8 th
th
century in Mittenwalde; Witthalm (i8 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 (17541780); Jacob
Fendt and C. Harris (early part of the present century), and
Matthew Hardie (Edinburgh), have left many good violins.
Good
violins are
made
in the present
day by Hammig
Schunemann, Schwerin; Pfab,
Hamburg; Lenk, Frankfort; Reuner, Berlin; Roth, Markin Leipsic; Reichers, Berlin;
neukirchen,
etc.
America,
England
Gemunder.
These have
all
produced
service-
FIRST PART.
improving the
at
Attempts
violin.
Many
attempts
violin
by
made
altering
its
make a
etc., in en-
further
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
The tone
instrument.
is
often
quite overpowered
instruments. This
where
balance.
their
is
space
made by Herr
Hagspiel,
would
of them yields
at least as
much
and
his
THE INSTRUMENT.
hammer
This
is
little
upper
with the
same
FIRST PART.
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.
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
maker in Aix la Chapelle,
to re-discover these secrets.
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
Tr.
THE INSTRUMENT.
many
knowing
that the
These
Maggini
brown
violins.
The upper
outline.
table
is
The
back
The upper
table
The
is
is brown and
The
transparent.
and not powerful.
Antonius and Hieronymus Amati. The violins issued
as the work of the two brothers in partnership are much
the slab.
tone
is
varnish
delicate
FIRST PART.
8
furrow.
wise.
violins.
The wood of the back and of the ribs cut slabThe varnish resembles that of Andreas Amati's
The tone is also small. The label runs:
Antonius
&
Hieronhmis Amati
Cremonen. Andra
filii
16
Label:
Antoriii
ncpos
fecit
Anno 16
THE INSTRUMENT.
the weakness pertaining to
years of Stradivarius reveal
old age. The tone is still fine, but the workmanship is
From this time forward, when the
altogether inferior.
varnish darker, the
arching is more prominent, and the
Label:
is
diminished.
tone
the
of
beauty
il
per
I]
FIRST PART.
10
Cremouse 17
IHS
part
is
Exterior.
(a).
II
THE INSTRUMENT.
The
the
neck
box
(e),
Interior.
the tailpiece (i), the button* (k), the nut (1), and the f
or sound holes (m). The interior of the violin contains
the soundpost and the bass-bar.
The
semi-circular projection
Tr.
at the
is
also
FIRST PART.
12
soft,
affect
* The
whether hard or
quality of the wood in a bridge,
and its thickness (according to Otto, its weight), materially
the tone of a violin.
Bridges as supplied by dealers are
usually
almost twice
the
proper
thickness,
to
ped inside an
oval);
less distinct
markings
THE INSTRUMENT.
Amount
of pressure
j*
table.
other respects,
power of
construction.
The
violin
in breadth in the
8
top height of sides i / 16 in.; bottom height of sides
are
sizes
Three
"full", "threedistinguished,
/^
These last serve for children.
quarter", and "half" size.
The
i
in.
The wood
of the violin.
made
is
distances
* Box
is
more apt
to slip.
Tr.
FIRST PART.
The
varnish.
This
the
first
The
strings.
The
fingers.
it
If
it
fold,
THE INSTRUMENT.
Strings pure in
fifths.
To
be pure
two
strings,
true.
Many
end
quite pure in
are,
are true.
strings
commended.
String guage.
* It is best to
compare the ends before putting the string
The last
tying the knot at the end which appears thinnest.
inch or so at each end of even the best string is often rough, and
not so durable as the rest of it.
7>.
** To ensure
equality of tone it is very important that the
strings should be correctly guaged with regard to their relative
on,
FIRST PART.
i6
Care of the
strings.
was arrived
thicknesses.
its
many
The bow.
name from its
alterations
at.
If all
the
instrument will
hands.
much towards
mand by
BRIDGE.
tone
is
not
so
good.
They
but
possess certain advantages in durability, and standing well in tune,
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
other
quality of tone they then yield being very bad, affecting the
If gut strings of good quality are bought, and the strings
moments
carefully looked at before playing, breakages at awkward
strings.
will
or
THE INSTRUMENT.
(a)
^ __=
.
=SS*SS
'
\e.
.IJLj^J 1 ^
'-Fm*r*gf*
I
*
\c
T>
The
the hair
stick is
is
Schroeder,
FIRST PART.
jg
Resin.
To
set the
strings in vibration,
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
hand become
the
left
dust,
which
is
in Leipsic,
most ouicable holders are those
and are
sides,
Violin cases.
fingers,
THE INSTRUMENT.
effects
of any
sudden shock
are
minimised.
Paris,
neukirchen.
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 5^300.
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 5o/-
upwards.
5/- to 5^3,
including
Prices of bows.
The bows
New
of Tourte
now
cost
silver
proving
fit
bowing with
cer-
tainty.
FIRST PART.
20
almond
oil,
or a notched almond
may be
The
used.
observing that
may be removed
with
spirits,
To keep
rubbed
ally
the neck quite smooth it may be occasionwith pulverized pumice stone put into a
muslin bag.*
little
The
warm
and wash
stick,
Then
rinse in cold
of the strings.
da
a
the third the
(3 ), and the fourth the
(4*).
usual practice, when the pitch of the A is deterto it, the
to that, and lastly
mined, is to tune the
the E to the A.**
(2
),
The
New work
is first prepared
depth of colour, smoothed
Tf.
varnish, and again polished.
** The A
may be taken from
piano, which should be maintained
desired
lins,
if
the
of the bridge, it
If a string is too
is
concert pitch.
has
belly
flat,
yielded
pull
it
to
In old vioright
first
foot
string.
THE INSTRUMENT.
21
1234
a
Compass
of the violin.
The compass
octaves.
E E E E E
l
pitch
let it so
it
to the
PART
The technique
II.
of violin playing.
Holding the
The
violin
is
violin.
left
left
hand and
collar bone.
rests
on
The
instrument
give a firm
must be horizontal. To
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,
The
also to be recommended.
is
chin -rest
chin-rest.
varnish.
serves
also
to
protect
the
To
the
left
-violin
is
2\
Position of the
The
left
left
arm.
held
the third of
gripped, but
the neck and
violin
is
The
as regards the weight of the instruend by the chin pressing the violin
What further steadying power is necessagainst the collar bone.
ary, 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
Tr.
particular player selected, as bodily proportions differ.
ment
is
real
done
"holding"
at the other
SECOND PART.
elbow far enough
underneath the middle of the
violin.
manner of
first
bring the
the
to
right to place it
attain a correct
To
finger
on
I
the second
the third
on the
on the
2 nd note of the
string,
string,
lie
string,
as follows:
1234
to
35
The
forward,
Bowing.
SECOND PART.
26
and exactly
is
little
2y
the thumb, index finger, and wrist and the fore arm
held as independently as possible of the upper arm.
Principal
open
signs
string
ist finger
2nd
used
for
down bow
up
Sp.
M.
3 rd
4th
hand and
is
bow.
Fr.
SECOND PART.
28
As a
a down
Use
of the
rule,
bow
is
at the nut
overture:
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
in the
the
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
notes varying in value from semibreves to
at last
crotchets are played with ease and certainty, and an
even tone of good quality produced. The first bowing
exercises are usually as follows:
first
I.
SECOND PART.
The
on
all
Bg^^^zsJP
In the same manner on the other strings. If one
remain in the key of C*, the first finger when
on the E string must be drawn back a semitone to stop
desires to
and on the G
ward a semitone
F,
string,
to
The
string
beginners are
G,
and
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
with flats.
as
The
in
scales
following exercises,
or
if
deemed
31
string.
G string.
and
2.
6.
7.
8.
&c.
SECOND PART.
The
fingers
strings that
The
perpendicularly upon them.
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
In slow movements and
finger is increased or decreased.
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"* setting of the
the
first
2 nd, 3 rd,
joint
stands
and 4 th
fingers follows.
i2=t
the
on
All the notes in regular order from the open
string to B on the E string must now be played.
is
To
&c.
i.
e.
7>.
33
Practice of intervals in
Thirds.
I.
C major:
2.
424
4.
42
5-
6.
3==:
& c.
fl
Fourths.
1.
&c.
4-
3-
~&c.
6.
5-
'
&c.
Schroeder, Catechism
&c.
of Violin playing.
&C.
SECOND PART.
34
Fifths.
I.
&C.
Sixths.
2.
I.
&c.
&c.
&c
2.
Sevenths.
hx:
?-
35
5-
&c.
Chord exercises
in arpeggio form.
2.
I.
3-
g^jdig-Tll .UJUzg^
i
Sj?=*=3:
6.
SECOND PART.
E^fe^=l
=-
==jzj=r
f=pf=r_J_J._^J
jj
t=
^r^-^
Stretching the
To
reach the
whose
little
fi
finger.
little
on
must be stretched, care being taken to
avoid moving the wrist and altering the whole position
finger,
the note B,
is
it
of the hand.
*
-=
&c.
The
37
Primary bowings.
The
(Grand detache).
semiquaver.
The
and the
stick
first
strokes.
The
stroke.
Also executed with the
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
2.
whole bow.
"singing"
The
first
SECOND PART.
38
pressure.
end, and
be held
tolerably
excellent
only one
bow.
Rendering:
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:
to
may be
taken on one
string,
6.
The rebounding or springing (sautilld) 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.
Secondary bowings.
The bound,
SECOND PART.
pressure
with the
is
also
executed
nut.
l>
trem.
* Also
known
is
the following:
7>.
it
and
first
two
fingers.
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.
5.
The
string,
Arpeggi.
Tr.
SECOND PART.
e)
skipping
The
JL
Jf.
JL
&c.
a trembling similar to the vibrato of a vocalist. Employed occasionally and with discretion it is of good
On the violin it is produced by setting the finger
effect.
in tremulous movement upon the string, so that the pitch
is
slightly
in use
There
use,
is
its
The
Trill.
line
~~
and
in
its
a few
other works,
employment.
7>.
a wavy
full close.
43
is
reserved
Final shake
i
The upper note
be
in
To
trill
The
making the
evenly,
it
trill
The trill
over the string.
note in both tones and semitones.
lightly
is
studied
upon every
*
SECOND
44
The Mordent
The mordent
is
PART.
(Pralltriller).
by the following
is
generally indicated
sign:
Rendering.
a)
*- -
^v
Rendering.
The double
To
trill.
tr
45
Scale practice.
Scale practice demands diligent application. By its
means we attain certainty of intonation, power and flexiof tone, as well as familiarity with the various kinds
of bowing.
The beginner must now practise all the major and
bility
first
position,
first
in
moderate tempo,
&c.
c)
a)
possible
tone,
b)
c)
ri
/^\
-x^\
'
J-
/O\
ff
n
t
ff
11
PP^^L ff Pt>^
g)
m.
f^=^=H^
f-
PP
ff
g. B.
&c.
J
PP
sJ
^S
SECOND PART.
The
bowings
e)
f)
m.
^
^
Fr.
Sp.
T;
g)
To
finger,
the
be used twice
47
first
finger
b)
a)
The chromatic
scales.
will
the scale
is
expressed by sharps or
01122
flats:
SECOND PART.
1
23
40
112* 3401
&C.
The
Positions.
it
be termed the
will
upon
first
position.
up and down
each
finger.
is
deterIf the
ready to press
these
i
it
will
be the second
The
position.
the neck.
As
the
in
the
ball of the
first
and second
first
fingers.
III. Position.
In
this position
hand comes
in con-
IV. Position.
From
further
and
this
position
49
dbi
V. Position.
VI. Position
VII. Position.
which,
is
<F
to
Changing the
position.
Schroeder, Catechism
of Violin playing.
SECOND PART.
2
'"tf
hfl
>-rt
IT.
o'
o'
5C
c*
<*2Ncb
(-^..bcco...^.
H*..tO..CO* '...|-.
4
*-*... CO
!-*
tO
C0
CO..
CO
rf*.
tO...
CO
OQ.
rf"
P-
. .
l-J
s-
OO.^..H>.
tS
W^.h-.
CO.
CO..rf...l-k...cO
I-*
CO.
rf^
60
*>
GO
..
h-
..
*>
CO.t^..
H*
*-H->.
CO.
CO
*.-*
>*
CO*
4>>
>-*
BO
i._
CO ... 00
CO-CO.
H*.. CO..CO...
.
H*
ipk.
CO..CO..^...h^
..
60.
CO ... CO
[
CO. CO.
CO
CO**
*!-*.
CO
GO .. t^ ..
1^
CO
CO
ue
co
GO
4^
..
CO ..
00
CO
**^
*-
rf^
be played by a
position,
position of the
accompanying
c)
-7
fingers
d)
e)
i
?*
-r"-HM
&
If the notes of the different positions are to
upon two
strings,
4*
be taken
SECOND PART.
52
kt
E
p
a finger which
must
slide with
position
|-
Jr
is
jv-ftj
--
Double stops.
The violin is capable of producing a great variety of
double notes or double stops. In conjunction with an
open
may be
given.
Unisons:
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:
At
string,
string.
employed
either the 3 rd , 2 nd or
i st
finger
may be on
the
lower note.
At
,
b,
th
SECOND PART.
54
Fourths
\J
<z
-^.
<*
o
'
?&
The
strings; the
or half position.
Sixths:
in the
first
position.
Sevenths
in the
first
and second
positions.
r-fl
Octaves:
=r-
is:
55
SECOND PART.
Augmented 4^".
&C.
Fingering:
J,
and
Perfect
Fifths.
J.
^s.
&c.
Imperfect
Perfect
are fingered
fifths
same
J,
J,
or
J.
Imperfect
fifths
fingers as fourths.
Major
Sixths.
&c.
Minor 6tl.
Fingered
J,
and
J.
57
Sevenths.
..- fe
,-^_pj^^j_l^
Fingered
J,
J.
Octaves.
&C.
Fingered
J,
in the
and
J.
lower strings;
e.
g.
D & G string.
The
fust stops
excluded from
this.
on the
and
SECOND PART.
,jS
ffVtJ-^qp^z p^^^pfjiizi^r-l
3CZ
1^
-I
'
J
*
JJ
M=-M
'.I
string:
fhiq
59
sp-fm
l7
Without open
I
uC
strings:
__ i_j.^_ite_
_e
_-
TiW
,.
E^_ ^_r&^_,z^
r
SECOND PART.
6o
^r
-3
23
Fingering
5
8
2
2
and
3
s
^
U
Fingering
*fe
and
&c.
Fingering
Fingering
hi
"f
and
3
3
4
4
&c.
fr|
Fingering
&C.
44
3
2
and
s
2
2
i
Fingering:
3
&c.
and
Fingering
Fingering
and
Fingering
&c.
*
J
f 1
44
Fingering
8
6
&c.
^-n&c.
and
i
2
&C.
22
Fingering
5
6
and
SECOND PART.
&c.
Fingering
->-*
ff
2*
Fingering
Chords
4^4
strings:
U *J
ft
ft
=rJ
J.
r
F^f
;r-rri*
63
string:
fe^r^fe^.rCTIJ-^d
*W
T
T-+
y -H.
ahl^
i-
t-
i-
fc-3-j-*
=5=3=1
III
-,
gr^-j^ ^ ^
Without open
4-
tfi=F=3Fy
strings:
* 4 4 s * 4 i
&c.
&c. &c.
SECOND PART.
f
Harmonics.
Natural and
may be produced on
G string.
000
D string.
E string.
1
Natural harmonics are also produced by placing two
and simultaneously on one string:
fingers lightly
G string.
D string.
E string.
A string.
Artificial
harmonics.
At a
fourth:
G string.
D string.
o.
Schroeder, Catechism
of Violin playing.
44-=*=
SECOND PART.
66
A string.
E string.
~~
8va
,1
jt^Jf
~
I
-Qt
&c.
1
At a
fifth:
G string.
D string.
1,1
A string.
<u
8va
1
At a
&c.
third:
G string.
D string.
:&c.
A string.
E string.
4-
P
&C.
At an octave:
G string.
In
manner on
like
them impossible
Double harmonics.
Both natural
as double stops.
more
difficult.
a.
and
"
<L
& |
f-^zpziL-^^ ^$=3==3F====ij:
jj
D &
G string
A&E&
D-s.
Similarly
b.
D&G
string.
A-s.
Artificial
on the upper
strings.
double harmonics:
SECOND PART.
68
a.
and
at the distance of
produced
Fifths,
third:
fifth,
fourth
i
i
Thirds.
b.
J
J
(major)
$<>
ft
5,
&c. (minor)
rE=
n
J>
*.
.
Fourths.
&c.
^/.
Sixths.
(major)
(minor)
&c.
f.
Octaves.
The
pizzicato.
is
held
down (underneath
Don
the right
Giovanni,
arm),
when
as,
for
the violin
Allegretto.
8va
The
sign used
is pizz., its
cessation, arco.
The
pizzi-
arc. pizz.
arc. pizz.
SECOND PART.
7o
and
pizzicato simul-
pizz.
A.
it
thumb
is
yj
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.
arc. jnsz.
The #m?
ir
arc. pizz.
[;
arc.
pizz.
L,
arc. pizz.
]^
arc. pizz.
stroke.
PART
The
ffl.
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
he has under his control a higher spiritual musical
it,
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.
Taste.
THE RENDERING.
y-
throughout
Individuality.
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.
If the
artist
has
Phrasing.
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
Upon
this subject
bowings
each phrase or period the stroke must be changed. These
with the
phrases may, however, in many cases coincide
change of bowing, and the player must in general make
THIRD PART.
74
it
aim to obtain correct phrasing by a suitable appliand adjustment of the changes in the stroke.
The following examples from Mendelssohn's violin
his
cation
the
f.
and
is
thus rendered
by many
thus:
and a
it
is
violinists:
even marked
THE RENDERING.
75
dim.
t=
"^-w
(i.
e.
without a break):
Andante.
b.
Allegretto
ma non
troppo.
:*it
THIRD PART.
76
THE RENDERING.
c.
77
P-
clearer
and more
if
still
violinists or
Beethoven.
as
for
example
in
and
78
THIRD PART.
THE RENDERING.
times in succession, beginning with the highest
also the changes of bowing should coincide
yg
eft.
Here
with
the
phrasing marked.
a correct rendering that, even in the
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.
It is essential to
first
APPENDIX.
Pictorial representation of the bow-strokes.
The same
in a simpler
style.
Bow
Down stroke.
Up stroke.
Read from
are
the
left,
first
example
and down
positions.
bowings;
The
mute.
into action
against
ScTiroeder, Catechism of
Violin playing.
g2
APPENDIX.
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
It is with this object that a snuffbox or a key
audible.
If one plays
is laid on the upper table of the violin.
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
In order to produce upon
other things the following:
more especially the violin,
the
stringed instruments
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
1
holder, with its fastened end (h ) 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 sue-
H.
SCHROEDER'S "VIBRATOR".
83
of a violin
and tailpiece.
Section
between bridge
l/ibrd1or.
6*
and
August von,
Adelburg,
originally intended
for
ig
th
Centuries.
born
1833, at Constantinople,
the Diplomatic service, was a
Baillot's
London
as conductor.
Armingaud,
became member of
several orchestras, then made extended concert tours through Europe and America. He
wrote a violin concerto, string quartetts, &c.
Auer, Leopold, born May 28th 1845, at Vesprin, Hungary.
Pupil ofDont in Vienna, also of Joachim. From 1863
1865 he was leader at Dusseldorf, then at Hamburg,
and from 1868 in a similar capacity with the Imperial
orchestra, St. Petersburg, and professor at the Conservatoire there.
Baillot, Pierre Marie Francois de Sales,
at Passy near Paris, pupil of Viotti.
He
ist 1771,
taught at the
Paris Conservatoire,
studies, concertos
born Oct.
ge
at Liibeck;
in the
of George
employed
exception
elder Benda.
Bennewitz, Anton, born March 26th 1833, at Privret, Bohemia; pupil of the Prague Conservatorium. He was
leader at Salzburg and at Stuttgart; since 1866 professor
in, and since 1882 Director of, the Prague Conservatorium.
Beriot, Charles de, born Feb. 2oth 1802, at Louvain, the
He taught
chief exponent of the Belgian school.
86
amongst
in April 1870.
Besekirsky, Basil Basilewitzsch , born 1835, at Moscow;
pupil of Leonard at Brussels. He appeared with success
in Germany, France, Spain, &c., as a virtuoso.
Biber, Franz, born 1638, at Wartenburg on the Bohemian
frontier,
meister.
He
Cramer.
He
burg.
Bohm, Joseph, born April 4th 1795, at Pesth, died March 23rd
1876; pupil of Rode, and teacher of Joachim. He was
engaged chiefly in the Viennese Court orchestra, and as
teacher in the Vienna Conservatorium.
Bohrer, Anton, born 1783 (1791?) at Munich; pupil of
Rud. Kreutzer. He was leader at Berlin and Hanover,
and died in 1852.
Bott, Jean Joseph, born March 9th 1826, at Cassel, died
1895, in America; pupil of Spohr. He was leader at
Cassel, and subsequently at Meiningen and Hanover (CourtCapellmeister), where he was pensioned in 1878. Since
then he lived in Hamburg, New York, &c.
Boucher, Alexandre Jean, born 1770, Paris, died 1861.
He was a great charlatan in violin playing, yet was
received with much applause on his concert tours.
Brassin, Gerhard, bora June loth 1844, at Aix; pupil
He was leader at Berne and Gothenof David.
then teacher in Stem's Conservatorium, Berlin;
conductor of the Breslau Musikverein;
since then living in St. Petersburg.
burg,
from
18751880
g-
Burmester,
He
Collins, Isaac,
His son
was also an excellent player.
Colonne, Edouard, born July 23rd 1838, at Bordeaux;
studied at the Paris Conservatoire under Girard and
Sauzay, but became a conductor, and is, as such, very
celebrated English performer.
Collins,
Viotti,
celebrated in Paris.
Colyns,
He
Corelli,
Arcangelo,
born 1653,
at
88
was held in extraordinary esteem as violinist and composer, and a great number of pupils crowded round
him. His most celebrated pupils were Geminiani and
Locatelli.
He
Clement, Franz,
was
first
born 1780,
Courvoisier, Carl,
Diisseldorf and
much
at Basle; lived in
favour as teacher and
is
now
and
living
studies,
Csillag,
at
From
Helsingfors.
at Posen; pupil of Hubert
He was from
prepared for a medical career.
1857 Capellmeister at Breslau, and since 1871 in New
York, where he died in 1885.
Dancla,Jean Bapt. Chas., born Dec. i9th 1818, at Bagneres-
de-Bigorre.
He
89
Dando,
1 8th
1873, at Klosters in Switzerland; pupil of
Spohr; leader in the Leipsic Gewandhaus and theatre
orchestras from 1836 until his death.
He was distinguished both as teacher and leader. As composer, he
July
--
Concertos, Variations,
produced many violin works,
Studies, and also a School, besides editing many previously unpublished pieces
by the old
masters.
De
1799,
was
violinist
in
at Vienna,
the
Imperial
Dupont, Joseph, born Aug. 2ist 1821, Liege, died Feb. i$th
1 86 1. Pupil of Prume in the
Liege Conservatoire, subsequently teacher in the same.
Dupuis, Jacques, born Oct. 2ist 1830,
at Liege; taught
there in the Conservatoire; died 1860.
Dupuy, Jean Baptiste, born 1775, at Courcelles near Neuchatel, died April 3rd 1822, at Stockholm; was leader
He composed concerthere, and also at Copenhagen.
tos, duets and operas.
Durand,
burg
theatre.
since
Italy,
as
and
soloist,
Eck,
Franz,
bom
1774, at Mannheim,
was Spohr's
in-
Bamberg
in 1809.
Elegy,
"Otello"
fantasia,
QI
and Hungarian
variations.
Ferrari, Domenico, born at the beginning of the i8th cenHe passed in Vienna for a great
tury; pupil of Tartini.
violinist, also exercising his profession in Stuttgart and
Fiorillo, Federigo,
in Swabia,
first
German
violinists
who
made a
Court orchestra.
Gavinies, Pierre, born May nth 1726 or 1728, at Bordeaux, died Sept. 9th 1800, at Paris. He wrote studies,
(His father, Francois
notably "Les 24 matinees".
Gavinie's, was a violin maker, and was, in 1762, dean
of the Paris Violin Makers' Guild.
2>.)
Geminiani, Francesco, born towards the end of the i?th
century, at Lucca, died Dec. 1762, at Dublin, was one
G. brought out the
of Corelli's most famous pupils.
Italian violin
g2
Graun, J.
1
e. g.,
The Bird
in the Tree,
Q^
at
Heilbronn;
Gewandhaus
hausen;
Bres^u.
orchestra, Leipsic.
Himmehstoss
Hollander,
violin pieces.
"Spinnerlied", and other pleasing
loth 1851, at Hadersleben;
Jacobsen, Heinr., born Jan.
He was first violinist in
pupil of David and Joachim.
the Leipsic Gewandhaus orchestra, solo and chamber-
94
music player to the Duchess of Anhalt-Bernburg atBallenstedt, and since 1876 teacher at the Berlin High School.
Died 1901.
Jacobson, Simon, born Dec. 24th 1839, at Mitau; pupil of
David; leader at Bremen and New York; was afterwards
teacher at Cincinnati, and now lives at Chicago.
Janitsch) Anton, born 1753, in Switzerland, died 1812, as
Capellmeister to Count Burg-Steinfurth; pupil of Pugnani
at Turin. He was leader at Treves with Prince Wallerstein -Ottingen, and conductor at the theatre, Hanover.
Jansa, Leopold, bora 1796, at Wildenschwert in Bohemia,
died Jan. 25th 1875, at Vienna. His compositions formerly enjoyed much favour. He lived in Brunswick,
Vienna, and London.
Japha, George, born Aug. 27th 1835, at Konigsberg, died
Feb. 25th 1892, Cologne; pupil of Singer, David and
Alard; leader and teacher in Cologne Conservatorium.
Jensen, Gustav, born Christmas Day, 1843, at Konigsberg; pupil
of Laub and Joachim; died Nov. 26th, 1895, as professor
at the Conservatorium, Cologne.
He wrote orchestral
works, a violin sonata, chamber music, &c., besides ably
editing and arranging many compositions of the old
masters for violin and piano ("Classische Violin Musik",
"Vortragsstudien", &c.).
among
overtures.
Kes,
Willem,
bom
"Kammervirtuos",
and
He now
lives in
Hamburg
as soloist
teacher.
at
editions.
47,
is
played
(Beethoven's
dedicated to him,
it.
Tr.)
Bremen.
Baden-Baden.
Lacroix, born 1756, at Remberville, died 1812, as music
director at Liibeck.
Lafont, Chas. Philippe, born Dec. 1781, at Paris, died
Aug. i4th 1839; pupil of Kreutzer and Rode; he made
many concert tours, and composed much. Held appoint-
ments in
St.
Lalo, Ed., born 1823, at Lille, died April 22nd 1892, Paris;
He was quartett player
student at the Conservatoire.
in Paris, and then busied himself chiefly in composition.
Lamotte, Franz, born 1751, Vienna or in the Netherlands,
died 1781, in Holland. He was a great virtuoso and
96
sight-reader, but in
duct could
consequence of
make no
position.
Lamoureux,
in
Paris,
and com-
poser for his instrument. His compositions have appeared in various editions, some of his best sonatas in
G. Jensen's "Classische Violin Musik".
Lipinski,
known among
Locatelli, Pietro,
his writings.
at
born 1693,
dam; pupil of
Corelli;
great virtuoso. He
certos and sonatas.
Lolli,
Marsick,
He composed many
violin
servatoire.
and
studies.
ment advanced
his technique.
Schroeder, Catechism
of Violin playing.
CELEBRATED
gg
"Abraham" was,
Tr.)
18761878
at the
leader in Laub's
orchestra at Hamburg; until 1884, leader in Neumann's
Wagner Tour; since then, leader Hamburg town theatre.
of Anhalt-Bernburg, at Ballenstedt;
town theatre, Leipsic: until 1882,
Miiller,
playing,
Petri,
lived in
Vienna and
Italy.
Pisendel, Joh.
Ioo
He
settled in
London
in 1850,
became
principal violin
Gratz.
Prill,
at Stavelot (Belgium),
at Turin; pupil
great deal, and was from
1770 until his demise leader at the Turin Court theatre.
He trained Viotti, amongst others.
Jtab, Aug., Vice-Concertmeister at the Leipsic theatre and
Gewandhaus orchestra; also leader at the Euterpe.
Ralph, Francis, born 1847, died Sept. 8th 1887; educated
at the R. A. M., London, where he became one of the
most valued teachers.
Rappoldi, Eduard, born Feb. 2ist 1839, at Vienna; pupil
He was leader at Rotterdam,
of Jansa and Bohm.
then Capellmeister at Liibeck, Stettin, and Prague, next
teacher at the Berlin High School; then leader in the
Court orchestra, Dresden, and since 1893 teacher at the
of Tartini.
He
travelled a
composer.
IOI
Rietz,
Rode,
previously
burg.
member
of the orchestras in
tours, afterwards
in Paris,
Sainton,
He
died
1889.
Prosper Phil
Catherine,
born June
5th
1813
loa
died
Oct.
pupil of
concert
tours throughout Europe, then was appointed teacher
of his instrument at the Toulouse school of music. He
visited London in 1844, settling there in 1845 as professor
at the Royal Academy of Music, a post which he held
He was also leader in the orchestras
until his death.
of Co vent Garden Theatre (1846
1871) and of Her
Toulouse,
Habeneck
i7th
1890,
1880), &c.
Majesty's (1871
certos, besides solos.
He
London;
He made
Sfhuppanzigh
Kompel, and
Pott.
Mannheim.
His son
104
his toes.
June 6th 1881, at Algiers; pupil of de Beriot. He visited Germany, England, France and Russia; was named
virtuoso in chamber music to the Russian Court in 1846,
resided in St. Petersburg until 1852, then travelled and
visited
and
in Frankfort, Paris
Brussels.
Viotti,
1Q e
teacher practising chiefly in Paris, where he also conducted the Grand Opera for a brief period.
Walter, Benno, born June 171)1 1847, at Munich; leader in
the Court orchestra there, and teacher at the Music
School.
Wilhelmj
',
at
first
In the follo-
lo g
Europe, and
is
in Brussels.
Zajic, Florian,
Some
&
in
London
in 1894.
Sevcik, Ottokar,
portant studies.
Zacharewitch, Michael, born at Ostrow, Russia, in 1877;
studied 5 years with Sevcik, appeared with success in
London in 1903.
VIOLA.
J0 7
Translator's Appendix.
The
Viola.
The terms
"Quinte",
are
all
line):
The
tuning
is
as follows:
jst
2d
rd
4th
string
string
string
string
THE VIOLA.
I0g
Some
character.
cially
written
for
last
century
now become
to tail pin) i6 3 / 16
5
(lower
(inner
/ 16
15
/ 32
NB.
).....,..
1
i
/ 32
17
/ 32
9
/ ia
log
Figures
(I,
Violin Methods.
An
elaborate
method
(7600 a
c).
Hofmann, R. The
Kayser, H. E.
Op. 65.
(7606.)
the
clear
aid
young beginners.
Playing (2 Bks.).
(7623
a, b).
airs
(5681).
Excellent work for style and phrasing. Clear and exhaustive
explanations of every chapter make the work particularly useful,
for indiviespecially for those who have not the opportunity
dual teaching.
IIO
Violin Methods.
Schoen, M.
(7611
Practical
(Continued.)
Course
of Instruction
(12
Bks.).
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.
Schroder, Prof. C.
3rd Edition (9212).
Technical Exercises.
Casorti.
Technique of the Bow.
Courvoisier. L'Ecole de la Velocite.
Kreuz, E.
Liitgen, H.
Ritter.
Wohlfahrt, F.
Daily Exercises.
c).
(7624).
Studies.
Step
Bohmer,
and
in easy keys.
C.
Op. 54.
(E. Heim.)
Book
I.
Exercises
Book n.
in
Studies
.of
Scales
and
(7603
of the
chords
a).
first
in
position.
systematic
Book
c).
Gradus ad Parnassum.
I.
,,,
(Continued.)
By
and
his Violin
and Piano
Hering, C.
Hermann,
(5612 a, b).
In two books, containing familiar airs interspersed with easy
nd violin
studies, with a 2
part.
Hofmann,
A
the same
Op. 90, Book I.
work of
author.
well
(5663 a).
Progressive Studies. Op. 34, Bk. i.
Contains 40 progressive exercises gradually introducing the
notes of C major in the I st position.
Kreuz, E.
! !2
Studies, Step.
I.
(Continued.)
I.
a).
Schon, M.
Part
I.
II.
III.
IV.
1).
In 3 Books.
Parts
to
XII belong
Step
Alard, D. Op.
also with
10.
II.
first
position. (5683).
Etudes melodiques
2d
(761214).
Violin in 2 Books.
et progressives.
(5640).
(5600
a, b).
C.
Bohmer,
(7603
Dont,
d).
J.
et P.
8,
Gradus ad Parnassum.
Book
First
Position.
Chromatic Passages.
(5473).
IV.
Book
Third Position.
Changing between First and
Third Positions. Portamento and Tremolo. (Bach, de
Beriot, Corelli, Dont, Fiorillo, Haydn, Hofmann, Kayser,
Kreutzer, Mazas, Wenzel Pichl, Righini, Scarlatti, Spohr,
and Wichtl.)
(5474).
Graduated Studies revised by Ernst Heim; each book corresponds in difficulty with the same book of his Violin Duets
"Arena", see page 15 and his Violin and pianoforte pieces
"Palaestra", see page 27.
Hermann, F. Op. 24, Bk. i. 30 Studies in the ist position.
(5659).
also with
2nd Violin.
(5613).
Hofmann, R.
II.
II3
(Continued.)
Kayser, H. E.
numbered
An
(5610
a-c), also
a-c).
I.
II.
violin.
(7615).
Step
III.
Op.
4.
e Violone, o Cembalo).
(4936
c).
II4
(Continued.)
Corelli.
(Continued.)
Livre IV., V., Op. 6.
Concerti Grossi con duoi Violini, e
Violoncello di Concertino obligati, e duoi altri Violini,
Viola e Basso di Concerto Grosso ad arbitrio che si
potranno radoppiare. In Roma, 1712. 2Livres. (4936 d,e).
Gradus ad Parnassum.
gressive
and
Book V. Fourth
in difficulty with the same book of his Violin Duets "Arena", see
page 1 8, and his Violin and Piano pieces, "Palaestra", see page 36.
Hermann,
and 3rd
positions.
Bk.
III.
(8662
c).
paniment (7397
Kreuz, E.
Accom-
c).
Progressive Studies.
5.
(5663 d, e).
Book 4
M.
Bk.VIII.
Step IV.
115
(Continued.)
All Positions.
(5654).
These
studies
together with
impart
much
The same,
The
Gradus ad Parnassum. A
Collection
of Studies in pro-
gressive
the
mann,
Kayser,
Wichtl.
Kreutzer,
Maurer,
Mazas,
Rode,
and
(5476).
Book
Bruni,
Kreutzer,
(5477).
Graduated Studies revised by Ernst Heim, each book corresponds in difficulty with the same book of his Violin Duets,
"Arena", see page 19, and his Violin and piano pieces,
"Palaestra", see 'page 45.
Hermann. F.
positions.
3.
25
Studies,
(5661).
3rd
to
7th
16
(Continued.)
Kayser, H. E.
and
(8661).
This carefully revised edition is particularly useful by frequently giving two or more different fingerings for one and
the same study or single passage.
The numbering of every
tenth bar is also useful in studying sub-sections.
Kreutzer, R. 42 Studies. New Edition, revised and fingered
by Ernst Heim.
The original
(fingerings,
(5671).
been carefully adhered
text has
to.
The
revision
care which distinguishes all Heim's editions, while the explanatory remarks make this Edition particularly valuable.
The same,
Kreuz, E.
(5663
Progressive
Studies.
e.
g.
the
7.
g).
Book 6.
f,
(7607
c).
Book
in
XI.
the
Wessely, Hans.
(5686).
uj
(Continued.)
Step V.
Difficult.
(Octaves, Springing
Bow, Staccato
etc.).
B6riot, C. de.
Campagnoli.
Divertissements.
a, b).
Edited by G. Jensen.
(76oi).
Gradus ad Parnassum.
Collection
of
Studies
in
Book
VIII.
Studies arranged according to their MusicoTechnical object, independent of Position:
7 Studies on Staccato. By Fiorillo, Kreutzer, Mazas, Rode,
and Schubert.
By Alard
Graduated Studies revised by Ernst Heim, each book corresponds in difficulty with the same book of his Violin Duets,
''Arena," see page 20, and his Violin and piano pieces,
"Palaestra," see page 50.
Rode, P. 24 Caprices in the form of Studies for the Violin.
(5679).
The original text has been adhered to, with very clear
indications of positions, fingerings, bowing and marks of
expression
by Ernst Heim.
n8
Studies, Step V.
(Continued.)
Rode, P.
Vieuxtemps, H.
Op.
Step VI.
Gavintes, P.
6 Concert Studies.
16.
Very
difficult.
Gradus ad Parnassum.
Collection
of
Studies
in
Fugue.
Fughetta.
.#.13 Concert
Studies,
Harmonics and
Pizzicato
Lipinsky,
I.
Hermann,
Hofmann,
Fr.
50 favourite Melodies. (5465 a).
R. Potpourris on Popular Melodies from Classical
and Modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books
(in
Le Postilion.
La Sonnambula.
Norma.
the
first
(5 401 a).
(54023).
(54033).
LeCalifedeBagdad. (54043).
La Dame Blanche. (54053).
position):
La
Fille
du Regi-
ment.
Lucia di
moor.
Lammer-
Orpheus.
(54063).
(54073).
(54083).
I.
(Continued.)
Hofmann.
The
The
Potpourris (Continued.)
Messi3h.
Joseph.
(54093).
Crestion.
St. P3Ul.
(54103).
Zampa.
Wildschutz.
mann.
(54113).
(54123).
11
Sersglio.
11
FUuto Magico.
Don
Giovanni.
Der
Freischutz.
I2Q
2 Violins, Step
Arena.
collection of
progressive
order,
I.
(Continued.)
carefully
violins,
marked
arranged in
and annotated by
E. Heim:
Book
First
I.
position.
Book
(i
80 is).
First
frequently
Book HA.
Dancla, C.
Gurlitt.
(5605).
Arranged.
(7609).
Hofmann, Richard.
Op. 113.
30
a, b).
(5624).
Step
I.
Le Postilion.
Sonnambula.
Norma.
Calife de Bagdad.
Dame
Fille
Blanche.
(in
the
(54oib).
(54O2b).
(5403^.
(5404^.
(5405^.
du Regiment. (54o6b).
first
position):
Lucia di Lammermoor.
(5407^.
Orpheus.
(54o8b).
Messiah.
(54095).
Creation.
Zampa.
(54105).
(54 lib).
Hofmann.
Potpourris.
Wildschtitz.
I.
(Continued.)
(Continued.)
II
(54i2b).
Flauto Magico.
Don Giovanni.
mann.
Joseph.
Freischiitz.
(54145).
(541 5b).
St. Paul.
Mazas, F. Duos
Seraglio.
11
2 Bks.
faciles et progressifs.
54'6b).
541 7b).
54i8b).
54i9b).
(5 608 a, b).
6 Duos. (7597).
Reinecke. Op. 122 a. 10 Petits Morceaux. (5630).
Delightful little "bits", short and very easy.
Ritter, E.
30 Exercices faciles. Bk. i. (5 631 a).
Schon, M. 1 8 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).
Pleyel.
8.
Op.
W.
Step
Alard, D.
E. Heim:
Book
II.
Progressive
Op. 22.
IE.,
Duets,
revised
Elementary.
st
and fingered by
and 2nd
positions.
(5599C).
This excellent work should form every student's companion
from the first beginning until a degree of considerable technical
It gains much by E. Heim's careful
skill has been reached.
revision as to the fingering, bowing and all marks of expression.
(5639).
collection of
progressive
order,
carefully
marked
arranged in
annotated by
violins,
and
E. Heim:
Book
III.
second
positions,
(118033).
III A.
Easy Duets, with change between first and
second positions, by Geminiani, Mazas, C. G. Miiller,
and Blumenthal. (118033).
Book IV. Duets up to the third position, by Ignaz Lachner,
Book
(118043).
122
2 Violins, Step
Arena. (Continued.)
Book IV A. Duets up
Ignaz Lachner, and
Book V.
II.
(Continued.)
by C.
Gurlitt,
(118043).
fifth positions,
by
page 27.
Hering, Carl.
the half
(5625).
Potpourris on Popular Melodies from classical
Bohemian
Girl.
arranged
and modern
by Richard Hofmann.
(542ob).
Egmont.
Fidelio.
L'Elisire d'amore.
Lucrezia Borgia.
Iphigenie en Aulide.
Judas Maccabaeus.
Nachtlager.
Hans
Heiling.
Midsummer
Dream.
Night's
Elijah.
Huguenots.
Le Prophete.
Figaro.
Kalliwoda.
(5606 a
Op.
c).
Kayser, H. E.
Violin Studies,
to
b).
Violin Studies.
Kayser.
1
II.
(Continued.)
(Continued.)
'5620).
Nos. 6 and 8 Step III;
Step IV.
Lachner,
B{?.
Nos. 4,
I.
5, 9,
II,
12,
13 and 16
Sonatinas in A,
and
(562123).
Book
Book
I.
II.
9 Books:
First position.
Easy double-stopping.
First and second positions.
(56295).
(56293).
W.
Thomas,
E.
4 Duos.
Step
III.
(56343,5).
Five Positions.
Alard, D.
Progressive Duets, revised and fingered 5y
E. Heim:
Book IV., Op. 22. Elementary. 3rd position. (5599d).
Book V., )p. 23. Easy. 3rd position. (5599e).
Book VI., Op. 23. Easy. 3rd position. (5599 f)'
Book VII., Op. 23. Easy. 3rd position. (5599g).
This excellent work should form every student's companion
from the first beginning until a degree of considerable technical
It gains much by E. Heim's careful
skill has been reached.
revision as to the fingering. >^wing, and all marks of expression.
I24
2 Violins, Step
Arena.
collection of
progressive
order,
III.
(Continued.)
carefully
arranged in
annotated by
'violins,
marked
and
E. Heim:
Book V.
8,
and
his Violin
and Piano
Dont.
20 Exercices
progressifs.
Op. 38.
(7605).
ad lib).
Kayser, H. E.
(5328 a
(Piano
Molique, B.
Mozart,
W.
3.
c).
3 Duets.
A.
Op. 20.
Op.
Op. 70.
3.
Book
3.
(10008 a
4 Bks.
3 Books.
12 Duets.
to
(56ioc).
c).
Ries, H.
Book
Progressive Duets.
(Ernst Heim).
Up
to third position.
(5629 c).
These melodious and graceful compositions are rendered more
valuable by the careful revision of fingering, bowing and marks
of expression. They contain a wealth of technical devices.
HI.
Rode, P.
Viotti.
Op.
i.
6 Duos.
Concert duets.
2 Bks.
13 Bks.
(Continued.)
Duets,
Progressive
All Positions.
Step IV.
Alard, D.
E. Heim:
12
Easy.
Brilliant.
Brilliant.
Brilliant.
revised
and
fingered
by
Brilliant.
All positions.
(5599m).
Arena.
collection of
progressive
order,
Duets
carefully
for
two
marked
arranged in
annotated by
violins,
and
E. Heim:
Book
Hauptmann, M.
Op.
Op.
3 Duos.
6.
Hermann.
Op. 26.
2.
2 Duets.
(1082).
(5611).
Morceaux melodiques.
Bks. 4,
5.
(5328 d,e).
Kayser, H. E.
and with
(5620).
Nos.
Mayseder.
(10007 a
13,
3
c).
7,
10,
14,
celebrated
Duets.
ITT.
126
Two
Ries,
H.
Progressive Duets.
(Continued.)
(Ernst Heim).
Step V.
Arena.
Collection
Difficult
of Duets for
Book
2 Duets in
VII.
all
Two
Violins,
arranged
by Haupt-
positions (difficult),
by Haydn,
positions
(118075).
all
Hermann.
On
double stops,
shifting &c.
Op. 26.
Kalliwoda.
Op. 234.
Grand Duo
6.
brillant.
(5328 f).
(5607).
Rode.
welcome
to all students.
VL
Step
Heim, Ernst.
arranged
(Continued.)
Concert Duets.
Arena.
in
progressive
order,
marked
carefully
and
annotated:
Book X.
Book XA.
Duets.
(7 Bks.).
These are the
Duets
Kreutzer.
finest
for Violin
Sonatas.
Beethoven.
and most
3 Duets.
difficult
and Violoncello.
Op. 16 and
Bks.
17.
II.
III.
III.
de
Concert
(Airs
VI.
Anglais).
Album.
10 Pieces. (2450).
1, 2, 3 and 6. II. Nos.
Nos.
Becker, A.
Henkel, H.
2,
Op. 20.
5, 6, 7, 8. III.
Adagio.
3,
Toccata.
(7326).
Nocturne.
Arr.
by
Nos. 4, 9 and
IV.
Sarabande;
Mozart.
(2078).
I,
I o.
IV.
Berceuse;
II.
patetico.
66.
IV.
Lachner.
Rheinberger,
J.
IV.
Op. 150.
6 Pieces.
No.
i,
Theme
with
Overture.
arr.
by I. Lachner. IV.
I2 g
accompaniment.
Step
A.
Palaestra.
Book
Contents.
I A.
Ritter,
keys,
Reinecke,
first
George,
etc.,
position,
page 14.
Pieces on the open strings by
and 7 easy Pieces in the easiest
by
Ritter,
Moflfat,
Aprile,
Saint-
etc.
(1147 1 a).
Book IB. 9 easy Pieces in the easiest keys, first position
by Moflfat, Heim, Reinecke, and Gurlitt. (ii47ib).
Book Ic. Supplement to Books A and B. Piece on the
open strings by Bordogni, and 9 easy Pieces in the
easiest keys by Moflfat, Ritter, Concone, Stephen Heller,
Volkmann, Laubach, etc. (i!47ic).
Petits Morceaux.
Fitzenhagen,
(Violin part within
the compass of a Fourth):
Op. 38. No. i. Ave Maria.
Heim, Ernst. Abecedarian hi Violin Playing. Elementary
Pieces in progressive order. Nos. I
25. Bk. I. (114613).
Most useful and attractive collection for young beginners.
16 Pieces in progressive order.
Op. 14.
Hering, Carl.
Revised and marked for teaching purposes by Ernst Heim.
W.
Nos. II
16 belong to the following grade.
Pieces.
A very attractive set beginning with a little prelude for the
open strings only. Book I contains 7 melodious little pieces,
Books 2 and 3 belong to the next division.
Nos.
10.
Short Drawing
Room
Kreuz, E.
Op. 25.
Laubach, A.
30 Melodies.
3 Pieces
I2g
(Continued.)
3 Bks.
(7515 a
c).
Marche
militaire).
Wurm,
Marie.
Step Ib.
In
the
Lullaby.
First Position,
easiest
keys
only,
containing
little
more
variety.
Palaestra.
first
position,
R. Hofmann.
(ii472b).
Pieces by
Supplement to Books A and B.
Wolfermann, Stephen Heller, Tscha'ikowsky, Kreuz, and
Book
lie.
Kullak.
An
(ii472c).
"On
tide", "Meditation"
2,
"Even-
Danbe,
I30
Fitzenhagen,
W.
(Continued.)
Morceaux.
Petits
Gurlitt, C.
An
intelligent
young beginners.
The Chase.
(Die Jagd.)
6.
Hauptmann, M.
3 Sonatinas.
(7384).
The rudimentary features of the sonata form are here packed
into a very small compass indeed; all three movements of
No. I occupying only one page in the violin part.
Helm, E.
2645.
(ii46ib).
Hering, Carl.
Hermann,
the
first
The
F.
position.
same are
also
Claud H.
Allegretto;
Hoby,
C.
No.
Three Pieces.
3,
Album
in
No.
I,
Prelude;
No.
2,
Gavotte.
of Duets.
Alia Mazurka.
Especially pleasing
is
No.
3.
No.
II.
Hofmann, Richard.
(Continued.)
No.
Potpourris on popular Melodies from
operas and oratorios.
Op. 101.
Adam.
Der
Bellini.
Nachtwandlerin.
13I
i,
Animation.
classical
and modern
Postilion.
(5401 c).
(Sonnambula). (54020).
Norma. (54O3c).
Bellini.
Le Calife de Bagdad. (54040).
Boieldieu.
La Dame Blanche. (5405 c).
Boieldieu.
La Fille du Regiment. (54o6c).
Donizetti.
Lucia di Lammermoor. (54070).
Donizetti.
Gluck.
Orpheus. (5408 c).
Handel. The Messiah. (5409 c).
Haydn. The Creation. (54100).
Herold. Zampa.
(54110).
Wildschiitz
Lortzing.
(54120).
Czar und Zimmermann. (54130).
Lortzing.
Mehul. Joseph. (54140).
Mendelssohn. St. Paul. (54150).
Mozart. II Seraglio.
(54160).
Mozart. II Flauto Magico.
(54170).
Mozart. Don Giovanni.
(54180).
Weber. Der Freischutz. (54190).
Horrocks, A. E. Rigaudon.
.
Kayser.
Op. 65.
Kirchner, Th.
Koch, F.
Petite Suite.
zetta, Alia
Kreuz, E.
4 Albumblatter.
Marcia.)
(F.
6 easy Pieces.
6 easy Pieces.
2 Bks.
March Album,
(7400).
Op. 30.
Op. 36.
(7398).
Hermann.)
Book
I.
Roman-
(7518).
(7 5 19 a, b).
Edited by Hermann.
(8686
a).
Meo, Alfonso.
Moffat, A.
The
Album.
Dolly's Dance.
12 pieces
(in
the
easier
positions).
(7524);
12 Pieces for Violin,
English Classical Album.
figured Bass, by English Masters of the I7th and
centuries.
12
(7523)Pieces
Classical
(7 5 26 a, b).
(in
the
first
position).
with
i8th
Books.
13*
(Continued.)
Moffat.
(Continued.)
12 Pieces by English Masters of the I7th and i8th Centuries.
(7537).
These
well
pieces are
written
for the
violin.
They
are,
Nicole, L.
C. Gurlitt.
Arranged by
Fr.
Hermann.
(7388).
Op.
Pleyel.
Reinecke.
6 Duos.
8.
Op. 122
(Hermann). (7545).
10 Petits Morceaux. (7541).
a.
Op. 213.
Characteristic
little
Rieding, Oskar.
(7542).
and
6,
"Tempo
di Valse", "Polonaise"
Ritter, E.
first
W.
Duets.
Brilliant
in
the
position):
No. I.
No. 2.
No. 3.
No. 4.
Oak".
No. 5.
Variations on
Stradella,
(7 5
50 a).
Rondo,
of
55od).
"Logic O'Buchan". Fantasia. (755oe).
Book IV. (For all four fingers.)
12 Short Pieces:
No. 10, Intermezzo;
No. 9, Gavotte;
No. 8, March;
No. n, Romance; No. 12, Tarantella.
(7
Schmitt, J. 2 Sonatinas.
Thomas. (7572).
England.
Scotland.
Volkmann.
Book").
Worm,
Marie.
March
in
(No.
D.
of "Musical Picture
Step IL
(Continued.)
Palaestra.
Book
Book
Employment of
by
Second position; changing
to second position: 4 Pieces by Crescentini,
Boccherini, Scotson Clark, and Senaille.
(11473^.
Book IIIc. Supplement to Books A and B. Pieces by
Ills.
Dolmetsch
from first
and Schubert.
W.
A. Jensen,
An
and
Adam, A.
Agrell,
J.
Albums.
6.
Christmas.
(M. F. 108).
Sonata, edited by W. Abert.
(11305).
modern composers:
XV. Strelezki, Minuet a 1' Antique; Arensky, Serenade;
Dobrzynsky, Les Larmes Gautier, Le Secret; Raff, Chanson
Vol.
p).
J34
Violin
Album Opratique.
Vol.
i,
II.
(Continued.)
dies.
(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. i.
Bach, Emanuel. Solfeggietto. Arr. by Oscar Wagner.
Bach, J. S. Gavotte in D. (Hermann, C. V. M. 9).
Gavotte from 6th Sonata. (9401 c).
Fifth Prelude from "Das Wohltemperirte Klavier". (F. Her-
mann.)
My
(M.F. 95).
Beazley,
J.
C.
Sonatina in
(F.
Hermann.)
(M. F. 115)
Sonatina in F.
minor.
(7327).
Beethoven. Andante
Marche indienne.
Marche militaire.
(9403 b).
(9403 c).
Procession March.
(9403 d).
Pilgrims' March.
(94030).
Meditation.
Melody in D.
12 Morceaux (Original pieces).
(7350).
One or two are for those entering Step HI, but all are easy.
Clementi, C. 6 Sonatinas, Op. 36. Violin part by M. Reger.
(7350;
Courvoisier, C. Bagatelles. 6 petites Pieces. Op. 35. (9404).
Recreations.
Easy Pieces. Op. 48. (Pastorale, Gavotte
and Musette, Romance. Scherzo, Barcarolle, Waltz.) (7355).
II.
I35
(Continued.)
Dancla, J. C.
David, Ferd.
lied.
12 Melodies.
Gondellied.
(Hermann).
De-Angelis, G.
Arr.
Pezzi
Gurlitt.
(M. F. 69).
Remembrance
(M. F. 12).
Due
by C.
(Hermann.)
facili.
(7361).
Kinder-
(Souvenir.)
(7325)-
Diabelli.
Sonata in F. (W. Abert.) (11373).
Sonata in G. (E. Thomas.) (7347).
Dolmetsch, A. Romance.
Dorn, Ed. Grande Marche imperiale. (9406 a).
D'Ourville, Leon. Gondolina. Arranged by E. Thomas.
The Mill.
Soirees Musicales. Arranged by R. Hofmann:
The Smithy. Spinning Song. Swing Song.
Dussek. Op. 20. 6 Sonatinas. (2507).
Gade, N. W. Elegie. (M.F. 13). Spring-flower. (M. F. 32)
Le
Gautier, L.
Secret.
(M.F. 114).
W.
Gounod,
Gungl,
J.
Oberlandler.
(M.F.
19).
Op. 146:
Gurlitt, C. Morceaux de Salon (faciles).
Bk.II. LandlicherTanz, Elegie, Aufschwung, Romanze. (867 7b).
Bk. III. Barcarolle, Andante religioso, Fantasie, Capriccio.
(8677
c).
(Schneeflocken).
136
II.
(Continued.)
of
full
interest.
Adagio
Haydn,
Ox
Serenade.
J.
Adagio
recitative.
Minuet.
Hauptmann.
(Jensen, V. 2).
(Jensen, V. 3).
(M. F. 43).
Sonata.
Op. 6.
(F. Hermann.)
(7383).
Die Blume (Preghiera). (M. F. 55).
- Dorflied.
(M. F. 56).
Heim, Ernst. Abendlied (Evening Song).
Hennessy, Swan. Op. 7. "In the Mountains".
Hauser.
Two
poetical
little
Henkel, H.
Sicilienne.
Henselt, A.
La
entitled
pieces
"Mittagsstille" (Noon),
in Canon).
(M. F. 35).
F. Sonatina in G. (7 3 89 a).
Op. 28, No. 2. Sonatina in D. (7390 a).
Dance Movements from the works of Great Masters.
Hermann,
The
(7387!).
Hoffmann, J. Cantilena in A.
Hofmann, Richard. Op. 78.
4 Pieces:
Scherzino,
Op. 103:
Three Short Pieces, Op.
Wiegenlied (E. Heim).
no;
Hofmann.
II.
(Continued.)
Fidelio.
(5422 c).
d'amore. (5423^.
Lucrezia Borgia.
Donizetti.
(5424 c).
Gluck. Iphigenie en Aulide. (5425^.
Handel. Judas Maccabaeus. (5426c).
Kreutzer.
Das Nachtlager in Granada. (5427 c).
Marschner. Hans Heiling. (5428 c).
Mendelssohn. A Midsummer Night's Dream. (5429
Mendelssohn. Elijah. (5430 c).
L Elisire
;
Donizetti.
Meyerbeer.
Meyerbeer.
Mozart.
Nicolai.
Wallace.
Weber.
Weber.
Le Prophete.
Maritana.
Oberon.
Op.
(5434
c).
(5435c).
(5436 c).
(5437 c).
Preciosa.
Hollander, G.
c).
Spinnerlied.
3.
7, 10, II
(2 129 a, b).
of these charming pieces belong to III.
Kayser.
(introductory to those
Kearne, L. Canzonetta.
Kirchner, F. Op. 184 a.
Hunting Sketch, No.
3.
Slumber Song.
Op. 608.
d' Album.
(M.F. 15).
I.
en Ut
(in
C).
3.
(Emile
en La bemol
(in
2.
Thomas):
minor).
I38
(Continued.)
Lachner,
3,
II.
No.
I.
I,
Nocturne belongs to
III.
4 Duos.
Nocturne, Grande Polonaise, Landliche Idylle (Country Idyll), Bohmischer Original-Bauerntanz (Bohemian Peasants' Dance).
Op. 94. No. i, Siesta; No. 2, Grande Polonaise.
Op. 99. Sonatina in A. (7503).
Op.
1 08.
Op. 100.
Op. 101.
pupils.
much of
is
by
their absence.
Reve
funestes
Contains
by Lesueur.
Martini, G. B.
Gavotta.
(Jensen, V. 16).
Mendelssohn.
Mozart, W. A.
Rondo (Sonata
139
(Continued.)
(73240).
in F).
(7324 a).
Sonata in D arranged from the Pianoforte Duet Sonata,
Op. 3, No. i, by W. Abert. (11566).
Romanze aus der "Nacht-Musik" (Jensen, V. 17).
Nolck, A.
Berceuse.
Op. 92.
2,
I,
Deux
Pergolese, G. B.
Papini, G.
(Hermann.)
(7388).
in
D; No. 2
in
D.
(M.F. 116).
Six Sonatinas.
(7546).
(F. Hermann.)
Pianoforte Accompaniment,
arranged from the original figured Bass by A. Moffat.
Poznanski, J. B. La Paresse.
Op. 48.
Pleyel.
Rameau,
J.
Pollux".
P.
Menuet et Passepieds
(Hermann, C.V.M. No. 7).
Reinecke, C.
II
"Castor
et
(M.F. 100).
Miniature Sonatina in C.
B minor.
Sonate miniature, in
2 Miniature Sonatas
de
9.
Op. 213.
Nos.
Gurlitt
&
12.
under
(in
first
position).
(7543).
I.
(M.F. 86).
Masurek.
Ries, F. Sonatinas in F, in
Rheinberger,
J.
(M.F. 20).
minor, and in C. (Thomas).
(7547).
Roeckel,
J.
(75633,
No. i. A
b).
L.
Croquis musicaux.
6 Morceaux.
2 Books.
1'antique.
Simple Melodic.
No. 2. Mazourka-Caprice.
No. 6. Sous la lune.
Rubinstein, A.
Romance
(F).
(M.F. 24).
No.
3.
I4
Saint-George.
Entire
II.
L'ancien regime.
(Continued.)
Petite Suite.
Morceau de Salon.
nous,
Tristesse.
(7 5 7 a).
Vieille
Histoire.
Schmitt,
Schubert.
J.
No.
Moment
(7571).
to III.
musical.
(M.F. 5).
(M.F. 28).
Menuet favori. (M.F. 52).
Divertissement a la hongroise.
(M.F. 93).
Meer. Arr. by Emile Thomas.
Ballet de
Rosamonde.
Am
Arr.
Arr.
by Emile Thomas.
by Emile Thomas.
(M.F. 84).
Schumann,
Album
by
F.
Hermann.
(7576).
Nos.
2,
23 and 42
to Ib.
No. 22
to III,
Schytte, L.
Senaille,
J.
Senate.
Simon, A.
Berceuse.
B.
(M.F. 82).
Aria in
(Jensen).
minor.
(Jensen, V.7).
(7405)-
Berceuse.
(M.F. 22).
Barcarolle from 3 Duettinos op. 135.
Larghetto in G. (M.F. 92).
Squire,
W.
H.
Gavotte sentimentale.
Reverie.
Serenade
Bourree.
in
A.
Op. 24.
Meditation.
Op. 25.
(8695).
II.
4r
(Continued.)
2 Characteristic Pieces.
Struss, Fritz.
No. I. Gondoliera.
Sutcliffe,
W.
Tartini, G.
Andante
in E.
Larghetto (G minor).
Thomas, Emile.
Op. 12.
(Jensen, V.6).
Air de Ballet.
Danse Lente.
Sanssouci Valse.
Polka.
Danse
rustique.
Sonatine en Ut (C).
2.
Mazurka;
I.
P.
Tschaikowsky,
Sweet
4.
Autumn Song;
7.
Nos.
6,
I,
7,
8 and 9 belong to
27).
II.
minor.
2.
Minuet.
(G. Jensen.)
(7416).
Volkmann,
R.
Arranged by
F.
Hermann:
No.
No.
4.
6.
On
the Lake.
(M.F. 62).
Witting, C.
(F.
Hermann).
(M.F. 105).
Andante
(Abert.)
(11765).
alia Siciliana.
Wolfermann, A.
3*
I4 2
III.
Step
(Continued.)
Album de Danses.
Vols.
(7319
a, b).
Hermann.
number
in F",
et Piano.
Raff's
Arranged by
n).
of favourite pieces, such as Rubinstein's
"Cavatina",
etc.,
Arensky, A.
Bach, J. S.
13 Vols.
(7322 a
"Melody
(M.F. 102).
Air and Gavotte (from the Orchestral Suite
(Jensen, V. i).
Andante. (Sonata in A minor, No. 3.)
(Jensen, V. 13).
Concertos in A minor and E minor.
Largo from a flute Sonata. (Jensen, V. 20).
from a flute Sonata. (Jensen, V. 21).
Sicilian
Sonata in G minor. (7434).
3 Tonsatze, arr. von H. Henkel. (i. Berceuse; 2. Sarabande; 3. Toccata.) (7326).
Barthelemon, E. H. Sonata in E minor. (7421).
in D).
Batiste, E.
Voix
Becker,
Romance.
J.
celeste.
Beethoven-Album.
(M.F. 70).
(M.F. 42).
(Arranged by F. Hermann).
(7329),
I43
(Continued.)
and
a).
Beriot, C. de.
7
me
in G.
a, b).
Op. 50.
(11326).
Brahms,
-
4,
in
Op. 39.
J.
minor.
Walzer.
(7414).
(9402).
Ungarische Tanze.
(4 Bks.).
Simplified arrangement by F. Hermann.
Brauer, Max.
Schumann
(Ernst Heim).
Burgmuller.
Campagnoli.
Nocturne.
(M.F. 91).
(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.
Etude.
Mazurka.
(M.F. 34).
Bound,
with Portrait.
(7354*).
Part. I. (Sonatas I to 6).
(73543).
Part II.
(Sonatas 7 to 12).
(7354^.
The accompaniments to these beautiful Sonatas are the work
of a true artist, who, with all the technical resources at his
command, worked
I44
(Continued.)
Corelli.
12 Sonatas, op. 5.
(Continued.)
The same work in Score by Joachim and Chrysander:
Livre III.
Op. 5, Parte Prima: 6 Sonate a Violino Solo
Parte Seconda: Preludii, Allee Violone, o Cembalo.
mande, Correnti, Gighe, Sarabande, Gavotte e Follia a
Violino Solo e Violone, o Cembalo.
(49360).
Follia con variazioni.
(7419).
(G. Jensen).
After a lapse of two centuries the study of Corelli is still
The above new edition has been admirably
indispensable.
done by G. Jensen, who has availed himself of the ornaments
as played
Danbe,
Corelli.
by
Mazurka de Salon.
J.
Op. 30.
24 pieces
Op. 24.
(F.
Revised by Fr.
Hermann).
(7363
a, b).
in
Romance
Romance
F
F
Melodic.
Op. 10.
Legende.
Del Valle de Paz, E. 3 Capricci. Op. 15. (7362).
Op. 28, No. i. Serenade Italienne.
Op. 32, Album. (Improvisation, Tarantelle, Melodie, Adieu,
Serenatella, Canzonetta amorosa, Bourree, Mazurka.) (7364).
Delibes, L. "Sylvia". Introduction and Valse Lente.
"Sylvia". Barcarolle and Pizzicati. Arranged by M. Marsick.
Dobrzynski, I. F. Les Larmes. (M.F. 104).
Dunkler, E. Morceau de Salon, revised by Hermann. (M.F. 48).
Dussek. Op. 69, No. i Sonata in B. flat. (E.Thomas.) (7360).
Biondina.
Petite
Dvorak.
Ellerton.
Op. 15.
Duo
Ersfeld, C.
in
Op.
Gabriel-Marie.
Ballade.
D
15.
minor.
(7365).
Romance
Serenade Badine.
Gade, N.
Step
III.
145
(Continued.)
W.
Op. 6. Sonata in A. (7369)Op. 21. Sonata in D minor. (7374)Geminiani, F. Sonatas No. i in A major (7401), No. 2
in B minor (7402), No. 8 in D minor
(7411).
Selected Sonata movements.
(7412).
German, Edward.
Saltarelle.
(11441).
(7370).
Godard, B. Berceuse de
Goltermann. Op. 13. 2
Le Rve.)
"Jocelyn".
Salon Pieces.
(1996).
Berceuse.
C.
Serenade. (M.F. 72).
Meditation on Bach's ist Prelude. (M.F. 118).
Grieg, E. Christmas Song, arr. by F. Hermann. (M.F. no).
Gounod,
Guillaume.
Gurlitt, C.
No.
i,
True and unsophisticated melody distinguish these two SonaThe Andante of the first is particularly fine.
Handel. Largo. Aria, "Ombra mai fu", arr. by R. Hofmann.
tinas.
Sonatas in
in
(7422), in
minor (7426),
in
(74 2 7)>
(7377).
Suites Nos.
and
2.
(Jensen).
(7378
a, b).
Hauser, M.
Haydn.
Heller
&
Ernst.
Pensees fugitives.
(Fr.
Hermann):
(7386
b).
Brilliant
and
fanciful.
Very
grateful
drawing-room
pieces.
146
Heller, Stephen.
Henkel, H.
Step
Rondeau.
III.
(Continued.)
(M.F. 88).
Gavotte moderne.
Op. 81.
Hermann.
(7387 k).
Herrmann, E. Op. 12.
sette,
Hoffmann,
Morceau
J.
Bolero.
caracteristique.
Hofmann, Richard.
No.
Barcarolle.
(8678).
Op. no,
2.
Hollander, V.
Hurlstone, W.
Ireland, John.
Polonaise.
Sonata in
(11501).
minor.
(7507).
Berceuse.
Jensen, A.
Traumerei.
As arranged by Wilhelmj
this
makes a
fine
solo
for the
fourth string.
31.
Three Pieces.
3 Morceaux Caracteristiques.
36.
2nd Romance
38.
Berceuse.
28.
5 8).
(739',).
in Bj?.
Kayser.
Steep
III.
147
(Continued.)
(7399).
No. i. Nocturne.
Leclair, J. M. Andante, Gavotta e Minuetto. (Jensen, V. 1 8).
Sarabanda and Tambourino. (Jensen, V. 4).
Tambourin. (Hermann, C.V.M. 8).
Senate IV. (G. Jensen). (7425).
Le Jeune, A. Coronation March.
Loeschhorn, A. A Child's Dream (Des Kindes Traum).
Characteristic piece, arranged by Ernst Heim.
Loew,
Albumblatt.
J.
B.
(M.F. 6).
minor.
Lully,
J.
Gavotte in
30.
i.
pieces.
Op. 27.
L'Esperance. No.
Mackenzie, A. C.
and "Zingaresca".
Mallard, C. "Sehnsucht und Hoffnung".
March Album. Bks. 3 and 4. Edited
(8686 c, d).
Martini, G. B.
Siciliana.
Matras, Maud.
Ballade.
Mendelssohn.
Moffat, Alfred.
Legende.
by
Hermann.
(Jensen, V. 15).
Op. 8. (7534).
Op. 4. Adieu & Berlin. (8683).
La Gracieuse. Mazurka.
Mazurka hongroise.
Fantasia an Scottish Melodies.
Molique, B.
6 Morceaux Caracte'ristiques.
Heim). (11562).
Op. 47. 6 Melodies. 2 Books.
No. 6 is especially piquant.
(9405
Op. 23.
Melodic.
Thomas from
"From Foreign
(M.F.
i).
Parts".
Op. 41.
(Ernst
a, b).
(7527).
(E.
Thomas).
(7531).
I4 g
Violin
Mozart,
W.
A.
and Piano.
Step HI.
(Continued.)
18 Sonatas.
difficulties,
Nicode,
(M.F.94).
L.
J.
Noskowski,
Barcarolle.
(M.F.3i).
S. Op. 23. Cracovienne Melancolique. (M.F. 77).
Cracovienne in A. (M.F. 74).
Op. 27.
Papini, Guido. Trois Morceaux de Salon. (8685):
No. I. Gavotte. No. 2. Romance sans Paroles. No.
3.
Scherzettino.
Papini's compositions belong to the better class of salon
music, being especially melodious and attractive.
Pfeiffer, G.
le
(11630).
Canzonerta, Op. 8, No.
Op. 44. (Hermann). (7544).
Pugnani, G. Sonata in E. (7404).
Percy.
Pitt,
I.
Pleyel.
Raff,
Joachim.
Pastorale.
2.
Ritter.
this
Lucia di Lammermoor, (94076); Zampa, (9407 f); Zauberflote, (9407 g); Lohengrin, (9407 h); Tannhauser, (94071);
Oberon, (9407^; Taming of the Shrew, (9407!); Flying
Dutchman, (9407 m); Fra Diavolo (9407 a).
Rode, P.
Roeckel,
No.
Air Varie.
(Jensen V. 12).
(8691).
Croquis musicaux.
Theme dansant. No. 5. Dans la barque.
Op.
J. L.
4.
Rubinstein, A.
Heim:
10.
Salon Pieces,
Allegro appassionato.
Andante.
Allegro.
(7562b).
(7$62c).
(7 5 62 a).
Op.
u,
edited
by E.
Rubinstein.
Step
III.
149
(Continued.)
(Continued.)
Romance (E
(M.F. 3 7).
flat).
Melodic.
(M.F.4i).
Russian Songs. (M.F.67).
Barcarolle.
(M.F.I 07).
Saint-George, G.
Desir.
Canzonetta.
Scharwenka, X.
Op. 20.
Danse Polonaise.
Scholtz, H.
Tone
Pictures.
(9408).
(M.F. 23).
3 Albumblatter.
(M.F. 47).
Schubert, F.
Sonatine,
Op. 137, No.
Revue et doigtee par Emile Thomas.
Ave Maria. Arr. by Emile Thomas.
2,
in
minor.
Schubert, F.
Schumann.
Op. 94.
Abendlied.
Op. 102.
Romances.
(M.F. 90).
Reverie.
Simonetti, A.
Somervell, Arthur. Whims.
Somis, G. B.
Spohr, L.
(7581).
5 Stiicke im Volkston.
(7583).
Marchenbilder. (7584).
Op. 113.
Warum?
(M.F. 3).
(No. 3 of 3 Original-Pieces).
(7403).
Barcarole.
(M.F. 30).
(M.F.39).
Alia Tedesca.
Squire, W. H. Serenade.
Op. 26. Humoresque.
Gavotte humoristique.
Op. 15.
(71225).
(7586).
Strelezki, A. Appassionata.
"Asphodel", Chant sans paroles.
Cavatina en Re majeur.
Romanza
En
in
flat.
Valsant.
2 Characteristic Pieces.
Struss, Fritz.
No. 2. Idylle.
Sutcliffe,
W.
Romance.
Op. 12:
5o
Svendsen,
J. S.
Step
III.
(Continued.)
Romance
Op. 26.
in G.
(7587).
Tartini.
Thome,
re'ligieuse.
F.
Simple Aveu.
Andante Cantabile.
Op. 25.
Tschaikowsky.
(M.F. 45).
Romance.
(M.F. 81).
Troika.
(M.F. 76).
Album of Favourite
Pieces:
I.
Mazurka,
Sweet
2.
2.
3.
4.
and
5 III.
Knights.
No.
i.
Sketch.
minor.
Romance
(7424).
in F.
(M.F.38).
(M.F.46).
Nos. 2,
5.
"The
Wagner,
Album
Leaf.
(8699).
(M.F. 65).
Spinning Song (from Flying Dutchman).
Walger, Carl. Serenade.
Rienzi's Prayer.
Weber,
C.
M. von.
Invitation
la Valse.
(M.F. 68).
(Thomas).
Step
Wieniawski.
s r
(Continued.)
III.
(7493).
(7492).
and
Effective
Wilhelmj, A.
brilliant pieces.
Walter's
No.
Preislied
singer").
Step IV.
Palaestra.
Concert
Pieces
All Positions.
Collection
for
Violin
C.
Strelezki.
B.
Gurlitt,
Molique,
M. Hauser,
and A.
(ii476c).
Book VII A.
Strelezki, P.
Book VII B.
Beethoven,
Baillot,
Book VII c.
(ii477b).
Pieces by
Baillot, P.
Rondo
sur
un
Air
Moldavien.
(Hermann,
C.V.M.4).
Becker, A.
Op. 20.
Beer-Walbrunn. Op.
Adagio. (2078).
Short Fantasia in
3.
min.
(2930)
I5 2
Step IV.
(Continued.)
F, G, D, C minor, A
Op.
Arranged by F. Hermann. (7341-6).
Beethoveniana. 3 Bks. Extracts from the pianoforte Sonatas,
arranged for violin and piano by F. Hermann. (733oa-c).
Beethoven.
and
6 Quartets.
18.
flat.
Cui, Cesar.
Danbe,
J.
Berceuse.
Berceuse.
Elegy.
Op.
8.
(7366).
Goltermann, G.
Gounod. Faust.
Gurlitt, C.
Op. 137.
Grieg, E.
Op. 13.
Op. 45.
Berceuse.
(7470).
(M.F. 109).
Potpourri by R. Hofmann.
(5445c).
Op. 105. Ouverture des Marionettes. (7371).
"Commedietta" Ouverture. (8676).
Op. 8. Sonata in F.
Sonata in G minor
(7522).
Sonata in C minor.
Haydn.
Heller, Stephen.
Ernst.
Transcrit par H.
(E. Heim).
3
29).
W.
Step IV.
153
(Continued.)
Melodies from
and modern Operas and Oratorios, arranged by
R. Hofmann:
Wagner. Der fliegende Hollander. (54380).
Wagner. Lohengrin. (5439 c).
Wagner. Rienzi. (544oc).
Wagner. Tannhauser. (5441 c).
classical
Barbiere di Seviglia.
(54420).
Guillaume Tell. (5443^.
Rossini.
II
Rossini.
Auber.
Masaniello.
Gounod.
Faust.
8 Vortragsstiicke.
No. 2 Barcarola.
tanz.
7.
Cavatina.
(5444c).
(5445 c).
Op. 103:
3.
8.
Aria.
4.
Bolero.
6.
Zlgeuner-
Perpetuum mobile.
Waldmarchen.
Lass en, E.
Liederstrauss.
(M.F. 50).
Belongs to III, except the opening on the
Leclair. "Le Tombeau". Sonata. (7428).
less
string.
(Ernst Heim).
(11561).
Gavotte.
Morgan, R. Orlando.
Moszkowski, M. Op.
Op. 23.
Op. 28.
Minuet (E. Thomas).
"Les Nations" (arranged by Nachez). (7530).
difficult arrangement by E. Thomas is also published.
(7530.
Valse brillante.
Ballade.
17, No. 2.
Mozart,
W.
A.
I(;4
Rachmaninoff,
S.
Step IV.
Romance
in
(Continued.)
minor.
Hungarian Dance.
Six Morceaux. Op. 85:
Cavatina; No. 4, Scherzino; No.
Joachim.
Raff,
No.
3,
5,
No. I, Marcia;
Canzona; No. 6,
Tarantella.
literature.
to the late
The Cavatina
is
Ludwig
Straus are
gems
violin pieces.
Meditation.
(M.F. 25).
Op. 73, 78, 128, 129, 145. 5 Sonatas. (25683-6).
Some movements of these fine Sonatas belong to V.
Reger, Max.
Op.
Op. I. Sonata
Sonata in D major.
3.
Rode.
Concerto No.
Rubinstein, A.
One of the
Sonata
in
D.
in
minor.
(7535).
(7536).
7.
Op. 13.
Sonata in G.
Book
694 a).
2.
La Revue, Gondoliera
et
Pe'ra.
(116945).
Schumann.
minor.
Op. 73.
)-
Fantasiestuck.
Simonetti, A. Mazurka.
Sinding. Op. 10. Suite. (2477).
Op. 27. Sonata in E major. (2826).
in
minor and
Step IV.
(Continued.)
Sinding. (Continued.)
Op. 30. Romance. (2827).
Op. 61. 4 Pieces. 3 Bks. (3050 a-c).
Binding's compositions rank among the finest works by
modern Scandinavian composers. The Suite Op. 10, resembles
in style the
Hans.
Scandinavian School.
Smetana.
2 Salon-Pieces.
(2634 a-b).
Fine and characteristic pieces of the famous Czechian master.
2,
Scherzo;
3.
Sarabande).
(Fr.
Hermann).
(8695).
The
Barcarolle,
No.
I,
belongs to
II.
W.
Sutcliffe,
Thirlwall.
No.
No.
No.
No.
No.
No.
No.
I.
2.
3.
4.
5.
English Air.
(94123).
Scotch Air (Annie Laurie). (94i2b).
Irish Air (Sprig of Shillelagh).
(94120).
Welsh Air (Poor Mary Ann). (94i2d).
Northumbrian Air (Weel may the Keel row). (94126).
Ye Banks and
Braes.
(94i2g).
Carnaval de Venise. (941211).
These pieces are excellent bowing exercises.
F.
ler Andante Religiose. Op. 70.
7.
8.
Thom,
Tscha'ikowsky.
Christmas.
Serenade me'lancolique.
(Noel).
Op. 26.
(M.F. 117).
I5 6
Step IV.
(Continued.)
Vieuxtemps, H.
Elegie.
Suite.
Op. 43.
Volkmann, R.
Op. 10.
Wagner,
Weber.
Wichtl.
No.
No.
No.
No.
No.
No.
(2 5 82 a).
Chant du Troubadour, Morceau de Salon,
R.
6 Sonatas.
Complete (David).
(M.F. 73).
(191).
5.
6.
i.
2.
3.
4.
(94 1 3
Wieniawski, H.
Wiierst, R.
Legende.
Russian Suite.
Step V.
(Octaves, Springing
f).
Op.
(F.
17.
(7495).
Hermann.)
(7501).
Difficult
Bow, Staccato
etc.)
Step V.
(Continued.)
Palaestra.
(Continued.)
Book IX c. Supplement to Books A and
modern
in
style
Concert Pieces
B.
(ii479c).
Palaestra, a collection of graduated pieces, revised by Ernst
Heim, offers the most suitable material for the study of style
and phrasing; each book corresponds in difficulty with the same
book of his Violin Duets, "Arena", see page 20 and his
Violin Studies, "Gradus ad Parnassum", see page II.
Beethoven.
Le Tremolo, Caprice.
(9414).
D.
in
Bohm,
C.
Bruch, M.
(11321).
Op. 314, No. 2.
Cavatina.
Romanza
Op. 42.
8.
in
minor.
Coleridge-Taylor, S.
No.
2,
Gipsy Dance).
David, Ferd.
Op. ii.
Eller, L.
Introd.
(7357).
(8674).
Op.
3.
Laub.
Op.
Op.
8.
Concertos,
7.
Lipinsky.
Polonaise.
Lauterbach.
Leonard, H.
(1093
Tarantelle.
Op.
Op. 21.
2.
(2567
a).
(1091 a-d).
(1092).
a).
(2203).
Souvenir de Haydn.
Concert
Mackenzie, A. C. Op.
Mendelssohn. Op. 64.
militaire.
(2642).
47, No. i, Highland Ballad.
Concerto.
i 53
Moszkowski.
^(7528
Step V.
No.
Op. 16,
I,
(Continued.)
No.
Ballade;
Bolero.
2,
a, b).
Nicode,
L.
J.
Romance.
Op.
14.
interesting
among
fine
Ragghianti,
An
Rust, F. W. Sonata in
Sauret, E. Op. 47, No.
Scharwenka, Xaver.
Op.
Dances.)
4 and 5.
Sitt,
Hans.
Tartini.
Op. 21.
Trille
minor.
3.
(7565)Op. 60.
Sinding.
D
3.
Concerto No. 2 in
2nd Concerto in
du Diable.
Vieuxtemps, H.
D
A
major.
minor.
Nos.
i,
(2976).
Sonata.
Fantaisie-Caprice.
Op. II.
(Hermann.)
(7592).
Fantaisie.
Op. 21. (Fr. Hermann). (11750).
Andante & Rondo. Op. 29. (2576).
Rondino (Hermann). Op. 32, No. 2. (11752).
Fantasia appassionata.
Wieniawski, H.
Adagio
Op. 35.
(2580).
ele'gique.
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:
Book XA. Concert Pieces \n the Polyphonic style by Bach
and Ernst.
Book XB.
(11480
a).
and Paganini.
(ii48ob).
style
by Ernst
Palaestra.
the
(Continued.)
(Continued.)
Book Xc.
in
Step VI.
I5g
Supplement
virtuoso
to
style
(ii48oc).
Bach.
Chaconne. (2474).
This edition of Bach's great work is of special interest and
value, as in it the accompaniments provided by Mendelssohn
and Schumann may be compared.
Adagio and Fugue from 5th Violin Sonata. (B. Molique.)
(9401
a).
Op. 50.
favorite
and
Concerto.
Concerto in
minor.
Bolero.
brilliant piece.
Elegie et Barcarolle.
Op. 53.
David, Ferd.
Andante
(E. Heim.)
(7348).
Fantaisie
Ernst, H.
Romance and
et
W.
Scherzo capriccioso.
brillante
sur
la
Op. 16.
Marche
et
(1991).
Palpiti.
Celebrated Compositions.
Rubinstein.
Sarasate, M.
Op. 46.
(1990).
Concerto in
major.
Airs Espagnols.
Spohr, L.
la
(1339).
Ifio
Step VI.
(Continued.)
Vieuxtemps.
18.
(2573).
(2574).
Wieniawski, H.
4.
(R. Scholz).
(7490Souvenir de Moscou.
Airs Russes.
Op.
6.
(R. Scholz).
(7499).
Op. 7. (Fr. Hermann). (11771).
Capriccio-Valse.
Romance sans Paroles. Op. 9. (Fr. Hermann). (11772).
Carnaval Russe.
Scherzo-Tarantelle.
Op.
16.
(Fr.
(11773).
(11774).
Hermann).
String Trios.
Three
Violins.
Hermann,
Lachner, Ignaz.
No.
i,
in
2, in
3, in
G
A.
3 Sonatinas.
Op. 92:
flat
major.
(5293
major.
(5293b).
II.
a).
(52930).
pieces.
2 Bks.
I.
Two
j6|
(Continued.)
of executing, for
I and II.
(5303).
Gurlitt, Cornelius.
Op. 105.
II.
(7312).
Op. 137.
Herrmann, E.
Wanhal.
n.
15 Trios Faciles.
Two
(5360).
Hofmann, Richard.
Op. 112.
Violin, Viola,
J.
Op. 44. 3 Trios.
Op. 53. 3 Trios. III.
Mozart.
Divertimento.
I.
Beethoven.
Op.
8,
25.
Trio.
(5323).
II
and
and Violoncello.
Haydn.
Pleyel,
I.
(5365).
II
and
III.
IV.
III.
1 62
Pianoforte Trios.
Piano, Violin, and Violoncello.
John Francis.
Barnett,
Trio.
Op.
in
49,
minor.
iv.
(9299).
Beethoven.
6 Quartets.
Op. 18. Arranged by F. Her6 Books. (929196). IV.
mann.
Beethoveniana.
Extraits des
Sonates pour Piano de
Beethoven arranges par Fr. Hermann:
Livre A.
Op. 7; Op. 10, No. 2; Op. 26; Op. 27, No. 2.
(7242 a). HI.
Livre B.
Op. 10, No. 3. Complete. (72425). III.
Livre C.
Op. 2, No. 3; Op. 13; Op. 14, No. 2; Op. 31,
No. 3. (72420). HI.
W.
Bennett,
Sterndale. Chamber
Brahms, Johannes.
Dancla,
12
Op.
Melodies.
8.
Arr.
V.
(7246).
by Cornelius
III.
Gurlitt.
Ib.
(7248).
Dussek,
C.
J.
Trio.
J.
Ellerton.
L. Favourite Sonata.
Trio, in A.
Trio, in G.
Trio, in
Trio, in
E
C
Op. 27.
Op. 37.
(9304).
H.
(7249).
IL
IE.
minor.
minor.
Trio, in F.
Gade, Niels.
IV.
Op.
8 1.
Miniature Trio.
(7259).
II.
The same
Hennessy, Swan.
2.
nacht;
V. and C.)
(P.,
(Continued.)
Mond:
Lieder an den
Am Abend.
In der Fruhe; 3.
I&3
Op.
i.
10.
Um
Horsley.
Hudson, J. W.
Ivimey, J. W.
An
Trio.
excellent Op.
Kalliwoda.
i st
Kreuz, Emil.
Mayseder.
Meyer, L.
Op.
7.
Op.
in
facile.
4th Grand
D.
(7262). IV.
I.
Grand Trio
Trio
in
Ib.
-
II.
(7263).
i,
Ib
IV.
(9660).
Trio in D.
Mitter-
(9309).
minor.
Op. 31.
Trio,
in G.
(7264).
Op. 59.
I.
(9662).
V.
1st Trio, in
Molique.
flat.
Op. 27.
(9663).
IV.
Le
I.
first
position).
(in the
Postilion.
La Sonnambula.
(54016).
(54026).
Norma.
(54036).
Le Calife de Bagdad. (54046).
La Dame Blanche.
(54056).
LaFille du Regiment. (54066).
Lucia di
moor.
Lammer-
Orpheus.
(54076).
(54086).
The Messiah.
The Creation.
(54096).
(54106).
and
II.
Zampa.
(54116).
Wildschutz.
(54126).
mann.
Joseph.
Paul.
St.
II
Seraglio.
II
Flauto Magico.
Giovanni.
Don
Der
Freischiitz.
(54136).
(54i4e).
(54i5e).
(54166).
(54175).
(54186).
(54196).
i6 4
Piano Trios.
Hofmann.
(P.,
V. and
(Continued.)
Potpourris.
Series
II.
The Bohemian
(in
(Continued.)
various positions).
Girl.
(54206).
Egmont
(54216).
Fidelio.
(54220).
L/Elisire d'Amore. (54236).
Lucrezia Borgia.
(54246).
Iphigenie en Aulide. (54256).
Judas Maccabaeus. (54266).
Das Nachtlager
in
Granada.
Hans
C.)
(54276).
(54286).
Heiling.
II
and
IE.
Midsummer
Night's
Dream.
Elijah.
Les Huguenots.
(54296).
(543oe).
(54316).
(54326).
Le Prophete.
Le Nozze di Figaro. (5433e).
Die lustigen Weiber
von Windsor.
(54340]
Maritana.
(5435e).
Oberon.
(5436e).
(5437e).
Preciosa.
HI and IV.
Der
fliegende Hollander.
(5438e).
H Barbiere
di
Se-
(54426).
Guillaume Tell.
(54436).
(5439e).
Masaniello.
Rienzi.
(54446).
(54406).
Faust.
Tannhauser.
(5445e).
(544ie).
Saint-George, G. L'ancien regime. Petite Suite. (75700). Ib.
Schumann, R. Trio. Op. 63. In D minor. (7274). V.
Trio.
Op. 80. In F. (7273). V.
Phantasiestucke.
Op. 88. (7275). V.
3rd Trio, in G. Op. no. (7276). V.
viglia.
Lohengrin.
Silas, E.
No.
Trios.
in
minor.
IV.
(10051).
Ill and IV.
(Op. 27).
(10052).
C (Op. 46). (10053). III.
min.
VI.
Sinding. Op. 64. Trio in
(3051).
Sitt.
Op. 63, Nos. i & 2. Trios. (2835 a and b). H.
minor.
Op. 119
Spohr. Trio, in
(W. S. B. WoolI,
2, in
3, in
(W. S. B. Woolhouse).
(W. S. B. Woolhouse).
Trio, in B flat. Op. 133. (W. S. B. Woolhouse).
Trio, in G minor.
Op. 142.
(W. S. B.
(9664 e).
(96646). V.
(96640). V.
(9664 d). V.
Woolhouse).
V.
Volkmann, R.
Trio in
in
flat
minor.
minor.
(9329).
Op.
5.
n.
(7286).
1H.
165
(Continued.)
Two
Pianoforte and
Violins.
(7432).
II.
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).
Gurlitt, Cornelius.
and
II.
Op. 105.
n.
(7307).
Op. 137. "Commedietta" Ouverture. (5306). II.
Our Favourite Tunes. 40 Melodies, ancient and modern.
n.
(5333).
Hermann,
Herrmann, E.
Langer, Gustav.
Op. 20.
Grossmutterchen.
Op.
(5332). la.
13.
(Granny.)
Landler.
II.
I.
Le Postilion.
La Sonnambula.
Norma.
(in
the
first
(5 40 id).
(54O2d).
(5403d).
LeCalifedeBagdad. (54O4d).
La Dame Blanche. (54o5d).
La Fille du Regi-
ment
(54o6d).
Lucia di Lammermoor.
(5407d).
Orpheus.
(54o8d).
The Messiah.
(54c9d).
position).
and
II.
The Creation.
Zampa.
Wildschutz.
(54iod).
(541 id).
(54i2d).
mann.
Joseph.
Paul.
St.
II
Seraglio.
II
Flauto Magico.
Giovanni.
Don
Der
Freischutz.
(54i5d).
(54i6d).
(54i7d).
(54i8d).
(54i9d).
1 66
Piano Trios.
(P.
and 2
Violins.)
(Continued.)
Hofmann.
Potpourris.
(Continued.)
Series II. (in various positions),
The Bohemian
Girl.
Egmont.
Fidelio.
L'Elisire
IV.
(5 42 id).
(5422d).
Maritana.
(542od).
d'Amore. (5423d).
(5435d).
Oberon.
Lucrezia Borgia.
(5424d).
Iphigenie en Aulide. (5425d).
Der
Rienzi.
Preciosa.
(5437d).
fliegende Hollander.
(5438d).
Lohengrin.
Hans Heiling.
(5428d).
Midsummer
Night's Dream. (5429d).
(5439d).
Tannhauser.
II
(5 44 id).
Barbiere di
Sevigh'a.
(5442d).
Guillaume Tell.
(543od).
(5443d).
Les Huguenots.
Masaniello
(543'd).
(5444d).
Le Prophete.
Faust.
(5432d).
(5445d).
Le Nozze di Figaro. (5433d).
Purcell, Henry. Sonatas. Arranged by G. Jensen:
The Golden Sonata. (7410). II.
II.
Sonata in B minor.
(7429).
minor.
n.
Sonata in
(7430).
Elijah.
Sonata in
major.
(7431).
H.
Petite Suite.
Op.
8.
(7570 b).
(G.
Ib.
Jensen).
n.
Morceaux d'Ensemble.
(F.
(G. Jensen).
Op.
9.
(74 1
(5286).
5).
IL
IL
Hermann):
(5330 a).
Chopin. Marche funebre.
Moment musical. (5330 b).
Schubert.
Mendelssohn. Duo. Op. 38. (5330 c).
Nicolai.
(5330 m).
(Continued.)
Pianoforte, Violin,
Gade, Niels
W.
Ernst Heim.
Very
known.
fine
167
and
Viola.
Novelletten.
Arranged by
Op. 29.
IV.
(5268).
work, not over- difficult, worthy of being better
facile,
in C.
Op. 32.
Grand
Lachner, Ignaz.
Trio.
II.
(5272).
Op. 102.
IV.
II.
(5277).
Trio in C.
(54383).
Barbiere.
Rossini.
II
Rossini.
Guillaume
(54425).
(54433).
Auber. Masaniello. (54443).
Gounod. Faust. (5445 s).
Reger, Max.
Tell.
Trio,
Weidig, Adolf.
Op.
Violin, Pianoforte,
Audibert. Andante
Bach, E.
Bach,
lude,
2.
Kleines Trio.
Op.
9.
(5286).
n.
religieuse.
Solfeggietto, arr.
(9551).
III.
b).
II.
Clark, Scotson.
monium,
Violin,
te o cara (Puritani).
(9552).
Meditation in B flat.
II.
(9553).
Field,
V.
(5283).
Nocturne in
flat
II.
for Piano,
Har-
n.
II.
II.
(Scotson Clark).
(9554).
i st Prelude of
J. S. Bach, for
Violin (or Violoncello), Harmonium and Piano, (i I45ob). III.
J.
Gounod,
C.
Meditation on the
Gurlitt, C.
forte (Violin
String Quartets.
Quartets for 4 Violins.
Clark, Scotson.
Gavotte.
(7231).
IV.
Shaw, Sydney.
Reverie.
(7239).
arr.
(5001).
II.
Herrmann,
E.
Serenade.
Lachner, Ignaz.
3 Violins
Henkel, H.
ment ad
Quartet in C.
and Violoncello.
lib.
Saint-George.
HI.
HI.
(7213).
L'ancien regime.
Piano accompani-
Petite Suite
(757om).
II.
l6g
(Continued.)
IV.
Beethoven.
in
6 Quartets.
No. i, in F; No. 2,
Op. 18.
No. 3, in D; No. 4, in C minor; No. 5, in A;
in B flat.
Revised by Fr. Hermann.
6 Books.
G;
No.
6,
(72016).
IV.
V.
de
Brahms.
Op. 67.
Cherubini.
Op. 51.
Deane,
Ellerton.
Score.
3 Quartets.
Coleridge-Taylor, S.
C.
Quartet
Op. 62.
8vo.
in
Op. 27.
(1346).
Fantasiestiicke.
flat.
Quartet.
Op.
(9634).
No.
(7207).
5.
V.
IV.
10.
(9259
a).
V.
(9259^.
Quartet.
(9260
a).
V.
(9261
a).
V.
(2489).
V.
Gurlitt, Cornelius:
Op. 105. Ouverture des Marionettes.
Op. 137. "Commedietta" Ouverture.
Haydn.
minor.
flat.
Grieg.
C minor and A
2 Quartets,
Quartet in
83 Quartets,
complete.
15 celebrated Quartets.
(289).
(7210).
(7211).
III.
Ill
(15).
Fr.
6 easy moLeichte Streichquartettsatze.
vements (Mendelssohn, 2 Lieder ohne Worte; Beethoven,
Hermann,
170
Kreuz, E.
Capriccio.
Quartet in
Quartet in
B
Mendelssohn.
Op. 105.
Ouseley, Sir F. A. G.
8vo.
Quartet in
8vo.
Score.
Perry, E.
Op.
104.
(7218).
(CEuv. Posth.)
7 Quartets.
(7221).
II
II
(7217).
and
and
II
III.
HI.
(1742).
(16).
Quartet in C.
(92665).
minor.
(9267
(92675).
Prize Quartet.
V.
(9262^
III.
10 celebrated Quartets.
Score.
minor.
Quartet in G.
minor.
flat
(Continued.)
Lachner, Ignaz.
and m.
Mozart.
Cello.
in
a).
(9635).
(9266
a).
IV.
HI.
IV.
Ries, H.
Rode,
P.
2 Quatuors faciles.
Air varie.
Op.
Arranged by Jensen
10.
Op. 20.
II.
(Gustav Jensen.)
(8691). V.
accom-
paniment.
Schubert.
Quartets.
Schumann.
Op. 41.
2 vols.
Spohr.
Stanford, C. Villiers.
Op. 64. V.
Score.
Parts.
(2379).
Quartets.
(2483
Quartet
(4 to.)
(i68a-b),
3 Quartets.
(2483 a-b).
c).
No.
3,
in
minor.
Piano Quartets.
Violin, Viola, Violoncello,
Beethoven. Op.
Beethoveniana.
16.
and Piano.
Quartet in E K (294).
des Senates pour
Extraits
de
Piano
(7175
Livre B.
Livre C.
No.
IV.
(7i75c).
3.
Brahms.
and
2.
IV.
a).
and
VI.
major.
Op. 60, No. 3. Quartet in
Quartets in
2.
minor.
minor
VI.
Mendelssohn.
8, in F.
(9253).
IV.
Rheinberger, J. Quartet in E
Schubert. Adagio & Rondo.
Schumann.
Weber. Op.
IV.
flat.
Op. 38.
(7185).
IV.
(1347).
Westrop, H.
Op.
2.
Quartet in
2 Violins, Violoncello,
flat.
(9638).
IV.
and Piano.
(5390).
II.
W.
Boyce,
author,
executing,
172
Quartets (2
Hofmann,
R.
Vs
Potpourris on
19 Bks.
Oratorios.
on
Potpourris
Second
and Piano).
'Cello
(Continued.)
melodies
(5401 f
5419 f.)
(Violin
from
melodies
Operas
and
(54201-5445
f.)
Parts
in
I.
Oratorios.
26 Bks.
II-IV.
major.
(7431).
II.
(7415.)
H.
3 Violins
and Piano.
Gurlitt, C.
Morceaux d'ensemble.
(F.
Hermann).
II-IV.:
String Quintets.
3 Violins, Violoncello,
Saint-George.
L'ancien regime.
and Bass.
Petite Suite.
(757ok).
II.
(Continued.)
Boccherini. Quintet
Borch, Gaston.
Dance Movements
(F.
J.
Elegie.
from
the
and
i.
Works
2 Celli. (2231).
IV.
(7013).
of Great
Masters.
Hermann):
S.
Bach.
II.
(71 5 1 a).
G. F. Handel. Scherzo
in
Sonata.
minor.
metheus."
(71 5 if).
HI.
(7
All'
i5ii).
HI.
Rameau.
(7
Smyth.
i5im).
III.
2 Violins, 2 Violas,
Celli.
(2171).
and Violoncello.
(18-19).
Quintet.
(775).
5*
V.
I74
String Quintets.
(Continued.)
W. A.
For Violin, with
For Viola, with
For Violoncello,
Mozart,
Adagio:
Quartet.
III.
(7153).
HI.
Quartet.
(7154).
with Quartet.
(7155).
HI.
Pianoforte Quintets.
Piano, 2 Violins, Viola, and 'Cello.
Beethoveniana.
No.
3.
Op.
(7
2,
2.
i45c).
J.
Op. 34. Quintet in F minor. IV.
Gurlitt, Cornelius:
Op. 105. Ouverture des Marionettes. (7149).
Op. 137. "Commedietta" Ouverture. (7141).
Brahms,
II.
n.
Wagner.
Der
fliegende Hollander.
(54389).
(9245).
IV.
Schumann.
Spohr. Op.
Op. 44.
Piano Quintet.
130. Quintet.
(W.
S.
(2381).
V.
175
(Continued.)
II.
Schubert.
(9622).
Op. 114.
S.
IV.
Trout Quintet.
(169).
Sextets.
Bennett,
W.
S.
Viola, Violoncello,
Jensen, G.
classical
III.
III.
and modern
Tannhauser.
Rossini.
II
(5441
Barbiere.
n).
(5442n).
Guillaume Tell. (5443 n).
Auber. Masaniello.
(5444n).
Gounod. Faust. (5445 n).
n.
Saint-George. L'ancien regime. Petite Suite:
2 Violons, Alto, Violoncelle, Contrebasse et Piano. (757oh).
3 Vioions, Violoncelle, Contrebasse et Piano. (757oi).
I 76
Septets.
Beethoven. Op. 20.
Corelli, Arcangelo.
F. Chrysander.
Livres IV., V.
Septet.
CEuvres
(2466).
revues
par
J.
Joachim et
8vo:
Op.
6.
(4936
d, e).
II.
Morceaux d'ensemble,
and Piano.
Hermann):
Marche funebre.
(F.
II.
Chopin.
(7 no a).
Schubert.
Moment musical. (7 nob).
Mendelssohn. Duo. Op. 38. (7iioc).
Fr. Hermann.
Petite Marche.
(7iiod).
Nicolai.
Merry Wives "of Windsor. (71106).
Beethoven. Marche turque des Ruines d'Athenes. (71 iof).
Mozart.
Andante du 8 me Quatuor. (7110 g).
IV.
(7I22C).
Octets.
W.
Gade, N.
2 Violoncellos.
(7107).
and
V.
Mendelssohn.
Schubert.
arranged.
In score.
3 Bks.
(539193).
(7072).
String Orchestra.
Beethoveniana.
2.
No.
Op.
2,
3.
8vo:
F. Chrysander.
Livres IV., V.
Op. 6. Concert! Grossi con duoi Violini,
e Violoncello di Concertino obligati, e duoi altri Violini,
Viola e Basso di Concerto Grosso ad abitrio che si. potranno radoppiare. In Roma, 1712. (In Score.) 2 Books.
(4936 d,e).
II.
(7045).
II.
Arioso.
Haydn,
In
In
In
D
C
B
Iliffe,
J.
(7044 a).
(7044 b).
Op. 26, No. I. (7046). IV.
Symphonies arranged by Gustav Jensen:
III.
(7131).
HI.
(7132).
HI.
major.
(7135).
major.
minor.
flat
F.
Pizzicato Serenade.
Kreuz, Emil.
Suite in
In
major.
major.
(7133).
HI.
(7134).
III.
1 78
String Orchestra.
(Continued.)
la
Cour. (7083).
(7088 a).
(7088 b).
Serenade in D. Op. 6. Score and Parts. III.
Schiitt, E.
Wiierst, R. Sous le Balcon, Serenade for String Orchestra
with Violoncello Obbligato.
Op. 78. V.
Parts.
Full Score.
(709 8
a).
Orchestral Parts.
(7098 b).
Russian Suite for String Orchestra with Violin Obbligato. IV.
Full Score.
(7097 a). IV.
Orchestral Parts.
(7097 b).
Wurm, M. Estera Gavotte. Score and Parts. (7099). HI.
Dance Movements from the Works of Great Masters.
(F.
and III:
Sarabande from the 2nd Violin
II
Hermann).
J.
S.
Bach.
(7151 a).
G. F. Handel.
Sonata.
minor.
(7
i5ib).
Joseph Haydn. Nachtwachter-Menuett. (7151 c).
7'
Monsigny. Rigaudon from "La Reine de Golconde.
(7151 d).
W. A. Mozart. Minuet from the Divertimento in D. (7151 e).
Beethoven. Allegretto from "Die Geschopfe des Pro-
metheus." (7151 f)
Mozart. All' ongarese from Violin-Concerto in A. (7i5ig).
Ballet-music from "Ali Baba."
Cherubini.
(7151 h).
Tanzmusik from "Des Falkners Braut."
Marschner.
Rameau.
Gluck.
(7151 k).
(7151 1).
"La Reine de Golconde."
Monsigny.
Chaconne from
I 7Q
Bruni, A. B. Tenor Method. Edited, with fingering, bowings, and marks of expression by Emil Kreuz.
(7659).
Fr. The Study
L'tude de I Alto):
Hermann,
Viola
paniment
Laubach, A.
ad
lib.
(76520).
Practical
mann,
etc.
as to difficulty.
Schroeder, C.
Handbook
on Viola Music.
(9212).
l8o
Viola Studies.
Hofmann, R.
Steps I II.
Op. 86. The first Studies.
(2732).
Progressive Studies for the Viola, with accompaniment of a second Viola. Op. 40:
Book I. Commencing with exercises on the open strings,
Kreuz, E.
first
in
(7653 a).
Select Studies, taken from the works of Campagnoli, Mazas,
Corelli, Kreutzer, Spohr, Fiorillo, Wenzel Pichl, Rode, and
Gavinies; in progressive order, phrased, fingered, and arposition.
ranged:
Book
I.
30 Elementary Studies in the first position, with
accompaniment of a second Viola, by Campagnoli and
Mazas. (76573).
Scales and Appeggios for the Viola, through all major and
minor keys; systematically arranged, bowed, and fingered:
Book I. Through one and two octaves. (76 5 8 a).
Step
If Laubach's
III.
Bruni.
Pichl,
Pichl,
jgl
(Continued.)
Step IV.
and
studies in the
three positions.
first
(7653d).
Pichl,
Cam-
Wenzel
(7657
d).
(76576).
The
Violist.
I.
Series
of progressive
pieces.
Op. 13:
Book
I.
12
very
easy
pieces,
commencing with
the
5.
Schumann.
Op. 68.
Fitzenhagen.
6. Reinecke.
7.
8.
"Trallerliedchen"
and "Jagerliedchen."
Cavatine.
Air,
Kreuz.
Melody.
"Kleine Romanze"
Schumann.
and
"Frohlicher
Landmann."
9.
Gluck.
9.
!82
Step
(Continued.)
II.
st position.
(7636 c, d).
25 Pieces in progressive order. (In the I st position):
"Canonisches Liedchen" and "Schnitter13. Schumann.
liedchen."
Gavotte, from
14. Kreuz.
"The
Violist."
22. Beethoven.
Sonatina.
23. Handel.
24. Kreuz.
MacCunn, Hamish.
No.
i.
3 Romantic Pieces.
Op. 27:
L'Esperance.
Mendelssohn.
Reinecke.
Op. 72.
6 Pieces.
Arranged.
10 Petits morceaux.
10 Petits morceaux. (7643).
Op. 122
Op. 213.
Albums.
Album
Violist."
25. Bach.
Vols.
a.
and
Classique.
2.
(7625
a, b).
(Mofiat-Laubach).
Step
(7631).
(7642).
(5566).
III.
arranged by G. Jensen.
Hermann,
positions).
Kalliwoda.
F.
(7652c).
Op. 186.
concer-
(5551).
6 Nocturnes.
(2104).
(i
st to
3rd
Kreuz, E.
in the first
Step
Select pieces in
three positions:
26. Mozart.
III.
183
(Continued.)
14.
30. Handel.
Largo.
31. Schumann.
Revery.
Op. 15, No. 7.
32. Mendelssohn.
Song without Words, No. 22.
Ballet from "Orfeo."
33. Gluck.
Slow
34. C. Gurlitt.
35. Kjerulf.
36. Strelezki.
waltz.
I.
Longing.
Cavatina.
43. Haydn.
45.
Schumann. Fairy
No.
Kreuz, E.
Op.
Op.
"The Creation."
Song without Words, No.
Air from
44. Mendelssohn.
9.
Pictures.
13.
4.
13.
Book V.
The
(7628).
Series of progressive pieces.
easy Sketches in the first three posi-
Violist.
Three
tions.
(7636 e).
Book VI. Sonata in A minor. (7636^.
Op. 45. Suite de Pieces. (Prelude, Nocturne, Le Reve,
Hans.
Op. 39.
Stehling, K. A.
separate Nos:
Albumblatter.
Morceaux Favoris.
f).
(2549).
10 arrangements
in
!8 4
Squire,
W.
Sonatina in C.
(7647).
(7644).
n.
Op.
Musical
Picture
Book.
Arr.
by
(7650).
R.
Wagner,
(Continued.)
Gavotte Humoristique.
Sans Souci Waltz.
Volkmann.
Hermann.
III.
H.
E.
Thomas,
Step
Album-leaf.
(7649).
Step IV.
Goltermann.
Op. 25.
Kreuz, E.
in the
46.
47.
48.
49.
50.
51.
52.
Am
53. E.
Thomas.
54. Mendelssohn.
55.
W. H.
Ave
56. Schubert.
No.
I.
Reverie.
Squire.
Maria.
Joachim.
Op.
9.
Hebrew Melodies.
MacCunn Hamish.
No.
(7630).
Op. 27:
3 Romantic Pieces.
2.
Serenade.
3.
Reve d amour.
Mozart.
Adagio.
(7634).
Popper.
Vieuxtemps.
Op. 30.
185
(Continued.)
Step V.
Brahms,
Op. 120.
J.
F minor and
Sonatas in
Ej?.
(5571).
is published
se-
positions:
61. Meyerbeer.
Air from "Les Huguenots."
62. E. Kreuz.
Spring fancies.
Op. 9, No. 2.
Nocturne. Op. 37, No. i.
63. Chopin.
Romance in F major. Op. 50.
64. Beethoven.
Barcarolle from Concerto for Viola and
65. E. Kreuz.
Orchestra.
Op. 20.
Rubinstein, A.
mann
edited by F. Her-
n,
Moderate. (76383).
Allegro con moto.
(7638 bj.
Allegretto.
(7638 c).
Op. 49. Sonata.
One of the finest compositions
Duets
and Viola.
for Violin
Fiorillo.
Jansa.
Schoen, M.
6 Easy Duettinos.
(7620).
Spohr, L.
III.
III.
st
and 3rd
positions.
II.
Op. 13.
Grand Duo.
V.
Gade, Niels,
Heim.
Jensen,
W.
Novelletten.
(5268). IV.
G. Phantasiestucke.
(5275).
IV.
186
Kreuz, E.
Trio in C.
(Continued.)
V.
(5271).
II.
(5272).
Lachner, Ignaz. Grand Trio. Op. 102. (5277). II.
- Trio in
C.
Op. 103. (5278). II.
Mozart. Trio. Op. 14, in E^. Clarinet or Violin, Viola and
Piano.
-
Trio
facile, in
C.
Op. 21.
Op. 32.
Pleyel.
Lohengrin.
(54393).
IV.
Rienzi.
III.
(54405).
Tannhauser. (54413). IV.
II Barbiere.
Rossini.
(54423).
Gounod.
Faust.
(54453).
III.
IV.
III.
IV.
IV.
(5283).
Trio.
Op. 9. (5286).
2.
H.
i8 7
p age
Violin Methods
Technical Exercises
Studies
Violin Solos
4
4
12
Duets.
Two
Violins.
Step
I.
II.
III.
IV.
V.
First position
13
15
17
19
All positions
20
Difficult
21
21
21
Concert Duets
Duets for Violin and Violoncello
Violin and Organ
Violin, with Pianoforte accompaniment.
First position, elementary
Step la.
First position, easy and progressive
Ib.
VI.
III.
IV.
All positions
II.
V.
Difficult.
(Octaves, Springing
cato, etc.)
VI.
difficult.
Very
(Concertos, etc.)
Bow,
22
23
27
36
45
Stac-
50
52
String Trios.
Three Violins
54
Two
Two
55
55
55
Piano Trios.
Violin, Violoncello,
Two
and Piano
Violin, Viola,
Violin, Piano,
and Piano
and Organ
(or
Harmonium)
5^
59
61
61
62
String Quartets.
Four Violins
Three Violins and Viola
Three Violins and Violoncello
Two Violins. Viola, and Violoncello
62
62
62
63
i88
Piano Quartets.
and Piano ................
Violoncello, and Piano ..... . ..........
and Piano .........................
Two
Violins,
Three Violins
Page
65
65
66
String Quintets.
Three Violins, Violoncello, and Bass ................
Two Violins, Viola, Violoncello, and Bass. .. .........
Two Violins, two Violas, and Violoncello .............
66
.................
68
67
67
Piano Quintets.
Two
68
69
69
69
Sextets, etc.
.....................................
Septets .....................................
Octets .....................................
Old Chamber Music ............................
Violin and Orchestra ...........................
String Orchestra ..............................
Sextets
69
70
70
70
71
71
VIOLA LITERATURE.
....................................
.....................................
Methods
Studies
73
74
Duets.
Viola with Pianoforte accompaniment.
Step I .......................
,,
Violin and
........
...............................
HI ...............................
IV ...............................
V ...............................
Viola ..............................
II
75
76
76
78
79
79
Trios.
Violin, Viola
and Piano
.........................
HARMONIC STRINGS
GALLIA
(Note the colours:
GREEN YELLOW)
PABLO CASALS
EUGENE YSAYE
HENRI MARTEAU
O. SEVCIK
CESAR THOMSON
etc.. etc.
None but
Amateur.
The
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Strings
ARE
AUGENER
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57
18
BEST
Colonies:
LTD.
&
the
LONDON
44
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(Note the colours
Green
Yellow)
Messrs. AUGENER LTD. have much pleasure in introducing to their clientele the famous French Harmonic Strings
"Gallia," and are confident that the many fine qualities
their
DURABILITY
RELIABILITY
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TONE
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country.
Messrs.
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AUGENER
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feel
sure
that
Artists
and
From
HERR
O.
SEVCIK.
VIENNA, Dec.
"
of the
31st, 1911.
My
compliments."
From
PETERSBURG, Jan.
24th, 1912.
'
CESAR THOMSON.
From PROFESSOR
BRUSSELS CONSERVATOIRE.
and am happy to say that I find
"
their sonorousness and accuracy remarkable
Congratulations
'Gallia' Strings,
From
MONSIEUR
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A.
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'
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happj to express to you my
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From
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to purity of tone
It gives
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recommend them."
my compliments
From PROFESSOR
for the
'
Gallia
'
Strings."
HUGO HEERMANN
GENEVA,
"
'
Gallia' Strings."
1912.
HARMONIC STRINGS
"
G ALU A"
(IN
NET PBICES
SINGLE LENGTHS)
(if
be added).
VIOLIN
by
post, postage
AUGENER'S EDITION
Net
Edition
No.
9171
ALEXANDER, J.
...
...
and
10095
9210
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9205
9206
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BECKER,
J.
Harmony
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Crown 8vo.
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By
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9215
CROKER, MORRIS.
9907
CZERNY.
24
9909a-c
Handbook
Crown 8 vo
The School
Impression.
Op. 400.
for Singers.
Third
Bound
10
Boundj each 10
to Prepare for
10097
DAUGHTRY,
9199
DANNREUTHER,
6126
FOWLES, ERNEST.
9179
GOODWIN, A.
O.
E.
the Opera
all
kinds of
...Paper
of
with Portrait
HEALE, H. A Short
Music.
4to.
Third Impression.
10112
'
Svols.
Paper
Touch
of
Fugue Playing.
Bound
Grand Studies. Folio
Op. 600. School of Practical Composition, or Com-
Them.
16mo
Crown 8vo
Bound
Paper
Edition
Net
10117
HULL,
10111
HUNT,
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Bound
M.
E.
16mo
Classified.
10110
KNOWLES,
and
Scale
Arpeggio
*'
Fingering
6
Paper
C. H. G.
Rhymes on
the Rules of
LA MARA.
6570
LANGLEY,
G.
Bound
Pianoforte Students' Chart of Tech-
LIN DO,
ALGERNON
H.
LOBE.
Catechism of Music.
by C. Bache. Crown 8vo
MACPHERSON,
Boards
4to
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Present
9214
MATTHEWS,
J.
Crown 8vo
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Paper
10100
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NIEOKS, PROF.
F.
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...
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Bound
...
Bound
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Bound
Introduction to the Elements of Music.
Impression. Crown 8vo
9180
8234d
10114
9180
C.
PAUER,
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Third
Bound
PETERSON, FRANKLIN.
9191
9192
10101
10102
10103
10104
...
...
Bound
Impression. Crown 8vo...
Theoretic Companion to Practice. Third ImpresBound
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Bound
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The
Student's
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Second Impression.
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Counterpoint: Strict and Free.
v
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Additional Exercises to Counterpoint, ' ' with Melodies and
Unfigured Basses for harmonizing. Seventh Impression.
Key
Demy
Bound
9 1 83a
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'
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Bound
8vx>
9184
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Bound
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9185
9187
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Applied Forms.
Sixth Impression.
Bound
The
Fourth Impression.
Bound
Bound
9189
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Orchestra.
10130
...
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Time,
Rhythm and
Paper
Paper
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2
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REINECKE, O.
Letters to
Dawson.
RIEMANN, DR. H.
German.
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Edition
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RIEMANN, DR. H.
9201
(continued.) Catechisms.
Crown 8vo:
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Notations.
Bound 2
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9204
9207
9209
920?
Part
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Dictionary of Music. Translated hy J. S. Shedlock, B. A
Fourth Edition, with Appendix.
908
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hound in 1 volume
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24 Preludes and
If.
RIMBAULT.
The Pianoforte
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class
its
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Bound
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RUBINSTEIN,
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Analysis of J. S. Bach's
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2
2
2
2
SCHROEDER. PROF. C.
A ConversaBound 2
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Handbook of V iolin and Viola Playing. Third Impression.
Bound 2
.Guide through Violin and Viola Literature
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Handbook
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of Conducting.
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10121
SIBLEY, O.
Advice to
Young
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its
Control
IGmo
STIELER.
10109
WARREN. J.
The Great
...
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Third Impres-
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SCHUMANN.
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Second Impression.
German Composers.
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