Arranca en Fa Trumpet

S EL ECT E D VI OL I N SO LO S, AN D
H OW TO PL A Y THEM .
N E
P RI E
T DRE BY . S HO AN D CO .
3, G REEN E R R E R E E R
T AC , EN E
OS B Y AV U , LO N N E
DO , C .
B AS I L A L T H A U S .
TH E S TR A D L I B RA R Y , N o . XI V .
S EL EC T ED
VIOLI N SO LOS
A
H OW TO PL A Y TH EM
BA S I L A LT HA U S
AUTHOR OF
A d vi ce to P upi ls an d Te ach e r s f
o th e Vi o l i n
W i th 283 M u s ic a l E x a m p l e s
35 0 1 1 11 0 11 :
T HE ST RA D O E 3
F FI C G REE N T E RR E R E E R AC OS B Y A V EN E U E C
J O H N LEN G
.
F EE S REE
, , , ,
Co .
, 1 86 , L T T T, E C
. .
gu m L
‘
fl ork :
C H A RLE S S C RI B NER S S O N S'
, 1 53
-
1 5 7, F ar m A ENV U E.
CO N T E N TS .
PA G E
I N T R O D U CT I O N
SECTI ON I .
G RAD E A .
-
E LE M E N T A RY P I E C E S
G RAD E B —EA S Y N OT EX C E E DI N G F I RS T PO S I T I O N
.
, I 3
G RAD E C — E A S Y U S I N G F I RS T A N D T H I R D
.
,
PO S I T I O N S
SECTI O N II .
G RAD E D — M O DE R A T E LY D I FFI C U L T
.
,
N OT EX
G E E D I N G T H E T H I RD PO S I T I O N
G RAD E E — IVI O D E R A T E L Y
.
‘
D I FFI C U L T A S F A R A S
,
T H E F I F T H PO S I T I O N
G RA D E F — D I F F I C U L T E S PE C I A L LY
.
,
A S RE G A R D S
S E N T I M E N T A N D EXPRE S S I O N
SECTI ON III .
G RAD E G —D I FFI C U L T U S I N G A L L PO S I T I O N S
.
,
G RAD E H — V E RY D I FFI C U L T I N C L U D I N G S T A N
.
,
D A R D C O N C E R TO S A N D C O N C R T P I E C E S E
G RAD E I .
— FOR V I RT U O S I
PR E FA C E .
T H E obj ect of the following pages is t o introduce and

describe a n umber of solos for violin and pian o in such
a manner that all players will find easy access to a n
in teresting repertoire.
T h e compositions enumerated are selected for merit

only from the catalogues o f the various publishers who
,
ha v e so kindly assisted me .
I h ave taken care to place each piece i n its pro p er

g rade of di ffi culty and to record such parts in any on e
t hat requires special explanation S O t h at this volu me I
,
, ,
hope will be found to con t ain a brief but useful com

,
e n d i u m o f violin music
p .
BA S I L AL T H A U S .
S EL ECT ED V I O L I N S O L O S
AN D Ho w To PL AY T H EM .
IN T ROD U CT I O N .
WE N T Y o r twentyyears ago the am o unt o f

fi ve
-
music for V iolin and pi ano was somewhat limited .
One cann o t find fault at the present time with the

q uan tity of V iolin music which is daily
, increasing — the
only di fficulty is in making a j udicious choice from the
many catalogues .
Amongst such a quantity it is quite natural that there

should be many pieces that have no musical value o r
interest and at the same time there are many excellent
e xcerpts especiall y th o se o f n e w composers that fail to
,
, ,
get kn own or appreciated .
So me of the works menti o ned will be already known to

th e generality o f players and will only require a cursory
,
com m ent as t o the fingering and bowing o f a ny di fficult

passage As regards the scale o f di fficulty I propose
.
using the following degrees
SECTI O N I .
G RAD E A .
—E lementary .
G RA D E B — E a sy not exceeding the first positi o n

.
, .
G RA D E C —E asy using first a n d third p o sitions

.
, .
2 S E LE CT E D V I O LI N S O L O S
S E CT I O N II .
G R A DE D .
—M oderately di fficult n ot exce e ding the third
,
position .
E —M oderately di fficult as far a s th e fifth p o sition

.
, .
F —D i ffi c u l t especi a lly as regards sentimen t a nd

ex p r e ssi o n
. ,
S E CT I ON III .
G R A D E G — D i ffi c u l t using all positions

.
, .
G R A D E H —V ery di fficult including st a nd a rd c o ncertos

.
,
and concert pieces .
G R A D E I —F o r virtuosi
. .
AN D Ho w T o P L AY T H E M .
3
S E CT I O N I .
G RA DE A .
E LE M E N T A RY P I E C E S .
A L T H AU S B A S I L “
,
S imple H istoire .
( Ch a not and
S ons , A pleasing and very easy piece
B L OC K J O S E P H Capriccio Op 2 2 N o 6 ( L a n dy
.
”
. . .
, , ,
and Co 4 s ) is a piece with varied bo wing I n di fficulty

.
, ,
.
i t extends to t h e limi t of element a ry pieces but it is ,
quite worth the trouble o f learning

B O R O W S KI F E L I x “
.
C hanson de B erceau ( L au d y
F S
.
,
a n d Co .
4 )
s
,
a very pretty
,
little piece in maj or i x ,
eight time especially adaptable for children

“
~
BO R O W S K I F E LIX
.
,
,
D anse R ustique ( L au d y and
”
.
Co .
,
is a brig h t lit t le two page piece There is -
.
always a freshness ab o ut this composer s work th a t is a ’
charm in itself
“
.
B O R o ws FELI x R itournelle ( L a u d y a n d
,
.
A pretty piece in G comm o n time which recommends , ,
i tself as a good and easy piece o n account of the se t

rhythm Change of time and rhyth m is always a di fficult
.
item to the young student and one must avoid taxing ,
t heir po wers too far in these earlier stages of playing

C A VE W R
.
, R omance Op 4 ( C hanot and S ons

. .
,
.
,
3 s ) makes a very useful first piece

, I t is simple and .
possesses a melody th at j uveniles c an appreciate at once

I t is very necessar y when choosing a student s first piece
.
that it should be something quite to their liking and

understanding so th at it may be a genuine encourage
ment and enable them to see the b e nefit th e y h a v e
,
d erived fro m scales a nd exercises .

4
. S E LE CT E D V I O L I N S O L O S ,
C VE A ,
W R “S pringtide
. .
( Chanot and So ns ,
A tuneful piece that c an easily be understood I n . th e

third bar
the first finger sh o uld be placed between the A and E

s trings s o a s to be able t o play it smoothly S ix bar s - .
further o n it will be necessary to move t h e finger o n

account of the diminished fifth
The young player invariably requ i res a special caution

whenever these two notes occur
“
H AA R M A N J J M élodie ( C hanot and S ons
.
,
. .
,
One o f t he simplest pieces to be found Though the .
violin part is only a matter of semibreves and minims ,
o n e c an truly call this little piece a melody and a melody ,
that i s further enhanced by the simple and interesting

pian o accompaniment
“
H A N DE L M enuet from S amson ( Bosworth an d
.
Co .
, is a good piece for the beginner There is a .
variety of plain bowing such as two notes slurred and ,
o n e bowed th at takes the pupil away from the regular

,
groove o f the instruction book The key is G an d .

,
moreover this M enuet is tuneful and dainty

H E N DE R S O N H “
.
Autumn S ong
, ( M oore
. S mith ,
and C o . A very easy and well written piece

,
-
,
extremely useful for beginners The notation is confined .
to minims and crotchets

H E N LEY W M elody I mpromptu O p 3 N o 3
.
- .
. .
, , ,
( Chanot and S ons 3 )

s A pretty little piece,
in t wo four
.
-
time The frequent occurence o f the D sharp o n the

.
D string should be made a special study and great care

S hould be taken that it is th e first finger which is place d
,
back and not the h a nd

, .
AN D Ho w To P L AY T H E M .
5
H E N LEY W ( Chanot and S ons 3

“S erenade
s“)
I
, .
,
Q uite n the berceuse style and written in the key of G , ,
which always lends itsel f to an easy acquire m ent of

t h ese simple melodies
“
H E N R Y A L B A N S ix M elodious S tudies ( S t Cecilia
.
. .
,
Co .
, 1 8 net ) This little album is a gem of melody
. . .
The bowing and time are easy and there is nothing left ,
to be desired in the way of pleasing pieces for the young

“
H O F M A N N R I C H A R D S ailor s S ong ( Zimmermann
.
” ’
F
.
,
2s
) . A pre t ty six eigh t movement in maj or I n the
-
.
X
S i x t h bar the t h ree qua vers
a re better played with separate bows and no t staccato as ,
written for the young student who a ffects a piece of this

,
kind would not be capable of playing these three notes

lightly enough in o n e bow to give t h e proper e ffect .
T h e usual attempts result in three scratches o r digs ,
highly unmusical
H U E T F E LIX
.
S erenade d A r l e q u i n ( B reitkopf ’
a n d H arte ] I S 4d net ) A fl owing waltz movement

.
,
.
, . .
,
wi t h easy accompaniment in imitation o f a guitar The .
melody is o n e that will at once appeal to the beginner

I V I MY R O B T “
.
”
, Berceuse ( D o n aj o wsk i 3 s ) Th e
.
, .
o nly small di fficulties in this taking little piece are t h e
a cciden t als which occur frequently and are generally a

, ,
trouble to the young player who does not encounter ,
them I n the exercise book

I V I MY R O B T “
.
G o n d e l l i e d ( D o n aj o wsk i in si x
e ight ti rrie F maj or is quite plain sailing with the e x ce p
.
, ,
, ,
tion of th e introduction o f t he appoggiatura in several

bars This can easily be omitted without any detriment
to the piece The time and bowing are very S imple and
.
t h e melody pleasing
J A CO B Y S I E G F R I E D
.
, M arch ( Gould and C o . .

,
as. is a very good and tuneful piece and o n e that ,
w ill be found very useful for class teaching ; The notes

6 S E LE CT E D V I O LI N S O L O S ,
lie well under th e fingers This is the sort of piece tha t .
helps a studen t wh o does not possess too good an

into n ation
J A CO B Y S I E G FR I E D
.
,
Ga v otte ( Gould and C o . .
,
25 . T wo pages o f e ffective violin music wit h a ,
melody that i s at once pleasing to hear

J AC O B Y S I E G F R I E D
.
,
P erpetuo M obile ( G ould and .
Co 2 5 .
,
Wi t h t he exception of the last three notes
.
,
the melody is devoted to qua v ers This piece is especially .
good for giving freedom to the wrist The notes are so .
extremely easy that the student can pretty well devote

all his attention to t h e bow
.
,
S cherzo (G ould and C o . .
,
28 . possesses a variety of bowing t hat will be foun d

us eful
J A CO B Y S I E G FR I E D
.
V alse ( Gould and C

“ , o 23 . .
,
.
”
is an excellent first piece
“
.
JAMES A J ,
P e t ite R omance .
( S.wan has a ,
pleasing melody There is a good variety of t ime unlike .

,
the ordinary easy piece wh ich i s se t to o n e particular ,
rhythm The bowing is plainly marked

J E N S E N G U S T AV
. .
”
Berceuse ( Cary an d C o 2 5 n e t)
,
.
‘
.
,
. .
This piece is in A maj or common time changing later , ,

'
to D maj or si x eight time There are examples o f

,
-
.
syncopation that will give trouble to the beginner also a ,
few accidentals Th e piece is pretty and quite above the.
ordinary standard
JOHNSON NOEL
.
Andante G razioso ( Chas W ool

, . .
house ,a pretty si x eight m ovement in G I n th e - .
seventh bar of th e v iolin part we h ave a mordent as

sh own by th e S ign placed over o r under the n ote thus
,
an d P ly
a ed
Th is mo rdent is m ore often written o u t and it must , be

remembe red that i t only serves as an ornament an d ,
in
n o other way a ffects the melody .
8 S E LE C T E D V I O LI N S O L O S ,
l imit oany o n e particular string ; for instance the quot a

f ,
tion o f the first line o f this piece will serve to illustrate

m ore fully
I n the first bar the E should be played with the fourth

finger as all the notes in the b a r are o n th e A string I n the
,
.
third bar b o th open A an d E c an be use d as the phrase ,
necessitates crossing to the E string ; bu t in the fourth

bar the E must be played with the fo urth finger the ,
succeeding b a r being like the first O ne more example .
occurs o n the sixth an d seventh bars

o
The fourth finger for E in the seventh bar is used o n

account o f the preceding note b e ing o n the D string to ,
a v o id skipping the A string

M E R KE L G U S T A V R ustic D an ce ( G ould 2 3 6d ) is in
.
the time o f a gavotte The key B flat presents one o r

. .
, , .
two di ffi culties to the young player in finding the flats B

.
, ,
and E I t is advisable t o give pieces in other keys than

t h e usual G and D so much used fo r these eas y pieces
.
, ,
though those keys are more suitable ; yet each piece

iven should be both instructive a n d pleasing
g
PAP I N I G “
.
, Bluette Op 5 7 ( Chanot
.
, i s on e o f
.
,
the best examples o f this compos e r s easy and m e lodious ’
p i eces
PA P I N I G Cantil e ne Op 5 7 ( Chan o t
.
, . . A ,
charming mel o dy in A m in o r ; in fact a pi e ce t o suit a ll ,
t a stes .
AN D H OW TO P L AY T H E M .
9
PAP I N I G , .
“Chanson Another little
g e m by t h e same composer in E minor . The only fault
could find is that it is too short
“
o ne
PAP I N I G
.
,D olly s S ong Op 1 0 9 ( Chan o t

.
’
,
.
,
W ritten in si x eig h t t ime in the key o f D it possesses

-
,
tha t pleasing fl ow of melody so well known in this c o m

’
poser s writings which helps the pupil to a better sense
o f rhythm
PAP I N I G “ This is in F
.
R omance
“
.
,
maj or two four time There is a kind of swing

,
-
.
whi ch is accentuated by the flowing accompaniment .
The notes marked with a small lin e over or under them ,
a s in th e first bar
'
a re to be gently de t ached j ust enough to articulate as two ,
s eparate notes Care must be taken that the y o ung

.
pupil does not make two j erks of it

PAP I N I G
.
T h e m e avec V ariations Op 5 7 in G
, .
, .
,
maj or ( Chanot This is an e x cellent piece for

,
beginners ; the ti me is easy an d the p rogressive nature ,
o f the variations considerably adds t o its value a s a
teaching piece
PAP I N I G “ Twenty four melodious L essons Op
.
-
. .
,
6 8 ( Chanot 3 8 net ) These are divided into two b o oks

, . .
,
N os 1 — 1 6 and 1 7— 2 4 The first twelve are devoted

.
, .
to t h e simplest melodies in semibre v es and minims with

most interesting piano parts I n 1 3 —1 7 cr o tchets are
,
.
,
introduced an d the progression grows apace The r e st

, .
a r e considerably more d i ffi c u l t— for instance N o 2 3 ,

.
is a continu o us cr o ssing o f the strings and will ex e rcise the

I O S E LE C T E D VI O LI N S O L O S ,
p o w e rs of the wrist The wh ole twenty four are in th e .

-
key o f G maj or and will be found excellent encourage ,
ment for the young player

S ix pieces ( G o ul d I S net )
.
P O L O N A S K I T H E RE S E ,
.
, .
,
a re evidently written expressly for” children T h e si x

—
.
pieces are entitled M elodie an andante in G

“
1 .
, ,
composed o f semibreves and minims 2 Au R evoir

in F maj o r 3
. .
”
Chant V illageois allegro moderato in
“ “
. .
, ,
C m aj or 4 E ndors toi andan t e in G 5”

R egret ”
“
-
. .
. .
, ,
in F 6
. I nvocation a waltz movement in D
.
”
, .
Altogether a nice little book for the j uvenile performer

S C H N E I DE R F L
.
Berceuse V illageoise ( S chott

,
. .
,
This is a pretty fl owing melody in common time and , ,
calculated to produce smoothness o f tone I t is marke d .
e o n sar di n e but there is no necessity to use the mute ; in

,
fact it is not ad v isable to allow young players to do so

S C H N E I DE R F L “ S c e nes M ignonnes” of which
.
“ P ri e re “
. .
, ,
there are three separate pieces V a l se tte

“
and Au bade ( L a n dy 3 s each ) The P ri e re is o f
”
, , .
,
.
, ,
th e si m p l e st being a matter o f m i m i n s from commence

“ ,
ment to finis h The V a l se tte is only slightly mor e

/
advanced and the Aubade the pre t tiest o f the three

,
”
, ,
is of about the same di fficulty All three pieces are in .
G maj or and the notes are so arranged that the finger s

,
fall into their places without any trouble o n account of ,
all awkward in t ervals for young players being strictly

a voided
S I T T HA N S “
.
, G avotte in A minor O p 7 3 N o 8
.
,
.
, .
( J os W illiams A little piece that will be foun d

encouraging to th e beginner The use of two d e tache d
.
,
notes in one bow thus
is a dopted so a s t o h ave the down bow fo r the beginning

of the next bar an d to keep an uniform bowing through,
out T h e r e is nothing di ffi cult about i t but it should b e

.
,
understood th a t it really represents two up b o ws .

AN D H OW TO P L AY T H E M . I I
S I TT,
HA NS M inuet (J o s W illiams 3 s ) is a good
. .
,
.
piece and well written

HA
.
S I TT, NS Twelve pieces f o r the y o ung Op 2 6

.
, .
( published in two b o oks by E rnest E ule n berg 3 5 net

L ondo n agents M essrs Breitkopf and H artel ) An
, .
,
.
, .
album o f good pieces written in musicianly style I n .
these pieces plenty of variety will be found both as ,
regards time measures and di fferent easy bo wings

S U T C LI FFE “
WA A
.
, LL CE M elody ( Al fred L e n gn i c k
”
.
,
a well written piece in C maj or two four time

“
-
T O LH U RS T H
.
,
, Angel s W hisper ( E D o n aj o wsk i

.
’
.
,
E xcellent for th e beginner

T O L H U RS T H “
.
, D ans les Tenebres ( D o n aj o wsk i

.
,
A very pretty little piece ; the melody is simple and ,
s uch that a child of tender y ears can appreciate The .
time and bowing are simplicity itself

T O LH U RS T H “
.
, D ream S ong ( E D o n aj o wsk i

.
”
.
,
A most taking little piece

TO L H U R ST H “ F ern L eaves ( D o n aj o wsk i 2 s )
.
.
, , .
A simple and pretty piece I t is no easy matter to wri t e .
a good melody an d at the some time confine oneself to

the limited powers of the young iolinist T h e r e are two V .
o r three feat u res that must be adhered to I n the first .
place the melody m ust be good an d one that appeals to

S
, ,
the un tu t ored ear Of keys c h oice hould be made from

the more familiar ones such as G and D or F and C
.
,
—
,
maj or minor keys are rarely advisable Time signa .
tures should be o f the simplest One of the most .
important items is the avoidance of all awkward inter

vals ; by these I mean those where it is necessary to
cross t h e strings with same finger when a string has to ,
be skipped or in di minished fifths as in t h e fol l owing

, ,
examples :
3 (2 ) 1 (3) 1
Of course the kn o wledge of th e positions makes such as

these simple .
1 2 S E LE C T E D VI O L I N S O L O S ,
T O LH U R S T H , L ullaby ( S wan an d Co
. .
,
Though the fingering given is good there is n o need to ,
leave the first position ; all the n otes are qu i te playable

in that position The use of the third position always
.
gives a better effect and this simple and attractive ,
melody is quite worth a more advan ced player s attention ’
T O LH U RS T H
.
, R omance ( S wan and Co

. A .
,
very pretty piece in A maj or The n o tation is confined .
to semibreves minims and crotchets

T O LH U R S T H R ose L eaves ( D o n aj o wsk i
, , .
”
, . A ,
pleasing melody in G maj or in twelve eigh t ti me All ,

-
.
is plain sailing
T O LH U RS T H
.
S unbeams ( D o n aj o wsk i As
a first piece nothing could be better H enry Tolhurst i s
.
, ,
always happy in his ideas and knows exactly what t o ,
write fo r the beginner

T O LH U R S T H
.
S weet M em o ries ( D o n aj o wsk i

A pretty piece in F maj or common time which does
.
, ,
, ,
not present any o f th o se stumbling bl o cks so terrifying to

the beginner
“
.
T R O U S E L L E J O SE P H
, S ix easy P ieces ( D o n aj o wsk i
.
,
6 d net ) An excellent album

W A “
. . .
E ST L L P C
, S unrise ( S wan and Co
. . an .
,
e asy little piece most suitable for a beginner s first ’
attempt at a solo .
AN D H OW TO P L AY THE M . 1 3
G RAD E II .
EA SY N O T EX C E E DI N G T H E F I R S T P O S I T I O N
, .
A E RTS F D e u i em e Air V arié ( Cranz

x can ”
be described as a S ho w piece for beginners and o n e that

.
, , ,
c an be learnt very easily S uch pieces as these are o f

.
great assistance to both master and pupil in the case of a

dilatory pupil o n e that h as n o great love o f his i n str u
,
ment or rather o n e whose lessons have not been made

,
interesting with the usual result o f every t hing bein g

,
a tr o uble t o h im P upils are sometimes very extra

.
ordinary i n their likes and dislikes of pieces but t hey ,
invariably like one with a good melody and one they

c a n soon master
“ ”
This A i r V arié is composed of a
.
,
short introduc t ion the theme two variations and the

, , ,
finale each part or portion being a little more di fficult

, ,
in fact an easy progression of di fficulty from beginning

,
to the end which all helps to foster the student s interest

,
’
in his violin
A E R T S F P etit Air Va r i e F acile ( Cranz and Co
.
.
, .
,
A most encouraging piece for the young student .
A short introduction leads to a very pleasant T h em e ,
followed by a variation in triplets and the F inale Th e , .
n otes lie well under the fingers and the bowing i s plain ,
a nd easy
A L T H AU S B A S I L B ourrée ( Bosworth
.
, . A ,
piece that requires a bright stroke o f the b o w I n the .
second part where the o pen G is sustained and the

,
melody is on th e D string care must be taken to keep th e ,
bow equally o n the two strings and not force the tone
A LT H A U S BAS I L
.
, M arch D o n aj o wsk i
”
. An ,
e xcellent piece for children especially boys Th e , .

I 4
,
S E LE CT E D V I O LI N S O L O S ,
n ecessary bowing is plainly marked As a piece for .
c lass teaching
- o r for a quantity o f violins together
,
as ,
a t scho o l concerts etc it is to be recommended

A R MAN D J O “
. .
, ,
M iniaturen O p 1 3 ( B reitkopf
,
”
. .
, .
,
2s 8 d net )
. .This is a delightful se t o f four piec e s
.
written in clever style ; interesting though simple N o 1 . . .
N octurne in D maj or in common time N o 2 . . .
W altz also in D N o 3 E legie in A minor

H e re the bowing might be we ll altered ; it is written
. . . .
,
A n d a n te .
though it is easier to change the b o w on the A an d slur

the B —this p h rasing occurs many times N o 4 . . .
Capric e is fu l l o f fun and very j olly

BAC H “
.
,
Gavo t te in D from the orchestral suite

.
”
,
( Bosw o rth This arrangement makes a good piece

, ,
besides being o f great assistance in gaining freedom wi t h

the b o wing The use o f the whole b o w for the ch o rds
.
,
a n d the p o int and heel for the q u a vers gives extr a ,
brillian cy providing the bow d o es n o t drag o n th e

,
s trings
“
B O H M C A R L M oto P erpetuo (Alfred L e n gn i ck
.
.
, ,
A fi r st class piece to secure a freer use of the wrist

-
BO H M CARL
.
S panischer T an z ( L e n gn i ck
, .
,
P retty and bright with a ll the traits o f a S panish dance , .
T he second part m ust be played with considerabl e

force using th e l o wer part of th e bow Th e tw o d o wn
, .
b ows a t the c o m m encemen t

A Zl e gr e tto .
must be play e d with vig o ur lifting the b o w w e ll a ft e r ,
the first note

“ t a n d ar d Pr o
.
\B R A D S KY I m Th a l fr o m th e S
I n this p a rticul a r
.
g r e ssi ve S eri e s ( B o sw o rth

”
,
1 6 S E LE C T E D V I O L I N S O L O S ,
This particular ph rasing that is the slurs crossin g , ,
th e bars has the e ffect of producing a better legato

, ,
which is necessary in this piece T h e r e is a very pretty .
little staccato bit in the middle of the bow besides th e , ,
i n tr o d u c ti o n wh i c h all helps to make this a very taking s o lo

D I E H L L O U I S Twilight D reams R everie ( Chanot
.
,
”
.
, ,
and S ons could almost be placed under the headin g

,
o f letter A but for the time being a little more compli

,
c ate d ; nine eight is not always s o easy for the student to

-
digest This R e verie possesses a pleasing and flowing

.
melody an d the accompanimen t is tasteful

D U RE T C H A S “ Andante R e ligi o so ( Chanot
.
,
.
, ,
I t is seldom one meets with a piece o f such a patheti c

nature so easy o f execution that is to sa y as regards , ,
th e actual fingering and bowing ; the di fficulty o f course , ,
lies in th e interpretation and it is a piece which help s

the professor to fin d o u t the musical capabilities a n d
,
instincts o f his pupil I t is quite worthy the attention .
o f t he more advanced player a nd makes a good sol o ,
with o rgan accompaniment

FIELDER S J “ E legy ( S t C ecilia Cc I S net )
.
. . .
, .
, . .
An interesting composition well worthy of the youn g ,
violinist s attention The change from G to E flat maj o r

’
.
is e ffective though not so easy of fingering

F I E LD E R S J “ , .
P etite S uite in D
, (.S t Cecili .a .
M usic P ublishing Co 1 s net ) The suite comprises fou r .

,
. .
m o vements as follows : N o 1 P reludio requires to b e

, .
, ,
played wi th a good firm bow an d though the time is ,
alla breve it must be a very moderate two be a ts in a

bar . N o 2 Allemanda is Very easy with its melodious
.
, , ,
flow of quavers I n the legato bars do not cross th e

strings when it is possible to avoid doing so b y using th e
.
fourth finger as in the second bar ,
No
S arabanda must be play ed with a fu ll tone
.
3, ,
not too loud but th e m e lody we ll sust a in e d No 4

, . .
,
AN D H OW TO P L AY T H E M . I 7
G igue i s very bright and lively and is the most di fficult

,
of execution especially the bars in which the b o w

,
cr o sses the strings T h e second bar .
is easier thus
also all similar bars I t is better t o keep th e division o f

.
the b o w more equal The suite is highly t o be r e c o m .
mended
G oT z H “ R ondo Op 2 ( Breitkopf 1 s 4 d n et ) i s
.
'
.
, , .
, . .
of a scholastic nature and cleverly written I n the .
opening subj ect :

A l l eg r e tto m o d e r a te .
care must be taken either to move the second finger

forward for the F sharp or use the third finger the same ,
as fo r G flat The interest i s equally divided between

piano and violin and the V iolin part can be quite well
.
played in the first position

L yrische S tucke O p 1 2 arranged by
.
G RI E G .
,
.
,
J. E N ewell
.
( D o n aj o wsk i 1 5 net ) T h e re are eight , . .
pieces contained in t h is album including N o 1 Arietta

“
.
, . .
N o 2 W altz N o 3 T h e W atchman s S ong No ’
“ “
. . . . . . .
D ance f the E lves N F olk S ong N o

“ “ 5
“
o O
4
N”orse N o 7 Album L eaf N O 8 N orwegian
. . . . . .
”
6. . . . . .
S ong E ac h o n e is charming and as the titles i mply

there is plen ty o f var i ety
.
, , ,
The chief di fficulty the .
student will have to contend with i s the different time

1 8 S E LE CT E D V I O LI N S O L O S ,
measures F or instance in the W altz in the fifth sixth

. , , ,
and seventh bar s of violin part :
should be played in th e middle o f the b o w G reat a t ten .
tion must be given to t he quaver rest al so th e accent on

the minim and various tempos marked N o 7 is A ll e
,
. .
g retto and dolce an d therefore must not be taken too

,
fast The first bar is better bowed

.
The grace note must be played very lightly an d distinctly

and t he wh ole piece free from all roughness The N or
,
we gi a n S ong can be played with all one s available tone

’
the sfo r zando notes being well brought o u t a nd made

prominent
H A RR I S C UT H B E R T Gipsy D an ce ( Ashdown
.
,
.
, ,
is a j olly piece ; its o n e fault is that it is too s hort I n .
the fifth and sixth bars and also later on occurs the
, ,
foll o wing which must be played in what is known as

“ ”
,
the half or back position

1 2 1 2
The han d must move up again so a s to play the E that

follows with the fourth finger and come back again into
the ordinary first position
HAY W A R D C F L A V E L L Phyllis a M azurka ( D ona
.
,
. . ,
j o wsk i ,
This is bright and taking as a sh o rt piece .
I n the secon d part the bowin g c an be either o n e o f the

following
AN D HOW TO P LAY T H E M . 1 9
No . I . as wri t te n .
No wil l be found easier an d smoother

2
H ED D EG H E M F V A N
. .
S econd S o n ati n a i n C maj or

,
. .
,
O p 5 0 ( C h anot
. an excellen t piece for teaching
,
purposes p ossessing those essentia l s v i z pleasing

, , .
,
melody flowing passages and bril l iancy so dear to t h e

taste of the amateur The second movement in F is
, ,
perhaps the most important The grace notes in the fifth .
bar might v ery well have been written in full thus ,
A naa m e
’ ‘
.
and so save unnecessary stumbling The R ondo at the .
e n d is very j olly an d spirited a good free b o w arm will

gi v e it all the brilliancy required
“
H E I N S D O N A L D Allegro M arziale in E ( Weekes
.
.
,
and Co . is a M arch with a good swing I n the

,
.
fourth bar the shakes
s hould be played
an d to get them brigh t an d clear they requir e slow a nd

careful study
“
H E N D E RS O N H M orceau ( M oore S mith an d
.
, .
,
i s very bright an d lively T h e r e is a good flowing bass .
in the piano part that considerably enhances th e e ffect .
The time is very easy and it only remains for the player ,
t o u se his b o w dexterously with a brigh t stroke giving , ,
C2
2o S E LE C T E D V I O LI N S O L O S ,
attention to the n umerous f s and 19 s and an e xcellen t ’ ’
solo is obtained
H E N KE L H
.
,
G a v otte in G ( Chanot and S ons
.
,
is quite a favourite amongst teach ers an d pupils ,
and is always recei ved with favour B right and pretty .
pieces such as this do much to help the beginner

“
H E N KE L H S erenata Op 62 ( Chanot an d S ons
.
V er y easy to play and with su fficient variety to

,
.
, .
,
make it charming The high C occurs once which c a n

be played with the extens i on o f th e fourth finger
.
,
H E N LEY J
.
,
C o ntemplation
.
”
( D o n aj o wsk i ,
An interesti n g little piece o f the romance type

H E N LEY J R ustic D ance ( Chanot and S ons
.
”
.
, ,
An easy and extremely tuneful piece The pizzicato of .
the open strings with the left hand which c a n be easily

done either with the third o r fourth finger I s very e ffective
,
I t i s a piece admirably suited to class teaching or

, .
playing
“
H E N RY J HA R O L D M oto Perpetuo
.
. .
,
a n excellen t piece o f its kind the notes lie well under ,
the fingers This style o f piece is most useful to attain

.
freedom o f the bow arm

“
H E N RY J HA R O L D Tarantella ( L an dy and Co
.
. . .
, ,
Tarantellas are as a rule general favourites and , , ,
are hard to find in this early stage T h is Tarantella .
j ust fits the case the one difficulty being the speed
“Allegro quasi P resto ” i s a bit li v ely H owever there
.
,
is not o n e bar that cannot be mastered and good bright , ,
and clear renderin g given with an average amount o f ,
practice M any of th e se T a r a n te l l a s comparatively easy

.
, ,
and even n o t exceeding the first position contain many -
awkward passages o r rather pitfalls for the unwary , , ,
such as
The stu d ent either stumbles o ver such b a rs o r ign o re s ,

AN D H OW TO P LAY THEM . 21
th e diminished fifth and as at a forgets to either play th e ,
C sharp with the third finger or push his second ,
for ward the same happening at b with th e D sh a rp

, ,
which could be taken with th e fourth finger and so

render it safe
“
H E R R M A N N T H Arago nese D ance E spagnole
.
.
, ,
( S chott and C o T h is is quite.th e

, S panish bolero ,
and most e ffective The s h ake on the E at the bottom .
o f t h e page c a n be omitted an d the note simply sustained .
The chief di fficulty lies in th e time there being several ,
bars syncopated
“H umoresque ( Alfred L e n gn i ck
.
H O L B R O O K E J O S EF ,
.
,
Though there is ple nty to do for the violin t he ,
pianoforte accompaniment takes a prominent part ,
especially as regards the humour of this dainty sol o and ,
a good e ffect c an be obtained in the hands o f two

sympathetic players The semiquaver passages in the
V iolin part should be played
.
in the middle of the bow

J O H N S O N NO E L “
.
, S ong Without words . and ,
S c h erzetto ( Chas W oolhouse The first o f these

two pieces is very easy Anda n te in B fl at— but the
.
,
s econd which is more of a dance mo vement requires a little

, ,
e xplanation The firs t two bars will give a sample

.
N o w these two bars played exactly as written would

s ound too heav y —but a S cherzo movemen t being o f a
light nature o n e makes j ust a perceptible rest after e ach

,
s le w an d t h e bowing mus t be light through out

, with a ,
swift stroke using j ust so much bow as o n e can manage

,
wi t hout e ffort I n the Can t abile part care must be

.
'
t aken to keep the four quavers ( second bar ) quite equal ,
especially as there are si x in the accompani ment

K L A S S E RT M A R T I N
.
T h ree pieces Op 3 2 ( S chott

, .
, .
and Co The first o f these three pieces G i sb e t

i s a L arghetto in A maj or that c an be played with good
.
, , ,
long bows and plen ty of tone The an .

“E rinnerung
Tyrol which follows is co m posed o f an Andante in F
H ere the extension o f th e fourth finger will be required
.
for th e C to avoid moving out o f th e fi fst position

, .
This occurs in the fourteen t h bar o f violin part in th e

A ndante Tyrolienne and V ariation
, .
2 3 4 4 8
This extention is v ery useful A little separate study

will be fou n d beneficial E ither of the follow i ng i s good
.
. ,
and in each o n e the third finger must be kept firmly

d o wn .
3 4 3 4 4 3 4 3
I n the V ariatio the succession o f d o wn bo ws in firs t

n,
bar must be played at the heel of the bow lift i ng it after ,
each one The t h ird piece is a graceful S chlummerlied

.
in A maj or
“
L E J E U N E A R T H U R D ance des M arionettes ( D ona
.
.
,
j o ws k i ,
A brigh t two four movement in G maj or
- .
The tied n ote at the commencement must be well a c c e n

ted and the F sharp played with t he third finger to avoi d
,
mov in g the second forward after the C thus :
These tied notes occur frequently an d all require to b e ,
accented
L OG E H E N R I
.
,
G a v otte and M usette arra n ged by
.
,
B erthold Tours ( J an d W Chester B righ t on

. A .
, ,
taking piece in A min or th e clever pian o part goes fa r

,
24 , S E LE CT E D V I O LI N S O L O S ,
The piece is as pretty as i t is original G races such .
as mo r de nts etc are numerous but in this case they are

,
.
, ,
all written o u t so quite easy to understand

“
.
,
PA PI N I G Chanson in E minor
,
.
( Chan ot , ,
is o n e o f this composer s happiest e ffor t s I f fault ’

.
could be found it would be to demur as to the shortness

,
o f it
PAP I N I G
.
D orine G av o tte Op 8 7 ( B o sworth

,
.
, .
and C o 1 5 6 d net) a very quaint and pretty little piece

.
, . .
,
in A minor I n the eighth l ifi e of violin part occur crotc h et

.
triplets
which shows the necessity fo r countin g two in a bar as

the alla br e ve S ign at the commencement i ndicates
,
S imilar bars occur frequently The bowing throughou t .
is simple and plainly marked

PAP I N I G “
.
, M azurka Op 5 7 ( Chanot and S ons

”
.
, .
,
U nlike other M azurkas the movemen t throughout ,
is legato wh ich simplifies the bo wing

P A PI N I G
, .
,Tema with V ariations in F maj or Op

.
, , .
5 9 ( Chano t and S ons F rom a teaching point of

V iew this Tema is excellent ; th e variations are p r o
,
g r e ssi v e t h e last o n e givin g t he student plenty o f scope

,
for some n imble fingering an d acquiring a good legato ,
especially in such bars as
0 4 4 0 4 4
wh i c h t o be executed very s moothly

'
ne ed
P A PI N I G Th e me avec V ariation s Op 5 9 N o 5
.
.
, , .
, .
( Chanot and S ons There are four variations , ,
arranged in progressive order all of which are calculated ,

AN D H OW TO P L AY TH E M . 25
to improve the student s ideas o f phrasing Th e Th e me ’

.
a n d v aria t ions present a continuous fl o w o f melody and

t he piano accompanimen t 1 8 all that c a n” be desired
PA P I N I G “Topsy D ance N e gre ( Bosworth and
.
N o t only 1 8 th i s a pretty piece but it

.
, ,
C o 1 8 6 d net )
also a ffo rds an opportun i ty for the practice of the dotted
.
.
, . .
,
note separate bows These dotted notes S hould be

,
.
played quite at the point and always short and crisp ,

.
The e x pression marks are few but of great importan ce , ,
e specially the accents which occurs on t h e second beat

PA P I N I G
.
V a l se tte
, from Op 6 8 ( Chanot and
. .
S ons is always a favouri t e

,
“
.
P L EYE L I G N A z , S ix D uos O p 8 ei t her fo r violin

.
,
.
,
a n d piano 1 s 6 d o r for t wo violins only u ge n e r )

,
. .
, 1 8
( A , . .
This is o n e o f th e best sets o f duets ever written B oth .
parts are interesting and will always continue to be a ,
reat delight to young players

g
“
.
P OZ N A N S K I I B S ur 1 a M oselle ( S t Cecilia C o
This charming little Barcarolle i s quite playable in
, . . . .
,
t h e firs t position The key is G and the time i s .

,
exceptionally easy
R I E D I N G O S KA R “
.
,
I mpromptu in C ( Breitkopf 2 3
.
,
.
net) A tuneful piece and one which will please th ose

.
,
w h o prefer a pretty a n d simple melody

R O EC K EL J o s L
.
M in uetto all Antico (Ashdown

, . .
’
A most tuneful piece — the only point that arises

for discussion i s the interval of a perfect fifth being used
se v eral times ; for instance on the seventh line o f vi o lin
par t
This is always one o f those little di fficulties that th e

young player finds awkward unless he h as a knowledge ,
o f the positions and then o f course by playing th e

higher note harmonic the difficulty disappears— but
, , ,
when he is confined to the first positio n it is necessary to ,
place the finger (in this case the third ) well be twee n the
26 S E LE CT E D VI O L I N S O LO S ,
strings and no t to mo v e the finger from on e stri n g to

the other as is generally attempted
SAI N T G E O RG E L ancien R egi m e S uite
.
-
G , .
’
( A u ge n e r I S n et ) This
, charming
. suite re a
.ches the full
limit o f di fficul t y in this grade and is a considerabl e ,
j ump from G rade A

S I TT HA N S “
.
,
Arietta ( Bos worth
. c an be ,
.
recommended as a good an d easy piece

S I T T HA N S “
.
”
, Bagatelle The key
is G minor and time twelve eight I t must be remem -
.
bered that all these di ff erences in time an d key signatures .
are o f great momen t to the student especially a s the ,
exercises found in mos t methods are confined to the most

si m ple keys and times so th at any deviation from them ,
creates food for new t hought ; and this is where these

smaller pieces are SO be n eficial and help to ensure a ,
better and fuller knowledge of the elemen tary intricacies

in music
S I TT HA N S
.
,
L a n d li c h e r T a n z ( Boswor t h and C c
. .
,
a pretty flowin g movemen t in three four time -

.
T h ere is sufficien t v ariety o f bo wi n g to ma k e i t good

practice
S U TC L I FFE WA L L A C E “
.
Country D ance ( L e n gn i c k
, .
,
A j olly and bright t wo four movemen t in D -

'
maj or There is n othing commonplace about it I n th e

. .
s econd part in G minor it is better to S lur t h us :

, ,
S eparate bows would most probably resul t in inequali t y

o ftone
T A YL O R W F An albu m o f four operatic pieces
.
“ “L ucia di L ammermoor “L
,
. .
,
including M artha a ”
fi gl i a del R eggimento “
and R obert l e D iable ( D ona
”
,
,
,
j o wsk i 6d ne t ) The airs chosen are favouri t es and t h e

, . .
,
keys are easy I n this case th ere will be foun d some of

.
those awkward intervals alluded t o mo ther instances .

AN D HOW TO P LAY T H E M . 2 7
"
Fo r example we have in L ucia a diminished fifth B

, , ,
to F wh ic h necessitates moving t h e first finger forward

for the B —all sm all d e ta i l s which are so often overlooked
,
T R O U S S EL L E J S altarella ( C hanot
, . There ,
are no t many pieces of t his style written so easily and

confined to the first position This form of music i s .
always popular especially to those who like pieces of a

,
bright character I n the openi n g bars t h e bowing as

.
,
marked is v ery e ffective T h e succession of the four u p

,
.
bows is practically one up b o w divided into four parts ,
making a very short rest be t ween each without lifting ,
the b o w from the stri n gs .
The high C which frequentl y occurs followed by F

, ,
sharp ( first finger o n the E string ) can easily be played ,
with the extension o f the fourth finger The pizzicat o .
chord
must be played quickly with the right h an d first finger , ,
s o that the e ffect is as i f the three n otes were played
simultaneously
“
.
VE R ME G N inna N a nna
, . A lullaby
-
in G maj or I n o n e or t wo places the time will give

.
trouble especially the part wi t h t h e rests ot h erwise th e

, ,
notes are easy enough .

G R AD E c .
E A SY U S I N G F I RS T A N D T H I R D PO S I T I O N S
,
.
A E R T S F Troisi e me Air V arié ( Cranz

,
. A ”
,
d ecidedly brillian t little solo in which the promising ,
pupil c an shin e The I n tr o d u c ti o n a short S al t arell o

.
, '
movement possesses o n e di fficulty as regards bowing

and that I s in the ex e cution of the ch o rd as i n the first
, ,
t wo bars
A p owerful up bow stroke should be given t o the chord ,
bringing the b o w to the middle and very little b o w ,
used for the semiquavers and quavers then the half b o w ,
for the dotted crochet in the beginn ing o f the second b a r

“
.
I n the Theme the accents on the thi rd be a t m ust be

”
well obser v ed and th e quavers played with a light and

,
b rig h t stroke The two variations and finale can be played

.
i n the middle of th e b o w and as indicated the s p eed , , ,
gradually increased right up to the end

A LE TT E R W Plainte d A m o u r ( B osworth
.
, . A ’
p athetic melody which r e quires a lot o f expression a n d

pur i ty o f tone to give i t the j ust i ce it deserves
AU STI N HARO LD
.
, P ensées Tristes .
( Ashdown ,
A very pretty drawing room piece I n the commence .
ment the ph rasing is n ot quite clear the bowing would ,
be better th us
AN D H OW TO P LAY T H E M . 29
A m i m e/e .
again in the sec o n d strain
I n the Allegro assai the B in following e xample

,
is
m eant to be rep e ated and sh ould be bo wed :
there are other small instances that can easily be rectified ,
and do not in th e least detract from the value of th e

piece which is well writt en
BACH W M
.
,
,
'
Chant d A m o u r
.
( S wan ’
is a ,
pleasing melody chiefly confined to the G s tring and ,
most useful for acquiring the use o f the first and third
position s
B O CC H E R I N I M en uett arranged by R i c h d H o ff
.
. .
,
mann ( Zimmermann This celebrated composition

,
i s known to most players in fact o n e might safely sa y to

, ,
all This particular arrangemen t is very good

“
B O RE L LI C Au M oulin
. .
, . A p r e tty and
characteristic piece The dotted n otes are mostly to b e
.
played with separate bows and should be kept well to ,
the point of the bow The first bar of violin part

.
,
an d other si m ilar bars that follow should commence ,
with th e down bow near the point I n the second part

, .
th e melody is very e ffective on the G string but there is ,
n o o cc a sion to exceed the third posi t ion D elicate play .

i ng is required throughout and all the stacca t o passag e s ,
must be very light and neat

BORELLI C
.
J u b ile e,
M
I arch.
( Chanot This ,
spirited march which was dedicated to her late M aj esty

V ictoria i s also published for t wo violins and
, ,
Q ueen
p i ano and three violins and piano with cello and bass
,
’
a d li b All these arrangements are good The march 1 8

. .
melodious throughout an d easy to play , .
C H ES S I V I N C E N z o ,
S erenate V eneziana ( B reitkopf
.
,
1 s 4 d net
.
).is good for acquiring
, t he practice of changing
from first to third position
“
D A N G L A C H A S L e P eti t P apillon ( G ould and Co
.
. .
, ,
A graceful little movement in three four time -

.
The succession o f down bows in the second part can be

taken near the heel of the b o w and do not need to be too ,
short ; the quaver rest in betwe e n each note gives a mple

time to lift the bow The last four bars of this part .
( page three fourth line ) are

, marked
but it is j ust as e ffective played with separate bo ws ,
slurring t h e first two notes as indicated in the unde r

marking and is considerably easier to play
“
D A V I D F E RD I N A N D Barcarolle ( Chanot
.
,
, This .
,
is a well kno wn piece and i s generally liked fo r its ,
pleasan t an d flowing movement besides being go o d

pract i ce for the first and th ird positions
,
D AV I D F E R D I N A N D
.
, Berceuse ( Chanot is one .

,
of those clinging melodies so liked by lovers o f t h e violin ,
a n d require s plenty o f expression The n otes are eas y .
enough
“
D I E H L L Ma z u re sk a ( Chanot
.
,
. A bright ,
little piece with a variety of slurred bowings th a t will

,
require special attention to play nea t ly The dotted .
notes as
I n the first bar the Whole bow should be used and in th e

second half the bow for the first two notes —about two
,
inches for the detach ed quaver and the lower half fo r ,
the do t ted cr o tchet The same applies for the third an d

.
fourth bars with the exception that care mus t be taken

,
a t the fourth bar to have enough bow for the tied note .
On the fifth bar commences a very important cr esce ndo .
G reat attention must be paid to t h ese tied notes tha t ,
they are not broken in any way otherwise the e ffect is ,
lost .The piano part is mos t clever and interesting

throughout an d shows true musicianly skill ; in fact this
, ,
piece might better be described as a d ne t for violin and

p
“V irelai ( S wan
I an o
E L GA R E D W A R D
.
and C o
quite out o f the ordinary run o f easy p i eces
. .
, ,
There is a .
s o lidity o f construction that even th e inexperienced

player must appreciate ; neither does it tax one s power s ’
in the interpretation The char m is with th e composi

.
tion and requires no fancy colouring from the play e r

,
.
The piano accompaniment is quite simple but contain s ,

’
that freshness so noted in this clever composer s work
N o comment i s necessary as regards the execution o f th e
.
violin part I t speaks for itself

F O R S T E R A L B A N M usical P icture B ook O p 9
. .
H
.
, .
,
( B reitko p f and arte ] 3 s net ) There are twenty two -
p i ctures i n the form o f twent y two s h ort characteristi c

. .
, ,
pieces These pieces present a splendid variety and are

.
,
i nvaluable for sight reading a nd time generally They

are essentiall y duets fo r pian o and violin and though th e
.
pian o takes a prominent part it is quite within t he reach

of the ordinary amateur .
AN D Ho w To P LAY T H E M .
33
GAN N C M ,
Gavotte ( Chanot
. . A piece ,
which will be found quite to the taste o f those wh o like a

piece with a s wing to it
G A U T I E R LEO N A R D “
.
D o n aj o wsk i
,
Caprice ( ”
.
’
,
One might style this a regular boy s piece something ,
that he can go for with an easy rhyth m and plenty of ,
tune The c h ords are simple and e ffective and withal i t

i s not comm o n p lace
.
,
G I LI S A N T “ F e te H ongroise Op 1 1 8 in D ( Brei t
.
.
,
.
, ,
kopf 1 s 4 d net ) c a n be described as a brilliant and easy

,
. .
,
fantasia W i t h its sixteen bars of pompous introduction

.
,
the Tern d A ndanti no the variation and F inale A llegr o

-
,
Vzvo it may be o l d fashioned but all the same there is

’
-
, ,
plenty o f life in it and a melody that any o n e ca n under

stand One must always remember that there are
.
a large percentage o f students who h ave n ot been

b rought up in a musical atmosphere and who find music ,
o f a deeper or more solid nature quite unpalatable and ,
i t is only when t h ey have obtained a certain mastery of

the instrument that one c a n commence a more decided
,
developmen t o f the musical education I t is impossible .

,
even unkind to force it S tudents must be made to l o ve

,
.
th e instrument and be encouraged and helped in every

way T h ose who possess t hat natural musical ability
.
will soon learn to appreciate good music and tho ugh ,
their taste for the lighter and commonplace kind may

h ave deserted them they must remember the old adage ,
that they had to learn to walk before they could run and ,
that these pieces o f simple construction were i n s t rumental

in helping them to obtain a mastery over their violin
G I LI S A N T “F e te V illageois Op 1 1 7 ( B reitkopf
.
. .
, , ,
I S
.
4 d net
.
) is a brilliant,
and easy fantasia and is a n
excellent piece of its kind A short introduction follo wed .

,
by the theme o n e variation and finale are all takin g

, ,
and written in a plain straightforward manner A piece , .
that will be sure to give encouragement to pupils

G RA EN ER P A U L
.
P etite S uite I talienne ( D ona

I S net ) An in teresting set o f t hree pieces
.
,
j o w s k i , . . .
The three movements comprise a G on doliera C hanson ,
D
34, S E LE CT E D V I O LI N S O L O S ,
N apolitaine and D an se des , This suite c an B ersaglieri .
b est be recommended as a set o f duets for violin and

piano for both parts are equally nice Th e V iolin part c an
be played in t h e first pos i tion but the fingerin g is fo r
.
,
the first and th ird positions an d IS much preferable

,
G R A Z I A N I WA L T E R
.
,
S egui d illa Op 2 8 2 ( B reitkopf

I S 4 d net ) S hort brigh t and ”merry
. .
, ,
. . .
, , .
G R I TTO N J W Bourrée ( F W Chan ot an d

,
. . . .
S on s ,
an exceptionally well written piece The .
bowing claims the player s minute at t ention for the ’
phrasing given does n ot allow o f any alteration a n d t he ,
various slurs and dotted notes must all be well accounted fo r .
G U A R N I E RI F D E Tarantelle M ignonne
,
. Op 7 .
, .
( Chanot ,I t I s very brilliant an d easy to play and 1 8
also g o od practice for acquiring th e practical use o f the

third pos i tion The groups o f four quavers which.
,
occur in the maj or Tran quillo are quite easily under ,
stood I n the practice o f s uch pieces care must always

.
, .
be taken to practice slowly s o as t o acquire a sure render ,
ing of all the notes Q uick practice will only result in .
untidy and sloven ly playing .
G Y DE M ,
D anse Antiqu e ( L e n gn i c k
. A ,
pretty gavotte movement in G The use o f the third .
position in the trio is advisable o n account o f th e change ,
o f key to E flat
H A A K MA N J J A C Q U E S
.
, Berceuse .
( Chas W ool . .
h ouse ,
A charming and artistic composition As .
in all this composer s works the bowing and fingering is ’
most explicitly marked

HAA R”M A N J J A C Q U E S
.
, Twelve C har a cteristic

. .
P ieces Op 1 0 ( published in o n e albu m by M essrs

, . .
N ovello 2 s 6d n et ), . Th e pieces are all short and o n e

. .
,
might add sweet each being o n e page violin part The

, ,
.
titles will give an idea o f the fund o f variety Oriental

S ong Barcarolle Th e R eveille Pastorale The W ave
S upplication A L ittle S tory E ve n So ng S p r ing S ong
, , , , ,
S acred S on g The S yren P atriotic H ymn The clev e r

, , , ,
.
, ,
ness of their construction together with the sweetness and ,
freshness of th e m e lodies recom m end th is albu m in the ,

A N D H OW To P L AY TH E M .
35
h ighest manner possible to all young players The bowing .
a n d fingering throughout ha v e been carefully attended t o

HA N DE L
.
F antasia ( Bosworth is good ,
practice for crossing the strings neatly and quickly an d ,
t h e whole piece must be played with the upper part of

the b o w making a smart stroke I t is the sort o f piece
,
.
to give a freer use of the bow

HAY D N Gipsy R ondo from first Trio ( B oswo rth
.
”
.
,
an d This celebrated piece con sisting chiefly o f ,
semiquavers i s better played more in the middle o f the

,
b o w and with a lighter stroke

HAY WA RD C F L A V E L L A S ummer S on g ( D on a
.
,
. .
,
j o w s k i ,
will suit those who like a good slow melody .
The piano accompaniment is o f the simplest

H E N RY J HA R O L D L iebeslied ( S t Cecilia Co
.
”
. . .
, .
,
V ery graceful and pretty The bowing and fingering .
given are explicit enough I t is a piece that can be soon .
learned and will be of great use to the amat e ur who has

,
occasion to play to friends

H E R R M A N N T H Au Bal a V alse Caprice Op 80
.
, .
, , .
(
. S chott and C o T uneful and brig
. h t
, A ligh t .
b o w arm is neces sary ; for instance in the commence

-
,
'
ment of the valse t h e b o w must be lifted off the string

for the quaver rests :
4
’ i h ;
but need n ot be for the crotchet rests This raising the .
bow will be foun d even mor e di fficult wit h the chords in

the second part
“
.
J E N SE N G M azurka ( Cary and Co 2 3 net ) A

, . .
, . .
good e ffect can be made with this piece i f playe d

brightl y I n the commencement
,
.
3 6 S E LE CT E D V I O L I N S O L O S ,
The crochet is better played as a quaver lifting , th e

bow and making a quaver rest before th e G I n . th e
fourth bar we have
which c a n either be played in th e first position putting th e ,
first finger between the A and E strings o r fingering the

F in the third position and slidi n g down to the B with
,
the fir st finger .
JE N SE N G
, . S erenata A piece that
c a n be highly recommended in this grade it being o f ,
great assistance in acquiring a k n o wl e d ge o f the uses of

the first and third p ositions At the same time the .
pleasant flowing melody will be appreciated

K A I SE R W I L H E L M
.
,
D er S ch afer un d die S c h a fe r i n
.
( S chott and C o 25 net ). T ,

h e chief
. feature o f this
. piec e
is the pizzicato with the left ha n d which seems at first

sight rather o u t of place in so easy a piece H owever
,
.
,
the pizzicato in question only occurs o n o n e note i e the , . .

,
third space C o n the A string and can be easily played

, ,
either with the third o r fourth finger o f the left hand .
The e ffect produced will be highly appreciated by th e

j uvenile performer
LA TA RCH E A N D R E
.
,
D anse V illageoise . M ay ,
P ole D ance ( Cary 2 S net ) A s the title implies t h is

, . .
,
.
piece i s of the lively order I n the first four bars o f violin .
part
th e third an d fourth bars are better p laye d as m a rke d

37
in quotation and not separate bows as in copy The

, ,
.
bowing throughout must be light

“
L A T A R G H E A N DR E The V illage P iper “a rustic”
.
.
, ,
s ketch ( J ohn Blockley A piece with a catchy,
m elody very sui t able for class teaching The bowing is .
p lainly marked and is easy thro ug h out

L OC A T E LLI
.
,
S arabande and Allegro S cherzoso

.
( S chott ,
though comparatively easy is in teresting , ,
and quite above the average teaching piece

“
M A R C H I SI O G B A u x C h amps E lys e es P olka
.
'
. .
, ,
G alop ( A sc h e r b e r g As the title implies this is a

, ,
piece of the light order easy to play a n d at the same , ,
time possessing a good swinging melody

Berceuse S lave O p 4 N o 2 ( Bos
.
ML Y N A R S K I E ,
.
”
,
.
,
.
wort h and Co A plaintive melody easy o f e x e c u

, ,
tion and giving full scope to t he expressive player A

,
.
piece that is very e ffective played with the mute

M O FF A TT A LFRE D A charming arrangemen t o f si x
.
o l d S cotch airs ( Breitkopf I S 4 d net

.
,
T e si x include
“ ) h , . . .
Bonnie wee thi n g 2 The F lowers 0 the F orest ’
“ “ “
1
L L
. .
, ,
”
ord G regory Y Banks and Braes ord
“ 5
e
3 4
L o v a tt s L ament
. . .
, ,
’
6 Auld R obin Gray
,
. Th e .
m usicianly wa y in which they are treated recommend

them hig h ly They are dear old melodies
. .
Mo sz x o ws x r P assepied arranged by F ranz R ies

H
.
,
( E atzfeld A piece t h at is a gen eral favourite

“
M U R D OC H W M A C KE N Z I E W averley a F antasia
. .
,
. .
, ,
o n S cotch airs ( R eyn olds and Co F or an easy and .

,
e ffective F antasia t h is is to be highly recommended The .
solo comprises four pages violin part and in troduces ,
four fairly well known favourite S cotch airs besides a ,
s hort introduction and a good finale The n a t ural .
harmonics on t h e second page though playable in the ,
first position will be foun d di fficult C are must be taken

, .
to l e t the fi n gers fall lig h tly on the strings an d th e ,
c rossing o f t h e strings with the bow must be very easy and
free keeping the wrist supple ; any sti ffness in the b o w

,
arm would be fatal The series of down bows in the two

.
f our movement should be played near the heel o f th e

b o w The variation which constitutes the finale is bes t

.
played in th e middle o f t h e bow wi t h a good broa d ,
tone
PAP I N I G H istoriette Can t il e ne O p 7 5 N o 2
.
.
- . .
, , ,
( Chanot an d S on s c a n be d escribed as a c h armin g

,
and m elodious piece a perfec t d eli g h t to those wh o lik e ,
a g ood slow m elody

“
P A P I N I G L a B elle N apolitaine S econd Tarantella
.
.
, , ,
O p 1 0 8 ( Chanot
.
I t is rarely one c an find a
,
tarantelle that does no t exceed the third posi t ion and i s ,
at the same time brillian t and pretty wit h out being com
m o n pl ac e The di fficulty in this par t icular on e lies in th e
“
.
bowin g which might well be described as fanciful

,
n n o n ze i s even a better description

‘
Taking t h e co m .
m e n c e m e n t a phrase which I s repeated several times we

, ,
have :
I t is intended tha t the succession up bows b e o f

played as if in o n e b o w divided into three parts : these ,
t h ree parts are not of equal length a s the natural crescendo

that ar i ses from an ascending passage entails th e use and
,
increase o f more bow B etween each slur there is a .
decided rest j ust su fficiently lo n g to detach each up b o w

,
fr o m the other I n the se v enth line page two o f violin

.
,
part the syncopated time will wan t special atten t ion also
, ,
the two successive down bows whic h in this case requir e ,
the bow to be lifted bet ween each so as to give th e ,
necessary force for th e accent T h e cantabile move .
ment in A maj or o n p a ge three will be foun d di fficult as

regards time owing to t he coun ter r h yth m in piano part
, .
I t is easier to count o n e in a bar On the fourth and .
last page the accented n otes a r e prominent features and ,
must be carefully adhered to T h e finish is brilliant i f .

,
somewhat n o isy
“
PA RT RI D G E H G G avotte ( Ashdown
.
, . is a .
,
harmony bel o nging to this old world m usic th at I s very

ch arming and has done so much good I n hel ping young
studen ts to appreciate a bette r class of mus i c Again
,
.
,
as a scholastic piece nothing could be better chosen for

“ ,
t h e advancement of plain bowing and freedom o f

”
s ty l e
“
H A N S G a o tte ( B osworth and C
.
S ITT, v o .
,
This i s a charming piece with a cleve r accompaniment

SQU IRE W H “
.
, B ou rree Op
. .
4 4 A
( g ) , . 2 , s . u ene r .
This is quite a n e w piece and writ t en in this composer s

,
’
well known pleasing style ; though originally written for

-
the cello it is equally e ffective for the violin an d

’
, ,
contains that variety o f me lody s o essential to the

fur t herance o f the young student s progress Taking ’
.
t he first two an d a h alf bars of the violin part there ,
arises o n e o f those little details in ordin ary bowing that

are so O ften misunderstood by students and amateurs
wh o are unable t o obtain the guidance o f a professor ,
t hough the marking to most is quite obvious

[Vo l /o Vw a ce .
The first chord should be c ommenced at th e h eel o f the

bow lifting the b o w o ff t he strin gs for t he rest th e
, ,
quaver G being played in the middl e o f the bow ,
bringing it towards the heel ready for the nex t chord

The two n otes at A and B m ust be played lightly
.
lifting t he bow after each n ote F our bars further o n

“ ,
.
”
care mus t be taken with th e sliding from G to
harmonic D and again back to open D ; in b oth cases
,
t his glissando is done wi t h the fourth finger

STE R N A “
.
P ensée F ugitiv e n d W C h ester

, .
(J a . .
,
A sweet li t tle drawing ro o m pi ece that can be e ffectively

played with the use O f the thir d position though a more
,
advanced fingering i s marked The patheti c natur e o f .
the melody will appeal to all l o vers o f s l o w pieces .

AND Ho w To PL A Y T H E M .
4 1
TH URN , G EO .Te mpo di Me n u e tto O p 1 2 N o ,

.
,
. 2
( S chott , A very well wri t ten piece The bars as : .
should be played in the middle of th e b o w an d it is not ,
necessary for t h e bow to be lifted f r om the string

TO L H U RST H “
.
A F ragment ( S wan and C o

,
. .
,
An andante movement in D maj or S pecially r e c o m .
mended for acquiring t h e proper uses of th e first and

t h ird positions T he melody is easy and flowing
T O LH U R S T H An Album L eaf ( D o n aj o wsk i
. .
.
, ,
T h is i s one of those flowing melodies so popul ar with

all and one t h at helps the player to more confidence an d
,
conduces to a firmer and purer tone N o explanation .
is necessary t he bowing and fingering are o f the simplest

T O LH U R S T H
.
,
D reamland ( D o n aj o wsk i
,
”
.
,
is an appropriate title for a charming melody it is very

easy and migh t be placed under the heading of letter A
, ,
but for t h e necessity fo r u si n g th e third position

“
'
T O LH U R S T H
.
M arch in D ( S wan and C o

,
. .
,
T h ere is a good swinging melody to this M arch that c an

be well appreciated T h e dotted notes must be played .
brightly an d the rest between strictly obser ved in fact

, ,
this rest is the means by which the brightness is obtained .
The flat line covering the two notes is very often used
for this bowing instead of the slur and m o re fully ,
represents t h at the two notes are played in o n e bow ,
though a d ecided s t op is made between each and more ,
over that the bow is not to be lifted fro m the strings

T O LH U R S T H P arfait A m o u r
.
,
, (
. J oseph W illiams ,
is to be recommended for its simplicity The .
fingering etc is well indicated

, .
,
.
T R Ew S ,
Bluette ( E dwin Ashdown
. Fo r ,
such an easy piece it is an interesting c o n p o si ti o n I n .
the opening bars a slight alteration can be made with

.
a dvantage The violin part is as follows
.
S E LE C T E D VI O LI N S O L O S ,
A [legr e tta
B y making th e crotchets at A and B quavers followed b y ,
a quaver rest heaviness of execution i s avoided ; there

,
are many similar bars throughout this piece where this ,
little alteration can be adopted

V O L T I A M A U RI C E “
.
, . The G ay Toreador a B olero

.
,
( J ohn Blockley B rilliant

, easy melodious and , , ,
e ffective describes this piece

WA L E N N G E R A L D “
.
,
,
S cherzand o E tude
.
makes a b rillian t little piece besides being an excellen t ,
study T he first and latter par t is written a la mot o

.
perpetu o ( semiquavers ) an d the intervening slow move,
ment i s a considerable i mpro v ement and relieves the ,
tediu m o f th e incessant run o f semiquavers which so ,
often becomes monoton ous

“
WA R N E R H E E vensong O p 3 0 ( S chott 1 3 6d
.
. . . .
, .
, ,
is o n e o f those pretty pieces so well a d apted to the

et
,)
third posi t ion one in w h ich the st udent finds the benefit
,
o f ch a nging position s .
43
S E CT I O N II .
G RAD E D .
M O DE R A T E L Y D I FFI C U L T N OT EX C E E D I N G T H E ,
THIRD Po sI T I O N .
A LE TT ER W , Auf Capri Tarantella ( B osworth

.
, ,
a bright little piece a n d one th at will create a good

e ff ect if played neatly I n the second bar of the V iolin
,
part th e two D s shoul d be detached with the up b o w

.
A [l eg r o m o a ce .
This bowing also applies to ot h er similar bars a n d ,
a gain in the Trio the fi rst bar s h ould be played in th e

,
o n e bow j ust detach i n g the quaver at th e end

B LOC K J O S E P H
,
“ P etite F a n ta i si e H ongroise
.
, . Op ,
.
2 1 ( L a u d y and C o A fi rs t rate solo well within

.
,
-
,
the bounds o f the third posi t ion but a composition that ,
requires all those grada t ion s of tone so necessary to a

good interpretation o f th is particular kind of music .
The introduction (allegro ) which consists o f three ,
cadenzas must be played very large and bold decreasing

, ,
th e tone as t he p h rase descends and making a slight ,
r i tar d at the end I n the Andante which follows th e

.
,
divisi on o f the bow wi ll give some trouble I n the third .
a nd fourth bars we have

A n d a n te .
This can be arranged quite easily by taking the first

n ote wi t h the upper half of the bow and the two quavers
with about one third at the point —o r e v e n b e tte r the
,
-
, ,
whole t wo bars played in the middle of th e bow using ,
h alf as much b o w for t h e quavers as the dotted crotchets .
T he mo de r ate must be played with a bright stroke ,
a n d not too fast The al legr o mod e r a te requires lightness

.
o f bowing and also especial atten t ion to t h e cr e sce ndos and

,
sudden pi anos The a l legr e vi vace in two four time

.
\ ,
-
,
requires plenty o f spirited playing and the time c an be ,
gradually accelerated right up to t h e finish .
B O G G ET T I E P izzicato R omantique ( Zim m ermann

“
.
, ,
is pretty and graceful and as light music is good ,
also for the practice o f pizzicato

B R O W N J A s Allemande ( Cary
.
'
A brigh t
an d S parkling composition I t should be played with
.
, ,
h
t e upper part o f t h e b o w with a bright stroke — the
staccato must n o t be too heavy in the slow part .
C IPOLLON E A L FO N so S erenata S pagnolia

I S
.
,
( Breitkopf , 4 d net ) . Those who like

. the
. S panish
style will find this piece pleasing and with very little ,
practice it makes an e ffecti v e solo

“
.
CORELLI P relude and Gigue from the N inth

S onata ( Chanot edited by P apini requires more
, ,
serious study The P relude demands a full breadth

.
of tone the general fault of amateurs is to play it much

too quickly and thereby lose the beauti ful solemnity
,
intended N either must the G igue be taken too fast

.
,
but a go o d steady four beats to a bar The phrasing is .
not easy and will require careful practice to master the

rather intricate bowings —slovenly bowing and an a v oid
,
ance o f the actual bowings marked is fatal to a good

.
“
performan ce L ike the P relude breadth is required , ,
a n d the bow must not be stin ted The triplet passages .

,
t wo notes slurred an d o n e bowed shou ld be kept in the ,
middle o f the b o w the separate bow being played lightly

, ,
s o as to avoid an unnatural accent This i s a s tandard .
piece and well worth careful study

D A N G LA C H A S
.
,
, Berceuse ( Chanot
.
,
AN D H OW TO PL A Y T H E M .
45
graceful and pretty piece At the end o f the first part

a g oo d e ffect i s made with the pizzicato with th e left
.
h a nd
I n the secon d bar the F

should be played on the E
—
string fifth position the open D pizzicato is easiest
with the fi rst fi n ge r— th e only di fficulty is to keep th e
,
high F well sustained This transgression to the fi fth

.
position only occurs once ; all the other part can be

played in the third an d is plain ly marke d
,
.
D A N C LA C H A s
,
. The third S uite Op 1 2 3 ( S chott and
,
.
Co comprisi n g six pretty and graceful pieces

“
. .
,
N o 1 P etite E tude Me l o d i q u e commen cing :

. .
”
,
I t will be seen that in the second bar the C sharp is .
taken with the fi st finge ; this i s kn own as the back

‘
r r
extension and is used to avoid crossing the strings or

moving o u t of the position As in all extensions great
.
,
care must be ta ken not to move the hand otherwise ,
faulty intonation will su rely be the result I n t h e second .
part o f this melody we have :
The bow must be well lifted during the crotchet rest ,
commencing each bow about four inches from the k ee l

d o not hi t t h e string but rather stroke it ; a very goo d
,
46 S E LE CT E D V I O L I N S O L OS ,
ffect is obtained in this wa y These consecutive do wn

“
e .
b ows are used in the P etite P olonaise the secon d ,
piece of this suite The commencement of >th e third

.
p i e ce P etit
,
R ondo ,
is practically a series o f six u p bows The above shoul d -

.
be commenced at the l o wer h alf o f the b o w raising it ,
after each note and letting i t travel as though it were o n

the string during the semiquaver rest I n t h e fourth .
piece F ragmen t de S onate the passage which occurs

,
”
,
o n the third line from the bottom o f t h e page violi

( n
part ) S h o uld be in the second position thus : ,
0 4 2 1 0 4 2
N o Barc a r o lle is quite pl a in sailing till the l a st

.
5 .
,
line when we have two bars o f natural harmonics

wh i ch S hould be written thus
, ,
The e ffect produ ced by raising the finger l ightl y on

th e se harm o nic n o tes i s as foll o ws
I f the finger is put in exactly the spot where th e s e

notes a re usually found in the third position n o di fficulty ,
will b e found in the pr o duction o f the harmonics N o 6 . . .

4 8 S E L E CT E D V I O LI N S O L OS ,
G ita n a by F B eh r and Gavotte by J H W allis

, .
, , . . .
A ll si x pieces are deservedly called p opular and t h e ,
arranger has taken great pains to facilitate t heir e x e c u

tion by t he e x plicit bowings and fi n ge r i n gs given .
E L LE R TO N G U S TAV Z in garesca Op 1 5 ( B osworth

, .
,
.
,
This might be described as easy and brilliant I t .
is quite free fro m any di fficulties o r intricacies in bowing ‘
an d fingering The ch ords o n page two .
should be played with plenty o f b o w lifting th e bow

—
,
well between each o e do n ot hit th e strings but rather

n
stroke them letting the bow travel swift ly— this will
,
avoid any scratchin g

F A U L K E s W I L LI A M
.
P olo n aise
, ( Ash down 4 s .
,
.
A dashing sort o f piece very easy to play

F R A N K E H E R M A N N An album o f S ix Characteristic
, .
.
,
P ieces O p 6 3 ( B reitkopf 3 5 net ) The S i x include

L
.
,
.
, .
No 1 S cherzo an d I ntermezzo No 2 egende

“
. . . . . .
No 3 M azurka N o 4 P relude an d F ugue

“
N o 5 W edding M arch N o 6 R hapso d y The y “
. . . . . .
. . . . . .
are all most suitable to this grade and are well calculated ,
to please amateurs who like music o f a more serious kin d

and n ot too di fficult E ach piece i s melodious and wel l .
worked o u t They are better described a s duets for

.
“
piano an d violin as the part for piano is no ordinar y ,
accompanimen t though quite easy

F O X C H A RLE S E astern S e renade ( G ould and C o
.
,
p o ssesses a plaintive melody with easy piano ,
accompaniment
“
.
G E R MA N E D WA R D P astorale and B ourrée ( Chanot

, ,
3 5 each
.
) Two clever
. pieces They were originally .
intended for oboe b ut are if anything better fitted for th e

V iolin ; both possess that particular charm o f brightness
,
s o well known to this composer s work

’
-
.
AN D Ho w TO P LAY T H E M .
49
G U A R N I E RI F DE,
L a S é rénade d A r l e q u i n
. .
’
( Chanot ,
requires no particular suggestion as to the
method of playing wi t h the exception o f two bars which
,
occur four separate times and make their first app e arance ,
o n the t h ird line of violin part th ey should be fingered :
2 4 8 2 4 2 2 4
A graceful melody is retained throughout and the easy

C h ords at the end “
,
make a brilliant finish .
”
G U RLIT T C , L an d l i c h e r Tanze
.
( g
A u ene r ,
T h is li t tle dance is good for acquiring o r increasing

speed Both the fingers o f the left hand and the bow
.
arm require to be very nimble to give the desired

e ffect to the semiquaver passages though it is almost ,
a fixed rule to practise all passages requiring brilliancy

and speed very slowly at first to get each phrase note ,
perfect P ractising at high speed especi a lly anyth ing

.
,
n ew will only lame and tire the fingers with the result
, ,
that the e xecution becomes slovenly

“
HA N N L E W I S S érénade A n gel i q u e (L a u d y
.
, .
,
This piece lends itsel f t o plenty of e xpression I n s t yle .
it i s like the well known I ntermezzo from C avalleria

-
R usticana o f M ascagni and requires a good roun d ,
tone. I n the middle there occur eight bars that mus t

be taken somewhat quicker in fact it would be better
“
and more correct to say Tempo R ubato I give the
, ,
first bar as the bowing marked is rather misleading to

,
t he unin itiated :
The two flat lines over the E and D signify that they
are to be heavily detached in the s am e bow—not stacc a to .
Th e last four are dotted so the question arises as to ,
E
whether they a re to be played staccato and what kin d ,
must be used I n the ordinary way these four notes

.
,
would be played staccato with th e b o w well to the

s tring — “ ,
known as th e stacca to but the word leggiero

“
qualifies this an d makes i t into the flying s taccato
,
t h at I s though the four n otes are played I n the one bow

,
t h e bow le a ve s th e string after each n ote I n a piece o f .
this character such bowing requires neat handling an d

, ,
i t would be better to slur t hese n otes t h an to splutter al l

over the strings The e ff ect o f th is bowing i s good and
.
,
l ike all good t h ings worth acquiring , S eparate practic e .
o f th e o n e bar quoted usin g about ten to twelve inches

,
o f the middle o f th e bow will soon help to overcome the

,
d i fficulty I n the third bar i t is advisable to omit the

.
d ots entirely
H A U S E R M V alse Op 5 0 N o 5 ( C ran z and C o
.
. . .
, , , .
,
This is a very dain t y little piece and much c a n b e ,
made o f it in the hands of a player with artistic feeli n g .
I n the second strain we have :
cr es. 3 0 2
The under phrasing is the original but i t will be seen ,
that in the upper I have omitted the shake in third

bar an d in the second bar the j ump fro m the low A to
,
the G c a n be greatly facilitated by using the third posi

tion for the G an d crossing t he D string O f course thi s .
is the easier way t he original intention i s to play the G

in second bar in the fifth position then the shake is qui te ,
playable Another awkward j ump occurs between th e

.
twelft h a nd thirteenth bars of this part

AN D H OW TO P LAY T H E M .
5 1
in which the b o w must cross the A string very

d e xterously ; this will be found more di fficult than usual
o n account of t h e j ump coming at the end o f a rather
long slur
H AYD N Mo to Perpetuo arranged by G uid o
.
L ike most pieces in th is style i t

. ,
P apini ( L a u d y , ,
makes good practice for the wrist I n the introduction .
t h e high A c an be played harmonic o n the A string

t hus :
I n practising these moto perpetuos it is advisable to c o m

mence slowly keeping a good even t one an d time
,
throughout and acquiring the wh ole piece note perfect

,
before attempting any speed Whatever ; unless o n e follows

o u t this rule the notes will be indistinct a n d ge t j umbled
,
i
u p together and the practice do more harm than good

H E N RI J AC Q U E S “ L égende Amoureuse ( S chott
.
,
”
, .
,
The melody is very pleasant and considerable ,
e ffect c a n be made wit h this pretty piece The flat lin e .
“
over the notes A in first fe w bars indicates th at the
n otes must be gently detached one from another— i n fact
, ,
in such a delicate phrase the d etachin g o f the n otes ,
sh ould only be j ust percep t ible

“
H E N RY J H A R O L D B olero
.
, . . This is a
b rilliant piece an d will suit t h e fancy of those who like
,
music of a lig h ter style All is plain sailing

“
H E N RY J H AR O LD D e u x i em e M azurka ( Chanot
. .
. .
,
a n d S ons , This composer has that rare gift of

writing a pleasing an d original melody and in this ,
iece we have f his best e ff orts The ’
p o n e o e x e cu .
t ion of this bright little piece is simple enough ,
and the bowing given is all that i t should be A

-
.
passage o f sixteen bars of open harmonics is very

e ff ecti ve
, and will b e found most taki ng for small
c oncerts .
5 2 S E L E CT E D V I O LI N S O L O S ,
H O F MAN N , RICH D ( Zimmermann

.
“P olish D ance ,
B righ t and lively The dotted notes must be

played very neatly n ot too S hort but with j u st su ffi cien t
.
'
, ,
rest between the dotted semiquaver and t h e d e m i se m i

quaver that follows to make it bright and distinct
“
H O F M A N N R I C H D S h adow D ance from M eyer
.
,
.
, ,
beer s D inorah
’
The arrangemen t of thi s sweet and
.
graceful melody leaves nothing t o be desired I t alway s .
i s an d always will be fascinating

, , .
, D anse Cracovienne ( Zimmer .
m ann , a taking little solo o f th e mazurka type and

o n e that requires brigh t b owing The dotted n otes must .
be nice and crisp without any harshness a n d to attain ,
this the wrist must be quite free an d the bow move

lightly o n the strings A contrast c a n be made in th e .
i n l e n to with the chord which must be well sustaine d

p ,
and a good full t o ne produced I t is o n e o f those little .
solos that are so e ffective at small concerts

J A N ZA L “
.
”
Concertino Op 5 4 ( C ran z and C o
I S 6d net) N othing c an be better in th e s tuden t s
.
, .
, .
,
’
. . .
early training than composition s of this kind especially ,
when written so carefully and with the evident purp o se ,
of furthering their progress The th ree m o vemen ts .
Allegro m o derato in D P oco a dagio in F and t he R ond o

in D —are all melodious and never once overstep th e
, ,
bounds o f plain bowing and fingering ; all tends to th e

enlargement o f ton e and style an d is in every wa y ,
extremely helpful I t c a n be highly recommended fo r.
students concerts An orchestral accompaniment can

’
.
be obtained
K L A S S ERT M A R T I N “ F rohe L aune G avotte O p
.
. .
, , ,
39 ( S chot t and C o is n o t only melodious b

. u t
, ,
very well written an d makes a good piece where plain ,
bowing only is required

L EI DER I T z F R A N Z “
.
R omance B arcar o lle ( C hano t

This is o n e of those S imple and flowing
.
, ,
and S ons ,
melodies s o easily understood by all and which a r e o f ,
great assistance to the young student

LE O N C A VA LL O R S érénade ( Car y and
.
,
. A
AN D H O \V TO P LAY T H E M .
53
C harming little piece w h ich lends itself to plenty o f

e xpression T h e only di fficulty will be found in the
.
C h anges o f key
M O FF A T A D anse P aysanne ( S chott
.
, . Th e ,
first par t as marked should be played at the heel o f the

b o w about five or S ix i nches fro m the nut
, ,
,
V ery little .
b o w is required but it must be light though it is n ot, ,
n ecessary to lif t it o ff the strings The musette part .
must have the full length of the bow and be soft and ,
sweet T h e c h ords are best with the lower part o f the

.
bow lifti ng i t after each o n e so that they are produced

, ,
brig h tly I t is a well written piece and will well repay

.
,
careful study making a pretty an d light solo

“
M O FF A T A Gavotte in D minor ( S chott
, .
.
, ,
Quite the ancient style of gavotte an d makes a very

taking piece The pian o part is C lever and musicianly
,
.
,
and adds greatly to the general e ffect

“
M O S Z K O W S KI S arabande arranged by F ran z R ies
.
H
,
( atzfeld 2 s net
) A piece that requires breadth of tone ;
the slow tempo gives plenty of scope to S how the player s
. .
,
’
powers in this dir e ction I t i s in every way suitable fo r .
playing in church
“
N A R D I N I P I E T R O Adagio in A maj or edited by
.
.
, ,
G uido P apini (J oseph W illiams T h ere is always ,
something very satisfying about this old master and ,
t his particular arrangement is undoubtedly t he best .
P apini has added additional charm to it by th e excellen t

p hrasing and C lever piano accompanimen t As regards .
execution the di fficulty lies in the expression and the

,
beauty of tone required for it is essentially music that ,
gives full scope to the player s artistic temperament ’
P A P I N I G Aria from E lij ah“

.
, .
”
I f with all your ,
h earts
”
( Chanot M usic suitable for S unday
,
play
ing is s o mewhat di fficult to find T h is beautiful arrange .
m ent is a gem to players who c a n produce a good tone .
The pian o accompaniment is even more effective for the

o" rgan or harmonium This is also well arranged for
cello and pian o by L eo S tern
.
“
P A P I N I G An arrangement o f L e R ossignol a
.
, .
,
54
. S E LE CT E D VI O L I N S O L O S
well known R ussian Air ( Chanot Th e eigh t bars

“
-
,
introduction Allegro c o n fuoco

, for the piano is , ,
i mmediately followed by an Andantino in th e solo part

which commences with two bars o f semiquaver triplets .
I t must be understoo d that the wh ole e ffect o f t his piec e

would be marred by a too strict adherence to th e time
for instance these two bars :
are better commen ced with E a n accelerando and finished
with a rallentando on the last eight or nine notes ,
w h ich lead to th e plaintive mel ody a matter of

S ixteen bars and is followed by the pi n me sse This
,
, . .
movemen t c a n be taken considerably faster in fact the

speed ma y be increased up to the allegro which is
,
repetition o f t h e in troduction accompanied by the

violin After this th e melody occurs aga i n o n the G
,
stri n g The F inale or ra t her th e last thirteen bars

.
, ,
should be bright and vigorous finishing with a good f

PAP I N I G “ L es V iolettes I nterlude (S t Cecilia
, .
”
. .
, ,
M usic P ublishing C o is o n e o f th is composer s

.
,
’
happy efforts th e execution is not di fficult th e sweet

, ,
flowing melody commands graceful bowing and the

fl owing arpeggio accompan i ment considerably helps
,
The tone must not be forced and a light stroke o f the b o w ,
used letting it pass quickly over the strings S low and

,
.
heavy bowing would at once spoil the effect

PE T H E R I C K A DA F “
.
Barcarolle (Ashdown
A pretty drawing room piece C leverly written I n the
.
, ,
first bar and in all S imilar bars very little b o w shoul d

.
,
, ,
be used for the separate n otes

P U R C E LL H E N RY “
.
,
Ayres and Da nces B o o k I I
.
,
bo w . I n the t h ird piece there are long passages ,

L A ve u,
’
of separate b o w ( quavers ) and th ough th e passage i s

marked ca n passi o ne it is better portioned o ff thus : ,
’
’
A n a a n tzn o .
R U B I N STE I N .
“M elody in F ( D o n aj o wsk i ,
This is an arrangemen t o f this favourite melody by

J. E M. a ll an d a i n e The fingering is not marked .an d ,
there are o ne o r two places where a slight explanation i s

necessary for instance in the V iolin part
, ,
Mo a e r a to
.
’
.
The changes from the first to the thi rd positions are

necessary to enable o n e to render the passage smo o thly
S CH M E L I N G M ART I N ,
S panish D ance ( Bosworth
”
.
a nd C o A charming little piece with i ts variety of

—
.
,
expression The n otes are easy enough the di fficulty

.
lies in the brilliancy o f their execution

S CH U B E RT “
.
A ve M aria ”
arranged by R ich ard
H ofmann (J ul H e n r Zimmermann ) This arrangement
.
,
.
. .
,
which is in D is a ll that c an be desired

S CH U MAN N F irst So nata ( A u ge n e r I S net) is
.
,
mos t C harming
.
.
, ,
S C H U M A NN T r a u m e re i
.
”
arranged by F E ,
. .
Ma l l an d a i n e ( D o n aj o wsk i There is n o fingering ,
marked in this edition b u t the melody appeals to a free ,
u se of the first and third positions so there is hard l y a n

y ,
Occasion for more explicit marking .

A N D H O W T o PL A Y T H E M .
57
J EAN BAPT I STE

S E N A L L I E, S arabande and Alle .
mande edited by A M o ffat ( S chott

”
, Both move
.
,
ments are written in the old world style The S arabande -

.
,
which is in A min or requires a good breadth of tone

,
and will well repay o n e with careful study especially as ,
regards the s h akes which require great finish : for

,
e xample in the t h ird bar we have :

,
which should played
The Allemande mus t be played with plenty o f spirit

and with a good bright stroke o f the bow— movement is
re q uired A heavy bow arm will not do there must
.
,
always be life in each b o w T o attain this rather .

,
exaggerate th e length o f each b o w used and practice at a ,
very moderate ra t e ; by so doing th e piece is invaluable

not only as a solo but for giving a better freedo m and
,
style to the b o w .
S O M ER V E L L A R T H U R
, S uite o f four P ieces ( J oseph
.
W illiams 2 5 net ) The first o f these four movements

, . .
is a P relude in D maj or M olto Adagio and a large and , ,
full tone is required There is n o fingering marked a n d

.
,
to any o ne well acquainted with the the first and third

positions n o d i ffi c ul ty would be found ; but as these
, .
remarks are addressed to the student there are o n e or ,
two bars in which a hin t as to the proper fingering will

be useful Commencing with the first two bars :
.
5 8 S E LE C T E D VI O L I N S O L O S
,
,
The ch a nge to the first position in the second bar is .
made to facili t ate the smoothness of the two notes that

follow As regards the bowing a whole b o w sh ould be
.
,
used for the first bow and the two quavers played with
,
the upper third part of the bow three parts o f the b o w ,
for each stroke in the sec o nd bar I n the sec o nd lin e .
of violin part we h ave
an d again in th e fourth line the fingering sh o uld be as

foll o ws
.
The wh o le movement which is m elodi o us requires t o b e

,
,
played in a maj estic manner with the tone well sustained, .
The secon d movement S cherzo i s a great contrast to

”
, ,
the former and i s a pretty and light two four moveme n t

, -
in G minor finishing in the tonic maj or

“
, .
The th ird movement R omance is in D minor All

”
, , .
the d o tted notes as at the pe ce agi ta te :

,
A n d a n te .
sh ould be played in o n e bow and with very fe w e x ce p , ,
ti o ns two bows sh ould be used in each bar F or

instance o n the S ixth line we have the following which
, .
, ,
sh o uld be bowed thus :

H V
L ess sustaining power is required for this m o v eme n t ,

_
AN D Ho w T o P L AY T H E M .
59
and the bowing should be considerably lighter and more

flowing than in the first movement The last movemen t
“
.
is a spirited B ourree ”
in D I n the maj o r the .
m ordents on the A and D are better in the thir d

position :
The bowing must be bright All the four movemen t s .
a re wel l written and will give pleasure to the student

who prefers music of a C lassical nature
,
TO L H U R ST H
.
, F orget me no t ( D o n aj o wsk i - -
,
A pleasing Andante an d very easy to play , Twice th e .
third posi t ion is exceeded but in each case ther e will not ,
be found any di fficulty

TO LH U RST H “
.
L Eto i le d A m o ur ( D o n aj o wsk i
’ ’
.
, ,
is another of t h is composer s happy e fforts a simple ’
m elody simply treated one that appeals to the ear o f the ,
young student and does so much to further an d

,
encourage his advancement

T O LH U R S T H “
.
, S ous l e Balcon ( D o n aj o wsk i

.
,
A very pretty A n d a n te i n common t ime B oth the fi n ge r .
ing and bowing are good I t is also a very good piec e .
for the student to acquire a knowledge of the uses of th e

first an d third positions
T O LH U RS T H
.
, Tarantella (
. Ashdown A ,
good little solo of t he brilliant type This is one in .
which the n o t es tumble under o ne s fingers as it were in

’
, ,
the most comfortable manner S uch a piece as this does .
much to encourage the timid and nervous pupil

TO LH U RST H
.
”
,
V alse Caprice
.
( D o n aj o wsk i ,
This graceful and pretty waltz c a n be highly r e c o m

mended ; the b owing and fingering given are excellent
“
.
T R O U S E L L E J O SE F
”
, The B umble Bee a Caprice
.
-
,
( S t. Cecilia M usic P ublishing C o Th e title is .

,
appropriate I n the first two bars we have the sh akes

.
60
'
S E LE CT E D V I O LI N S O L O S
Co n so r d zm
' ’
P
'
i
'
“ 1
w 4
A good e ffect is obtained by given th e second note C a

slight accent to S ho w the summit o f the crescendo .
Throughout this piece th e gr e sc e n d o s and di minuendos

take an i mportant part and must be carefully studied , .
The arpeggios c a n be played legato with a light bow ,
and do n ot absolutely require to be played staccato as

marked Th e movement throughout after the two bars
.
,
q uoted , is in semiquaver triplets which require great ,
equality I n the h ands of a player of ordinary ability

.
,
and o n e wh o takes the trouble to observe a ll the expres

sion marks this is an excell ent sh ort solo
, .
T R O U S EL L E J O SE F ,
P olacca O p 2 0 0 ( J ohn
.
,
.
Blockley , A capital little solo for small concerts .
I t is full o f fire and s pirit and there are no awkward ,
passages to contend with

“
V E R D I F antasia on Traviata arranged by F lavell
.
H ayward ( E D o n aj o wsk i
.
,
. contains the principal ,
a n d favourite me lodies most tastefully arranged with a ,
brilliant finale movement in semiquavers The w hole is .
well with in the reach and is j us t under t h e fingers ,

.
C onsiderable e ffect c an be made with such a piece

WA H L S T E F A N J U N R
.
, F antasia appassionata
, .
( Zimmermann An excellen
,
t piece for encouraging
t h e young player I t commences with a pretty pastoral
.
movement in A maj or followed by a graceful waltz and , ,
then a bright semiquaver movement leading into a fe w ,
bars reminiscent o f the pastoral introduction The .
whole piece c a n be effectively played in the first and

third positions though more advanced fingering is gi v en
,
i n some places The bowing and time are easy

WA L E N N G E R A L D “
. .
,
C hanson Tyrolienne ( S chott
. ,
M elodious throughout The legato passages all .
tend to help in the acquirement o f a smooth tone .

AN D Ho w TO P L AY T H E M . 61
G RAD E E .
M O D E R A T E LY D I FF I CU L T A S , FA R AS THE F I FT H P O S I T I O N . _
A CCO L A Y Concertino in A minor ( S chott

.
,
O ne of the most popular and brillian t concert pieces and ,
well within the grasp o f the amateur N o t only is a .
continuous and flowing melody maintained throughout ,
but th e variety o f movemen t s and di fferent kinds of bow

ing enhance the value as a scholas t ic piece ; in fact it is .
very di ffi cult to fin d such an all round good piece o n e -

,
that is sure to give pleasure to all

A E RT S F “
.
F ourth Air V arie ( C ranz and C o

, . .
,
A showy little concert piece consisting of I ntro

duction Andante a good broad s olo then Tema with a
, , , ,
precise melody that lends itself t o variations an d takes .
the ear at first hearin g The two variations the first in

.
,
triplets and the second in the form o f a polacca move

,
ment then an Adagio in th e tonic min or in twelve

,
eight time followed by a brilliant finale all go to

, ,
make up t h e necessary ingredients of a brilliant concert

piece of the type pleasin g to the not too classical tas t e
A LT H A U S B A S I L “ P remi e re C oncertino
.
”
, .
( L a ud
y ,
A v ery useful teaching piece

A LT H A U S BAS I L “
.
S econd Con certino Op 7 2

,
.
, .
( Chano t One
, o f those composi t ions s o useful to
both professor and pupil The first movement a llegr o .
,
maeste se requires good breadth o f tone

, C ommencing at .
the eighth li n e o f the violin part there i s a semiquaver

movement T h is is perhaps th e most di fficult part as
.
regards the fingering a good knowledge of the first fo u r

,
62
f
. S E LE CT E D V I O LI N S O L O S ,
position s being n ecessary The second m ovemen t

a nd an te is easy us i ng the first
.
,
,
and third position an d
, ,
will be found extremely grateful to play The last move

ment al legr o gi oce so in the form O f a tarentelle is lively
.
, , , ,
an d with strict attention to t h e bowing and fingering

g i v en is n ot very
,
alarming I n all s uch m ovements .
slow an d careful practice i s the rule and by so doing

brilliancy and sureness o f inton a t ion i s acquired Quic k
, ,
slap dash practice only results in slovenly bowing an d

-
bad intonation
ANDER J UL “
.
Au P rintemps Chant san s paroles

, .
, ,
O p 6 3 ( B osworth and Co
. is very effective fo r .
,
d ra win g room playing and not to o long

-
S uch pieces as ,
.
this h elp to give performers confidence i n their powers ,
the easy interpretations helpin g them t o readily produce a

better quality o f tone
BOH M C
.
Capricci o ( B osworth and Co

, . .
,
This is m ore o f a m o to perpetuo the semiquaver triplets

carr y ing o u t th e melod y righ t through as in first bar
,
The arpeggios i n th e m aj or are very e ffective a n d if the ,
whole piece i s taken a t a good speed one h a s a capita l

little solo especi ally suitable as an encore piece
BO H M C P erpetuu m M obile O p 1 8 7 ( B oswort h
.
. .
, ,
and Co This is a piece tha t requires delicate

.
,
bowin g in fact the springing bow (sautillé ) must be used

, ,
h r o u gh o u t The ex t ension is freely used as in the firs t

tb ar .
,
se m pr e sta cca to .
This p a rticular bar c an be taken as a separate study ,
b e ing careful to keep the sec o nd finger G d o wn whil e , ,

64 S E LE CT E D VI O L I N S O L O S ,
books the firs t book con t aining six S onatas 3 s 6 d net

, ,
. . .
All si x sonatas are not only excellent p ractice in every

way but are highly interesting fro m a musical point o f
V iew O f course to study the whole si x sonatas o n e
,
.
,
after the other would be a mistake in many ways .
M oreover the technical di fficulties contained in each o n e

are S imilar
,
Careful study o f at least o n e of t hese sonatas will

convey to the student the purity o f their constructi o n
‘
and open up a C learer view o f musical expression I n

,
all th e G r a ve an d A d agi o movements great sonority o f

tone is required I n the Allegro and F ugues in which
C hord passages are frequen t a careful avoidance o f all
.
,
coarseness must be observed —the three n ote ch o rds such

,
.
,
as in the A llegro movement of the first So nata

0 1 0
2 8 1
must be played with great bread t h the three n o tes being ,
l
p y a ed s i mu l tane o usly and not as arpeggios This o f .
,
course entails separate study the best method b e ing to

, ,
take o n e ch ord at a time and try to sustain it t he Whole

length o f the bow This is m o re easily acquired by
.
keeping the bow n ear the fingerboard an d using a go o d ,
firm and strong pressure I n the lighter movements suc h

.
,
a s th e vi vace in the second S onat a
the spring b o w sh o uld be used with th e the gre a test delicacy .
I n this edition these light moveme” nts are all c a refully

marked with the word “ leggiero therefore in othe r
m o vements where this is no t s o the ordinar y brigh t
,
staccato stroke may be used an d wi l l be fo und in c o n

,
f o rmity with the character of the music

C O R E L LI A
.
T h ree S uites edited by D avid ( Breit

, .
AN D Ho w T o P L AY T H E M . 65
k o pf and H artel 2 s net ) This edition is the best of

,
. .
these well known pieces F or acquiring more t o ne a n d .
breadth they are excellent and a re specially r e co m ,
mended to those who are unable to o bt a in an ac co m

p a n i s t . The marks of expression given together with ,
bowings and fi n ge r i n gs are a ll that can be desired

D A N CLA C H AS “ , .
,
P etite E cole de la M elodie
. Op , .
1 23
( S chott and C o An album con taining.eight
,
short pieces o f a varied character This prolific com .
poser h as done an en ormous lot of pioneer work for the

young violinist and his music generally finds favour
, .
The first o f these pieces P etite E tude M élodique is a

graceful legato movement i n common time On the
, ,
n inth bar the two down bows are played with the lower
half o f the b o w lifting the bow during the crotchet rest
, .
The harmonic E at the end c an either be played on the

A or E string ; i f the la t ter the fourth finger should b e
used N o 2
.
“ P etite P olonaise
. . Again we h ave th e
,
succession of down bows which c a n be played near t h e

heel I n the first bar t he second note must be slightly
.
accented I n the second part the fo llowing passage

. .
Co n pa ssi o n e . -
N
The staccato bowing with the bow well to the string can
be used o r what is known as the ricochet or flying
s t accato N o 3
,
“ P etit R ondo A very light stroke
,
The first S ix notes are played

. . . .
o f the bow is required .
with the up b o w commencing about the middle o f the

,
bow raising the bow after eac h note an d letting it travel

, ,
in its upward motion during the rest t h e same amoun t of

bow as required for the notes N o 4 “ F ragmen t de . . .
S onate a matter
”
, o f plain b o wing also the pretty ,
Barcarolle N o 5
”
No 6
,
P etit air V arié
.
”
make s
. . .
,
a brilliant small solo The bowing and fingering are .
easy to understand N o 7 is a P olka in which the

”
. .
,
use of successive down bows is freely used N o 8 . . .
F
M azurka These eight pieces will be foun d m o st

.
encouraging to young players and will give th e m a ,
be t ter insight to a freer u se of the bow

D O N I Z E TT I L a F ille d u R egi ment F antasie by
.
. .
J .B S i n
g
. e l é e ( S chott an d C o A brilliant solo o f .
,
the old fashioned type suitable for small concerts

-
E L GA R E D w
, .
S ursum Corda Op 1 1 Tran

”
scribed by F L S chneider ( S chott and C o 2 s net )

. . .
, ,
. . . .
, .
This beautiful composition which is taken from th e ,
original work for strings brass an d organ i s also suitabl e , , ,
for playing in church Only players with more serious .
ideas should attempt t o play it

“
F R A N KE G U S TA V O ffertoire O p 1 1 ( B oosey an d
.
. .
, ,
C o 2 3 net )
.
, . A g o od Andante R eligioso e ffective eithe r
.
,
with pian o or organ accompaniment The first part is .
best o n the G string as far as the eleventh bar The .
fingering o f the third fourth fifth and sixth bars are , ,
best :
3
G S tr i n g . 1 3 0
On th e second page the would be very ,

“grandi o s o
effective played i n octaves .
GAN N C E C I L ,
Caprice ( W oolhouse. An ,
extremely graceful piece A little j udicious mana gemen t .
of the bow i s required in the semiquaver passages Th e .
commencement will give an idea of the form o f melody

in the first part
The bow may be lifted fo r th e staccato note at the end o f

second bar and must be made to fl o w easily avoiding the
, ,
heel and point The cr o tch e t as in third bar o f quota

.
,
AN D Ho w To P LAY TH EM . 67
tion must be in keeping with the preceding n o tes an d

, ,
not over accented ; for this reason a very light stroke

m ust be given I n the racne me sse canta bi le which is in F
maj or care must be taken n ot to bre a k th e s y ncop a ted
.
, ,
bars by putting any accent o n the beat

G A B RI E LL I L
.
,Gavotte des D emoiselles ( S chott

.
a n d Co .
,is o f a light nature an d a piece quite above ,
t h e average of this style of composition i f due a ttention

i s paid to the marks of expression indicated B ey o n d .
the passage which occurs o n the third line and which

s hould be fingered
and played with great force the di fficulties lie in the ,
neatness of execution I t is a piece that must be played

.
with great taste or its intended pretty e ffect i s quite

,
l ost
“
.
G E R MAN E B ourrée and G igue from M uch Ado

, .
,
about N ot h ing ( N ovello 2 s 6 d net ) The freshness , . . .
and brilliancy so well kn own in this comp o ser s music is

-
’
t o be found in these two d elightful pieces which are ,
arranged for violin an d piano by t h e composer himself

GOU NOD C “Airs de B allet B ook I from L a “
.
.
, .
, ,
R eine de S aba transcribed for the violin by Berthold

,
Tours ( M etzler A splendid transcription o f these

,
delightful airs I n o n e o r two cases the bowing i s n o t

quite C lear to begin with in the introduc t ion fifth bar
.
, , ,
w e have
T his can ei t her be played with the “ricoch et bowing ,
F2
68 S E LE CT E D V I O L I N S O L O S ,
rather better separate bows very lightly in the middl e

o r,
o f the b o w .
“ ,
I n the Andante that follows o n the fifth

”
,
b a r occurs
,
I nstead o f the d o t,
a flat line should have been placed
‘
‘
over the note so as to indicate t h at the notes are to b e

,
detached o n e from another but not staccato I n N o 2 ,

. .
we have the following graceful m ovement
which can be fingered as marked here continuing in a ,

.
similar style N o 3 : . .
must be played with energy and fire keeping towards the ,
lower half of the b ow

H A A K MA N J J A C Q U E S Ro mance I n F
.
, . .
( Chanot . ,
This is a good solid composition The execution of

i t will be found comparatively easy and most I nterest i ng
.
to study
HA D D O C K E B o urrée ( S chott
.
u Ire s a
,
.
re
q ,
AN D Ho w To P L AY T H E M . 69
s trong bow arm . In th e repetition o f the first strain we

h ave :
T hese chords must be played with a bright and swi ft

stroke gripping th e strings well before attacking them
‘
M ore difficult are the C hords in the minor

.
,
9
4
w hich must be treated in a like manner and play e d with ,
repose
H E N LE Y W M H ungarian R h apsody N o 1 (The
.
. .
, .
,
W illis M usic Cc I t is indeed rare to find a piece o f

.
,
t his kind written wit h in the bounds o f the first fi ve posi

tions and also easy enoug h to be played with success by
T h e melodies C hosen are general
,
t h e ordinary player .
favourites and are all well arranged

,
T h ere is a good .
deal of pizzicato with the left hand but as this only , ,
occurs o n open n otes this small di fficulty c an soon be ,
mastered There is plen t y of variety from grave to gay

. .
The former n ecessita t es a good free bow arm for instance , ,
I n suc h bars as
A d ag /0 m o tto .
a should be used for each note The s e miqu a ver

full b o w .
passages must be ligh t and dis t inct and played in the ,
middle o f the b o w in fact with the sau ti l le bowing I t is

’
a C lever solo and will find favour in the c o n cert room

.
, ,
H E R Z FE L D V I CTO R VO N
, .
,
H u n ga r i sc h e W eisen .
7 o S E LE CT E D VI O L I N SO LO S ,
( Breitkopf 3 )
s The temp o is A n d an ti no co n me te a n d
the piece IS o n e o f rich melody an d n ot o f the tearing an d
.
, ,
rushing order so usual with H un garian dances

,
All
depends o n the intensity o f express i on a n d good roun d
.
,
tone
“
.
H EY D R I C K H E R MA N N D ance E spagn o le ( S chott an d

, .
Co .
,
A dainty and fantastic piece I n the secon d .
part a ll such bars as

,
sh o uld be bowed a like never three separate bows

H U B AY J E N O “
.
S ous les Arbres O p 4 9 N o 3

B
. . . .
, , ,
osworth an d C A pretty little piece in S i x eight

( o -
t i me which gives the executant scope to display s o m e o f

.
,
that singin g quality so greatly admired by all

K ET T E N U S A L O YS
.
E legia Appassionata ( C han ot

is a piece that will repay ser i ous s tudy and help to
.
, ,
3s .
,
bring out the best qualities of the player and give plenty ,
o f sc o pe for g o od tone n o t only in strength but in th e ,
various g radations Throughout this piece the pi anos an d .
f o r tes must be strictly observed All sha d es o f expression

are carefully marked it rests entirely with the pla y er to
.
make o r mar such a piece

K R E U T Z E R The firs t movement of a sonata edited by
.
P apini ( Chanot The sonata is not only melodiou s

,
and interesting bu t the delicate phrasing will do much to

,
help the amateur to a better idea o f fingeri n g a nd bowing

other similar phrases which h e will encounter N eedles s .
to say Pa p i n i s arrangement o f the pian o part is m o st

,
’
tasteful
“
.
L A B A L A S T R I ER G D ance a la W atteau ( S chott an d

, .
Co 4s .
,
is quite in the light style o f playing and makes
.
,
a pleasing trifle for after dinner music One might clas s

it as L etter D but the u se o f the fifth position forbids
.
“
M A S C H E R O N I A N G E L O I n vocation ( S chott a n d C o
.
,
”
.
, .
, ,
2 s net
) requires a good deal of sentiment infused int o
this simple melody Th e n otes and bowing are eas y A S
.
,
. .
easy to understand The opening recitative contain s

.
s ome e ffective cadenzas which lie well under the fingers

, .
I t is a good solo for amateurs an d for con certs where the

t aste o f the audience is n ot very C lassical
O R T MA N S R E N E
.
, Con certino Op 1 2 ( S chott an d

.
, .
Co .
,
An excellent piece for students I t is bright .
and s h owy without being vulgar E xplanation o f the

, .
various passages is not necessary for from commence

‘
, ,
men t to finish it is such essentially violin music th at th e

,
merest n ovice could understand it O f technical d i ffi c u l .
ties there are few the one exception bein g the thirds and
i x th s on page 3 of V iolin part
,
.
, S econd C oncertino in D O p 1 4
.
, .
( S chott 5,
s
) is brilliant
. and e ffective written in a plain , ,
straightfo rward manner quite within the reach o f players

,
having a kn owledge o f third fourth an d fifth positions , .
The openin g ph rase should be played in a b o ld style :
The F at ( 1 ) is better played as a quaver making a qu aver ,
rest after in order to have time to lift the b o w for th e

,
sec o nd down b o w The shakes which occur l a ter

.
, ,
a re pl a y ed
AN D Ho w To P L AY T H E M .
73
The octave passages in the minor part sh o uld be p r ac

t i se d separately and mus t in al l cases not exceed two
,
strings for instance the following will take us as far as

,
the fifth position .
The e ffect intended would be lost if o n e crossed the

strings for the A .
The c h ords commencing the P i n M0 5 5 0 must be played

with a good free bow and plenty of tone
.
,
Third C oncertin o ( L au d y
.
,
A useful teaching piece which will considerably help to

,
wards produci n g a good broad tone

P A P I N I G U I D O Bourrée in G minor Op 1 1 0 ( Chanot
.
. .
, , ,
is one of t h ose brilliant pieces tha t require a brigh t

and lig h t bow arm I t is not speed that creates an effect
.
,
but the brilliancy of the strokes especially in such bars ,
a s the opening
Te mp o g zztsto
’
ai B o u r r ée
’
.
U se plenty o f b o w for th e staccato n otes at the en d o f the

bar so as to keep the b o w towards the middle
, The .
answering ph rase on the third and fourth bars i s most

e ffective o n th e G string ( as indicated ) and should be
played quite at the heel of t h e b o w The passage “
,
on .
”
two strings should be fingered
74. S E LE CT E D V I O LI N S O L O S ,
a n d a slig h t accelerando on th e first three bars co m pe n

sated by a rallentando on the fourth bar which leads to ,
the first subj ect I t is a composition well w or thy of care

.
ful interpret a tion and c an be recommended to artists as

,
an excellent encore piece as well as a good solo for all ,
players
“
.
PA P I N I G U I D O Gavotte Op 5 0 ( Chan ot 5 s T hi s
, .
, .
,
.
piece is written in a freer style than the ordinary Gavotte

and a light bow IS required I n the introduction the suc
,
cession o f si x up bows are more easily played as though o n e

up bow commencing at th e point and travelling as far as
,
the middle lifting the b o w between each n ote —( a fuller

,
explanation with illustration will be found in my book

“Advice to P upils and Teachers o f the V iolin ” S T R A D
, ,
'
L ibrary ) There is also another way of bowing t his pas

,
sage and that I s using a series of up bows near the heel

.
, , ,
lifting th e b o w b etween each a n d commencing each b o w ,
in the same place o r part o f the bow I n the second .
subj ect which is o f the M usette style there is plenty o f

, ,
opp o rtunity to displ a y good tone The finale P i n A ni .

,
ma te c a n be played in the middle o f the b o w making a

, ,
light stroke but not staccato a n d th e e ffect i s consider

, ,
ably increased by commencing pianissimo and gradually

working it up with a grand crescendo to the noisy and
easy C hords at the finish I t is an e ff ective and brillian t
.
solo
PAP I N I G U I D O
.
, Sa ltarella ( C hanot . A piece ,
in which so much depen ds o n a light an d dexterous b o w

arm n ot forgetting a supple and obedien t wrist S uccess
,
.
with this piece c a n easily be marred by an inferior o r '
C lumsy pianist fo r though the piano part cannot be called

,
di fficult it i s far removed from the ordinary run o f ac c o m

,
i m ts to this style of piece and requires nea t handling

“
p a n e n
P E I N I G E R O TTO The H umming Bird ( B oswor th

.
,
and C o 4 s 1 5 more o f a study for the spring bow or i t

.
,
.
, .
,
”
might be described as a moto perpetuo for the whole ,
piece is written in se m i q u a v e r s The chief di fficult y .
beyond this di fficult bowing is that the bow i s incessantl y

crossing the strings a s in first bar ,
AN D HOW TO P LAY THEM .
75
I t is very suitable as an encore piece especially i f p l ayed ,
a t a good speed and with brilliant bowing

R EI D I N G O S K A R U ngarische L ieder
.
Op 4 No 3
B H
.
,
.
, ,
( reitk o pf and a rtel This m a kes a very grace

,
ful little piece with its introduction in D min o r followed

, ,
by the Tema a plaintive m e lody in si eight The varia x-
tion is C lever and not commonplace

.
,
“
R E N T S C H E R N S T Three P ieces Op 1 3 ( B reitkopf
.
, .
,
.
,
I S
.
4 d
. net ) in the form
,
of a suite The first number i s .
a la M azourka foll o wed by an Adagio in which the

“imitations ” in the piano part are clever The third
, ,
and last is perhaps the most interesting in can on form ,

.
There o ccurs an awkward skip
S urety o f intonation c a n easily be acquired by practisin g

the S kip from the octave as shown above
“
R O S S I N I An operatic fantasia o n 1 1 Barbier de
28? .
,
by J B S i n ge l é e Op 6 9 ( S chott and Co
. .
, . .
,
en to the most uncultivated ear and o n e ,
i l l i a n t and e ffec t ive solo construct e d o n good

melodies Th e variations are most tasteful As in mos t
. .
of these excellent fantasias the fingering has been ,
att e nded to by P o ll i tz e r wh o has made all passages ,
quite clear
“
.
S A U RE T E M I LE
, M élodie O p 5 6 N o 2 ( Ash
.
,
.
, .
d o wn, A good sound melody that c an e asily b e

understood ; the secon d time the o cta ve is e ffective and ,
ent a ils the use o f the first third an d fifth positions

S A W YE R F R A N K J “
.
,
, S panish D ance (J and W

”
. . .
C hester , This s o lo might h a ve been classed unde r

D for the t h ird positi o n

,
is
never exceeded but taking ,
into consideration the speed pizzic a to chords etc a , ,

.
,
ra t her bet t er player i s required than o n e wh o has only

r eached the “ D stage The time is three eight
”
.
-
,
A l l egro Vi vace ,key D minor The pizzicato chords .
w h ich occur frequently in similar bars to th e opening

phrase
sh ould be played with th e first finger o f righ t hand h old ,
ing the bow with the remaining three fingers an d thumb ,
without altering the position of the hand s o as to be ,
i mmediately ready for th e ar ce I n th e first Tri o in

which the pian o takes the melody the V iolin has an
.
,
e asy semiquaver accompaniment that can be made very
e ffective provided that the n otes are kept perfectly

,
e qual and the marks o f expression strictly adhered to

S E I T Z F R E D E R I C K F ourth Concerto in D Op 1 5
.
.
, , .
u d y and C o One o f the interesting an d at the

( L a .
,
same time useful pieces I t abounds in good wholesome

.
melody and the di fficulties if such they may be called

,
c ould very well be classed under th e

“ ,
D sec t ion but in , ,

,
c onsideration of its being a piece t hat requires brilliancy ‘
of playing and breadth o f tone it is better placed a stage ,
higher I n the first movement the only quotation that it

.
Will be necessary to m a ke is the chord passage toward s

the end o f the first page
I n playing such chords one must be careful to a void

play i ng them to o S h ort ; use plenty of b o w— the l o wer
,
th i rd of the bow is the best . The last four ch ords in

AN D Ho w T o P L AY THE M .
77
above example should be given even more bow an d th e ,
bow well lifted between each There are some e ffective .
staccato passages t h at will require separate attenti o n ,
though fairly easy

The slow movement Andante con moto in F maj or
.
is very sweet and gives o pportunity to display a good

singing tone but will be found the eas i est as regard s
,
technical skill required The last movement Allegretto

in si x eight D maj or requires a light bow arm —i n fact
.
,
, , ,
all the staccato passages m ust be made with t he springing

bow The bowing throughout I s explicitly marked
an d there I s no passage that requ i res further comment
,
S I N G E L EE J B F antaisie P astorale O p 5 6
i
. .
, , .
( S chott and C o 6 5 An excellent concert p ece easy of

.
e xecution T h e I ntroduction I n D maj or is i n n ine eig h t

. .
,
time The melody I n natural harmonics I S most e ffective

The Th e me I n B flat :
. .
is very takin g I n t h e second bar and other similar bars

that follow i t will be necessary to lift the bow during
.
the sem i quaver rest commencing each down bow

,
towards the heel T h e variat i on which follows is very

,
graceful Then c o mes an Andante in G and th e F inal e

.
Allegretto :
The succession of down bows must be played short

and crisp at the h e el o f the bow This bright and lively .
movement works up to a splendid finis h

S I N I G A G LI A LE O N E “
.
S altarello Op 4 ( S chott
A brilliant piece the fingering i s fairly easy though a
.
, .
, ,
, ,
knowledge of the first five positi o ns i s necessary ; fo r

instance o n the third p a ge of violin p a rt third line

, , ,
fourth bar we have ,
2 0 2 1 2 4 8 4 8 1 3
8 4 8 1 2 1
S I TT , HA N S .in A minor “C oncertin o

( B osworth
a n d Co .
, N ine pages of good vi olin music There .
are three distinct movements 1 Allegretto 2 Andante , .

, .
,
nine eight ti me in E and 3 F inale Allegretto F rom

-
, . .
beginning to end there is a plentiful fl o w o f wh o lesome

melody and this composition is evidently intended as a
,
stepping stone to the more important concertos by R ode

and V iotti As a solo fo r school concerts it is excellent ;
.
for the in terpretation o f the various them e s is so palpably

portrayed that the student can manage to get a good c o n
c e p ti o n o f the work even from the short lessons and
,
practice usually vouchsafed them during sch ool time

ST RA D E L LA
.
P ieta S ign o re
.
( Chan o t This ,
piece is perhaps too well kn o wn for further commen t ,
but the present edition by G uido P apini is s o artistically

arranged that o n e would not like to feel that o n e had
missed s o beauti ful a solo As an Andan t e R eligioso .
it stands supreme for the solemnity o f melody an d ,
o ne c an seek far to fin d a better piece sui t able as a

voluntary ; the accompaniment lends itself equally
well for organ the twenty bars in tr o duction making
,
a g oo d solo for that instru ment As regards the violin .
part there are n o technical di fficulties in fact it i s n o t

, ,
necessary to exceed the third position though the ,
general e ffect is enhanced by a freer fingering an d use

o f the other positions E xpression an d good tone are .
the essentials to a good perf o rmance o f th is piece .

8o S E LE CT E D V I O L I N S O L O S ,
less classical style o f piece ; a good fantasia is not s o easy

to find am o ngst th e hundreds o f various arrangements
o f opera t ic melodies The old style with innumerable
.
, :
variations is somewhat out of date and to most is

, , ,
fa t iguing to play or listen to .
B ut there are some excellent arrangemen ts to be had

and a very cle v er one is this F an ta i si e o n W allace s
,
’
Ma r i tan a by G uido P apini Op 7 9 The commence

”
. .
, ,
ment is a series of gr a ce fu l p assage s more in the cadenz a

,
form as it will be found that it is impossible t o play any

,
o n e bar in s t rict time F or instance take the fourth and

.
,
fi fth bars o f violi n part
A repetition o f a ph rase though with di fferent n otes

,
,
would be very insipid played in the same tempo through

—
o ut m o reover this particular o n e leads to the first
climax therefore the most n a t ural thing required is an
,
accelerando which gives a sort of impetus to the run

,
that fo llows
e n in g the speed the last five n otes After the

on
“
.
the well known air

-
S cenes that ,
hich th e accompanimen t i s most

line o f the melody which ,
is pl a yed o n the G string . The s e c o nd p a rt intr o d uc e s

a n o th e r fa vourite
The repetiti o n of the melody is taken by the pian o the ,
v iolin part being a kind o f obbligato a series of fl o wing

p a ssages which o ne might al m ost call embr o ider y
,
”
.
The F in a le
which requires plenty of “go , w o rks up to the P e ce

pi n ni e sso :
a nd the e ffecti ve sudden pi a no at
F rom here each of these descending p a ssages sh ould

commence with the first finger The arpeggi o and .
chords at the en d make a brilliant finish

W E B E R A F antasia o n D er F r e i sch u tz by J B
.
.
, . .
S i n ge l é e ( S chott and C o makes a good solo for

.
,
G
popular concerts I t is built o n the recit and ari a known

“
. .
a s S oftly S ighs and other favourite airs The

, .
bowing an d fingering have been cleverly a tten ded to by

Po l l i tz e r
. Th ere are two graceful legat o variati o ns an d
an e ffective F i nale.
AN D Ho w To PL A Y THE M . 83
G RAD E F .
D I FFI C U LT ,
E S P E C I A L LY A s R E G A R D s S E N T I M E N T A N D
E XP RE S S I O N
.
A DE L M A N N
G Cavatine ( Chanot
, . a composi ,
t ion well worthy of careful study that is to sa y one that

, ,
will repay work apart from t he ordinary gain of know

,
l edge one expec t s from all compositions .
This piece makes a good study for expression an d ,
t here are o n e or two little points as regards natural ,
expression that c a n be illustrated here wit h advantage

, .
On the seventh lin e of violin part the second theme i s ,
introduced the first three bars o f which a re as follows :

,
I t will be n oticed tha t each of these three bars contain

exactly the same arrangement o f n otes as r egar d s va l ne ,
though the music itself is di fferent I n such an instance .
as this or in any similar progression of notes it will be

, ,
found that a n atural crescendo is necessary ; though it i s

not actually marked it is an understood law
, Thi s .
crescendo reaches i t s climax o n the fourth bar which i t ,
w ill be seen is marked f :

84 S E LE C T E D V I O LI N S O L OS ,
4 Co rd a.
The “
riten uto o n this fourth bar must be precede d
b y a slight accelerando This not only balances th e .
time but considerably adds to the m u sical taste an d feel

,
ing of the piece F urther evidences o f these two natural

.
l a ws will be found later o n .
The octaves and chord s in th e second part are b e s t

fingered
N h H
3
F
)
O
D t 0 N C
A
I
O
C
a
b 0
1 N C
3 2 4 3
2 1 3 2
A LT H AU S B AS I L
, . Pe t rovna ( J oseph W illiams ,
m akes a pleasing little solo both grave an d gay ; it is

written af ter the H u n g a rian style and rath er easier than
,
the general run o f this kind o f piece The artificial h ar .
m on i o s are n ot di fficult Care must be taken to hold th e

first fi nger down firmly an d the fourth very lightly— the
.
general fault is making t h e hand too rigid

A M BR O S I O A D
.
, . Aubade O p 1 7 ( Bosw o rth

,
’
.
,
.
,
O ne o f the daintiest little pieces to be found and naturally ,
requires dainty playin g I t is not a piece that o n e c a n

.
play in exactly strict ti m e Fo r instance in the c o m .

,
~
m e n ce m e n t
I V Co d e r
In the first two bars t h e time can be somewh a t sl o wer ,
the tempo followed by an accelerand o for the n e xt two

bars I n both cases t h is alter a tion in time i s very slight
. ,
a n d o nly su fficient to make a contrast All through o ut

—
.
th e tone m ust be allowed to flow freely n othing s t rained

or coarse This solo can be highly recommended a s an
.
e ncore piece
A M BRO S IO A D B erceuse O p 1 5 ( L au d y and
.
’
. .
, .
, ,
Co .
,
This is one o f this composer s c h arming melo ’
d i o u s pieces possessing that freshness o f style so welcome

,
to all musical ears I t requires great delicacy o f playing

.
,
a n d th e fingering i s n o t easy for instance the following : , ,
A n d a n te m e sso .
The pleasant melody lends itself to artistic e xpression

A M BR O Z I O A D “
.
R everie ( Bosworth and Co

,
.
’
.
.
,
A little gem in the hands o f a sympathetic player The .
“
d ifficulties lie in th e delicacy o f phrasing and the various
fi n ge r i n gs Though the wh ole piece can be played in the
.
third position the pretty e ffects gained by the u se of the

,
higher positions would be lost F or instance the first .

,
a n d second bars are to be played on the D string a nd c a n ,
be fingered either o f the two follo wing ways

2 A
M o st of these sh o rt phr a s e s a re confin e d to o ne string .

ANGELIS G DE
,
nfin. .
“
S euls Op 1 2 ( A u ge n e r
E , .
,
A dreamy kind o f melody that requires playing

with sentiment I t w o uld a lso be very e ffective wit h
.
organ accompaniment
A R N O LD M A U RI C E
.
Amerikanisches S tan d c h e n
H
.
,
( M instrel S erenade ) Op 3 (
2 B reitkopf and artel
, .
,
makes o n e of the sweetest little solos possible

“
B O R O W S KI F E L IX Adorati o n ( Chanot
.
,
”
. I have ,
spoken before in admiration o f this co mposer s work and ’
here again is another ex ample in which h e proves his

genius f o r writing “Adoration is a c o mposi t ion of th e
”
“
.
i mpassioned t ype similar to the An dante R eligioso o f

'
Thom e I t g i ves players plen ty o f scope for displaying

,
t o the full their capacity for producin g a fine tone

I t IS n o t th e tender o rder o f p i ece but one that requires
.
a robust t o ne though n o t rough Th e sixteen bars of

, .
‘
A l l egr o A gi ta te in the relative minor key working u p ,
t o a climax before reverting to the first subj ect are very

, ,
fine and will well repay t h e student or player for careful

,
practice
“
BO R O W S KI F E L IX B allet F é e r i q ue ( L au d y
.
, .
,
This graceful and charmi n g composition requires very

delicate fingering an d bowing A suspicion o f c o ars e ness .
.
would be fatal I n the first b a r

.
the E can either be played harmonic o r as fing e red in

quotation but o n the n inth bar and three bars f o llowin g
,
the fifth position m ust be used th us .

88 S E LE CT E D VI O LI N S O L O S ,
B y goi g at once to the fifth p o si t ion o n the F the d i ffi

n
,
culty is al l e v I ate d The harmonics ar e best played o n

the D str i ng so a s to a v o id crossing the strings
.
, .
O n second page l a st b a r in fourth line the pass a g e

, ,
sh o uld be fingered
This sol o with i ts charming fl o wing acc o mpanim e nt

c an b e rec om men ded for all kinds o f c o ncert pla y ing
, ,
V alse B rillante Op 2 5
.
D A N C LA C H A S L A b e i ll e
’
.
, , — , .
( S chott , This i s o n e o f those light concert pieces

which is sure t o cr ea te an e ffect A graceful melody .
,
a ttr a ctive chord passages not too di fficult also some , ,
pizzicato with the left hand also easy o f a ccess r e c o m , ,
m en d this as a brilliant and sh owy piece

“ “
R oman ce an d B olero (This i s a
.
DA N C LA C H A S
”
. .
,
foreign publication but c a n be obtained either o f A u ge n e r

,
o r S chott , T h is piece is full o f expression a n d in ;

cessant cha n ges o f tempo The ricochet bowi n g in the .
”
B o l e r o wi l l require some careful practice to do well ; also
the oct a ves occurri n g in the finale which must be played ,
quickly an d brilliantly to cause a good effect I t is a .
piece in th e lighter vein that will always be admired , .
The ma rks o f expression throughout are minute and a ,
careful o bservation o f them will decidedly help the player

t o a good inter p retation .
DA N CLA C H A S , Ro mance a nd M azurka Op

.
, .
( S ch ott This is a very e ffective concert piece f

“
I OO , or
a mateurs The R om ance i s a go o d fl o wi n g movement in”

comm o n time key D maj or followed b y th e M azurka “
.
, ,
in A I n o n e o r tw o places the fifth position is exceeded

.
,
but as they are only ordinary scale or arpeggi o passages ,
n o di ffi culty will b e found This M azurka is v e ry .
graceful The first fo u r b a rs will give an id ea of the

st y le
.
AN D Ho w To P LAY T H E M . 89
All the passages run easily under the fingers so that one ,
c a n rely o n a brillian t solo with o ut a great amount o f study
D A V I D F E R D I N A N D S al o n stu ck e including Op 2 4
.
”
. .
, , ,
25 2 8 and 3 6 published in o n e album comprising in all

twenty si x pieces ( Breitkopf and H artel 7 s
, , ,
-
S pace ,
.
will not permit me to enumerate each o n e o f these good

pieces ; it is su fficient t o extol the virtue o f th e D avid
sc h ool and mention that in this album we have a grand
,
lesson o n t h e natural beauties of violin playing There .
is n o striving after extraordinary e ffects all i s natural

what one might call real violin music There is a singular
S implici t y in all the bowings and a continual freshness
.
and variety in all th e melodies which cannot fail to be

appreciated The di fficulties vary from L etter E to G
.
,
t h ough most o f the pieces c an be placed under F ”
“
.
D E B ER I O T R ecreations ( L a u d y 2 5 net ) comprising

an album of five pieces enti t led S ouvenir in B flat
. .
,
in A L arghetto in
, , ,
”
Arioso in G , C a p r i c c i e tto
, , , ,
D and D uetto in G all o f which have been carefully

H H L
, , ,
e dited by
J arold . en ry ike D e B e r i o t s music we
.
’
fin d them all pretty an d graceful with always a pleasing ,
melody tho u gh it may not call for any especially deep

,
feeling D e B e r i o t s music is always an assistance to

.
’
the student in gaining a more artistic finish to h i s playing

— the interpretation is easy and the notes seem to tumble
L
,
”
s o comfortably under the fingers The Arioso . ar ,
ghetto and D uetto are excellen t for the practice o f

” ”
c hords . All is plain sailing the di fficulties c an soon be

overcome and this album be a ple a sing addition to one s ’
m usical librar y
,
.
D VO RA K ,
AN TO N I N .
“Ballade ( J oseph W illiams ,
is a solo that r e q u I r e s serious interpretation and a player ,
p o ssessing that power to gi v e the depth of “feeling an d

expression n ecessary T h e music is o f a fine order T h e
.
.
opening bars have a dirge like e ffect -
L e n to .
fe
>f > P
I n the A l leg ro a
g i
which follows plenty of relief and
ta te ,
variety is foun d the whole work making a fi n e solo fo r

,
the concert room and quite within th e reach of the

a v e r age pl a y er
,
D VO R A K A N TO N I N H umoreske An a rrange ment

.
, . .
by F abian R ehfeld ( L e n gn i c k No thing could b e

,
sweeter th a n this charming little piece in the hands o f an

artist I t is frequently played by that m agn i fi c e n t p l a y e r
.
’
'
F ritz K reisler I t requires the most delica t e playing

.
,
9
.
G ER MA N , E D WA R D .
“
B olero A br i l li an t
'
d uet , in which the pian o takes n o mean part . I

t i s full
o f fire , and the freshness o f t e h melodies adds to i ts valu e
as a fi r st-rate composition
C
.
H A A K MA N J J A Q U E,S A very
. e ffective and brillian t .
F antasia o n I rish Airs Op 1 6 ( Chas W oolh o use

”
, . .
,
T h e construction is o f a high order and the intro ,
d uction is both clever and interesting leading to one

o f th e dear o l d t unes The F inale “ On S t P atrick s.
,
,
.
’
D ay is well worked o u tf a n d makes a go o d short

”
, ,
and bright win d up The whole solo is especially .
a dapted for popular con certs I t is n o t one o f t h ose i n .
ter m inable fantasias so usual with this class o f music but

j ust a bright solo of four pages There is n o need for an y
,
quotations or explanation B oth bo wing a nd fingering .
a r e explicitly marked
“
.
H A A K MA N J J A C Q U E S , S ou venir Op 7 ( C h as Wo o l
. .
, . .
h ouse ,A go o d piece written by a good vi o linist , ,
a n d o n e that commands a full rich tone I n the sec o nd ,

.
p art the pian o accompan imen t is very full and a grand ,
effect c a n be obtained by a player possessing t h at rath e r

rare comm o dity tone ”
“
H E N LE Y W M Au M ois d A v r i l M elodie O p 1 6
.
,
’
. .
, .
, ,
A solo frequently played by the talent e d composer I t .
i s a melody that is sure to please and not too di ffi cult ,

.
The chord passages fa r i e se add the necessary movemen t , ,
to the piece
H E R M A N N F A P otpourri from W agner s L ohen
.
H
.
,
g rin ( B reitkopf and a rtel ) is all that ca n b e desired .
Th e seven pages o f violin part c o ntain all the principal

s ubje cts and are beautifully arrange d
,
b o th a s regards ,
c hoice of keys and the excellent fingering an d bowing .
One suggestion I might make an d that i s that in future , ,
e diti o ns the di ff erent tempos be printed with the usu a l
I talian expressions as well a s the G erman

“
H U B A Y J E N O Barcarolle Op 49 ( B oswo rth and
.
,
.
, .
,
Co .
, A piece with a singing melody requiring a ,
g o od free bow arm that i s capable o f producing the

fl o wing a nd liquid tone so essenti a l to this st y le o f piec e
,
.
AND Ho w To P L AY T H E M .
93
H U B AY , JENO
Op 1 0 N o 3 ( B osw o rt h
. L a F uite , .
, .
a nd Co This is an excellent piece as an encore

.
, .
There is a special c h arm about the apparent haste a nd

restless movement : it requires very neat handling an d ,
never ceasing flowing m o vement o f th e b o w as th e

-
,
o pening bars indicate :
The expression which mostly rests with the crescend o s

, ,
must be decided but not exaggerated E ach phrase it .

,
will be noticed commences pi ano

“
K I N S EY HA G U E S onata in G ( Chanot 45 net ) T h e
.
,
. .
, , .
music publisher o f to day has very little time to discuss -
the works of young c o mposers especially those o f chambe r ,
music O f manuscripts he h a s always a constant supply

.
coming from all parts and varying from the lively polka , ,
o r comic song t o the classical sonata o r string quartet

, .
I s it t h erefore to be wondered at that he cannot a fford

, ,
3
more than a cursory glance at anything quite new and ,
that a new n ame above all sh o uld have the least atten
, ,
tion I t is unfortunate for the rising genius an d also fo r

.
,
the public as m any a good co m position gets sh e lved if not

, ,
fo r good for many years that might not only have been
, ,
a pleasure to many but helped the composer o n h is road ,
to fame .
I n this S onata there is t h at spirit o f freshness o f

style and m elody that alone proclaims talent The first .
m ovement in G minor i s very brilliant and well worked

, ,
out T h e second A ndan te te ne r ai ne n te in E flat is very rich

.
, ,
in flowin g melody wit h clever and pleasi n g harmonics , .
The D eppi e mo vi men to supplying the scherzo part is very , ,
neatly introduced The last movement A llegr o gi e ce so

.
,
'
n asi G i a is original in construction T h i m fi f

'
q g , e t e te e n .
,
eight is certainly o f rare occurrence and imparts a

, ,
piquancy and go that is decidedly enj oyable This .

\
.
94 S E LE C T E D VI O LI N S O LO S ,
sonata will n o doubt find its way to t h e front an d meet

, , ,
with the success i t deserves

L EO N A R D H “
.
Andante e t Alle gro d e C o ncert O p

, .
, .
3 1 ,
N o I ( S c h ott 4 s 6 d
.
) A brigh t and showy
, solo that
. .
c a n be easily mas t ered The Andante gives every o p p o r .
tu n i ty o f displaying a good tone especially with the

C hords in th e pece ani mate which require the whole length
,
o f the b o w also the four demisemiquavers that follow

, .
There i s plenty of variety i n the Allegro and the only ,
d i fficulty t hat presents itself is in the staccato passages

“
LE O N A R D H M orceau de Concert O p 3 3 ( S chott
.
“ ,
. .
, ,
4 s . Three good pages o f real fiddle music All i s .
most easy to understand and the expression i s plainly ,
marked On t h e last page ( violin part) a good e ffect i s

.
obtained by playing the c h ords commencing :
"
each b a r alternately soft and l o ud .
G reat care must be taken to observe all these di fferen t

inflections o f expression which make this piece so fasc i ,
nating to the player and hearer

“
M A C KE N Z I E A C Benedictus ( N ovello) The sole m n
.
. . .
,
nature o f this well known solo requires m o st artistic -
playing
L a G r a cieuse (L a u d y
.
MA L K O F F A , . A piece o f ,
the dain ty order wri t ten after the style o f the celebrate d
,
M azurkas of VVi e n i awsk i Though considerably easier i t .

,
makes a ch arming solo for small concerts o r as an encore ,
piece The pian o part is easy another consideration

.
-
in its favour
M EYE R B E E R F antasia o“ n L es H uguenots
.
Th e
melodies from M eyerbeer 5 L es H uguenots have eve r
. .
” ’
been favourites so the F antasia founded o n them by J B

, . .
S i n ge l é e ( S chott and C o will be sure to meet with

favour L ike most o f tlie se F antasias it is too l o ng
.
,
.
,
9 6 S E LE C T E D V I O LI N S O L O S ,
wher e all one s tone and force is required

’
.
I n the last movement which reverts to A m in o r

we have a si x eight P rest o practicall y a Tarantell a
, ,
-
, .
mov e ment
H ere the word leggi e r e signifies that the san ti lla o r

springing bow should be used The whole piece make s .
excellent study besides being highly interesting and what

, ,
o n e might term real violin m usic

H umoresque Op 4 ( B osworth
.
ML Y N A R S K I E ,
.
, .
,
The expression required in this brilliant solo is o f

the f a n tastical and piquant kind as is also the manage
ment of the various and frequent changes o f t i me I n
,
the commenc e ment the r e petition o f the phrase
which is first played m o derat o then ritenuto breakin g

away to vivace p i anissim o with a rapid crescendo to j
, ,
.
,
This ph rase I s repea t ed s i x times E ach time it must b e .
different I n the eight bar v i vace movement a sort o f

.
-
bre a kneck acceleran do must be made I n th e two bars .

,
ni e n e me sse with the two

,
bars vivace intervening ,
gre a t contrast can be made The m e l o d y o n the G

'
.
AND Ho w T o P L AY THE M .
97
s tring which follows is heavy and should be pl a yed ,
with a b o ld stroke with the lower half o f the bow and

“
later a t the p lighter in the middle P layed with th e
”
, .
,
necessary amount of dash and fire it makes a fi r st rate ,

-
sol o. B eing short it i s also suitable as an enc o r e

,
piece
N A RD I N I P I E T R O L arghetto edited by G uid o
.
.
, ,
P apini ( J oseph W illiams The introduction to thi s

beautiful L arghetto is written in P a p i n i s well kn o wn
,
’
-
The L arghetto itself is sublime in its

.
graceful style
purity o f melo d y N ot h ing c o uld be better for instance
.
.
, ,
for church music S uch music as this is only for players

.
wh o c a n put soul into their playing

PAPI N I G U I DO “
.
, Berceuse Orientale Op 1 2 9 N o 1
.
, .
, .
( J oseph W illiams 3 s There I s a particular

, charm
. an d
fascination about t h is piece that appeals to one s poeti c ’
fancy . A S a drawing room solo it is un i que mor e ,
e specially t o those who prefer a n o t to o solemn slow ,
movement
P A P I N I G U I D O N uit étoilée Op 6 3 ( S ch o tt 3 s
.
. . .
, , ,
The flowing nature o f this graceful piece requires perfect

freedom o f th e b o w arm
PA PI N I G U I D O
.
, P ensée F ugitive . O p 5 5 ( Chanot , .

,
P erhaps this is t o o well known to require further

com m ent th ough i t is a fact worth knowing that it i s a
,
welcome addition to a ny soloist s repertoire of short ’
pathetic pieces
A R A R A “
.
Q U T E R M N P E C I V L M, azurka Caprice ( S wan

.
a n d Co 25 net) B rilliancy of execution is absolutel y

n ecessary The cadenza runs must be played w i th a fi r m
. . .
,
bow and strictly I n time The harmonic such as :

.
, .
,
2
0
T h e sec o nd fing e r must glide the wh o le length of th e

H
string swiftly without a n y hesitation I n the sec o n d

part the octaves ma y be om i tted but they are very e ffe c
, .
tive and will repay the practice th ey entail

R E H FE L D F
, .
S panischer T anz Op 4 7 ( L au d y
,
”
.
, .
,
This i s a di ff erent style o f S panish danc e to the

5 )
s
”
p i ece by Ch a minade alread y noti ced and takes a livelier

fo r m Th e first two bars will give an idea a s to st y le
,
The dotted n o tes must be played ricochet with the u p

bow commencing a b o ut six or se V e n inches fro m th e
,
point I n the slow movemen t all the n otes with a fl a t

.
line over the m must be gen tly articul a ted I n the first .
p a rt the bowi n g must be bright and energetic m aking a ,
good contrast to th e slow movemen t

R I E S F RA N Z
.
, P r ml u d i u m from the S econ d S uite

.
,
O p 2 7 ( B o sworth and C o
. need only be mentioned .
,
for its beauty ; the execution o f it i s not di fficult A .
go o d full and round tone i s required to meet the breadth

o f th e passages cont a ined
R I E S FR A N Z The loveliest of the lovely R o ma nces IS

.
th a t bel o nging to the S econd S uite Op 2 7 N o 4 ( B o s

.
,
A composit i o n that exacts the

.
, , .
w o rth an d C o 4 s
best an d truest artistic feelings both from the violinist
. .
,
a n d p ianist
,
fo r i t is essentially a duet and it would b e

, ,
m adn e ss t o trust th e pian o part to the hands of a m e di o cr e

player Th e harmonies are most beautiful
R I E S FR A N Z “ R omance in F m aj or from S uit e
. .
, .
, ,
O p 2 7 ( S chott This i s a piece after the style o f

“
Wi e n i awsk i s L egende a piece in which the pla y er
.
,
’ ‘
m ust hav e the gift o f true musical feeling All one s ’
pow e rs of s e ntiment a nd expression a re required I t I s a

.
b ea utiful c o mpositi o n and ne e d s go o d playing W ith the

.
.
,
excepti o n o f a short p a ss a g e in o ctaves the technical ,
d i ffi culties a r e n o thing c om p a red with the p o w e rs o f

I OO S E LE C T E D V I O L I N S O L O S
to by E mil K ross and is so e xplicit th a t further c omme n t

,
i s unnecessary
“
WA L L A LF RE D R omanesque ( Jo seph
.
.
,
i s a pretty little solo easy of execution an d in terpret a tion

“ , .
WI E N I A WS K I Se cond M azurka K u yawi ak ( A u ge n e r

.
”
, ,
1 8
. n et) in which the three and four note ch o rds tak e
,
a very pr o minen t part Th e general fault i s to play

them too quickly and als o to o harshl y Th e first two
.
.
, .
b a rs will be suffici e nt to explain

Te mp e Mazu r k a
’
’
az .
D o n ot commence t h es e ch o rds too near the heel th e o f

bow P lace the b o w well o n the strings an d make a
.
,
quick and decided stroke with as much bow a s y o u c an

comfortably manage I f too short a bow i s used the .
,
chords soun d hard and dry The semiquaver following .
the first chord sh ould be short and distin ct with very ,
li ttle b o w I n the gr azi ose m o vement it is advisable

.
to slacken th e time a little The harmonics at the end

.
.
,
which make such an effective finish sh o uld n o t b e

hurried until th e chro m atic scale and the last C h ord i s
,
better p la y ed pizzicato
,
.
AN D H O W T O P L AY T H E M . 1 0 1
S E CT I O N III .
G RAD E G .
D I FF I CU L T U S I N G ALL P O S I T I O N S
,
.
BA Z Z IN I, from M ilitary C oncerto Op

P reghiera , .
4 (
2 S chott F
, or t hose players who revel in d o uble
stopping t h e P reg h iera will be very acceptable The .
whole m o vement (t wo pages vi o lin par t ) is in chords and , ,
very e ffective they are There i s plenty o f scope fo r

.
variety of e xpression The fingering gi v en which is by

.
,
A Po ll i tz e r is first rate The harmony is so rich tha t

.
,
.
o n e could almost dispense with the pian o forte a c c o m
i m nt
p
“S cherzo
a n e .
BAZ Z IN I. O p 4 1 N O 2 ( S ch ott
, This
.
, .
,
i s one of the least kno wn of this composer s works and

’
i s seld o m heard in th e concert room and yet one c a nnot ,
call it out o f date for it possesses all those elements so

,
e ssential t o a good solo including melody and brilliancy

, ,
with plenty of scope for the pathetic t o ne The o n e .
d i fficulty is the required neatness and ligh t ness o f b o wing

I t must be bright and distinct a nd y et free from all hard
.
n ess o f ton e The legato p a rts are easy enough and th e

.
,
fingering is in n o way difficult There is an orchestr a l .
a ccomp a ni me nt by N aret K o ning

J .
-
.
1 0 2 S E L E C T E D V I O LI N S O L O S ,
B ES EK I R S KY,G U I L LA U M E . de V arsovie“S ouvenir ,
D eux M azurkas ( S cho t t 4s , Two melodious c o m

.
positions There ar e some e ffective passage s in d o ubl e

.
st o pping and harm o n ics in both M azurkas

B OH M CARL “ L egende O p 3 1 4 ( L e n gn i ck
.
.
, , .
,
R ich in be a utiful melody with e ffective ch o rd passages

, ,
i t is not too diffi cult and m akes a fi r s t rate solo T h e

,
-
.
key is C minor and t h e bowing a nd fi n ge rI n g are plainly

,
mark e d
BO R O W S K I F E L IX
.
, M azur ( L a u d y
. ca n be ,
described as o n e o f th ose 5 0 1 65 that i s b o und to be a .
fav o urite in the concert room The bars marked sch e r

“
.
zand e must be played with the ricochet bowing playing ,
the quaver with an up b o w The third line from end of

second page —violin part—is best fingered
.
5 th Po s
I st Po s .
2 1 2 2
B O R O W S KI F E L IX
,
. D e uXI e m e M azur ( Ch a not ,
I have already spoken o f th e cleverness o f th is composer ,
and o f the freshness an d originality o f his works and am ,
glad to have another exa m ple V iolinists are ever o n th e .
look o ut fo r such solos a s these especially the teache r ,
who has litt l e o r n o time to searc h for n e w solos o r

“ work up anything fresh that requires a deal o f minute
,
stu d y ; and th ough this M azurka requires a player o f

n o mean m erit yet it is o ne tha t a n y teacher o r playe r
,
possessing natural artistic feelings ca n soon ma ster .
There are o n e o r tw o troubles o me bars s uch a s ,

1 0 4 S E LE C T E D V I O L I N S O L O S ,
A d ag i o .
ff:
1 2 4 3 1 1 3 1
E ither o f the tw o fi n ge r i gs given is good

“
n
B U Z I A U V I CTO R L a L impide E tude de V élocité

.
”
.
, ,
( Chanot As, a study for legato b o wing an d freedo m

o f style this c o mposition is splendid
, T h e second bar .
,
which I now qu o te will give an idea as to the s t yle ,
eg r o m o d e r a to
A l/ . a th
I n mo st cases it is advisable to rest in the same

p o siti o n —but the fingering is explicitly m a rked O n
“b
.
”
the twenty seventh an d twenty ninth bars the ack -
,
p o sition must be used and on the t hirty seventh bar th e

sixth p o sition Th e piano part is interesting an d C lever
,
C A RR I F E R D I N A N D
. .
, E lfentanz O p 8 ( Breitkopf .
, .
,
1 s
4 d net ) a c o ncert study I n thirds and as a study it 1 5
fi r st rate but as a sol o perhaps there I s to o much same
. .
, ,
ness in movement for with the exception of sixteen bars

,
Mene Me sse th e wh ole pi e ce is perpetual m o ti o n in

triplets
C E N T O LA E Op 7 ( B reitko p f an d
.
C apricci o
, .
,
.
AND Ho w To P LAY T H E M . 1 0 5
H artel ,
8d net ) I am often asked for concert pieces
2s . . .
with double stoppin g so it is with pleasure I

plenty o f ,
recommend t h is Capriccio wh ich contains si x pages

pretty well devoted to that branch of violin playing an d
,
all class of intervals are to be found Taken as a whole .
o n e finds a capital and brilliant solo and quite within the ,
r each o f those who aspire to anything like c o ncert sol o

pl aying To give an idea I qu o te the opening bars
. ,
A l l egr o co n f u o co ,
be n ma r ca to
f e .
Th e middle part which is slower is after the M usett e

, ,
style :
"
T P
There are two cadenzas the first more of a recitative , , ,
and the second graceful arpeggi o passages The co m

, .
m e n c e m e n t of the finale in octaves will require special

study but it is wonderfully e ff ective an d o n e might say
The whole solo I s somewhat fa tiguing to play
, ,
showy
“
.
”
with the necessary dash and o n e wants to be in fine
form to do it j ust i ce
,
C E N TO L A E The S cherzo Op 3 ( B r e i tk e p f 1 5 4 d
.
. .
, , , . .
net ) makes a good solo piece especially for those wh o

, ,
like double stopping the opening bars will give a n ide a,

'
o f the style
I o 6 S E LE C T E D V I O L I N S O L O S ,
which must be played with verve and brilliancy T h e .
trio is a g r a ceful legato movement in p l easing c o ntras t

to the first part The fingering and bowing a re w e ll
.
l o oked after and little di ffi culty will be found in mastering

,
this t a king piece which is sure t o be a favourite

“
.
,
DA N CLA C H A S
, A F antasie Caprice on the airs
. .
from G oun od s F aust O p 1 3 3 ( S cho t t and Co

’ ”
,
. .
,
There are quantities o f arrangements o f various kinds on

this ever popular opera ; in fact n early all V iolinists
-
,
.
h ave committed to paper a version o f th ei r own ; so

n aturall y there is a vast and varied choice The present .
o n e recom mends itself for its brilliancy and wit h al th e ,
di ffi culties contained are n ot too much for th e a e com

p l i sh e d a m ateur ; taken a s a solo for smoking concerts ,
o r wh ere music in lighter vein is better a ppreciated it is
all that c a n be desired The airs are C h osen from the

,
usu a l favourites and the pian o p a rt i s easy and quit e

readable at first sigh t by the ordinar y pianist ; this in
,
itself will be fo und a great boon to many violinists

especiall y those young and budding a rtists who have
,
o ccasion to play here there a nd ever y where and wh o

, ,
o ften fin d themselves introduced to a pianist o f meagre

execution and capability Quo t ati o ns from this F antasi a
.
a re unnecessary as the fi n gering and bowing have been

well attended to L ike most o f these oper a tic fantasias
,
the length —seven pages V i o lin part —is somewhat t o o

. ,
“
.
m uch for the concert o f to d ay b ut cuts are quite ,
practicabl e
D A N CLA C H AS “
.
, Taran tella O p 1 0 2 ( S chott

.
, .
,
O f Tarantell a s there are quantities an d many are

a cc e ptable fo r this particular fo rm o f music is genera ll y
,
1 0 8 S E LE C T E D V I O LI N S O L O S ,
“
the first bar the G sharp will be picked wit h th e
,
fourt h finger and t h e open E with th e second ; and in

,
the second bar th A is played with t he t hird finger and

e
t h e open E with the first I n fact t h e B in th e first bar

,
.
,
is simply pulled o ff the string after sounding the note

with the b o w an d th e same method applies to a ll the
,
o thers The key n o w c h anges and th e triplet legato

r uns are fairly plain sailing At t he en d of the C hords
.
,
.
,
w e have a change of ti m e o cc u r r i n g th u s
’
C are must be taken n ot to make any stop a t the ch a nge

( a very usual fault ) A repeti
. tion of the first subj ect i s
f ollowed by th e F inale which commences in E maj or , ,
e nding with the octave phrase in t h e mi nor There is .
in all four pages of excellent fiddling

D E B ER I O T C H A S R e veuse O p 1 1 8 bowings an d
.
fi n ge r i n gs by H ans S itt ( Alfred L e n gn i c k

. .
, , ,
Thi s i s ,
an excellent edition o f this well kno wn an d favourite -
c omposition . The sweetness an d grace o f this composer s ’
work is fully exemplified in this simple melody Ample

S cope is gi ven for con trast of style in th e second part
.
which must be played in the br a vur a style A player .
with artistic feeling can always reckon on thi s solo as one

o f th e most e ffective in his repertoire
“
D E L A N Y P A T R I C K Three I ris h Airs published in o n e
.
, .
,
solo ( M oore S mith an d C o The airs are known

“ The B right L amp L amen” t for O we n R oe O N e i ll
.
, ,
” ” ’
as , ,
and Avengin g an d B rig h t Th e arrangement is .
excellent throughout The natural h armonics in the first

.
movement together with some e ff ective chords make

t his an excellent and co mpara t ively easy concert solo
, ,
E B E R H A R D T G O LEY
.
N ordische W eisen Op 5 2
A brillian t S h ort solo Th e chords in the
.
, .
,
fi rst part are easy and e ffective especially i f th e m a rks o f ,

AND Ho w To P LAY THE M . I O9
e xpressi o n are carefully attended toThe long passag e

. .
in harmonics should be played at th e heel o f the b o w but ,
later when like

,
\
0 9
“° 0
in the middle of the b ow I t is a sho wy solo

G AA L F R AN CO I S “ R hapsodie H ongroise Op 9 2
. .
B H
.
,
.
,
( reitk o pf and artel This makes an effective

solo for one wh o can enter in to th e true H ungarian spirit
,
The commencement A ndan te in A minor with its , ,
solemn and traditional weirdness followed by ever ,

‘
changing ti mes of moderate speed finishes with the

, ,
u sual A l legr o in the tonic maj or .
O f fingering there is little indicated ; for instan ce th e

, ,
fo urth line o f violin part second bar should be fingered :, ,
A n d a n te .
a ls o the first cadenza .
Mo de r a te .
I n the co n so r d i ne ,
'
P e ce A d agi o , the staccato runs :

Co n
'
so r d zn e .
pi n g r a ve .
I I O S E LE CT E D V I O LI N SO LO S ,
c an be very effectively pl a yed with th e flying staccat o ,
th a t i s the b o w to leave the string after each n ote a n d

,
a lways travel in an upward direction? I t is best

accomplished by beginning about eight inches fro m th e
p o int
Th e F r i ss m o V e m e n t for the finale I s as usual I n these
.
pieces very li vely an d makes a good fin ish to a go o d

,
sol o
GA L K I N N W “
.
,
Tarantelle ( Zi mmermann
. . a ,
brillian t pi e ce which requires the spring b o w f o r al l

”
the staccato passag e s The most di fficult part is t o w a rds

.
the end :
4 1 4 3 1 3 3 1 3 e tc,
in which it is n ecessary to keep I n the seventh positio n ,
and the similar passage which commences on the high C

i n the ninth pos i t i on
,
G E R M A N E DW
.
,S altarelle ( A u ge n e r 1 5 net) i s
.
, .
very bright and effective and does n o t call for a ny gre a t ,
technical skill
H A A K MA N J J A C Q U E S
.
, F antasi a o n S cotch Airs

. .
,
( C harles Wo olhouse This is indeed a, brillian t

fantasia and a well written o n e to o The melodies a re .
chosen from the favourites T he gracefu l cadenzas i n .
the intr o duc t ion and th e clever pian oforte part make thi s
one o f the best fan t a sias o n S cotch Airs to be found .
There are n o superfluous variations but there is plenty

o f v a r I e ty I n the var i ous bowings octaves and harmonics
,
I f f a ult could be fo und i t will be I n the extreme length

, .
The V i o lin p a rt comprises some ten pag e s F or modern

, .
c o ncert work a
”
cut would be advisable A s regards .
the di fficulties there i s n othing that requires any speci a l

,
menti o n J udicious an d careful study will so o n help th e

.
s tuden t to master this excellent sol o
HA D LE Y H O WA R D
.
, M azurka I mpromptu O p 1
.
, .
I I 2 S E LE C T E D V I O L I N S O L O S ,
e tc.
I n the A ndante m o vement in G minor great attention ,
m ust be given to the crescendos as in second bar thus : ,
A n d a n te m a n on ta n to .
There is a good deal o f repetition o f t his ph r a se an d ,
u nless the expression is o f an em o tional kind it is ap t to ,
get mon oton o us

“
H U B A Y J E N O S ous sa fen e tre S erenad e ( S chott
.
.
, , ,
One of those pieces a dmirably suited for concert

encores
KO H LE R M O RI TZ “
.
Polonaise Op 4 5 ( Zimmermann
an e ff ective small concert piece which o nl y requires
, .
, .
,
brilliancy o f execution
LE O N A R D H “
.
Tristezza e M arcia O p 3 1 N o 2
, .
, .
, .
( S chott and C o The Tristezza

.
, as the title i mplies , ,
is o f a solemn character the key is C minor and lend s ,
dramatic po wer to th e sa d strain o f melody The .
fingering has been carefully attended to R elie f to this .
dirge like melody comes at th e P i n Vi ve which must be

-
,
well sustained with plenty o f broad tone the speed being ,
gradually accelerated up to the rallentando Care must .
be taken at the te mpo pr i me to revert to the solemnity

o f the melody the accented chords being well br o ught
,
out making a dramatic crescendo o f these special two

,
bars . B etween the movements there is a R ecit a tive

( A l l g )
e ro in the
, first fo ur bars of which
AN D H O W TO P L AY T H E M .
A d 1 25
'
.
, A f
“ A
The bar lea d ing t o the

a n a ccelerando is advis a ble .
march must after the pause be kept well in tim e a nd

rhythm so a s to make a g o od entry with th e ch o r d s
, ,
, ,
which a re bowed
A l /eg r o m o d e r a to ( E r e zca )
'
r" V
"
V
'
f1 FI
.
o
The whole mov e m e n t requires force and brilliancy with ,
t h e exception o f s ome of th e leg a to p a ssages S p e ci a l .
att e ntion is required fo r the b a rs
in which th e fourth finger must be kept down o n th e ih i gh

'
C These bars mak e excellen t studies for th e left han d

L EWI N G E R M A X
. .
, M azurka Op 4 ( Zi mmermann
”
.
, .
, ,
is a solo that requires artistic playing M uch

depends o n the lights and shades a nd the delicac y
.
with which the di ff erent phrases are h a ndled I n .
character this Ma zurka is written in th e sam e styl e

”
as those of Wi e n i awsk i and will be a good a dditi o n to

the V iolinist s répertoire
,
’
There is a great l a ck o f good
short pieces o f this kind so this o ne must sur el y fin d
.
, _
fav o ur.
1 1 4 S E L E C T E D V I O LI N S O L O S ,
The bowing and fingeri n g are all well m arked a n d

require n o further explanation
“
M O S Z K O W S K I M O R I T Z B o lero (A uge n e r
.
On e
must class this as a conc e rt duet for p i an o an d violin one
, .
,
suitable n o t only for recitals but a lso a s an excellen t

composition in which both instruments h a ve full sc o pe
to shin e neither I s it over w e ighted I n the piano p a rt so
, ,
o ften the case in c o ncertante pieces The first subj ect .
o n th e G string
must be played lightly a t the heel o f the b ow . I n th e

second p a rt the b o wing i s b e tt e r thus
,
in the m iddle o f th e bow The chord passages are n o t

.
o u t o f the way di fficult and though they require to

b e play e d brightly th ey mu st not be h urried —a general
,
fault i s playi n g them t o o quickly A ltogether one c a n .
reco mm end this duet I n every way

M O ZA R T “
.
F i ft h Concerto in A edited by P au l
”
G r a f W aldersee ( B reitkopf an d H artel 2 5 net ) I t i s

.
,
. .
.
,
o n e o f the easiest of M ozart s C o ncertos the bowing and

’
fingering in this splendid editi o n leaves nothing t o be

d esired o r explained
F o r i m provemen t in tone a nd st y le this c o ncerto i s t o
.
be rec o mmended t o all students N eedless to say th e .
wh o le work i s m e lodious and interesting

“
M U R D O C H M A C KE NZ I E Mo ss G iel G ran d S cotch
.
F ant a sia on Fa v o urite M elodies o f B urns ( D o n aj o wsk i

,
.
,
This m igh t b e ter m ed th e o l d fa shi o n e d fantasi a

best done with the third finger All the semiq ua ve r .
passages must be done with the san ti ll é b o wing and a s

l ight as p o ssible — they must veritably S parkle in order t o
keep to the character o f the piece—a h e avy b o w would
ruin all I n attaining all these pas sages n ote perfect i t -
is a dvis a ble to p ractise very slowl y and there is no har m

.
,
in pla y ing the san ti llé parts with a good full b o w at the
,
p o int in order to hear m o re distinctly that the int o nation

,
is exact This s o l o is one of the most e ffective of its

.
.
kind The pian o part is not di ffi cult but is what a g o od

“
.
,
many would call catchy and it will require a nimbl e

pl a yer to manage the necessar y speed
,
“
PA LM E R G E O R G E Ro manc e and M azurka ( Chanot
.
, .
,
A go o d concert piece and one within the cap a bilities ,
o f the a spiring soloist I t is a piece that o n e might .
s ay combines all the requisites o f a good solo I t is .
grave gay piquant brilliant an d possesses the prope r

, , , ,
a m o unt o f technical display The eigh t bars introduction .
are solemn e nough and rich in harmony an d l ea d u s

t o the R omance which commences ,
A N i ta / we .
a nd the tone must be full and large This subj ect i s .
rep ea ted later an octave lower and pl a yed on the G

strin g the ar p eggio accompaniment being ver y effective
, ,
“
.
,
The R om ance is fo llowed by an introduction in martial

”
s tyle which makes a good opening for the M azurka i n

,
E maj o r There is a striking origin a lity in th e c o m

.
m e n c i n g bars
AN D H OW TO P LAY T H E M . 1 1 7
w hich b e seen at a glance are at once taking an d

c an ,
interesting On the seventh and eighth bars o n e migh t

.
point out the adv a n tage of making an accelerand o o n

t h e run
m aking a slight pause on the ch o rd which follows an d a

r a llentando o n the last four n o tes of the staccat o
passage
b Great attention m ust be giv e n to th e S ign
.
used s o
frequently in th e second subj ect :
and the n o tes o n which this sign occurs must be well

brought o u t H ere the pian o takes an important part
.
and the working o u t o f this subj ect i s v e ry clever ;

in fact th roughout the piano h as plenty to do an d though
"
not o u t o f the way di fficult will requ ire a proficient

,
p ianist . A pretty change is made by the triplet movement

in A majo r which i s very graceful a nd the first subj ect
,
a n d brilliant c o d a foll o w .
1 1 8 S E LE CT E D V I O LI N S O L O S
Th e re is m uch to be learn t in such a s o lo a nd a g oo d ,
rendering will well repay

PA P I N I G U I D O
.
, C a priccio all a G avot te ( Ch a no t

.
i s light and fant a stic Q u o ting the first thre e b a r

.
o f vi o lin p a rt
2 nd S tr .
.
‘ o
the first b a r with the d own b o ws in which the bow shoul d

be well lifted bet ween e a ch o n e commencing each time ,
ne a r th e he e l o f th e b ow the sec o nd bar last half mus t

be pl a y e d on the A string sliding th e sec o n d finger fo r
, ,
th e harm o nic A and changing it t o fourth finger for th e

,
A com mencing the third bar the three dotted notes t o b e

played with the fly i ng stacca to — that is as i f they wer e
,
thr e e successi ve up b o ws pl a yed While the b o w i s

tr a v e lling in a n up direction Th e middl e p a rt o n th e .
G string is most e ffectiv e and the pi a no part leave s ,
n o thing t o be desired .
PA P I N I G U I D O M ot o P erpetuo O p 1 2 0 ( Chan o t
L ike all the m usic fro m the pen o f this writer it i s
.
, .
,
melodi o us the first part i s c o nfin ed t o the first and thir d

p o siti o ns The first two bars will give a n id e a
.
PA P I N I G
, S audade
. L arme d a mour Op 40 ’
.
,
( Chan o t, m akes a beautiful dr a wing room piece -

.
The pl a intive melody a pp e als to the emotional play e r ,
and the working up to th e grand climax which o ccurs ,
some sixte e n bars before the end o f th e piece is very fine , .

1 20 S E L E C T E D V I O LI N S O L O S ,
M ot o P e r p etuo excellent pr a ctice fo r th e san ti llé b o wing ,
b ut also for the kn owledge of p o sitions and the help

i t gives to a player to acquire a clean fingering I n th e .
following quotation it will be seen that o ne must keep

in the fo urth p o sition .
4 Co n tu tte g
v e an .
3
. i
Th e b a rs where the notes h a ve a small fl a t line ov e r

th e m fc a n be b owed o u t—plain and large
[ R I E S FR A NZ
.
a
s
S cherzo from the S uite in F Op 2 7
”
( B osw o rth
, .
, , .
, A spl e ndid solo especially for those ,
p o ss e ssing a nimbl e finge r an d a light bow arm o r rather -

, ,
a supple wrist The gen e ral fault o f amateurs i s to play

this piece to o sl o wl y an d with to o heavy a strok e Th e
.
o p e n I n g subj ect :
Mo l te
. v i va ce .
f l a 4
sh o uld b e playe d with a q u i c k a nd decided stroke of th e

bow an d the fi n gering be firm Th e semiquaver passage
,
.
that follows must be played sa nti lle with great attenti o n

’
t o th e crescend o s an d decrescendos marked All such .
phr a s e s a s th e opening bars qu o ted must hav e a cres

c e nd o a n d the m o re th e phr a se i s repeated so must ther e
,
b e more crescendo The ch ords near the end c an b e

pl a y ed b e st ne a r th e h ee l o f the b o w lifting the b o w
.
a fter e a ch o n e
RO D E C o ncerto in A min o r (A uge n e r an d
.
a s the first c o ncert o t o l e arn The

f it m a kes a splendid st e p ping s t o n e
.
ffi c ul t c o ncert o s .
AN D H O W T O P LAY T H E M . 1 21
S I NT G EO RGE G
A -
,
R ondo B rilliant O p 45 ( S ch o tt
.
,
.
,
A mo st taking piece wi t h an exhilarati n g strain o f

,
m el o dy that at o nc e captivates the ear a nd fo r this ,
reas o n alone it is excellen t for concert purp o ses The .
technical di fficulties c a n so o n be mastered The .
fingering and bowing indicated are o f th e best

S AU R E T E M I LE
.
,
Ca p r i cc i e tto
.
”
Op 4 5 ( S chott an d
.
Co is full of graceful melody The first four bars

will giv e a n idea o f t h e ligh t C h aracter o f this piece
.
.
,
P co n sp i r zto
'
The bow is always and ever o n th e move in this first

“
part a nd must be a s light and delic a te as p o ssible

,
.
The co n trast in the legato movement that follows gives

greater e ffect I n th e R eso lute t he first two bars
should be played at th e heel o f the bow rather r o ughl y
.
a nd quite te mpo r ubato Then follow two bars o rdinar y

,
.
,
and again a similar sub j ect

S AU R E T E M I LE “ L a Capricieuse valse Op 4 1
.
.
,
.
, ,
( Ch a n ot ,
One o f those dainty pieces that require
d e licacy o f playing M uch can be mad e of th e fe w
.
opening bars syncopation

”A
1 22 S E LE CT E D VI O L I N S O L O S ,
the tw o succ e ssive down b o ws c o nsiderably a ssis t ing th e

affected ch a r a cter Th e b o w sh o uld be lifte d a fter e a c h
.
one com me ncin g e a ch a t the heel o f th e bo w ; t his must -
b e observed at al l thes e sync o pate d phr a ses which o ccur

,
frequently through o ut the piece The down b o w f o l

l o wing the st a cc a t o p assa ges s uch as
.
n e e d n o t be lifted but should be d rawn well t o th e

,
.
middle o f th e b o w The P i n Tr anqui l le which follows

.
must be take n much slower and great attention paid ,
to a ll the lights and shades I n all cases the fingerin g .
is most c a refully marked I n lighter vein thi s is one of .
the best o f this celebrated violinist s works ’
S I TT H A N S “
.
, S cherz o Tarantelle O p 7 1 (A u ge n e r
.
,
.
a nd C o A g oo d concert piece well written

.
, , .
The fingering a n d bowing are most explicitly marked .
I n fac t al l i s plain s a iling and o nly requires diligen t

, ,
study to give the brilliancy and verve necessary

STE RN A “And a nte Appassionata O p 3 ( J and W
.
C hester B righton
. .
,
.
,
is a good solo r e q u i r i n g i n te n si ty
o f ex p ress i on and good tone I t 1 5 o f the ro m antic type
, , , .
.
,
and gives a pl a yer plenty of freedom to display his qu a lit y

f to n e
“
o .
S T U T E L EY , GORDON E R oman ce
O p 1 5 ( J oseph
This I s an interesting composit i on T h e
. .
W illiams ,
.
chief di fficulty l i e s in the breadth o f tone required

M ost o f the melody is in the higher p o sitions
T A YL O R S C O L E R I D G E “ D anse N e gre fr o m th e
.
”
.
, .
,
Afric a n S uite O p 3 5 ( A u ge n e r 1 5 6 d n e t) The chief

’
di fficulty in this fascinat i ng c o mposition lies in the

. . .
, .
,
i nterpretation of th e a ccents As a rule when such .

,
S E LE C T E D V I O LI N S O L O S ,
V I E U X T E MP S , H ENRI .
“Air V arié
Op 2 2 ( Ch a n o t ,
”
.
an d S
ons , Ther e a re several edition s of this well
kn o wn solo This on e i s recommended o n acc o unt of
.
the excellent fi n ge r i n gs given Th e introducti o n in D .
minor is o f a very solemn char a cter a nd th e tone needs

At th e appassi o n at a a rapi d crescend o
,
t o be bro a d .
must be mad e an d from the descending pass a ge in

,
d emisemiquavers an equally rapid d e sc r e sce n d o

, F r om .
this part the speed may be sligh tly increased l ea din g ,
t o the tempo o f the eight bars a l l egr e tte A t the f e w ,

.
i n mo sse th e general tendency f students is to play

p o
too fast The first variation must be played very lightly

. .
The fo r zando in the arpeggio movemen t sh o uld be distinct ,
but n ot coarse o r hard The second variati o n th e scale

.
,
o n the G string is best played at the heel o f the bow

, ,
a n d the b o w well to th e string in the third bar the notes , ,
with a flat line over them towards the point Th e

t hree n o te C hords must be large an d th e three struck
.
,
S imultan e ously The finale depen ds a goo d deal on th e

,
q u ality o f th e p l a yer 5 staccat o I n th e c o d a th e l o w e r

.
’
.
half o f th e b o w may be used

V I E U X T E MP S H E N RI “
.
,
B oh émienne O p 40 On e .
, . .
o f the solos by this celebrated composer that h a s not
been pla y e d to death A s a solo i t c an well be r e c o m

.
mended . I n the opening L en to in D minor th e re is

e very o pp o rtunity t o display good tone a nd expr e ssi o n ,
a nd the pre sto which f o llows t hus
supplies the b rillian t element n e cess a ry fo r a conc e rt

s o lo
V I E U X T E MP S H E N RI “R e verie ( Chanot
.
, . This ,
h as always been a favourite with both amateur and

pr o fessional players A solo that requires a good r o un d
.
tone The ani ma te sh ould not be taken too fast

V O L T I A M AU R I C E “B olero a nd F in a le B rill a nt e
. .
”
. .
,
AN D H OW TO P LAY THE M . 1 25
( Jo hn B l o ckley As a popular
,
sol o o r rath e r a s o l o ,
f o r p o pular c o ncerts this B olero will b e fou n d a ccept a ble

,
.
The m elody po ssesses those traits th a t an audience wh o

like a j o lly piece c an appreci a te
The r i o ch e t bowing is freel y used as o n p a g e tw o
.
c , ,
violin part we h ave ,
R i coch e t .
a n d a gain l a ter in the F inale we h ave the sam e form o f

three n otes r i co ch e t This will be fo un d easy t o do
.
,
providing it is kept well in th e middle of the b o w and ,
the wrist fre e I f played too near the point the n o te s

.
,
b e come too hard and dry

L egende (A uge n e r 1 5 net)
.
W I E N I A WS K I .
, . .
O n e of the fines t solos e ver written requiring a depth o f

expr e ssion that onl y a player o f real musical instincts
,
c an give .
WI E N I A WS K I R om a nce san s paroles e t R ond o

.
E legan t ( S chott 2 s 6d net) The R omance is easy

, . . .
'
en o ugh and the charm o f melody so well known in this - .
c o mposer s work pervades throughout I n th e R do

’
. on
A llegr o gi oj brillian t execution i s n ecessary The

o so , .
s taccato run s form o n e o f the chief di ffi culties Th e .
c h ord passages lie well under th e fingers and the pl a yer
con v ersant with the positions will h a ve little di fficult y i n

,
m a stering them .
S E L E CT E D V I O L I N S O L O S ,
HG RAD E .
V E R Y D I F FI C U L T I N C L U D I N G S T A N D A R D
, C O N C E RTO S
A N D C O N C E RT P I E C E S .
A RT O T , J. S ouvenir de Bellini Op4 ( S ch o tt ,

.
,
i s an e xcellent solo suitable for smoking c o ncerts o r

,
concerts wher e the lighter kin d Of music is preferred I n

its present for m it i s rather too long—s e ven pages
.
vi o lin p a rt—but satisfactory cu ts c an easily be mad e .
The I ntr o ducti o n a matter of f o ur e ffective c a denz a s

, ,
leads u s to th e L e nt o in D m in o r
a good m el o dy full , o f p a thos . The Th e m a is the well

kn o wn air
A n d a n te .
a n d u p o n this foundati o n three good v a ri a ti o ns a re

written an d though as I h ave said before I myself a m
, ,
n o t a lover of this style of music th e re a re variation s ,
th a t a ppeal to the v iolinist and cann o t be put under th e

“
h e a d ing o f che a p e ffe cts I t i s here a t this p a rt o f th e
.
1 28 S E LE C T E D V I O LI N S O L O S ,
A l legr a . 1 1 6 .
T hen the el e venth and twelfth bars we have th e mar cate ,
with f o ur successive down bows followed by th e

l argamen te with altern ate up and down long and he a v y
,
, ,
b o ws thus
,
A sl a ckening o f the speed being necess a ry an d e ffecti ve .
Twelve bars further on we h a ve a long up b o w staccato

scale .
The legato movements which c o nstitute the sl o wer an d

m o r e reposeful elemen t are rather sh o rt b ut extremely ,
grace ful . P assages in thirds sixths an d octaves will ,
require sep a ra t e practice als o the three n ote chords th e

, ,
m ost di ffi cult fingering th a t occurs The chord i s bette r

p la y e d with the down bow thus
.
2 1 2
G iv e pl e nty o f bow for these chor d s so a s t o o bt a in th e

full value o f the harmon y
“
There is a c u t marked which i t is a d visable to
.
make and which then leaves this solo five pages in l e ngt h
“ L a R onde des L utins S cherzo F an
.
BAZ Z I N I A , .
,
tasti q u e Op 2 5 ( S ch o tt and C o 3 3
, . This i s o n e o f
.
, .
th o s e solos that h as ever bee n a f a vourit e with violinists .

AN D HOW TO P L AY THE M . 1 29
I t is certain that ordinary a mateurs would find it c o n

s i d e r a b l y beyon d their p o wers Th e chief di fficulti e s lie
.
in the extreme speed a n d th e delicacy o f the b o wing I n .
th e first p a rt
Quasz Pre sto 38
’
I 2
0
a
. .
“i
the r coche t or flying staccat o is used and the b o w
m ust rebound freely—the slightest sti ffness sp o ils all
, , ,
A nother essential to the proper performance o f this solo ,
i s that you strongly impress on your acco m panist the

absolute necessity of playing lightly and softly with the ,
exception of two o r three bars specially marked fo r te .
I n the second part there is s o me awkw a rd a nd intricate

fingering such as
,
And a g a in in pl aying th e F
’
s, one on e a ch string :
I . II . III . Iv . I .
which cr e ates such a fine e ffect—like ch a sing the n o tes .
The double h armonics ten ths and pi zzicato with the left
,
hand give the soloist plenty o f s cope for technical

,
display .
I t is not a solo that would suit all players ; there i s

very little for the player who possesses and wishes to
display a big tone R apidity neatness and plenty o f
.
,
fire are the requisites and with these exercised to thei r

, ,
K
1 30 S E LE C T E D V I O LI N S O L OS
fullest extent a capital perf o rm a nce o f a brilliant solo

,
s hould be th e result
B E S E K I R S K Y WA S S I L I L egende Op 2 0 (J H
.
.
, , . . .
Zimmermann is an interesting c o mposition and one

,
that improves o n acquain t ance Th e composer has be e n .
most careful as regards the fi ngering and bowing

“
D A V I D F E R D I N A N D S ix Concert Pieces ( B reitkopf
.
and H artel 5 3 net ) The six pieces are of a similar

.
,
. .
,
type but make a sp l e n d i d c h o i c e o f real violin music

,
~
.
T h e violin part alone contains fifty pages No 1 . .

,
I ntroduction and V a riations Op 6 o n the well known ,

.
,
R ussi a n melody :
with fo ur variations N o 2 a lso . .

,
“I ntroduction a nd
V ari a tions Op 1 1 is founded o n th e foll o wing
, .
,
and h a s five variations .
The third o n e Op 1 5 with a similar title di ffers very

, .
, ,
little from the first tw o with t he excepti o n of the mel o dy , ,
and perhaps as concert solos they are ra t her o u t o f date .
I sh o uld rather recommend them for acquiring freedo m

o f style for in t his particular they are first rate these
, ,
three nu mbers with their variation s contain ing nearly

, ,
every variety of b owing together with th e graceful an d ,
explici t fingering so celebrated in the school of F erdin a nd

D avid
“ “
.
N o 4 the Andante an d S cherzo Capriccioso

.
, ,
Op 1 6 will ever be fresh a nd acceptable to the soloist

.
, ,
and is the best known of this composer s work I n the ’

.
S cherz o the o ct a ve s
fe w g a vottes written suitable for c o ncert u se yet thi s ,
fo r m o f music is gen erally acceptable t o all

A piece of a light C haracter n ot t oo long and not
.
com m onplace is n o t easy to find so violinists will hai l

, ,
with delight such an one as this for it certainly contains

,
all the requirements o f a light and e ffective solo T h e .
first p a rt
P nee /
to stacc.
S hould be played nice and crisp t he pi zzicat o wit h

,
the left h and indicat e d by the

,
is best with the third
finger The staccato n otes in the fifth and seventh bar s
.
should be quite light the b o w being lifted after each

,
n o te (known as the r i coch e t or flying staccato ) The .
repetition o f th e first part marked f and l argame n te

m ust be pl a yed ver y large using considerably more th an
, ,
half t he bow f o r each str o ke F ollowing t his are eigh t

.
bars in the rel a t ive min o r in whi c h occur o n e o r two

awkw a rd sh ifts th e first o ne :
,
the S hift from t he A to the octave must be made with th e

third finger sliding as far as F sh a rp simultane o usly ,
putting th e fourth finger down fo r the A T wo bar s .
further o n o ccurs
AN D Ho w T o PL A Y TH E M . 1 33
(1 )
the shifts are indicated by the dart an d in each c a se the ,
shifting must be done with the fi nger one arrives o n for ,
instance at numbers o n e three and fi v e with the third

, ,
finger on the A string and at numbers two and four with

,
the second finger on the D string The chromatic run .

,
d escending from t he high A harmonic on the A string is -

,
ano t her example of the flying s t accato with the d o wn

bow and is r eally not at all di fficult Though at t h e .
o u t set i t looks very alarming it is more of a trick than ,
legitimate playing Th e best way to its attainment is to

. .
S lide from t h e high A harmonic with the third finger well
to the string as far as the first position ; the o n e di fficulty

is t h at it mus t tra vel at a n unifo r m r ate from commence
, .
ment to finish As soon as this is accomplished t he bow

.
,
i s thrown on the st ring (j e tez l ar ch e t) lightly and ’
.
,
allowed to bounce freely and provided t h at the left hand

,
b egins to m ove at the exact momen t when the b o w

“
is thrown this e ffective trick is soon learnt A few .
bars from th e end this bowing a gain occurs this time ,
with a s h ort ascending scale w h ic h can be accomplish e d ,
in a similar manner t o the descending scale

E RN ST W H
.
N octurne Op 8 ( S chot t and Co

This edition is edited by H H e e r m an who is responsible
. .
, .
, .
,
.
,
fo r the excellent fingering given There are plen t y o f .
t echnical difficulties to master including the cadenzas , ,
a n d th e third and sixth passages an d whe n these are ,
m astered we have a good pure solo

H E N LEY W I LL I A M Chanson R usses Op 2 0
.
. .
, ,
B oosey and C net is a good sh o w solo the

( o 3 s ) .
, .
y
melody , S arafan R ouge is always welc o me The , .
F inale is mostly composed o f semiquaver passages which ,
n eed to be taken at a considerable speed to create e ff ect
H U B A Y J E N O Fantaisie T zi gan e squ e N O 1 O p

.
. . .
, ,
1
34 S E LECTE D VI O LI N SOLO S ,
55 ( B osworth , A good and brilliant solo Th e .
ch romatic descending scale 1 3 marked sauti llé (spiccato ) .
The introduction A ndante co n me te must be played with

, ,
a good full tone in a maj estic style The a llegr o two

, .
,
four commences with sixteen bars shake th e pian o

, ,
par t giving an inkling o f the coming subj ect Thi s .
shake ca n be made more e ff ective by making a long

crescendo as far as the tenth bar and th e n a decrescendo ,
to the remainin g six bars This solo has n ot been .
played so much n or i s it known so well as some o f th e

,
other works o f t his composer so it will be even more ,
acceptable to th e soloist wh o is ev er on the look o u t for ,
s o methin g fresh
H U B AY J E N O
.
F antaisie T z i gan e sq ue N o 2
B
.
, , .
( osworth and C o The commence

.
, m ent A n d a n te ,
co n me te e x r e ssi e ne in G minor is more in t he form o f a

p ,
r e citative with i ts caden zas interspersed with bars o f

plaintive m elody —so dear to th e heart an d taste o f th e
violinist The di ffi culties are many and n ot only li e
.
,
in att a ini n g t he piece n o te pe rfect but in the general ,
neatness o f e xecu t ion On page 2 o f violin part we .
h ave the lon g chromatic scale from the high E Thi s .
can either be don e legato— articulating each note with

the fou rth finger as fa r a s the B in the firs t position or ,
i t can be taken sauti l l e the fo urth finger simply glidin g

’
at a n even S peed down the two o ctaves and aga i n

,
fingering from the B as in legato method

,
All th e .
semiquaver p a ssages must be played as lightly as possible ,
so that they veritably sparkle

“
H U B AY J E N O S c e nes de la Czardas ( Cranz an d
.
.
,
Co A fund of fi d d l e r s delights and as a show ’

.
, ,
piece of high order it is to be recommended There is .
plenty o f v ariety from the flowing c a denzas on the first

,
page the pretty an dantino chord move ment second page

, , ,
t he pizzica t o alternatively with the bow on th e third

page the legato arpeggios pizzicato with the left hand o n
,
th e fourth page and th e rollicking presto o n fif t h and

S ixth pages A splen
,
did solo for ni mble fingers

“
H U B A Y J E N O S i x pieces O p 5 7 ( B reitkopf an d
. .
. .
, ,
1 3 6 S E LE CT E D V I O LI N S O L O S ,
The pizzicato chords are made with the right h a nd the ,
bow being held with the first fin ger and thumb only ,
leaving th e fourth third and second free t h ese in quic k

, ,
succession each play o n e o f the chor d s There is als o .
another e ff ective way o f playing these chords with the ,
fir st finge r backwards an d forwards i e th e first ch ord ,

. .
,
being played from the G string t he second from the E ,
string and th e third the same as first the second o n e is

, ,
done with the back o f the finger Of course neatness o f .
execution i s essential and when th is is attained the effect

,
is startling I t occurs in this piece si x times in all The

. .
stacca to descending runs and the thirds and si xths will
also require special attention

“
.
K A R B U L KA J M azourk a de Concert ( L e n gn i ck
, .
, ,
A quotation o f the first few bars will give a n idea of the

style which will be seen at a glance is after Wi e n i awsk i
,
It is brilliant through o ut and requires a good strong b o w

arm The middle p a rt is m o re e ffect i ve when play ed
,
so m ewhat slower
K R E UT Z E R “C oncerto in E fl at (A u ge n e r ) This
.
.
.
is perhaps th e most popular o f all the concertos by this

comp o ser There i s a particular charm attached to the
.
c o ntin ual fl o w o f graceful melody

K R E UT Z E R
.
1 9 th Concerto in D minor edited by

L ittle
. ,
A d Gr unwald ( E noch and S ons 1 5

.
6d net ) , . . .
comment is necessary o n so well known a work The -

.
interpretation is e asy and i t is a concerto that c an be

,
-
studied more from a technical poi n t o f view I n this .
particular edition the fingeri n g an d bowi n g is so explicit

that the student o f fair capabilities an d o n e that has ,
a lre ady studied one o f th e Concertos o f R ode or V i o tti

could very well study this without th e a i d o f a m a ster
,
.
.
AN D HOW TO P L AY T H E M . 1 37
LE H AR FRAN Z
, . U ngarisc h e F antasie ,M agy a r
d O b ran d ,
’
Op 4 5 ( Mo za r th a u s W ien ) A bright s o l o
H ungarian style
. .
,
i n the true
LE O N A R D H
.
, G rand F antasie M ilitaire Op 1 5

.
, .
( S chott and C o Though . somewhat

, out o f date ,
this is a good F antasie o f the Ol d fashione d style The -

.
thirds sixt h s and octaves in t h e andante are very e ffective

, ,
also the chords in the M arch which commence : ,
Tm p 0 d z m a m a.
H
an d require plenty of breadth of tone Two g o od .
v ariations follow this theme dealing principally with ,

'
thirds an d octaves then a lon g cadenza which leads to

an andan te e rpr e ssi ve in E m i n or and the F i n ale i n E
,
maj or which is chiefly se m iquavers in this style

,
M E SSAG E R ,
A N DRE 4
.
“M azurka
A , ( M etzler ,
good solo o f t he brilliant kind I n the fifth bar of vi o lin .
part it is better t o slur the following passage no t V

,
sep a rate bows as marked I n copy

,
.
and Si milar bars

that o ccur they should also be p l ay e d ,
j a m The
. slow movement is e ffective a nd gives ,
scope for a singing tone .

1 3 8 S
E LE CT E D V I O LI N S O L O S ,
M O S Z K O W S KI M O R I TZThe B allade
, ( g
A u e n e r .
, ,
1 s 6d
. M usic o f a serious c h aracter that only th e
.
true artist can appreciate A s a matter o f fact it is a .
concertante duet for v i o lin and piano and its j ust ,
i n terpretation depends o n two artists The variety o f

’
expressi o n i s en ormous and goes from the plain t ive as , ,
in the com mencemen t to the br avur a in t he an i mate ,

.
There are o n e o r two evident m ispri nts in the fi n ge r i n g -
—th e bar o n the fifth l i n e o f violin part p a ge 3 should , ,
2 1 2 4 3 2 3 1
.
4 3 3 3 2 4
The o th e r fi n ge r i n gs are given where necessary As a

concert piece especiall y suitable for classical perform
.
a n ce s recitals etc this composition is unique

N A C H EZ T I V A D A R
. .
, , ,
,
P o e m e de la P u z sta.O p 33 , . .
N o 1 Pa n tl i k a s K a l ap o m (J oseph W illiams
” ’
A
solo o f great beauty a n d one that not onl y re qu ires
.
, , ,
technical skill but t h e individuality of the player Th e

,
.
introduction L e nto is full o f rich harmony and the mel o dy

, , , ,
sweet in its simplicity gives plenty of opportunity to ,
produce th a t sy m pa t he t ic tone t h at the violin is so

cap able o f The P i n M e sse which follows in the usual
.
gipsy styl e
Pzu m e sso
'
.
1 4 0 S E LE C T E D V I O LI N S O L O S ,
qu ot ed in these pages This solo for ordinary b a llad

c onc e rts is j ust the righ t length —four pages violin part
.
The pian o accompani men t is not by any means di fficult ,
and in some parts very in t eresting

P A PI N I G U I D O
.
Andan te R oman tico Op 60

IS
. .
, ,
( Chan o t and S ons 5 s This solo one that appeals to

t h e player s poetic fanc —l n the h ands of the prosa i c
, .
y
and purely technical mus i cian it would be a s orry a ffair
I t 1 8 full O f dramatic power an d depth an d its value as a
.
concert solo is considerably enhanced by the splendid

piano accompan i ment I t is a work for artists— only
a rtists could g i ve i t its proper interpretation
.
W
.
PA P I N I G
, .Caprice a l E spagnole Op 1 1 0 ( F ’
,
. .
C h an o t an d S ons As its title implies we have

, ,
and expect t he S pan ish element and our expectati o ns a re

fully realized The principal subj ect
.
i s well w o rked o u t in fo ur pages of the v iolin part intr o ,
d u c i n g a variety of staccato bowings o f the ligh t order ,
which will help t o make this C aprice a brilli a nt an d

d e lightful solo
PA P I N I G L e Carnival d e V enise ( F W Ch an o t
.
. . .
,
and S ons As a popular solo the well kn own air o f

L e Carni val de V enise o f Pagan ini h as been a
,
fa vourite f o r many years O f all the di fferent sets o f

“
.
v a ri a tions o n e of the most up to date and well Within

the re a ch O f the ordinary solois t is that by G uido P apini , .
There a re eight v ariations an d the F i n ale Th e varia

ti o ns are all graceful and pleasing B oth natural and
.
a rtifici a l harmonics play a prominent part Th e foll o w

ing qu o t a tion s will serve to S how t he various styl e s I n
.
.
AN D H O W T O P LAY T H E M . 1 41
wh at might be termed the th i r d vari a tion which c o m ,
m e n ce s o n th e sec o nd page o f the v iolin part eigh t h line , ,
we hav e
Po co p i n 77:
H H
-
rI
Co n f n e ce e n e r g i co .
these down bows being played quite at th e heel o f the

b o w with the exception of t h e o n e befor e th e harm o nic
,
x which will come in the middle o f th e b o w

, I n th e .
fifth variati o n :
( )
1 As w i tt
r en
'
V/ V H
C ommencing each ph rase with th e up bow will be found

somewhat di fficult s o the second wa y is advised The
, .
F inale is chiefly legato arpeggios with very e ffective

piano accompan iment Altogether a capital solo for .
g un
i gy concerts 1
PA P I N I G
.
, F eu F ollet ( F W Chanot and S on s

. . .
,
A brilli a nt solo piece ch iefly d ouble chords The , .
vivacity with which this piece requires to be played and l/

the lightnes s o f bow makes i t extremely di fficult to p ro
,
duce the e ffect that the ti t le designates

PAP I N I G “
.
, Garry Owen Op 7 0 ( F W Ch an o t
.
,
. . .
and S ons , There are plenty o f violinists who lo v e

the elaborate fantasia wi th variations S o here goes
“
.
—
for a good o n e o ne with every kin d of fancy work
for nimble fingers The introduction which o ccupies
.
,
j ust seven lines is devoted to a series o f e ffective

,
caden zas in the s tyle of recitative and then the well

,
known m elody
S E LE CT E D VI O LI N S O L O S ,
Ce n gr a zza
'
to a simple acc o mp a nimen t Th e first vari a ti o n which

I s very graceful takes this for m
.
,
3 rd .
and must be pl a y ed with freed om ; the triplets at A are

pl a yed r i co ch e t I n the second vari a tion the me lody
.
is brought o u t with long an d e asy descending runs Th e .
P i u vi ve wh ich foll ows is considerably m ore di fficult and ,
the ch o rd passages though straigh tforward will require

, ,
firm h a ndling for inst a nce this o n e

, ,
4 2 2 3
2
4
2 f I
2 3
2
2 1 1 2
Als o the sequ e nce o f fingering b e ing continu e d in the

d escending arpeggios :
The next varia t ion leading t o the finale (which is

rather n ois y ) commences in har mo nics and the fing e ring ,
fr o m this poin t is explicit en ough I t will be seen fr o m .

1 44
.
S E LE CT E D V I O L I N S C LOS ,
1 2 1 4
I n th e last bar the fourth finger s h o ul d sli d e backward

“Trio
.
an d forward The . is half in natural harmon ic s

an d pi zzicato with the left h a n d
REI D I N G , O S KA R “Concer t o
Op 7 ( Breitkop f and
H artel 45 net) This is evidently intended for a
. .
,
.
, .
student s co n certo All the passages lie well under

’
.
th e fingers The octaves will require special attention

.
,
b ut all i s easy to underst and and excellent for th e ,
t e ch n ique in every way

REI DI N G O S K A R “
.
P olonaise d e Concert Op 1 0
n d H artel
. .
, ,
( B reitkopf a ) a most brilliant piece and one , ,
that is easy of interpretation the di fficulty being wi t h th e ,
fing e ring There are several passages in t h irds and si xth s

.
that will require separate practice for instance o n th e , ,
fi fth line o f violin part page 1 we h a v e : , ,
A l l egr o m o d e r a te .
which c an s o on be m astered by practising in thi s

fo r m
AN D H OW TO P L AY TH E M . 1 45
using the whol e o f the b o w and making a g oo d firm str o ke

’
i t i s a ls o advisable to practise the sixths in a si m il a r way ,
using th e fingering given in the copy There are o ther .
di fficulties to be o vercome such as artificial and natural ,
harm o nics st a ccato passages and arpeggios The Ch r o

matic run o n page 3 line 2 should be playe d with th e
.
,
, ,
san ti l lé bowing gli ding the fourth finger all the way d o wn
as far as th e B flat All o th e r t e chnical d i fficulties are

,
m ost plainly m a rked an d quite easy to underst a nd

R O DE “C on certo N o 4 ( A sc h e r b e rg I S
.
. Of .
, .
the C oncertos o f R ode N o 7 i s generally recognised a s , .
the favourite but the others a r e equally worthy o f atten

,
tion N ot only a re they artistic b ut t here is a char m in

.
,
th eir straightf o rwardness of s t yle together with thei r ,
being s uch essentially violin music Taking N o 4 in A

m aj or edited b y H e l l m e sb e r ge r which i s an excellen t
. .
, ,
edition in every way o n e c an safely say that here i s a

,
work that a vi o linist of any pre t ension to technique

c a n master There are n o awkward passages n o doubt
.
,
as to t he bowing intended ; all is good plain fiddling

calculated to give breadth of tone to one s playing a n d ’
requires that largeness of style SO characteristic o f R ode

,
An excellent work for students to study during the vaca

tion o r when unable to procure lessons The Adagi o I n E
i s rather sh o rt a nd i s followed b y a lively R ondo I n A
,
in si x eight
S A RA S A T E P A B L O D E “
.
, S panische Tan ze Op 2 1 .
, .
,
B ook I ( Alfred L e n gn i c k Thi s book ( one o f

fo urteen ) conta i ns two dances N o I “
.
,
M alaguena ”
H abanera I n N o 1 t he repet i t i on of the

, . .
, ,
and N O . . .
m elody on the G string is varied by the consta n t cha n ge

o f expression This I s followed by a pizzicato movement
.
with the left h a nd i n te r p e rse d with arco thus

, ,
.
a r ce .
finishing with a gr a ceful leg a t o mo v e men t . The

1
4 6 SE LECTE D VI O LI N SOLO S ,
H a b a ner a requires v e r y finished pl aying f o r instance ,
in the descending three o ctave scales w h ich c o m m e n c e fi ,
and make a rapid diminuendo ; a lso th e thirds an d

o ctaves The F in a le must be with th e spring b o w ; th e
,
fingering given IS excellent These solos never fail t o

.
please a ny audience providing o f c o urse that they h a ve

, , ,
been properly studied

S A U R E T E M I LE “
.
, Fa rf all a ( F W C h anot and

. . .
S on s There are many players wh o excel in rapi d

music and who prefer a sol o with plent y of m o vement
,
and certainly if that is their style it is much b e tter to

, ,
play music especially in public in which they are at

, ,
their best The M oto Perpetu o even played wi t h

”
great r a p idit y and finish is inclined to be somewhat

.
,
mon o t o nous to listen t o a nd I think m o st audiences fin d

,
s o m e seven o r eight pages of incess a nt semiqu avers

rath e r tedious F a rfalla is o f the m ot o perpetu o kind
.
,
with th e excepti o n th a t th e perpetual motion i s relieved

by a slower movement which greatly enhances the ,
compositi o n as a solo As regards th e execution o f the .
wh ole the technical di fficulties fo r th e left hand are such

,
as to require a go o d knowledge o f th e positions and a sure

finger the bowi n g s throughout the si x eight moto perpetuo -
in semiqu a vers being the sauti l l e The S low movement is

,
’
easy enough with the exception o f two cadenzas

S AU R E T E M I LE
.
S uite F ran caise Op 5 5 ( Chan o t

comprises S ix very n ice pieces that c a n very well b e
. .
, , ,
played s e parately The di fficulties of the whole si x v a ry con

“
F or instance” N O I Aria e L arghetto i n
.
s i d e ra b l y
C should b e under E but N o 2 D anse B retonne

. .
, ,
”
a brilliant a nd S pirited piece requires quite su fficient

.
, , , ,
H The
,
execution and skill t o be cl a ssed under ”

.
opening three note chords -

S E LE C T E D VI O LI N S O L O S ,
th e four qu a vers must be playe d ligh tly in fact r i coch e t well

in the middle of the bow N o 5 “Chanson san s . .
,
paroles in E minor is a piece o f th e p a th e ti c an d

”
, ,
s
sentimen tal order and requires gentle treatment , .
N o 6 the
.
,
C ap r i cc i e tto is perhaps t h e most di fficult to
,
play S o much depends on the interpretation o f th e

.
vari o us tempos which though capricious still require th e

, , ,
rhythmic measure to be strictly adhered to I t is fan tasti c .
thr o ugh o ut and th e passages free and graceful

, .
This suite o r rather s e t o f si x pieces will be found

, ,
m ost useful fo r c o ncert use E ach piece ”c a n be obtained

“
.
separ a tely the prices being Aria 3 s D a n se
B retonne
.
, , ,
”
No cturn e D anse B i h
“ 4 S , .
4 s e r c o n n
, e .
,
5 s Chanson san s paroles 4”s a n d C a p r i cc i e tt o 5 S
S C H U B E RT F
. . .
, , ,
Tarantelle ( C ranz 5 s ) There i s

, .
, .
a short Cantabile introduction before the Tarantella which ,
i s as lively and brillian t as this form o f music s hould be .
I t i s breathless movemen t almost from beginni n g to end .
Th e speed can be slightly slackened at the maj or The .
passages lie well under the fingers th e great di ffi culty i s

the spee d an d surety of intona t ion As a concert solo it .
is excellen t in every wa y
TE N HA V E W “ C oncerto O p 3 0 ( L a u d y and C O
.
y
. . .
, ,
1 os
) i
, s capital stud besides bein g pleasing an d
melodious throughout the three movements I n most .
cases the fingering h as been indic a t e d by th e composer ,
b ut th ere are o n e o r tw o places where it h as been om i tted

,
for instance in the opening bars

,
4 A
4
Q 1
" 2
. .
?
it f:f 3: n
AN D H O W T O PL A Y T H E M . 1 49
th e t o p fingering is th e easiest Again the foll o wing S hort .

,
c h ord passag e s in which g re at care must b e t a k e n t o

,
ke e p al l the fing e rs dow n when shifting .
The bowing thr o ugh o ut this first m o vemen t sh o uld be

free The passag e s gi ve p l e n ty of scope fo r to ne The slow
'
. .
move m ent is in G S i x eight time and i s very nic e The

,
-
, .
l a st m o vement i s in two fo ur D majo r and is bright and -

, ,
j olly I n the s e cond bar take the high G with extensi o n

.
,
and keep in the fi f th positi o n for the five succeeding

notes .The wh o le work i s well written and can b e
recommended as a standard piece fo r students
T C HA I K OVS KY P “
.
S érénad e m é l an c h o li q ue O p
,
‘
.
, .
2 6 ( B osw o rth , There are very few vi o linists wh o

a r e not a cquain t ed with this beautiful solo B fl a t m inor .
is not a usual key for violin music and the amateur

might shake his he a d a bit when confronted with five
flats bu t it is a key in e very way suit able to the sublimity
,
and solemnity of this be a utiful melody The technica .
di fficulties a re nothing c o mpared with the musical fe elin g

a nd musicianly skill required fo r its pr o per” interpr e t a tion
V I E U X T E MP S H
.
F antaisie Caprice Op I I ( S chott

, .
, .
a n d Co is perhaps too wi dely known t o need

comment though it i s seldom heard nowada y s in th e
.
,
c oncert room I t i s a beautiful solo and a magnificen t

.
study . Th e recitative intr o duction i s dram a tic a nd ,
a ppeals to all one s finer instincts of solo playing

’
.
The first two bars of the R ecit I have oft e n he a rd

marred b y a misunderst a nding in th e bowing viz it i s
.
marked staccato whereas a flat line , over the note

would indicate the styl e ; it is certainly better legato a nd
the a rticul a ti o n o f the n otes sh o uld o nly be ver y S light
,
.
1 5 0 S E LE C T E D V I O L I N SO L OS ,
Th e p a ssage i n the fourt h bar is m o st e ffective pl a yed

with the down stacca t o The Tem a an d two v a ri a ti o ns
a re quite clearly marke d I n the c o mm e nce ment o f the
.
F i nale th e accen t o n the semiqu avers
m ak e s a c a pit a l e ffect against the fl o wing a ccompaniment ,
but her e is another p o m t so o ften l e ft o u t o r the a ccen t ,
put in th e wr o ng place P erhaps th e foll o wing illustr a tion

.
will e xplain better
a nd S h o w h o w e a sy it i s t o fall int o the habit o f pl a ying

the a ccented note with th e q u av e r in the pi a n o part
‘
The o ctav e s at the e nd a re m o re e ffective p l a yed

.
t o gether and no t one n ote after th e other

, .
N ine pages o f vi o lin part is r a ther t oo much for a

c o nc e r t s o lo an d th o ugh it is all go o d we kn o w that
, ,
people ca n e v e n h a ve too much o f a g o od thing therefore

it is a dvis a ble to c u t a bit ” “
The best cuts a re ( I )
.
,
from th e s e venth bar t o tw o b a rs bef o re sol o ( 2 ) the first ,
part of sec o nd Tutti to five bars before Tem a 3 ) the first ,
fi fty two b a rs of the P M Mo o in F inale

- ss Thes e cuts .
make it more suit e d to the m odern taste

V IOTTI “
.
C oncert o N o 2 2 ( A u ge n e r 2 5
. . Thi s , .
i s pr a ctic a lly the fav o urite of all t his composer s c o nc e rt o s

’
.
1 5 2 S E L E CT E D VIO L I N SO L OS ,
G RAD E I .
FOR VIR T U OSI .
BAC H j S “C o ncert o s N os
1 , 2 a nd 3
( Breitk o pf
and H artel I S 6d e a ch ) F o r serious stud y and study
. . .
,
.
. .
,
th a t will a lways b e fresh an d always instructive take

the concert o s o f J S B a ch
, ,
N o 1 in A min o r N o
and N o 3 in D m aj or
. . . .
, .
2 in E maj o r The editi o n

e d it e d by August S ar a n i s the best and these c o ncer to s
. .
,
S h o uld belong t o e ver y vi o linist s libr a ry and the more

,
’
a iring the y get the better fo r the pl a yer N o better

,
s t udy c o uld be fo und At first glance th e technic a l

di fficulties m a y seem few
.
P lay on and you will fi n d

plent y t o o ccup y y o ur br a in in ev e ry w a y
.
C a l a brese ”
O p 3 4 ( F H o fi m e i ste r
'
BAZ Z I N I .
, . .
,
obtain a ble at M essrs S ch o tt The n a me o f B a zz i n i

“
.
,
i s i n v a r i ab l y c m n e c te d with his c e lebrat e d Ro nde des

L utin s whicha
”
, i s pl ayed by a ll e minent artists F o r s o me .
u n kn o wn re a s o n the C a l a br e se is r a rely h ea rd an d
”
yet V iolinists a re a lw a ys seekin g s o los o f this c a libre I t

,
i s an extr e m e l y brilliant s o l o an d we l l w o rth the le a rnin g

.
like anything e ls e that i s go o d I t is n o t o ut o f th e .
way di fficult but requires an a rtist t o d o it j ustice

B rilli ancy an d a ni m bl e b o w ar m are the chief requir e
.
,
-
me nts besid e s s o m e o ct ave passages which t a x the l e ft

h a nd Th e o pening subj ect i s S impl e en o ugh a nd th e s e
,
.
,
tw o f o ll o wing b a rs
AN D H O W T O P LA Y T H E M . 1 53
will serve to S how the style o f pi e ce ; thi s is s oo n f o ll o w e d

by a n octave passage ascen ding by diatonic d e gr ee s t o
the high E in this styl e
,
and d e sc e n d ing chr o matically as fa r a s th e fo urth positi o n ,
thus
Clean fingering will be required for the skips s om e

twelv e b a rs further o n
the A harm o nic of c o urse being taken o n the A string ;

There are many other such S kips that will w a nt spe ci al
, ,
attention to acquire the requisite decisi o n and ne at ness .
The chromatic pass age commencing

.
1 54 S E LE C T E D V I O L I N SO L OS ,
a nd d e scending from the E can be best a ccomplished with

the sauti l l é bowing using the fourth fin ger fo r ea ch n o t e
,
d o w n to the third position

q
.
‘
Th e ch o rds in the maj or p a rts a r e quit e und e rst a nd a bl e ”
a n d must b e pla y ed fir m ly The st a ccat o o ct a v e p a ssag e .
which fo ll o ws in the min o r a gain

IS 8 D s tri s 1
g . n .
m ust be pl a y e d near th e heel o f the bow a n d the lower

n ot e s which rep r esen t the m el o dy w e ll br o u gh t out ,
though with out accent

The triplets at the fini sh must be sauti llé and S hould
.
b e a s brillian t as possible an d from this poin t the tim e ,
c a n be a ccelerat e d Ea ch grou p of si x n ot e s c an b e
.
fing e r e d the sa m e as for octaves The ch o rd sat the end .
Sl ll l
’
u s.
e tc .
, an d
S h ould b e pl y ed“in the fifth p o siti o n

a
B R AH M S J V iolin Concerto in D maj o r O p 7 7
.
d I OS
, .
, , .
( Alfre L g i ken net ) This

n c is a
, spl e ndid example
. .
o f th e m o dern school a work th a t will live f o r e v e r t o

delight a ll serious V iolin players The S low mov em en t is
,
heav e nly in f a ct o n e cannot find s u fficient adj ectives to

,
extol this b e auti ful w o rk a work that requires years o f

h a rd study an d o ne that will a lways be fo und m o re
,
b e autiful the m o re on e studies i t

B R U C H MA X
.
,
F antasie Op 4 6 ( A lfred L e n gn i ck
”
.
, .
,
9 5 net ) This F antasie which is founded o n a n old

S c o tch folk song i s d ivided into I ntroduction a nd fo ur
. .
,
m o vements Adagio S cherzo Andante and F inale The

, , , .
intr o ducti o n c o mmences in E flat minor a nd takes m o re .
th e fo r m o f a r e c i tative Th e opening is finger e d .

1 5 6 SE LE CT E D V I O L I N SO L OS ,
V iolinists are aware th o ugh it is seldo m he a rd for th e

, ,
simple reason that the publish rs only gran t permission

e
O f public perfor m an ce to those wh o purchase th orchestr al e
score S olo and orchestr a l parts including extr a parts

, , ,
direct from th e publishers but there are n o r e stricti o ns as

,
to t h e study O f it and for that our thanks Th e firs t

move m ent A dagi o ma no n Tnoppo commencing in D minor
.
,
, ,
,
an d finishing in the tonic maj o r is of th a t dra ma tic ,
nature th at c a lls forth o ur best musical instincts a n d ,
see m s to aid us in o ur a spI ra ti o n for pure music .
I n the O p e ning subj ect

A dagi o ma
th e maj estic style e nforc e s a ll one s best and purest t o n e

’
I n troduces the s e c o nd p a rt O f the subj ect with grac e ful ,
sync o p a ted phr a ses as ,
4 th st i r n g.
A fter thes e subj ects h a v e been duly w o rk e d out the

intr o ducti o n O f some brillian t chord passages o ccur a n d
,
then a n ench a nting S low melod y The sec o nd movem e nt

tak e s th e form O f a recitative giving ample scope t o the
.
play e r for the display O f artistic feelings a nd technic a l

,
brillian cy combined T he last movement A l legr o Mo l to

. ,
is most e xhil a r a ting in i ts brilliance and with th e

exc e pti o n of o n e o r two passages is n ot SO d iffi CU It a s th e
, ,
first tw o m ove m ents Quotations a r e unnecessar y a s th e

,
. ,
A N D H O W T O P L AY T H E M . 1 57
fi n ge r i n gsand bowings giv e n are most explicit I t is a .
w o rk that requires ar d ent and assidu o us s tudy and will ‘
ever remain o n e O f the gems O f any vi olinist s stock O f

,
’
solos
B R U C H MA X
.
, Th ird Concerto
. O p 5 8 ( Alfred , .
L e n gn i c k 1 2 8 net )
, . A fine w o rk indeed though it is
.
,
.
h ard to sa y w h ether it will ever be as popul a r as this

c o mposer s first concerto in G minor O p 2 6 I n the firs t
’
place it i s not SO easy to understand and in th e second i t

. .
,
i s c o nsiderably more di fficult and the di fficulties a r e

,
n ot t hose that at a first hearing give such a gratefu l

return for one s labour th ough they undoubtedly improve
’
,
.
one s playing all round an d by d egrees fascinate u s by

’
T O the player wh o has mas t ered th e

,
th eir beauty
c o ncertos O f D e B e r i o t and similar works this kin d O f
.
m usic is unfamiliar and therefore di fficult to understand .
The first movemen t A l legr o e n e e gi oo co m mences with a

, ,
fairly long tutti introducing t h e principal subj ects .
The first eigh t bars O f the 5 0 1 0 are devoted to cadenz a

p a ssages a nd then comes the first subj ect
the ch o rds are played with alternate down and up bows

( the bracket is to mark the triplet ) making a bright and
decided stroke The semiquaver passages th a t follow
.
need to b e strictly in time m o re especially th ose Of gr o ups

,
o f n o tes o f unequal value The A dagi o like all thi s

.
,
c om poser 5 work is b e autiful with its richn ess O f h a rm o n y

’
and voluptuous melody and the F inale A l l gro M tto i n

, ,
, ,
e o
t hre e f o ur th e subj ect o f which c o mmences :

,
is played with force prefer a bly on th e G string an d with

,
the lower part O f the b o w I t must be brought out most .
d istinctly and the triple rhythm well marked on acc o unt

O f the a cco m panimen t being l e gato semiqu a vers with an ,
a ccent in the bass on the se co nd beat T h e whole move .
ment requires brilliant an d decisi v e playing with the ,

‘
e xcepti o n of the leg a to par t I t is an exhilarating finish .
t o a beauti ful c o ncerto

“
.
D E B E R I O T I n introducing the S ev e nth C onc e rto

.
O f D e B e r i o t O p 7 6 i n G maj or O f which I recommend

a new editi o n edited by R os é ( A sc h e r b e rg I S 6 d net ) I
.
, , ,
. .
, , ,
feel t h at perhaps I have placed it as regards di fficulty in

t o o high a section y et it always seems that D e B e r i o t IS
, ,
put too much in t he shade Th ough this c o ncerto i s .
generally r e c o gn I se d as the f a v o urite it is seldom heard ,
f o r what reason I c a nn o t i magine

titl e is too pretentious and that i t hardl y reaches the
,
s eri o us nature and form O f a concert o B e that as it .
may there is n o going from the fact that its beauties are
,
m a nifest and we shall seek far before we find a n equal to

,
its luscious melodies which are quite worth the attention

O f a good pl ayer The m usic is certainly in lighter
,
but that cann o t be called a fa ult or in an y way

.
v ein , ,
deteriorating to o n e s musical feelings ’

.
There are n o w several editions published but t h is one ,
i s the best o n a cc o un t O f the bowing fingering and

phrasing being SO explicitly marked H owever o n one
,
o r two po i nts t h e re IS sure to be a di fference O f opinion

.
,
an d those I will proc e ed to enu me r a te beginni n g with the

,
fi rst two b a rs o f th e S Ol O
1 60 S E LE C T E D V I O L I N SO L OS ,
An i m pr o v e ment is t o pl a y the m in f o urs bringing th e

‘
run d o wn t o A
Ag a in , fi ve bars ahe a d it is b e tter to slur tw o n o tes in a

b ow
All these littl e suggestions a re a m a tter Of i n dividual

,
“
taste a n d a re not necessary alterations At 6 we h a v e
”
.
the ch o rd passage
which S h o uld b e playe d with the lower p a rt O f the bow ,
and th e slurred chords which foll o w towards the p o int .
At 7 c o m m encing :
,
i t is n ecessary t o lift the b o w an d let it tr a vel fo r the tw o

up b o ws This p a ssage leads to th e b r illi an t fi n a l e o f the
.
first mo ve me n t .
AN D H OW TO P LAY THE M . 1 61
The sl o w movemen t in B minor is a ll plain s a iling a nd ,
the pathetic beauty O f it will be much en j oyed

The chief di fficulty in the last m ovement —A l legi a
.
mo de r ato in G —i s the staccato which fr e quently occurs ,
a s in the first bar
The stacc a t o a rpeggi o s at 1 8 and the r i coche t three ,
n otes which follow should be practised accenting the

first O f ever y three n otes
,
A S I h ave said befo re this c o ncerto i s a brillian t and

.
excellent compo sition and there is still a very large

,
percentage o f music lovers that prefer so me thing not to o

h e a vy .
R eferring to the reference numbers in this e dition ,
which are placed at the beginning O f any new phr a ses

though n ot a new ide a—I wish that it w o uld be ad o pte d
universally more especially in cha m ber and concerted
,
music I t would save a lot o f tim e a nd av o id th e

tr o ubl e and anno ance O f c o un SO m a n bars
"i
.
,
'
M X
n
back a t ?" fi nk a im 96 3 m m . /j B i ng u) .
D VO R A K AN TO N
.
.
”
Concerto O p 5 3 (Alfred L e n gn i c k
, .
, .
,
I O S net
.
) A coloss a.l work twenty pages vi o lin part, and ,
thr o ugh o ut these twenty pages the interest is kep t keen ly

alive by the absorbing beauty and C harm O f the variou s
themes I t is in the S l o w m o vement that the uninitiated
.
begin t o find these beau t ies revealed to them and acquir e ,
an appetite for more A work O f this magnitude and .
grandeur requires a cultured ear to understand and

appreciat e it at i ts full value I t is a work in which th e .
student needs the guidance Of an experienced te a cher an d

musician Fo r a c o ncerto of this kind the di fficulties ar e
.
norm a l
ERN ST “ A irs H o ngr o is
.
. An e xc e ll e nt editi o n i s
.
M
that O f M essrs B reitkopf a nd H artel This well known

. .
-
s olo exacts a powerful technique and at the same time

demands that path o s o f t o n e SO ess e ntial to good V iolin
,
pl aying A S a go o d all round S how piece it i s first rate

.
- .
The di fficulties ar e nu merous and sampl e s o f them ,
a re given in th e brillian t variations that follow th e

S e co nd Te ma I t is a brigh t s o lo that migh t v ery well
be ter m ed the f a th er O f most O f this style O f con cert
.
pieces Th e study o f it will well re p ay an y amount O f

.
work fo r it is th e best O f i ts kind

E R N S T F”o r go o d h a rd study t a k e th e C oncert o in F
.
,
sharp minor Op 2 3 edited a nd finger e d by August

, .
,
Wil h e l m j ( S ch o tt an d Co 3 S net ) M an y have been

l u cky ie n o u gh to h a ve he a rd M iss Ma rie H all s perfo rm
. . .
,
' ’
gat e O f this w o rk I t is a c o ncerto teeming with technical

.
d ifficulti e s a n d o n e that requires most assidu o us study .
All earn e st w o rkers will find endless interest in mast e rin g

this beautiful concert o .
G O LD M A R K C A R L , S uite Op 1 1 ( S chott 6s net )

.
, .
, . .
This magnific e nt S uite is divided into five movements

an d requires all the artistic S kill a n d te m perament O f
,
virtu o si to give i t its proper and j ust rendering I t is a

great favourite with M ad a me B erthe M arx and S enor
.
P abl o S a r a sa te S uch a rendering as theirs is n o t likely

.
e ver to be forgotten a n d yet with all our numerous pian o

and V iolin recitals this l o vely work is sorely neglected ;
,
i t may be that the l e ngth has somethin g to do with it a

matter o f ten pages V iolin part the wh ole o ccupying O v e r
,
half an h our and the modern soloist i s more anxi o us t o

shin e in purely technical skill B e that as i t m ay ther e
,
.
,
i s plenty in b o th pi an o and violin part in which both

artists c an demonstrat e their powers in every way Th e .
first m o vemen t is a brillian t A l legr o in three four time E -
maj or followed by a very S olemn A nd ante S ostena to in

,
C sharp min o r a m o vement full o f dramatic ferv o ur

, .
The third movement A llegr o ma no n Tnoppo E maj or i s , , ,
of light character coming in pleasing con tras t to the

preceding one S till more variety O f form an d colourin g
,
is given in th e fourth m ovem e nt which is in A m aj or , ,

1 64 S E LE C T E D VI O L I N SO L OS ,
4 2 8 3 2 3 4
It a very di ffi cult Tara ntelle a nd m a k e s a brillian t

is
S olo moreover th er e is a n o riginality Of c o nstruction th a t ‘
i s very C harming
,
L I P I N S K I C HA R L E S Concert o O p 2 1 ( B reitkop f
.
a n d H artel” I S 6 d net) This con certo i s known as the

. .
, ,
“M ilitar y Th o ugh rarely heard in the c o ncert ro o m

. . .
,
-
.
n o w a days it is an in teres t ing work and ex cellent study

, ,
especi a lly fo r adv a nced techn ical di fficulties such as

double harmonics I n th is edition all necessar y fi n ge r i n gs
,
are pl a inly marked

MA C K E N Z I E A C
.
P ibroch S uite O p 4 2 ( N o v e ll O
This beautiful composition —which was played
.
, . .
, ,
68 net )
for the first time at the L eeds M usical F esti v al in 1 8 8 9
. .
by that great violinist P ablo de S ar a sate — has be e n added

to the r eper to i r e o f most O f o u r c e lebrated players Ther e
,
is a fresh element about the whole work that m a kes i t

stand al o ne as a 3 0 1 0 O f distinct beauties Through o ut
the three movements it is imbued with a str o ng flavour O f
.
S cotch melody that adds to the fantastical and dra m atic

style The first movement R h a ps o dy — L e n to 5 8
—i s taken up with a series O f graceful c a denz a s inter
.
, ,
spersed with delightful an d fresh mel o dy foll o wed by ,
recit a tive I n all these passages there is ample sc o pe for

.
’
displaying to th e full the violinist s technical and artistic
S kill The fingering an d phrasing O f the whole work is
.
fi r st r a te and m ost explicit

- The second m o vement
Caprice is exc e edingl y d a int y th e theme c o m m encing
.
,
, ,
AN D H OW TO P L A Y T H E M . 1 65
This o f course is pla y ed very fi rmly in the middl e O f the

, ,
bow th e b ow being lifted for th e staccato not e s with

t he S l ur o v er the m This subj ec t is foll o wed by a s eries
,
O f six S hort V a riation s N O 2 with the harmon ics an d

.
. .
,
pizzicato with l e ft a n d right hand i s most e ffective ;

‘
als o N O 4 with the legato arpeggios After the sixth

variation we h ave the P i n Tr anqu illo a lovel y c a n t a bil e
. .
,
m ovement followed by a S hort sc h er zando

, ,
E very little d etail in b o wing an d fingering has been

.
,
well looked after a nd in the more di fficult variations an

,
easier way i s given F or instance the eighth vari a ti o n

c a n be pla y e d in single notes inst ea d of in octaves an d
.
,
the ninth variati o n the pizzicat o with t h e left hand

, ,
thus :
c an be p l a y e d b o w e d
S E L E CT E D V I O L I N SO L OS ,
but O f c o urse th e pizzic a t o i s f a r more e ffective

Th e th ird m ove ment D ance —allegr o vi vace thr e e fo u r
.
-
,
time d = 84—i s full O f spirit and fire an d l e nds itself to

, ,
"
,
br ea dth a nd extrem e variation O f tone .
Th e s o l o t a ken as a whole is a most fascinating w o rk

a nd a ll players O f abili t y c an th o roughly enj o y the study
, , ,
O f it I t must rank as a standard w o rk that it i s the

.
duty O f all vi o linists t o a tt e m pt when su fficientl y :

,
d v a n ce d
M E N DE L SSO H N
.
o ther c om position could better

. N O
grace this collection O f pieces than M endelssohn s beau ’
tiful Concert o in E minor Op 64 and th ough I th ink , .

,
c o mment o n it here w o uld be unnecessary I do not inten d ,
to go further with o ut r e commendi n g th e b e st edition O f

this work v i z that edited by H err Wi lh e l mj ( S ch o tt
, .
, ,
3 S net )
Th ird C oncert o in D min o r
. .
MO L I Q U E B E R N HA R D
O p 1 0 ( B reitkopf an d H artel I S 6 d net ) The present
.
, , ,
edition h a s been edit e d by H enri P etri a nd le a ves

. . . .
,
n othin g unexpl ained a s regards the ph rasing I t i s a .
fine work a n d well w o rthy the attention O f all a rtists I t

will be remembered th a t the c o mposer was th e m ast e r O f
.
,
the l a te J T Ca r r o d u s F r o m a technical point O f V iew

it i s n o t SO di fficult I tS purity O f constructi o n c o m
. . .
ma nds the finest instin cts O f players

.
N A C H Ez T IV A D A R “
.
D a n s e Tzigan e s N O 3 in G
H
.
, .
,
D n aj o wsk i
( o ungarian dances are ever to the
fo r e in the estim a ti o n a n d a pp reciati o n O f th e V i o lin s o l o ist
,
1 68 S E LE CT E D V I O LI N SO L OS ,
and fifth they add consid e r a bly t o the st y l e

an d rhyth m
D A stri gs
n
2 1 I 2 I
4 3 3 4 3
All the do tted notes must be as light an d crisp as

possible and the legat o O nes must be s moo th a s well as
,
li gh t t herefore the bow must be allowed t o travel freely

and without a particle O f sti ffness Th e n e xt di fficulty
,
occurs on the n inth bar :
the harm o nic D is o n the D string and though it c o uld ,
be produc e d by si mply raising the third finger ( G )

the e ffect O f the long sli d e would be l o st I n m a king
,
this l o ng shift th e fing e r sh o uld touch th e string all the

—
,
way a j ump to the n ote is n ot only uns a fe b u t inartistic

I f this S lide is pr a ctised S lowly alway s travelling a t a n
.
,
equal speed an d gradually quickening th e p a ce it is s o on

O bt a in e d F ive bars fur t her o n we have an o ctave an d
,
a h a lf descending c h romatic scale fro m th e high A

h a rm o nic o n the A string This c an be a c complished
. .
with the third fin ger and her e again sl o w practic e i s the

b e st a rticulating each n o te with the shifting O f the
,
fi n ge r—n ot th e bow S peed an d accurac y will only

,
.
A ND Ho w TO P L A Y TH E M . 1 69
c o me with careful stud y A similar p a ss a ge o ccurs a t

.
the end O f the first page which m ust h a ve the s am e ,
attention The Vi vace movemen t c o ntains some very

awkward s e miquaver passages in which a first C l a ss
.
kn owledge o f the positi o ns is imperative n ot only a s ,
regards the fingering of each but the exact loc a ti o n Of

“
the l e ft hand There a re several j umps fr o m o n e
,
p o sition t o another that m ust be done without a n y

.
perceptible glide
The pi zzi ca to with the left han d S h o uld be play e d with
.
th e finger used for the precedi n g note

SA I N T SA E N S C A M I LL E “
.
-
, Third Concert o O p 6 1 .
, .
,
in B min o r ( D ur a n d e t fi l s) o btain a ble at M essrs S ch o tt , .
and C o 8 5 ne t One o f the finest O f modern c o nc e rtos

.
, . . .
The first subj ect
pp ( d ( A m m e n t tr e mlota nao )
’
A l l egr o
'
i
non ro o :
.
i s played on the G string in a b Ol d style t o w a rds th e , ,
heel O f th e b o w Thr o ughout the first movemen t great

b readth O f t o ne is requis i te even i n th e tr anqni l l o p a ssages
.
Th e S low part in E maj or must be slurred :

, .
D o /ce p
e s r e ss wo .
The leg a t o semiquaver p a ssages th a t foll o w a r e s ome

w hat awkw a rd to finger I give a fe w extr a cts .
1
7 0 S E L E C T E D VIO L I N SO L OS ,
- 4 —
5 1 flh PO S .
4 0 1 2 3
'
Th e y a r e a ll p a ssag e s th a t require car e ful

The sl o w m o vemen t in B flat —A nd an ti n o gttasz
A l legr e tto 5 )
6 i s simplicity itself T h e last ten.
or
e l e ven b a rs o f harmoni cs are extre mely e ffective .
Th e last m ovement commencing Mo lto Mo de r ato e

,
Mae str o leading to A llegro n o n tr oppo (J 9 )

6
is p e rhaps the easier as regards interpretation I t is a .
brilli a nt finish to a magnificent work There i s plen ty

for the sol o ist to do an d it is a ll SO delightfull y fresh and
.
full O f interest A S i n the first m ovement th ere are

,
.
,
difficult passages that will requi re most careful study to

enable o n e to play them with anywhere near the neatness
they claim This C o ncerto i s only for those stu dents wh o
me a n serious study There is not a particle o f C h eap or
.
showy music ab o ut i t—a ll good solid a n d sound—an d an

.
infini t e so urce O f pleasure to an earn e st V iolin ist

, ,
.
1 7 2 S E L E C T E D VIO L I N SO L OS ,
G stri g n .
Another awkward piece O f fingering on th e G string

o ccurs in th e secon d part ( F maj or ) :
A m mai a
'
a n d aga i n the l eggi e r o pass a ge

'
SM 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Th e ch ords that follo w together with the pizzicat o ,
with the left hand octaves har m onics etc do not requir e
any further assistan ce than good hard stud y
.
, , , ,
T he .
extracts I h ave given are merely to show the kind o f

di fficulties one has to con t end with in this charming
piece which sh ould be more largely introduced int o o ur
conc e rt progra m mes The pian o p a rt is quite e a s y
,
.
.
A N D H OW To P LAY THE M . 1 73
S EVC I K O T O KA R the P aganini F or difficulties o f

order let me recomme n d the B ohemian D ance H olka
.
,
Mo d r o o k a Op I O ( B osworth 3 s net ) and by the sam e

, ,
”
“ B ohemian F antasia ( Bosworth 3 S net)

,
. .
, ,
comp o s e r ”
B ot h pieces are played by K ocian and K ubelik The

. .
, ,
firs t n a med com m ences with the melody in double

‘
h arm o nics an d pizzicato with th e left hand an d the ,
melody which follows pure and simple as regards notation , ,
is full o f fire The second is construc t ed o n a melody ( in

.
o ctaves ) foll o wed by five v a riations and a finale and is

also O f the same order a s the previous solo G reat
,
technique is required for both and with a good strong

and sure finger together wi th brilliancy O f bowing we
, , ,
have two S plendid sol o s capable O f S h owing O ff to t h e full

, ,
the te chnical powers O f the virtuos o B oth S olos a re

,
melod ious and distinc t ly up to date

S P O H R L O U IS S eventh Conc e rto in E min o r
e dite d by H P etri ( A sc h e r b e r g 1 5
.
, ,
This i s an
exce llent e d ition the ph rasing bowing and fingerin g
. .
,
bei ng most carefully S hown

, ,
The study O f S poh r s .

’
Co ncertos i s a work in itself there is a completeness an d

ex actness about them which together with the purity of
their construction makes them as a rock O f musical
,
learning on which th e student c an rely This particular .
concerto compared with t h e celebrated D ramatic is ”
c o nsiderably easier as regards interpretati o n neither are ,
the t echnical di fficulties so very formidable Through o ut .
it is one gran d an d noble lesson and th e study O f such a ,
work comm a nds the pupil t o a more serious style o f

pl a ying a nd i s bound to i mprove the breadth and son orit y
O f on e s tone I strongly advise the student to seek th e
,
’
.
ai d O f a competen t master in any such work as this

S P O H R L O U IS “
.
E ighth Concerto ( B osworth a nd

,
”
.
1
C o 3 s n e t ) known as t h e
.
, . D ramatic Concerto
, I t is .
in s uc h a work that the true artist finds sc o pe for talen t .
The first recitative is quite su fficient to give o ne a n idea

as t o the player interpreting it All one s p o wers a r e ’
.
brought into play B readth of tone sweetn e ss delicacy

fi r e e tc are a ll required in quick succ e ssi o n T O becom e
.
, , ,
.
, , .
1
74
. S E L E C T E D VIO L I N SO L OS ,
n ote perfect in such a c o ncert o is th e least di fficulty o ne

-
has I t is in th e management O f e xpressi o n and p o etic

.
feeling that the di fficulty lies The avoidance o f e xtremes

ei t her in the loud o r sof t passag e s th e V ibrato a to o
.
,
, ,
hasty crescendo or decrescendo I n fact a g o od int e r

n O f it s t a mps at once the true a rtist
.
,
t ti
“
p r e a o
S PO H R L O U IS N inth Concerto e dited b y H an s

.
S itt ( Breitk o pf a nd H artel 2 s n e t ) is a n e xcellent

.
, ,
.
, ,
editi o n O ne cann ot i mpress to o much On the risin g

pl ayer the i mmense ben efit derived from the stud y O f this
.
great master Th e p ureness O f constructi o n an d

.
melodious the m es al l tend to give a wider and better ide a

O f really g oo d musi c “
V I E U XT E MP S H E N R I
.
, Ballade and P olonaise O p

.
, .
3 8 ( A u ge n e r 2 s net) This particular edition h as been

revised by F r H ermann a nd his fi n ge r i n gs are both good
. .
,
.
,
a n d explicit and only leave a fe w O dd bars o n w h ich

,
special c o m m e n t i s necess a ry I n th e a llegro preceding

the P olacc a m o ve ment—the graceful little run s
.
a re all played better with an up b o w ; th ey are di fficul t

t o get crisp and neat each one must be firmer th a n th e
former SO that at th e fifth and last they lead well t o th e
,
continuous run an d the crescendo m ust be maintaine d t o

,
the end O f the eight b a rs shakes The first bars o f th e

,
’
.
next m o vem e nt — th e P ol o n a ise :
t he b o w must be lifted between the first tw o n o tes the

ch o rd being pl a y ed with th e low e r h a lf O f the b o w th e
,
,
1 7 6 S E LE CT E D VIO L I N SO L OS ,
W I E N I A WS K I “Capricci o
V alse O p 7 edit e d b y
Wi lh e l mj ( S ch o tt 2 5 net ) T O m o st V iolinists this
. .
, ,
.
, .
piquant c o mposition is well kn o wn as i n fa c t mo st O f

th e se gems usually are And it is onl y by a rtists th a t
, s
s uch s o los should be played I t i s n ot the extrem e

.
t e chnical di ffi culty th a t presents itself but the finish

a n d delic a c y r e quired Tak e for instanc e the o pening
,
.
, ,
bars
The S kip fr o m the C to the high A harm o nic requir e s th e

greatest neatness possible besides a light an d ea sy b o wing
, .
Then a g a in th e seven bars ( s e miquavers ) descending

,
stacc a t o passage is a n o ther technic a l feat t h at requir e s a n

a cco m plished play e r F urther o n w e have
.
Of c o urs e th e chords m arked with a cr o ss are pizzic a to

—"
,
a nd (can b e played with the r i h t h and and the arc o C hord

g ,
th a t f Oll o ws with th e lower part of the b o w The

‘
“
h a rmonics S ould be played ric o chet no t stacc a to“
.
”
,
a nd t o a dd 0 th ese di ffi culties a good rhyth mical time

, ,
A N D H O W T O P L AY T H E M . 1 77
must be k e pt up The pizzic a t o chords S h o uld b e light

“
.
,
and not clawed O ff the strings and the arco ch o rds ,
also in k e eping with the s o n o rity O f t o n e Of the pizzic a t o .
I t is a be a utiful S OlO and is worth any am o unt Of h a rd

,
study a nd careful and conscientious work .
W I E N I AWS K I O riginal Theme with V a ri ati o ns

Op 1 5 ( Breitkopf and H artel )
.
, ,
. The Theme with

.
variations i s som e what o ut O f date but as a solo there ar e

I t i s a favourite solo O f
,
fe w to co m pare with this one .
K ubelik and it is only in the hands O f great artists t hat

,
the intended e ffects c a n be pr o duced Only a player with

the command O f a fi rst class t e chni que c a n attempt such
.
a sol o as this The first sixteen bars are f o r vi olin al o ne

. .
The opening bars must be full and played wi th a go o d

,
broad tone ; this applies to th e wh o l e Of th e introducti o n

“
.
The Theme also requires a go o d t o n e ; though it is

marked 1 5 the ton e must be full and pure The first
,
.
variation requires special a ttention the melody which is ,
on the A string must be well brought o ut and f o r th is

, ,
p urpose it is well to practise accenting it in the fo ll o wing

manner
The same a pplies to th e sec o nd part Of this vari ati o n :
So that th e melody is prominent The m elody o cc urrin g

.
on the A string is really the chief di fficulty for it mus t

be pr od uced without any inequality O f tone ; it is for this
,
reason that the accents are advised I n pr a ctising but they ,
must n ot be n otic e able in playing .

1 7 8 S E LE C T E D VIO L I N SO L OS .
The second vari a tion presents a n e w di fficulty in th e

S hap e Of the m elody being played pizzic a t o with th e
,
h and a nd the a cc o mpanim e nt ar co

,
The pizzic a t o i s best pl a y e d with th e fo urth finger O f the

left hand and the a cco m p a ni ment with the b o w must be
,
as light as possibl e M ore legitim a te di fficulti e s are t o b e

.
found in the third vari a tio n which c o mmences ,
R i so l u to .
1 2 1 2
and the staccato in the F inale requir e s ver y n e at h a ndlin g .
I t is a fin e sol o an d most fascin a ting to pr actise ev e n to”

, ,
those players whose a mbiti o n so a rs a bov e V ariations

All the music O f Wi e n i awsk i is SO purel y written f o r th e
.
violin that i t is bound t o a ppe a l to a ll true l o vers o f th e

,
instru m ent .
THE EN D .
ii . A D V E R TIS E ME N TS .
T H E S T RA D I
L B RA R Y , No . 1 .
Cr o wn 8 vo .
, Cl o th , Po st F r ee ,
THE S TRAD Li BRARY EDI TI ON i s th e o nly Auth o ri se d Ed i ti o n o f
Te c h n i c s of V i o l i n Pl a y i n g
J O A C HI M S M ETHO D
’
C A RL C O U RV O IS I ER .
With F ld io ng P l a t e s, c o n ta i n i n g F if t een Ill u st r a t i o n s .
L E T T E R F R O M D R . J O A —
C I I I M
CO Y ]
[ P .
MY D EAR M R C O UR VO I S IER I : h r d th b k V i l i
a ve ea e oo on o n
l yi g y h s t m d h c gr tul t y si c r ly
.
P
p r f r m d m st di ffi cult t sk
a n ou av e en e an av e t o on a a e ou n e e
r i which y h
,
th m
d scrib th b st w y Of
on e an n e n ou a ve e o e a o a
rri i g t c rr ct m r f
,
t
pl yi g th V i li
. e t.
, o e e e e a a v n a a o e an n e O
I t c t but b w lc m t th ught ful t ch rs wh r fl ct

a n e o n .
d I h p th t y ur w rk will pr us fu l
an n o e e o e o o ea e o e e on
h m th d f
,
t e e t o o o u r ar , an o e a o o o ve e
t m y stud ts
i si r t b m st f ith fully y urs
o an en
B li m y d r M C ur
.
m e e ve e ea r o vo e o e o a o
E H J O CH IM
.
.
, ,
JOS P A
rl i b r3
.
Be n, N o ve m e rd , 1 8 94 .
T h e N e w an d R e vi e s d E diti T Of ch ics Of i li l yi g V P
T R AD is th ly uth ris d diti Of m w rk
on e n o n a n
ssu d by
,
i T HE S
E glish E diti s wh ich h
e e on a o e e on y o
s rl pp r d with ut
.
,
T h e e ve a n on a v e a ll a ea e o my
k wl dg e ar e i n co mpl e te an d faul ty
I IE
no e
C O U RV O S
.
CA RL R .
ONDON L
S TR A D
"
O FF I C E GREE N ERR A C E OS E B ER Y V E N UE
, 3 ,
T , R A , E C . .
A D V E R TIS E M E N TS . iii .
T HE S T RA D
'
I
L B RA R Y , NO . II .
Cr o wn 8 vo .
, Cl o th , P ost F ree ,
HOW TO S T U DY T H E V I O L I N
By a . T . C A RR O DU S .
T E N T S C O N
tr gs
S in an d T n n u i g wi g F ults
Th e B o w a n d B o th ir
an d
t r I p rt c urs Of tud
n a e
rr cti cls
. .
Co e S a e an d h ei m o an e Co S
E l t r tt rs
on e y
d c c r g r i s ct s
. . .
A vi e o n e me n a y Ma e C o n e n i n H a m o n c , O ave ,
rch str l l yi g E xp ri c s l st ith
.
O e a Pa n S o me as a S o o i W
full p g p rtr ts
e tc e en e
g i i p hr
. . .
a e o ai O f C a r r o d u s Mo l i q u e P a an n S o S i vo r i ,
t ph t r pr ducti
, , , ,
D e B e r i o t B l agr o ve a n d S ai n o n a n d a o o- e o o n o f Dr
p hr s t st i l
, , .
S o i m o n a t o C arr o d u s
'
e .
A i t r st i g s r i s Of rt i cl s H w t S tudy th V i li which ’
c tri but d t T S T R AD d c m pl t d ly w k
n n e e n e e a e o o e o n,
C d
c ll ct d i Ch p b k f r m
ar r o us on e o HE an o e e on a ee or
tw b f r his d th h wb
,
o e o e ea ave n o een o e e n ea oo o
t ch ic l hi ts t i li stud ts which pr ct i c l pl i ly
, .
Th
w rd d d fr m such p m st lu bl —D ly N w
e e n a n o v o n en , ar e a a , a n
'
f w w ks b f r h i sudd
o e an o a en o va a e az e s
d th th m st disti guish d
. .
,
B t
i l i i sts c m pl t d i T H S T R AD s i s Of ch ts t
u a e ee e o e s en ea e o n e
f ti
stud ts O f th i stru m t ss ci t d with his m T h s
O na ve v o n o e e n E a er e a o
issu d with sy m p th tic pr f c

en e n en a o a e na e e e
ch ts
.
a w ar e no re - d i e a a e e a e an n
structi t ti s A ll wh c r t list t wh t w r
.
irtu lly th l st w rds Of such c sci ti us t ch r wi ll

ve an no a on . o a e o en o a e e
v a e a o a on en o ea e
r c g is th p i s t k by C d t r d r r y d t i l cl r
ic t th d c d pu p il Pl s t g ss i p c c r i g
e o n e e a n a en ar r o us o en e e ve e a as ea
th
pr i ci l f sti ls t which C d w f m y y rs l d r
to e no v e as o e a va n e . e a an o on e n n
Of th rch str ds littl lu m w rthy pl c i m i l

‘
ov n a e va a ar r o us as or an ea ea e
m m t Of th l i f
e o e a, e n a e vo e o a a e n u s ca
libr r i s b th f t pr ctic l l u d
a e o or I s
‘
a a va e an as a e en o e e
w rk f rtist u i rs ll y st m d —D i ly Ch i l
I t sur ly h rdly c ss ry t dir ct th tt ti f stud ts
o o an a n ve a e ee e . a ro n c e .
lu Of th hi ts d d ic gi by xp ri c d
Is e a ne e a o e e a en on o en
t th u q u
,
o e ni e va e e n an a v e ve n so e e en e
d cc m plish d irtu s th l t M C d th t i t ly
r m i s t s t t th t th R c ll cti s m k d light ful r di g
an a o e a v o o as e a e r . ar r o u s, S O a on
’
e a n o a e a e e o e on a e e ea n
d th t th b k wh l is t rt i i g i t is i struct i
,
an a e oo as a o e as e n e a n n as n ve
lu f th b h i h c d by xc ll t p rtr i t f M
, , .
Th
w ll Of u m b r Of th r i li w rthi s d th
e va e o e r o c ur e s en an e an e e en o a o r .
C d
ar r o u s, as e as a n e o e v o n o e an e
pri ti g p p r d g t up g r lly g d c uld p ss i bl y
.
—M i l A w
n n , a e , an e e ne a ar e oo as o o
b e . ns ca ns ers .
ONDON L
S TR A D O FF I C E GREE N ERR A C E OS E B ER Y V E N UE
, 3 , T , R A , E C . .
iv . A D V E R TIS E M E N TS .
T H E S T RA D I
L B RA R Y , No . I II .
Cro wn 8 vo , Clo th , P o st F r ee , {f/

c 9 .
T HE B OW
Its Hi st o r y ; Ma n u fa ct u r e and Use
H E N RY S A I N T = G E O R G E .
Wit h F ll u Pa g e Ill u st r a t i o n s ( e x a ct s ize ) by P h o to Pr o c e ss .
MO N S E MI E
E wr s I h r d it with gr t L S AU R T
th t it su p pli s r l w t g i g m usic i s
i te a ve ea ea
i t r st d thi
.
nk iv
xc ll t d scripti Of l m tt rs r f rri g
n e e an a e a ea an in n an
such thi
,
an e e en e on al a e e e n to s
i m p rt t i stru m t
o an n en .
SIG O G I D O I I writ s h ks m uch f y ur

N R U PA P N T
q uit succ ss ful
e an so or o
spl did d i t r sti g b k
en an n e l e n oo Yo u ar e e e an d a l th e
rtists t urs i d bt d t y f x ct d c rr ct
.
a an d a m a e ar e n e e o ou o r so e a an o e a .
T t ex e th subj ct
’
on e e .
A D O L F B R O D S K Y writ s I m d light d with th b k d e a e e e oo an
fi d it ry i structi f th s wh th i k t k w rythi g
b ut th b w I t
n ve n ve e ve n or o e o n o no e ve n
ry rigi l d t ti m s ry m usi g N
,
i l i ist S h uld m i ss th O pp rtu i ty t b y it

a o e o . I s ve o na an a e ve a n . O
v o n o e o n o u .
TH E T I ME S A us ful tr t i s n th B w i which th
h i st ry m u f ctur d Of th b w discuss d with
e ea e o e o , n e
o an a e an u se e o are e co n
b l t ch ic l k wl dg
,
sid e ra e e n a no e e .
D A I L Y T E L E G R A PH stud t th r is m uch Of
— “T th
w rk which h th d t g Of b i g c pi usl y
O e en e e
i t r st i
n e th
e n e o as e a va n a e e n o o
illustr t d
,
a e .
D A I L Y N E WS T his b k s m s pr cti c lly t xh ust i t oo ee a a o e a s
subj c e t .
”
ONDON L
S T RA D O FF I C E GREE N ERR A C E OS E B ER Y V E N UE
, 3, T , R A ,
E C .
Vi . A D V E R TIS E ME N T S .
T H E S T RA D I
L B RA R Y , No . V .
C r o wn 8 vo .
, Cl o th , P ost F r ee ,
T E C H N I CS O F
V I O LO N C E L LO PLA Y I N G
E . VA N D ER S T RA ET E N .
COP IO U S LY I L L U S TR AT ED .
r e ce i ve d by t h e Au th o r f r o m th e g r e a t
"
“
Co p y o f Le tte r ce l l i s t ,
S I GN OR ALFRED PIA7 TI .
C a d e n ab b i a L a k Of C m M rch 9 th 8 9 8
EAR
e o o a 1
b — r c i d k y ki dly s t m
, , , .
D SI R I e e ve th e Th
T ch ics Of which I f u d xc l l t p ti
oo ou n en e on e
i l c ll l yi g
,
e n V o on e o P a n o n e e en ar cu
b gi rs which tur lly w y ur s c p With m y
, ,
l ly f
O ld i l c l l p l y r
ar or e nne na a as o o e an
th ks f ki dly r m m b ri g
.
,
y urs S i c r ly
an or n e e e n an e x -v o o n e o a e
B li
.
m
F E I I
e e ve e , o n e e ,
AL R D P A TT .
Co p y f ro m th e e mi n e n t c e ll i s t ,
'
o f Le tte r r e ce i ve d by th e Auth o r
HERB DA V/D POPPER
ud p st F bru“ ry d 898
.
B
D EAR S T ch ics Of
a e e a 22n 1
—I s d i g m y ur b k
, , .
IR, Th
h en n e o OO on e e n
Vi l c ll Pl yi g y h gi m r l d tru pl sur
I k w Of w rk tut rs d studi s t xc pt d which p r s ts
o on e o a n ou av e ve n e a ea an e ea e .
lu bl m t ri l m uch th t is bs lut ly t th p i t
no no o o an e no e e e e en
m uch
, ,
pri cipl — l l th t is su p rfl u us d
so va a e a e a SO a a o e o e o n
idi g—I m ight y
, ,
disp s bl E ry r st thi ki g i l c ll stud t will i

avo n sa , on n e a a e o an
futur m k y ur b k his w d th r by r c i hi ts which

en a e . ve e a ne n n v o on e o en n
wil l furth r d c m p l t th i structi s Of his m st r

e a e o OO o n an e e e e ve n
I c gr tul t y d urs l s m st h rtily th w i l

e an o e e e n on a e .
Y urs m st si c r l y
on a a e o u an o e ve o ea on e ne v O on
c ll b k Wi th ki d r g rds
I O PPE R
e o oo . n e a , o o n e e ,
DA V D P .
ONDON L
S TR A D O FF I C E GREE N ERR A C E OS E B ER Y V E N UE
, 3 ,
T , R A ,
E C . .
A D V E R TIS E M E N T S . V ii .
T H E S T RA D I
L B RA R Y . N o . VI .
Cr o wn 8 vo .
, C l o th , P o st F r ee ,
VI OLI N P LA Y I N G
J O HN DU N N .
C O N T E N T S
IN T R OD U C T O R Y—Q u liti s i disp s bl id l i li ist to th e V

h ic Of ricks Of pr t d g
a e n en a e ea o n
H i ts th e ch r C m Te a So T in
pr f ss rs xp s d
n on o e a e e e en
o e o e o e .
T H E H O I C E A I O L I N AND W— d ic r g rdi g g r l
ON C V BO A
dj ustm t d r p irs
OF v e e a n ene a
a en an e a .
ON C OIC E —S tri gi g I stru m t d S T RI N G s th e

k pi g
THE H OF n n n en an
ee n gs O rd r
th e P e in e .
ON T H E GE N ER A L OS T URE — m r Of h ldi g h i li P Th e t e V
cc pt d by l di g rtists Of d
an n e o n o n
an dBo w as a e e th e ea n a th e ay .
ONFI N E —I N GE N ER A LL Y — ri us p si ti s —S c l s Th e
ri ci p l
G R G va o o on a e
r c mm d d
e o enM d r O rch str l
e Th e ( c l d ) o e n e a P n a or so - a le
Le a dr e .
G L I D I N —S p ci l Ch r ct ristics f s m Of
ON m st th e
E m i t l y rs
G e a a a e - O o e o
ne n P a e .
D T O I N — m i di i culty D ubl t ppi g

S Th e ff in S
g i I d p d c Fi g r
OU BL E PP G a n o e o n
H w o to a n n e en en e o f n e .
B o wI N G s —S m o o th Bo wi gs —S lid S t cc t —S picc t —
n o S pri g a a o a o n
Bo w —M ix e dwi gs Bo n .
T ON E P R OD U C T I ON —C h r ct r Of T —R ul s d Co n diti s
c ss ry t pr duc g d t —S tyl d E xpr ssi
a a e o ne e an on
ne e a o o e a oo o ne e an e on
'
ONDON L
S TRA D O FF I C E GREE N ERR A C E OS E B ER Y V E N UE E C
, 3, T , R A , . .
V iii . A D V E R TIS E ME N TS .
T HE S T R A D I
L B RA R Y N o V I I ,
. .
Cr o w n 8 vo .
, Cl o th , P ost F ree ,
’
C h a t s to Ce Il O S t u d e n t s
A RT HU R B RO A DLE Y .
d t s Of th
M us i ci an s l l i p rticul r will w lc m th
’
l t st lu m O f T S T R AD L ibr ry C h ts t C l l S tud ts by
e vo ee e Ce O n a a e o e e
“ , ,
‘ ’ ’ ’
a e vo e HE a a o e O en
A rthur B r dl y M B r dl y ly k ws wh t h
, ,
t
is t lki g b ut but h pr cti s d wh t h s ys F r m th ch ic
oa e . r . oa e no on no a e
Of i stru m t t fi i sh d d li ry d rch str l pl yi g C h t

a n a o , as a e a e a . o e o e
an n en o n e e ve an o e a a n a s
C ll S t ud ts l s th i g u discuss d T h tr t m t i
,
’ ’
to e o en e av e no n n e e ea en s .
si m pl d pr ctic l T h xh usti ch pt r b wi g sh u l d
.
i lu bl i d t stud ts I th l st ch pt r Of h i b k
e an a a . e e a ve a e on o n o
b e an n va a e a o en n e a a e s oo
O D li ry d S tyl M B r dl y h gi lucid xpr ssi
.
,
n e ve an e r oa e as ve n a e e on
subj ct which h s dly d d ici g —Th T i b
.
to a e as a nee e vo n . e r un e ,
N un ea to n .
IS
brightly writt littl lu m fi ll d with p r ctic l i f rm
ti f th s wh s k t bri g t th w lth Of xpr ssi O f
a en e vo e e a a n o a
which th V i l c ll is c p bl T h i structi is pr s t d i
on or o e o ee o n o u e ea e e on
h m ly c mm s s f shi u p w rds Of fi fty

e o on e o a a e e n on e en e n
d th r
.
o e o on- en e a on an e e ar e a
x m pl s i m usic typ t illustr t th uth r s m i g
, ,
’
e a e n e o a e e a o e an n
Week ly
.
L l oy d
’
’
s .
E
ry k i d Of b wi g d fi g r i g th p rt m t h rm ic
ff cts rp ggi s d th ir luti fr m ri us ch rds
ve n o n an n e n , e o a en o , a on .
e e a e ll o an e e vo on o va o o ar e a
bly tr t d d th w r k c clud s with f w r m rks

, ,
rch str l pl y i g wh i ch Of sp ci l i t r st —M i l N w
a ea e , an e o on e a e e a on
o e a a n ar e e e a n e e . us ca e s .
A wr i t r th t ch i q u O f h i i str m t M B r dl y is
w ll r th w rld p rh ps h i m st s cc ssful w rk b i g
s a e on e e n e s n u en r . oa e .
k
littl b k publish d b y T S T R AD C h ts t C ll S tud ts
no n a o ve e o , e a s o u e o e n
—Th
’ ’
a e oo e HE , a o e o en .
e Vi o l i n i st .
ONDON L
, 3 , T , R A , E C . . .
x , A D V E R TIS E M E N TS .
T H E S T RA D I
L B RA R Y ,
No . IX .
Cr o wn 8 va .
, Clo th , 5 / P o st
V IO L I N MA K I N G
WA LT ER H . M A YS O N .
Wit h h
T i r ty - o ne F llu -
p ag e PHOT O ET C H N G S , I
I llustr a ti g th pr c ss Of V i oli
n e o e n -m a ki g i
n n e ve ry st g fr a e — om th e
r ugh S l b Of w d t
o a oo o th e fi ish d
n e I n stru m t en .
The t xt is writt
e en by an A ct u a V i o i n l l Ma k e r , in a ve r y cl r ea
an d lucid styl e .
Po a pul r l ctur e e styl e , wi th ph t gr phic i ll ustr ti so o a a on .

”
T h e Ti mes .
A ea e f tur Of th e b OO k i s th e cl r ss
e a ne Of th e i llustr ti s a on .
”
Mo r n i ng P o st .
De scrib s e a ve ry f sci ti g a na n ar t fr om st rt a to fi n i sh —M o r n i ng
L ea d er .
his w b kl t
T h w t m k i li i d m ir bl
xp siti Of m th ds M M ys
ne oo e on o o a e a v o n s an a a e
ids l r d t r m i l gy
, ,
H us s th S i m p l st E glish
e o on e o r a on avo e a ne e no o
d g s s tr ight t th p i t
. . .
H
b gi s by Sh wi g th y u g l r r h w t ch s th b st w d
e e e e n , an oe a o e o n . e
i li th t is t b T hr ugh ut wh l ch tty p r f ctly

e n o n e o n e a ne o o oo e e e oo
f th
si m p l C h pt r h disc urs s th b ck A s p r t C h pt r is
or e v o n a o e . o o a o e a , e e
d t d t th m d l li g Of th b ck d third t its w rki g

e a e , e o e on e a . e a a e a e
‘
ck fi g rb rd th scr l l
e vo e o e o e n e a an a o o n
Th f s u d h l s ribs
S h wi g th t l which
’
ou t t e ar o o n -
o e ne n e oa e o
b lly A m g th il l ustr ti s
.
, , , ,
th
uth r hi m s l f us s i th m ki g Of his i s tru m ts T
e e . on e a on Is o ne o n e OO s
th
l r rs Of th w ll k w M ch st r m k r s d lic t t w
e a o e e n e a n n en . o
’
c mm d his li tt l lu m —D i ly N w
e a ne e e - no n an e e a e e a e ar e
o en t e vo e . a e s .
ONDON L
S TR A D O FF I E GREE N ERR A C E OS E B ER Y V E N UE
C , 3 ,
T ,
R A ,
E C . .
A D V E R TIS E ME N TS . xi .
T H E S T RA D L B RA RI Y . No . X .
Cr o wn 8 vo .
, Clo th , P o st F r e e ,
E D I C A T E D BY ER I SS I ON
(D J O E H J O H I M ) ,
P M , TO DR . S P AC
TH E V I OL I N M U S I C O
B EET HOV EN ,
C r it ic a l ly d is c usse d , a n d Il lu st r a t e d w it h o ve r '
F I FTY M U S I CA L EX A M P L ES ,
J . MA TT H EWS .
b k c t i s lytic l d hist ric l t s up th

Th e
C h m b r M usic Of B th i li t k s p rt
oo on a n an a a an o a no e on e
i which th
s l i stru m t with s m cc u t Of th ari us diti s Of th
a e ee o ve n , n e v o n a e a as a
Of
o o n en o e a o n e v o e on e
w rks th s th d w rki g sh w by
,
l B m
’
i
his S k tch B ks t I t is d dic t d t D J OA C I M wh h
rInc ; a o ee o ve n e o o n as o
p p , n
fur ish d s m t s r sp cti g th stri g d i stru m ts p ss ss d

e oo , e c . e a e o r . H , o as .
n e o e no e e e n e n e n en o e e
by B th ee o ve n .
E x tr act f ro m A u th o r P r eface
’
s
Y
u g stud ts Oft su pp s th t th y ught t d m ir
.
ry
w r k which p r c ds fr m gr t g ius tt m p t th r f r h
o n en en o e a e o o a e e ve
o o ee o a ea en an a e e e o e as
b m d t c y s m id r l ti lu
.
f th d
c Of th ri us c m p siti s discuss d i th s p g s
een a e o t o n ve o e ea o e e a ve ar -
va e an
i m p rt o an e e va o o o on e n e e a e
b tw th b st w rk f y m d his l st i spir d th r
.
F or e een e e o o an a n an ea n e e e
is wid di ff r c C rt i ly thi g y d th gr t m st r
,
r his l st m tur w rks p r is d sp ci l ly t

a e e en e e a n no n an n o e e ea a e
m r th t h
.
ti m wh m y Of his gr t st cr ti s w r t littl studi d

o e an o ea ea a e o a e , e e a a a
e en an ea e ea on e e oo e e
t b u d rst d s
o e by f w
n e oo av e a e .
M J h M tth w d li g with B th s m usic i

’
pl s t f shi gr t l gth —gi s hist ric l

-
r . o n a e s ea n ee o ve n n
e a an d t t t a on an a no oo ea en ve an o a
cc u t d i m y i st c s sh rt l ys s with i l lustr ti s
,
Of B th s w rks f this i stru m t d

a o n an n an n an e o an a e a on
m usic typ
, , .
’
i
p rticul rly th s t s (t which c sid r bl s p c is d t d)
n e , ee o ve n o or n en , an
tri s th q u rt ts d th r c m p siti s i which th m st r

a a e ona a o on e a e a e e vo e ,
th
i li T h b k wil l b f u d by m t urs b th
e o e a e an o e o o on n e a e
m pl y d th
, ,
—D i ly N w
e o e e v o n e oo e o n a a e o
i t r sti g d i t t
.
n e e n an n s r u c I ve . a e s .
ONDON L
STRA D O FF I C E GREE N ERR A C E OS E B ER Y V E N UE, 3 , T , R A , E C .
xii . A D V E R TIS E M E N T S .
T H E S T RA D L BRA R I Y , No . XI .
Cr o wn 8 vo .
, Clo th , P ost F r e e,
A d v i c e to P u p i l s 8: Te a c h e r s
of th e Vi oli n .
BAS I L A L T HA U S .
S tr o ngly re co mmend e d by AUGUST WILHELM] . GUIDO PAPINI.
L o n do n , Ma rch 78 th , 7903
D EAR M LTH AU S A
.
I r d y ur b k
d ic t P upi l s d T ch rs Of th
R .
,
A
with gr t i t r st d fi d it ry us ful H pi g y ur
ea o oo v e o an ea e e
V i li
,
'
o n ea n e e an n ve e o n o
k w i ll m t wi th th succ ss it d s r s
, .
b
I m y urs si c r ly
oo ee e e e e ve .
G
a , o n e e
WI L H EL MJ
,
AU UST .
L o n do n F eb 79 th
LTH A
7903
EAR M US
.
, , .
D A
Ih r
d with i t r st y ur d m ir bl b k A d ic t P u p ils
R .
,
d T ch rs Of th V i l i Ih
av e ea n e e o a a e oo v e o
h sit ti i r c m d
i disp s bl w rk t l l s p iri g i li ists d t ch rs
an ea e e o n ave n o e a on n e o en
i ng it
.
Y ur r m rks th c q uir m t Of th ri us b wi gs wi th th
as a n n en a e o o a a n v o n an ea e .
xc ll t I k w Of w rk this
o e a on e a e en e va o o n e
y m usic l x m pl s
,
m
i m p rt t subj ct x p licit d xh usti
an a e a e ar e e e en no no o on
Wish i g y ur b k
, .
o an e so e an e a ve n o oo
gr t succ ss it d s r s
.
th
e ea e e e ve
y urs
,
B l m ly
G I O I I
e I e ve e , o S I n ce r e ,
U D PA P N .
h r d th 5 7 p g s th t g t
I av e ea th b k i e 1 a e a o o f rm o e oo n
u sti d with ut m isgi i g th t M A lth us
succ ss fully chi d wh t h
q e on an c an sa o an v n a r a
y y
—
.
, , ,
h as e t t t d M i la e ve a e se ou o o .
”
us ca
ONDON L
S T RA D ”
O FF I C E GREE N ERR A C E OS E B ER Y V E N UE
, 3 , T , R A , E C
. .
xiv . A D V E R T IS E M E N TS .
T H E S T RA D L B RA RI Y , N o . X III .
Cr o wn 8 vo .
, Cl o th , P o st F ree ,
TH E V I OL I N
S o l o Pl a y i n g , S o l o i s t s an d S o lo s ,
WI LL IA M H EN LE Y .
Mr Willi a m
l y is xc ll t p r f r m r d his b k He n
is th r su l t Of
e an e e en e o e an oo
T h V i li P l yi g S l ists d S l s
.
,
8 1
‘ ’
e o n : 0 0 a n o o an o o e e
c sid r bl pr ct i c discuss s
, ,
th t h Th
Op i g d i c t i li stud ts th i sist c tu fi rst d
on e a e a e in e ar e e . e
l tt r d p d i g gr tly f its xc ll c up
en n a v e o v o n en e n en e on ne an
th t
, ,
th
c rr ct ss f th f r m r is t l y w rth s yi g but i
en on o ne , e a e e en n ea or e e en e on
th e o e ne o e o e no on o a n s
s id w ll d w i th c icti M H l y discri m i t s w l l
, ,
C l ssic ; C d th p l i ;
a e an o nv on r en e na e e
b tw i l i ists chi
. .
,
J m t h
t d l g t ; d Wi l h l mj th fi ry d
e een v o n : oa , e a ar ro us, e a n
S th
list Of i l i c c rt s g
t
a r a sa e e ne a an e e an an e e e an
b ld l st
.
,
Th i th
O f th b k s m s ry c m p l t
o e v o n on e o i ve n n e a
ch pt r but
.
,
d
S h uld b us ful f pur p s s f r f r c Th L d d
a e o ne e oo , ee a ve o e e o ne , an
o e e or o e o e e en e .
-
e on oh an
P r o vi nci al M usi c T r ad e s R e vi e w .
stud t wh s i t ti it i t m k th i li m s
F o r th e
th p r f ssi l s l ist rch str l p l y r i m bry
en o e n en on s o a e e v o n a e an
f li lih d —
— this littl w rk writt i Sp irit f O b i us si c rity is w l l igh
o ve oo e o e o na o o or o e a a e n e o
T h C h p t rs
e o en n a o v o n e e n
lu bl T chi g d S tudi s
, ,
i
’
c p ti F li g
n va a e e a e on ea n an e
T h A rtist Phr si g T ru
.
C d
’ ’ ’ ’
d th wh l w rk I S w rth c r ful
‘
e a n on e on an e ee n ar e
ry w l l wr i tt d dil i g t
, ,
ve e e n , an e o e o o a e an en
p rus l Th M l W l d
e a -
e usi ca or
uth r O f this b k h th ught m uch d d p ly th

. .
Th
f sci ti g subj ct Of wh ich h tr ts " d titl d t h ri g
e a o oo as o an ee on e
a na n e e ea an Is e n e o a ea n .
uth r s r m rks xc ll tly

,
Th T
'
d Of
e a o e a on o ne ar e e e en co n
i d s m l l i t r st th subj ct b i g l ss "h ck y d
th th t Of rdi ry t h i i I his ch p t r
c e ve an no a n e e e e e n e a ne e
S ty l
, ,
h
r m i ds th r d rs f th m y f ct rs which g t th m ki g
an a o na ec n e . n a e on e e
Of fi i li ist m g which S ty l —which is — utc m Of

e n e ea e o e an a o o o e a n
th
s sibility Of th pl y r is Of th
a ne v o n a on e e o o e
i m gi ti
,
th d th
m st i m p rt t
e a na on an e en e a e o ne e
o Th fi o x cut t is c mm
an ugh w e ne e e an o on e no no -
a
d ys b t th fi stylist r r r —M i l N w
.
a , u e ne as a e as e ve . us ca e s .
ONDON L
, 3 ,
T , R A ,
E C . .

Arranca en Fa Trumpet

Încărcat de

Informații document

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Arranca en Fa Trumpet

Încărcat de

Drepturi de autor:

Formate disponibile

S EL ECT E D VI OL I N SO LO S, AN D

T H E obj ect of the following pages is t o introduce and

T h e compositions enumerated are selected for merit

I h ave taken care to place each piece i n its pro p er

hope will be found to con t ain a brief but useful com

WE N T Y o r twentyyears ago the am o unt o f

music for V iolin and pi ano was somewhat limited .

One cann o t ﬁnd fault at the present time with the

Amongst such a quantity it is quite natural that there

get kn own or appreciated .

So me of the works menti o ned will be already known to

com m ent as t o the ﬁngering and bowing o f a ny di fficult

using the following degrees

G RA D E B — E a sy not exceeding the ﬁrst positi o n

G RA D E C —E asy using ﬁrst a n d third p o sitions

E —M oderately di fﬁcult as far a s th e ﬁfth p o sition

F —D i fﬁ c u l t especi a lly as regards sentimen t a nd

G R A D E G — D i fﬁ c u l t using all positions

G R A D E H —V ery di fﬁcult including st a nd a rd c o ncertos

and concert pieces .

and Co 4 s ) is a piece with varied bo wing I n di fﬁculty

i t extends to t h e limi t of element a ry pieces but it is ,

quite worth the trouble o f learning

eight time especially adaptable for children

always a freshness ab o ut this composer s work th a t is a ’

A pretty piece in G comm o n time which recommends , ,

i tself as a good and easy piece o n account of the se t

item to the young student and one must avoid taxing ,

t heir po wers too far in these earlier stages of playing

, R omance Op 4 ( C hanot and S ons

3 s ) makes a very useful ﬁrst piece

possesses a melody th at j uveniles c an appreciate at once

that it should be something quite to their liking and

d erived fro m scales a nd exercises .

A tuneful piece that c an easily be understood I n . th e

the ﬁrst ﬁnger sh o uld be placed between the A and E

further o n it will be necessary to move t h e ﬁnger o n

The young player invariably requ i res a special caution

One o f t he simplest pieces to be found Though the .

violin part is only a matter of semibreves and minims ,

o n e c an truly call this little piece a melody and a melody ,

that i s further enhanced by the simple and interesting

variety of plain bowing such as two notes slurred and ,

o n e bowed th at takes the pupil away from the regular

groove o f the instruction book The key is G an d .

moreover this M enuet is tuneful and dainty

and C o . A very easy and well written piece

extremely useful for beginners The notation is conﬁned .

to minims and crotchets

( Chanot and S ons 3 )

time The frequent occurence o f the D sharp o n the

D string should be made a special study and great care

back and not the h a nd

H E N LEY W ( Chanot and S ons 3

Q uite n the berceuse style and written in the key of G , ,

which always lends itsel f to an easy acquire m ent of

to be desired in the way of pleasing pieces for the young

S i x t h bar the t h ree qua vers

a re better played with separate bows and no t staccato as ,

written for the young student who a ffects a piece of this

kind would not be capable of playing these three notes

T h e usual attempts result in three scratches o r digs ,

a n d H arte ] I S 4d net ) A fl owing waltz movement

wi t h easy accompaniment in imitation o f a guitar The .