Transcriber’s Notes:

  Underscores “_” before and after a word or phrase indicate _italics_
    in the original text.
  Equal signs “=” before and after a word or phrase indicate =bold=
    in the original text.
  Small capitals have been converted to SOLID capitals.
  Illustrations have been moved so they do not break up paragraphs.
  Old or antiquated spellings have been preserved.
  Typographical and punctuation errors have been silently corrected.




                    _AUGENER’S EDITION, No. 9212._

                               HANDBOOK
                                  OF
                            VIOLIN PLAYING

                                  BY
                         Prof. CARL SCHROEDER

                       TRANSLATED AND EDITED BY
                              J. MATTHEWS

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

                           _FOURTH EDITION_

                            [Illustration]

                             AUGENER LTD.
                                LONDON

                          Printed in England.




CONTENTS.


                                PART I.
                            The instrument.

                                                              page
    Origin of the violin                                         1
    The oldest violins                                           1
    Development and perfecting of the violin                     2
    Prominent makers of the present day                          3
    Attempts at improving the violin                             4
    Search for the discovery of the old Italian makers’ secrets  6
    Distinguishing features of the old Italian violins           7
    Imitations of the old Italian violins                       10
    Constituent parts of the violin                             10
    Function of the soundpost and bass bar                      12
    Position of the bridge                                      12
    Amount of pressure on the upper table                       13
    Dimensions of the violin                                    13
    The wood                                                    13
    The varnish                                                 14
    The strings                                                 14
    Strings pure in fifths                                      15
    The string gauge                                            15
    Preservation of the strings                                 16
    The bow                                                     16
    Different parts of the bow                                  17
    Resin                                                       18
    Violin cases                                                18
    Price of violins                                            19
    Price of violin cases                                       19
    Price of bows                                               19
    Preservation of the instrument                              19
    Cleaning the hair of the bow                                20
    Names of the strings, and tuning                            20
    Compass of the violin                                       21

                               PART II.
                   The technique of violin playing.

    Position of the player                                      22
    Holding the violin                                          22
    Position of left hand and arm                               23
    Holding the bow                                             25
    Position of right hand and arm                              25
    Examining the  manner of holding                            25
    Bowing                                                      25
    Principal signs used for the left hand and for bowing       27
    Employment of up and down bows                              28
    The first exercises                                         29
    Placing the fingers                                         30
    Exercise in intervals                                       33
    Chords in arpeggio                                          35
    Stretching the 4ᵗʰ finger                                   36
    Various styles of bowing and their signs                    37
    Arpeggi                                                     41
    The close shake (vibrato)                                   42
    The open shake                                              42
    The mordent                                                 44
    The double shake                                            44
    Scale playing                                               45
    Fingering of scales                                         46
    Chromatic scales                                            47
    The positions                                               48
    Changing the position                                       49
    Movement of the fingers in changing positions               49
    Diagram showing the positions                               50
    Double stops                                                53
    Chords in three parts                                       58
    Chords in four parts                                        62
    Harmonics                                                   64
    Pizzicato                                                   69

                               PART III.
                           The performance.

    Artistic rendering                                          72
    Taste                                                       72
    Individuality                                               73
    Phrasing                                                    73

                               APPENDIX.

    Pictorial representation of the bowing                      80
    The mute                                                    81
    The Vibrator                                                82
    Alphabetical list of celebrated violinists of the 17ᵗʰ,
          18ᵗʰ and 19ᵗʰ centuries                               84
    Violinists of the 20ᵗʰ century                             106

                        TRANSLATOR’S APPENDIX.

    The Viola                                                  107
    Guide through Violin literature                            109
    Guide through Viola literature                             179




PART I.

The instrument.


Origin of the violin.

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

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


The oldest violins

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


Development of the violin.

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

[Illustration: a. Rabab—Arabian bowed instrument (of Persian origin).

b. Raba—Indian violin.]

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


Prominent makers of the present day.

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

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


Attempts at improving the violin.

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

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

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

[Illustration]

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

[1] With the same intention, Mr. E. J. Bonn, of Brading, Isle of
Wight, has produced a four-footed bridge, which, upon the testimony of
those who have tried it, has in some cases effected an improvement.
Testimonials from great artists concerning these and other attempts
at improving the violin frequently appear; meanwhile, the artists
themselves are well content with the bridge and the instrument
generally as left by Stradivarius. One would not desire to deny the
_possibility_ of further improvements to the instrument, yet nearly two
centuries of ceaseless experimenting have yielded no result that has
been considered worthy of universal adoption. _Tr._


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

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


Points of note in the old Italian violins.

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

[Illustration: Gio. Paolo Maggini, Bresciæ.]

[2] Regarding these two figures as sections of a trunk of maple the
first shows how the slab back is obtained, (sur couche) and the second
the other method. _Tr._

[Illustration]

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

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

[Illustration: Antonius & Hieronimus Amati

Cremonen. Andræ filii 16]

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

[Illustration: Nicolaus Amati Cremonen. Hieronimi.

filii Antonii nepos fecit Anno 16]

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

[Illustration: Antonius Straduarius Cremonensis

Faciebat A⁰. 17]

Labels of various other Italian makers:—

[Illustration: Francescus Ruggeri detto il per

in Cremona dell’ Anno 16]

[Illustration: Hieronymus Amatus Cremonen.

Nicolai Figlius Fecit 17]

[Illustration: Joannes Baptista Guadagnini Ple

centinus fecit Mediolani 17]

[Illustration: Iosephus Matth Albanus

fecit Bulsani in Ferole Anno 17]

[Illustration: Ianuarius Gaglianus Allimnus Antonii

Straduarius fecit Neapoli Anno 17]

[Illustration: Joseph Guarnerius, Andræ

nepos. Cremonæ 17]


Imitations of old Italian violins.

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


Constituent parts of the violin.

[Illustration: Exterior.]

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

[Illustration: Interior.]

[3] The semi-circular projection at the top of the back is also termed
the button. _Tr._


Function of the Soundpost and the bass bar.

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


Position of the Bridge

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

[4]

[Illustration]

The quality of the wood in a bridge,—whether hard or soft—and its
thickness (according to Otto, its weight), materially affect the tone
of a violin. Bridges as supplied by dealers are usually almost twice
the proper thickness, to allow for rubbing down with sandpaper. The
best bridges are the genuine “Aubert” (with the name stamped inside an
oval); those with large and decided reddish markings showing hardness
of grain, and the less distinct markings a softer quality. When fitting
a violin, a few of each should be tried, first cutting the feet to the
approximate slope with a sharp penknife, then with a small piece of
fine (No. 0.) glass paper held steadily between the ff holes, rub the
bridge to and fro over the glass paper between the notches of the ff
holes, until, on removing the glass paper it is seen to fit perfectly,
standing upright when the instrument is level. The sketch shows the
amount of slope to be made on the E side; the distances for the notches
to receive the strings, and the amount to which the feet must be
thinned in an ordinary full sized instrument. The height of the bridge
is dependent, (for convenience of stopping), upon the height of the
fingerboard. A high bridge gives more power, but often the quality of
tone is not so good. The E string being harder to press down (by reason
of its greater tension) is kept a little nearer the fingerboard than
the others. From the end of the fingerboard, the E string should be
about this distance

[Illustration]

the G

[Illustration]

On ½ size and ¾ size instruments for children these distances must be
reduced about one-third. _Tr._


Amount of pressure upon the upper table.

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


Size of the violin.

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


The wood of the violin.

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

[5] Box wood and rosewood are also frequently used for the pegs. The
former gives a firm hold, but makes a creaking noise when tuning.
Rosewood answers its purpose well, though it is not so strong as ebony,
which however is more apt to slip. _Tr._

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


The varnish.

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


The strings.

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

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

[Illustration]

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

[Illustration]


Strings pure in fifths.

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


The string guage.

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

[6] It is best to compare the ends before putting the string on, tying
the knot at the end which appears thinnest. The last inch or so at each
end of even the best string is often rough, and not so durable as the
rest of it. _Tr._

[7] To ensure equality of tone it is very important that the strings
should be correctly guaged with regard to their relative thicknesses.
If all the strings are too thick, the instrument will speak with
difficulty in delicate passages, demanding a heavier pressure of the
bow; if too thin, loss of power will be the result, though with a
corresponding gain in sweetness and clearness, and if one string be
much out of proportion to the others, the first finger when placed
properly on that string and the adjacent one will not yield a perfect
fifth, besides the inequality in power. The following diagram shows
a set of strings of medium thickness, together with the distances
apart near the bridge on a full sized violin, as suitable for ordinary
hands. For fingers that taper much towards the tips, or for those that
are very broad, the distances may be made a little narrower or wider
accordingly. First strings of silk, known as “Acribelles” are in great
demand by players with perspiring hands, as they are less affected by
moisture than gut, but the tone is not so good. They possess certain
advantages in durability, and standing well in tune, but are more
difficult to tune, as a very slight movement of the peg will send
them up half a tone. When frayed, they should be removed, the quality
of tone they then yield being very bad, affecting the other strings.
If gut strings of good quality are bought, and the strings carefully
looked at before playing, breakages at awkward moments will seldom
occur, as the strands generally give warning before breaking by showing
symptoms of unravelling, especially at the knot end, or under the
bow,—when they should at once be replaced. _Tr._

[Illustration: String guage.]


Care of the strings.

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


The bow.

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

[Illustration]

[Illustration]

The greatest improvement in the bow was attained by the Frenchman,
Tourte, at the end of the 18th century. His bows possess the greatest
elasticity and firmness, and are, in consequence, the most successful.
After Tourte, Vuillaume in Paris, John Dodd in England, and L. Bausch
in Leipsic, have made the best bows. At present the most celebrated
bow makers are Tubbs in London, Knopf in Dresden, and Voirin in Paris.
French bows are most in request, although many of them are made in
Germany, sent _en gros_ to Paris, stamped there as French, and issued
to the world as of Parisian make.


Constituent parts of the bow.

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

[Illustration]

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

[8] Kid of reasonable substance gives a pleasant hold for the fingers,
although wire is in greater favour with bow makers for appearance sake.
But it is apt to tarnish and unravel, especially where the thumb comes
in contact with it. _Tr._


Resin.

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

[Illustration]

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

[9] A convenient form is that provided by many English dealers,
consisting simply of a round box,—preferably of tin,—with a hole in
the bottom for the finger to push the resin up, preserving the upper
surface level. _Tr._


Violin cases.

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


Prices of violins.

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


Prices of Violin cases.

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


Prices of bows.

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


Care of the instrument.

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

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

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


Cleaning the hair of the bow.

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


Naming and tuning of the strings.

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

[10] New work is first prepared with a staining mixture to the desired
depth of colour, smoothed and coated with hard spirit varnish, and
again polished. _Tr._

[11] The A may be taken from a pitch pipe, tuning fork, or piano,
which should be maintained at concert pitch. In old violins, if the
belly has yielded to pressure under the right foot of the bridge, it
is well after playing to let down the first string. If a string is
too flat, pull it up about a tone above the proper pitch, let it so
remain for a few seconds and then lower it to the correct pitch. If too
sharp, reverse the process. Only the A must be taken from a keyboard
instrument, the fifths on the keyboard being not quite perfect, but
“tempered”. Perfect fifths can only be obtained by a good deal of
practice. Advanced students may test the tuning quietly by taking
any two adjacent strings (with the little finger equally on both) in
harmonics, or by beating lightly with the stick on the string. In the
course of a piece, if even this is not possible, a slight pressure
above the nut will sharpen a string, tugging it between nut and bridge
will flatten; but this must only be regarded as a temporary expedient.
_Tr._

[Music: 1 2 3 4

e a d g]


Compass of the violin.

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

[Music]




PART II.

The technique of violin playing.


Attitude of the player.

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

[Illustration]


Holding the violin.

[Illustration: Chin-rest.]

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

To prove that the violin is held securely and well, the left hand may
be removed.

[Illustration]


Position of the left hand and the left arm.

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

[Music]

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

[Music]

the third on the D string,

[Music]

and the fourth on the G string,

[Music]

so that the fingers lie as follows:

[Music: 1 2 3 4]

[Illustration]

[12] The real “holding”—as regards the weight of the instrument—is done
at the other end by the chin pressing the violin against the collar
bone. What further _steadying_ power is necessary, the lower joint
of the thumb must supply, rather than the first finger. Players who
have attained considerable freedom are able to play certain passages
_without any portion of the side of the index finger coming into
contact with the neck_. Chin-rests of various patterns should be tried,
and that which best suits the particular player selected, as bodily
proportions differ. _Tr._

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


Holding the bow.

[Illustration]

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


Position of the right hand and arm.

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


Testing the position.

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


Bowing.

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

[Illustration]

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

[Illustration]


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

    ○ open string     ∏  down bow
    1  1st finger     ٧  up
    2  2nd   ”        Sp.  (Spitze) at the point of the bow.
    3  3rd   ”        M.   in the middle of the bow.
    4  4th   ”        Fr.  (Frosch) at the heel (nut end) of the bow.
                      G.B. (Ganzer Bogen) whole bow.
                      H.B.  half bow.


Use of the down and up bows.

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

[Music]

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

[Music]

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

[Music]

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

[Music]

[Music]


The first bowing exercises.

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

[Music]

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

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

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

[Music: Examine the holding.

Examine the holding.]

[Music]

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


Placing the fingers.

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

[Music]

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

[13] The easiest keys for beginners are G, D and A major, as in
these keys the open strings may all be utilized; the fingers fall
more naturally into position, and do not require to be “set back”
a semitone, as in C major (F on the E string) and in the keys with
flats. The scales and easy melodies in G, D and A might therefore, be
practised with the following exercises, or if deemed advisable, precede
them. _Tr._

[Music: E string.]

[Music: A string.

G string.]

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

[Music]

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

[14] i. e. without the aid of the intervening fingers. _Tr._

[Music]

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

[Music]

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


Practice of intervals in C major:

[Music: Thirds.]

[Music: Fourths.]

[Music: Fifths.]

[Music: Sixths.]

[Music: Sevenths.]

[Music: Octaves.]

Here great care must be taken to distinguish between the differences
that exist in these intervals, whether the 3ʳᵈ is minor or major; the
fifth perfect or imperfect, etc.

Simultaneously with the practice of intervals for the left hand, bowing
exercises for the passing of the bow from one string to another must
be taken, also skipping over a string as in sevenths and octaves. The
scales, and, later, intervals and chords, must likewise be studied with
various bowings and also legato. First, two notes should be taken to
one bow, then gradually more, also with single notes and bound notes
mixed. The practice of intervals may now be extended to the following.


Chord exercises in arpeggio form.

[Music]

[Music]

[Music]


Stretching the little finger.

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

[Music]


The various kinds of bowing.

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


Primary bowings.

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

[Music]

Rendering:—

[Music]

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

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

[Music]

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

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

[Music]

Rendering:—

[Music]

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

[Music]

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

[Music]

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

[Music]

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

[Music]

Rendering:—

[Music]


Secondary bowings.

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

[Music]

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

[Music]

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

[15] Also known as the elastic staccato, Ricochet or Balzate. _Tr._

[Music]

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

[Music]

Another species of Tremolo is the following:—

[Music]

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

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

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


Arpeggi.

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

[Music]

[Music]

[16] In the above examples the lowest note is played with a firm
accent, beginning with the down bow, the wrist remaining flexible.
In example _e_ the bow should be turned over so as to bring the hair
almost flat upon the string, (the hair preferably being rather tighter
than usual). A slight “jerk” imparted to the down stroke sends the bow
skipping over the strings of its own accord, on repeating the same
arpeggio a few times. _Tr._


The Vibrato or close shake

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

[17] In Spohr’s method, and in a few other works, a wavy line ~~~ over
the note indicates its employment. _Tr._


The Trill.

[Music]

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

[Music]

Various kinds of turns:—

[Music]

[Music: Final shake.]

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

[Music]

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

[Music]

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


The Mordent (Pralltriller).

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

[Music: a) Rendering.]

or:

[Music: b) Rendering.]

or:

[Music]


The double trill.

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

[Music]


Scale practice.

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

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

[Music: a) b) c)]

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

[Music]

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

[Music: a) b) c) d) e) f) g) &c.]

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

[Music: a) b) c) d) e) f) g) h) &c.]


Fingering of the scales.

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

[Music]

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

[Music: a) b)]


The chromatic scales.

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

[Music]

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

[Music]


The Positions.

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

[Music]

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

[Music]

it will be the second position.

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

[Music: III. Position.]

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

[Music: IV. Position.]

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

[Music: V. Position.]

[Music: VI. Position.]

[Music: VII. Position.]

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

[Music]

which, when enharmonically changed to

[Music]

belongs to the first position.

The positions retain their names when the notes are sharpened or
flattened a semitone, only one must frequently change the finger in
enharmonic passages, or the position.


Changing the position.

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


Sliding the fingers whilst changing positions.

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

[Illustration:

    Table of the Positions.

      I. Position  0 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 . . . . . .

     II. Position      1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 . . . . .

    III. Position        1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 . . . .

     IV. Position          1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 . . .

      V. Position            1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 . .

     VI. Position              1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 .

    VII. Position                1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
]

[Music: a) b)]

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

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

[Music: a) b) c)]

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

[Music]

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

[Music]

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

[Music]

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

[Music]

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

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


Double stops.

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

[Music: Unisons:]

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

[Music: Seconds: a) b)]

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

[Music: Thirds: a)]

[Music: b)]

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

[Music: Fourths: a) b)]

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

[Music: Fifths:]

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

[Music: Sixths:]

in the first position.

[Music: Sevenths:]

in the first and second positions.

[Music: Octaves:]

in the first three positions.

[Music: Ninths:]

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

[Music: Tenths:]

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


Double stops without open strings.

[Music: Unisons.]

[Music: Seconds.]

[Music: Major Thirds.]

[Music: Minor Thirds.]

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

[Music: Fourths. Perfect 4ᵗʰˢ.]

[Music: Augmented 4ᵗʰˢ.]

Fingering: {1/2}, {2/3} and {3/4}.

[Music: Fifths. Perfect 5ᵗʰˢ.]

[Music: Imperfect 5ᵗʰˢ.]

Perfect fifths are fingered {1/1}, {2/2}, {3/3} or {4/4}. Imperfect
fifths are fingered with the same fingers as fourths.

[Music: Major 6ᵗʰˢ. Sixths.]

[Music: Minor 6ᵗʰˢ.]

Fingered {1/2}, {2/3} and {3/4}.

[Music: Sevenths.]

Fingered {1/3}, {2/4}.

[Music: Octaves. &c.]

Fingered {1/4}, in the upper positions frequently {1/3} and {2/4}.

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

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

[Music: D & G string.]

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


Chords of three notes.

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

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

Triple stops with two open strings:

[Music]

With one open string:

[Music]

[Music]

[Music: Without open strings:]

[Music: &c.

Fingering {2/1/1} {3/2/2} and {4/3/3}]

[Music: &c.

Fingering {3/2/1} and {4/3/2}]

[Music: &c.

Fingering {2/3/1} and {3/4/2}]

[Music: &c.

Fingering {2/2/1} {3/3/2} {4/4/3}]

[Music: &c.

Fingering {4/2/1}]

[Music: &c.

Fingering {4/2/1} {4/3/2} and {3/2/1}]

[Music: &c.

Fingering {3/1/2} and {4/2/3}]

[Music: &c.

Fingering {1/1/4}]

[Music: &c.

Fingering {1/3/2} and {2/4/3}]

[Music: &c.

Fingering {4/1/2} {4/1/3} and {3/1/2}]

[Music: &c.

Fingering {2/1/4} {2/1/3} and {3/2/4}]

[Music]

Fingering {2/4/1}

[Music]

Fingering {1/2/4}

[Music]

Fingering {4/1/2}


Chords in four parts (quadruple stops).

With two open strings:

[Music]

[Music]

[Music]

With one open string:

[Music]

Without open strings:

[Music: &c. &c. &c. &c. &c. &c. &c. &c. &c. &c. &c.]

[Music: &c. &c.]


Harmonics.

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

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

[Music: G string.]

[Music: D string.]

[Music: A string.]

[Music: E string.]

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

[Music: G string. D string.]

[Music: A string. E string.]


Artificial harmonics.

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

At a fourth:

[Music: G string. D string.]

[Music: A string. E string.]

At a fifth:

[Music: G string. D string.]

[Music: A string.]

At a third:

[Music: G string. D string.]

[Music: A string. E string.]

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

At an octave:

[Music: G string.]

In like manner on the higher strings.

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


Double harmonics.

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

_a._ Natural double harmonics:

[Music: D & A & E & D & G string.

G string: D-s. A-s.]

Similarly on the upper strings.

_b._ Artificial double harmonics:

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

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

[Music]

_b._ Thirds.

[Music: (major) (minor)]

_c._ Fourths.

[Music]

_d._ Sixths.

[Music: (major) (minor)]

_e._ Octaves.

[Music]


The pizzicato.

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

[Music: _Allegretto._]

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

[Music: _arc. pizz. arc. pizz._]

[Music: r.h. l.h.

_pizz.

arc. pizz. arc. pizz. arc. pizz. arco._]

Notes may be also played _arco_ and _pizzicato_ simultaneously, for
example,

[Music: _pizz._]

Chords also sound well pizzicato, as for instance,

[Music]

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

[Music: _arc. pizz. arc. pizz. arc. pizz. arc. pizz. arc. pizz._]

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




PART III.


The rendering.

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


Intellectual culture.

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


Taste.

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

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


Individuality.

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


Phrasing.

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

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

[Music]

The above passage is thus rendered by many violinists:

[Music]

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

[Music]

and a similar passage in this way:—

[Music]

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

[Music: _dim._

_sempre più tranquillo._]

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

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

[Music: _a. Andante. b. Allegretto ma non troppo._]

[Music]

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

[Music: _a. Allegro molto vivace. b._]

_c._ Concerto by Lipinski (Bowing marks by David).

[Music: _Adagio._]

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

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

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

[Music: _a._]

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

[Music: _b._]

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

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




APPENDIX.


Pictorial representation of the bow-strokes.

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

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

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

[Music]

The same in a simpler and more condensed style.

[Music: Bow Down stroke. Up stroke.]

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


The mute.

[Illustration]

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


The simultaneous sounding of subordinate and combination tones.

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

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

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

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

[Illustration: _Vibrator._]

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




Celebrated violin players of the 17ᵗʰ, 18ᵗʰ and 19ᵗʰ Centuries.


    _Adelburg, August von_, born 1833, at Constantinople,
        originally intended for the Diplomatic service, was a
        distinguished violinist and composer. He was taught by
        Mayseder. He died at Vienna, Oct. 20th 1873, after a
        long period of mental aberration.

    _Alard, Delphin_, born March 8th 1815, at Bayonne,
        a noted virtuoso and teacher (amongst others, of
        Sarasate); after Baillot’s death became professor at
        Paris Conservatoire until his retirement in 1875. He
        produced concertos, a violin school and studies. Died
        Febr. 22nd, 1888. Paris.

    _Arditi, Luigi_, born 1822 at Crescentino (Italy),
        settled in London as conductor.

    _Armingaud, Jules_, born 1824, Paris, renowned there as
        a quartett player.

    _Artot, Alex. Joseph Montagney_, born Feb. 5th 1815,
        at Brussels, died July 20th 1845, at Ville d’Avray near
        Paris. He studied at Paris Conservatoire under Kreutzer,
        became member of several orchestras, then made extended
        concert tours through Europe and America. He wrote a
        violin concerto, string quartetts, &c.

    _Auer, Leopold_, born May 28th 1845, at Vesprin,
        Hungary. Pupil of Dont in Vienna, also of Joachim.
        From 1863-1865 he was leader at Dusseldorf, then at
        Hamburg, and from 1868 in a similar capacity with the
        Imperial orchestra, St. Petersburg, and professor at the
        Conservatoire there.

    _Baillot, Pierre Marie François de Sales_, born Oct.
        1st 1771, at Passy near Paris, pupil of Viotti. He
        taught at the Paris Conservatoire, and wrote a great
        violin method, studies, concertos and quartetts. He died
        Sept. 15th 1842.

    _Baltzar, Thomas_, born in the first half of the
        17th century at Lübeck; was regarded in his time as a
        phenomenal player; died in 1663.

    _Barcewicz, Stanislaus_, born April 16th 1858, at
        Warsaw, pupil of Laub in Moscow; mostly engaged in
        concert tours.

    _Bargheer, Karl Louis_, born Dec. 31st 1833, at
        Bückeburg, pupil of Spohr, was from 1863-1876 Court
        Capellmeister at Detmold, lived subsequently at Hamburg.
        Died 1902.

    _Barth, Richard_, born June 5th 1850, at
        Gross-Wanzleben, Saxony; pupil of Beck at Magdeburg,
        and of Joachim. Became a left-handed player, owing to
        an accident to one of his fingers. Since 1882 leader at
        Krefeld.

    _Bazzini, Antonio_, born Nov. 24th 1818, at Brescia;
        known also as a composer. He lives in Milan as teacher
        of composition at the Conservatorio, and since 1880 as
        its Director.

    _Becker, Jean_, born 1836, at Mannheim; pupil of
        Kettenus there and of Alard in Paris; was leader at
        Mannheim and on resigning (1858) made concert tours.
        At Florence he founded the Florentine Quartett, in
        1866, with Masi, Chiostri and Hilpert (subsequently
        Spitzer-Hegyesi), which was dissolved in 1870; he then
        travelled with his children, professionally, and died in
        1884.

    _Benda, Franz_, born Nov. 25th 1709, at Alt-Benatky in
        Bohemia, was at first a choir boy in the Nicolai Church,
        Prague, then in the choir of the Dresden Kapelle. Later
        he became a violinist (pupil of Konyczek and Graun),
        entered the Berlin opera orchestra in 1732, and became
        leader in 1771. He died at Potsdam, 1786. His brothers
        George, Johann, and Joseph, and his sons Friedrich
        Wilhelm Heinrich, and Karl Hermann Heinrich, also a son
        of Joseph Benda’s (Ernst Friedrich Johann) were all
        employed in the Royal orchestra, and, with the exception
        of George and Ernst, were pupils of the elder Benda.

    _Bennewitz, Anton_, born March 26th 1833, at Privret,
        Bohemia; pupil of the Prague Conservatorium. He was
        leader at Salzburg and at Stuttgart; since 1866
        professor in, and since 1882 Director of, the Prague
        Conservatorium.

    _Bériot, Charles de_, born Feb. 20th 1802, at Louvain,
        the chief exponent of the Belgian school. He taught amongst
        others Vieuxtemps and Prume. His works are well known,
        chiefly his concertos and Thèmes variés. He resided in
        Brussels, became blind in 1852, and died in April 1870.

    _Besekirsky, Basil Basilewitzsch_, born 1835, at
        Moscow; pupil of Leonard at Brussels. He appeared with
        success in Germany, France, Spain, &c., as a virtuoso.

    _Biber, Franz_, born 1638, at Wartenburg on the
        Bohemian frontier, died 1698 at Salzburg, where he was
        Capellmeister. He was raised to the nobility by the
        Emperor Leopold 1st. A few sonatas composed by him are
        to be found in David’s advanced school of violin playing.

    _Blagrove, Henry Gamble_, born Oct. 1811, at
        Nottingham. Taught by his father, he played in public at
        the age of five, and on the opening of the Royal Academy
        of Music, London, was one of the first pupils, studying
        with F. Cramer. In 1833-1834 he studied under Spohr.
        He was for 30 years one of the most prominent English
        players, and died Dec. 15th 1872.

    _Blankensee, Julius_, born April 9th 1858, at Wartburg
        in Westphalia; pupil of Joachim. He was Kammervirtuos at
        Sondershausen, and subsequently leader at Nuremburg.

    _Böhm, Joseph_, born April 4th 1795, at Pesth, died
        March 23rd 1876; pupil of Rode, and teacher of Joachim.
        He was engaged chiefly in the Viennese Court orchestra,
        and as teacher in the Vienna Conservatorium.

    _Bohrer, Anton_, born 1783 (1791?) at Munich; pupil of
        Rud. Kreutzer. He was leader at Berlin and Hanover, and
        died in 1852.

    _Bott, Jean Joseph_, born March 9th 1826, at Cassel,
        died 1895, in America; pupil of Spohr. He was leader
        at Cassel, and subsequently at Meiningen and Hanover
        (Court-Capellmeister), where he was pensioned in 1878.
        Since then he lived in Hamburg, New York, &c.

    _Boucher, Alexandre Jean_, born 1770, Paris, died 1861.
        He was a great charlatan in violin playing, yet was
        received with much applause on his concert tours.

    _Brassin, Gerhard_, born June 10th 1844, at Aix;
        pupil of David. He was leader at Berne and Gothenburg,
        then teacher in Stern’s Conservatorium, Berlin; from
        1875-1880 conductor of the Breslau Musikverein; since
        then living in St. Petersburg.

    _Brodsky, Adolph_, born March 21st 1851, at Taganrog
        (Russia); pupil of Jos. Hellmesberger at Vienna. He was
        member of the Court opera orchestra, visited Russia as
        virtuoso, then became teacher in Moscow Conservatoire,
        afterwards at the Leipzig Conservatorium. In 1892 he
        went to America, but in 1895 became principal of the
        Manchester Royal College of Music.

    _Burmester, Willy_, born at Hamburg, March 16th 1869,
        studied under Joachim at the High School, Berlin, but
        elected to make a special study by himself of Paganini
        difficulties, in whose works he is probably unrivalled.
        He appeared in London in 1895.

    _Cambini, Giov. Giuseppe_, born 1746, at Livorno, died
        1825, Paris, where he had settled in 1770.

    _Campagnoli, Bartolomeo_, born Sept. 10th 1751, at
        Cento near Bologna; pupil of Nardini. He was from 1797
        leader at the Leipsic Gewandhaus concerts; subsequently
        director at Neu-Strelitz, where he died Nov. 6th 1827.
        Wrote a good method, and some studies.

    _Cannabich, Christian_, born 1731, at Mannheim, died
        1797, at Munich (or 1798 at Frankfort); was leader at
        Mannheim, and in this capacity, as also in that of
        teacher, was quite remarkable.

    _Carrodus, John Tiplady_, born at Keighley, Yorkshire,
        Jan. 20th 1836, died July 13th 1895, in London. He
        studied with Molique in Stuttgart, was leader of some of
        the chief English orchestras, and was also a fine solo
        player.

    _Coenen, Franz_, born Dec. 26th 1826, at Rotterdam.
        Solo violinist to the late King of Holland; accomplished
        solo and quartett player; living at Amsterdam.

    _Collins, Isaac_, born 1797, died 1871, in London, was
        a celebrated English performer. His son

    _Collins, Viotti_, was also an excellent player.

    _Colonne, Edouard_, born July 23rd 1838, at Bordeaux;
        studied at the Paris Conservatoire under Girard and
        Sauzay, but became a conductor, and is, as such, very
        celebrated in Paris.

    _Colyns, Jean Baptiste_, born Nov. 25th 1834, at
        Brussels. He studied at the Conservatoire there, has
        been since 1863 a teacher in that institution and since
        1888 also at the Antwerp School of Music.

    _Corelli, Arcangelo_, born 1653, at Fusignano near Imolo
    (Bologna), was the founder of the Italian school, which in
    its executive and creative aspects inaugurated a marked
    epoch in the art of violin playing. Violin composition and
    technique were brought by him into definite form, serving as
    a sure foundation for later times. Like all the violinists
    of that period, Corelli was also a composer, and in this
    capacity stood prominently forward. His music has lasted to
    our own day, the complete edition having been brought out
    by Joachim and Chrysander, and separate sonatas arranged
    for violin and piano by G. Jensen, and others. Living
    chiefly in Rome, Corelli was held in extraordinary esteem as
    violinist and composer, and a great number of pupils crowded
    round him. His most celebrated pupils were Geminiani and
    Locatelli. He died in 1713, after a tour to Naples.

    _Clement, Franz_, born 1780, at Vienna, died there in
        1842 was first Concertmeister at the theatre “An der
        Wien”.

    _Courvoisier, Carl_, born Nov. 12th 1846, at Basle;
        lived in Dusseldorf and enjoyed much favour as teacher
        and player. He went to England in 1885, and is now
        living in Liverpool. Author of a violin school and
        studies, also sundry articles on the technique of violin
        playing.

    _Cramer, Wilhelm_, born 1743 or 1745, at Mannheim, died
        1799, in London, where he was leader at the Italian
        Opera, and in various concert societies. He was regarded
        in England as the first violinist of his time.

    _Cröner, Ferdinand_, _Carl_ and _Johann_
        (brothers), were all members of the Munich Court
        orchestra between 1737 and 1786. In 1749 they were
        raised to the rank of the nobility.

    _Csillag, Hermann_, born 1852, at Bakony-Telek
        (Hungary); pupil of Hellmesberger at Vienna, became
        member of the Court opera orchestra there, and
        subsequently leader at Baden-Baden, Dusseldorf,
        Hamburg and Rotterdam. From 1887-1888 taught in the
        Conservatorium at Helsingfors.

    _Damrosch, Leopold_, born 1822, at Posen; pupil of
        Hubert Ries, prepared for a medical career. He was from
        1857 Capellmeister at Breslau, and since 1871 in New
        York, where he died in 1885.

    _Dancla, Jean Bapt. Chas_., born Dec. 19th 1818, at
        Bagnères-de-Bigorre. He entered the Paris Conservatoire
        at the age of 10; founded in Paris a fine quartett, with
    his brothers Leopold and Arnaud as 2nd violin and ’Cello. He
    has composed many melodious educational works, and enjoys
    great repute as a teacher in the Paris Conservatoire.

    _Dando, J. H. B._, born at Somers Town, 1806; pupil
        of Mori; died May, 1894. He was one of the pioneers
        of quartett playing in England, also for many years
        prominent as leader of the best orchestras in London, in
        his day.

    _David, Ferd._, born Jan. 19th 1810, at Hamburg,
        died July 18th 1873, at Klosters in Switzerland;
        pupil of Spohr; leader in the Leipsic Gewandhaus and
        theatre orchestras from 1836 until his death. He was
        distinguished both as teacher and leader. As composer,
        he produced many violin works,—Concertos, Variations,
        Studies, and also a School, besides editing many
        previously unpublished pieces by the old masters.

    _De Ahna, Heinrich Karl Hermann_, born June 22nd
        1835, at Vienna; pupil of Mayseder and Mildner, until
        1851, when he relinquished music for a military
        career, entering the Austrian army. In 1853 he became
        Lieutenant, was in the war of 1859, but at its
        conclusion resumed the violin. He made concert tours,
        was engaged in 1862 in the Royal opera orchestra,
        Berlin, and became first Concertmeister; he was second
        violin in Joachim’s quartett. Died Nov. 1st 1892.

    _Dengremont, Maurice_, born March 19th 1866, in Rio
        de Janeiro; pupil of Leonard. During about ten years
        he made many appearances in Germany, played in London,
        at the Crystal Palace, with great success; and died in
        Buenos Ayres, Nov. 1893.

    _Dessau, Bernhard_, born March 1st 1861, in Hamburg;
        studied at the Berlin High School, was leader at
        Königsberg and Prague, now in Rotterdam and teacher in
        the Conservatorium.

    _Dittersdorf, Karl von_, born Nov. 2nd 1739, at Vienna,
        died Oct. 31st 1799, was violinist in the Imperial
        orchestra, and had much success in his tours. He was
        subsequently Capellmeister, and composed a great deal:
        operas, symphonies, quartetts, &c.

    _Dont, Jacob_, born March 2nd 1815, at Vienna, died
        there Nov. 18th 1888; pupil of his father. He was
        member of the Imperial orchestra and teacher in the
        Conservatorium; produced excellent studies.

    _Dreyschock, Raimund_, born Aug. 20th 1824, at Zack
        in Bohemia, died Feb. 6th 1869; was 2nd leader in
        the Leipsic Gewandhaus orchestra, and teacher in the
        Conservatorium.

    _Dupont, Joseph_, born Aug. 21st 1821, Liège, died Feb.
        13th 1861. Pupil of Prume in the Liège Conservatoire,
        subsequently teacher in the same.

    _Dupuis, Jacques_, born Oct. 21st 1830, at Liège;
        taught there in the Conservatoire; died 1860.

    _Dupuy, Jean Baptiste_, born 1775, at Courcelles near
        Neuchâtel, died April 3rd 1822, at Stockholm; was leader
        there, and also at Copenhagen. He composed concertos,
        duets and operas.

    _Durand, Frederic_, born at Warsaw in 1770, died in the
        middle of the 19th century; pupil of Viotti, in Paris.
        He made many concert tours; entered the French army in
        1796, became adjutant to a General, but must have taken
        his leave after several years, for he travelled again as
        a virtuoso and became eventually violinist in Strasburg
        theatre.

    _Eberhardt, Gobi_, born March 29th 1852, at Hattersheim
        near Frankfort; pupil of Dietz, Heermann and Wilhelmj.
        He was leader at Berne and Bremen, paid successful
        visits to Germany, Switzerland, Austria and Italy,
        and since 1884 has been active in Hamburg as soloist,
        professor and author. He has composed studies, violin
        solos, piano pieces and songs.

    _Eck, Joh. Friedrich_, born 1766, at Mannheim, date of
        death not known; one of the best 18th century players;
        lived in Munich and Paris. His brother

    _Eck, Franz_, born 1774, at Mannheim, was Spohr’s
        instructor, member of the Munich orchestra, and
        violinist at the Imperial Court in St. Petersburg; he
        died insane at Bamberg in 1809.

    _Eichhorn, Ernst_ and _Eduard_ (brothers), born
        April 30th 1822, and Oct. 17th 1823, respectively,
        appeared as prodigies from 1829 to 1835. Both found
        positions in the Coburg orchestra. Ernst died June 16th
        1844.

    _Ernst, Heinr. Wilh._, born 1814, at Brünn, died
        Oct. 8th 1865, at Nice; pupil of Mayseder; was mostly
        occupied in making concert tours, everywhere causing a
        profound sensation. Composed, amongst other pieces, a
        concerto pathétique, Elegy, “Otello” fantasia, and
        Hungarian variations.

    _Ferrari, Domenico_, born at the beginning of the 18th
        century; pupil of Tartini. He passed in Vienna for a
        great violinist, also exercising his profession in
        Stuttgart and Paris. In 1780 he was murdered.

    _Fiorillo, Federigo_, born 1753, at Brunswick, date of
        death not known. His 36 violin Caprices are celebrated.

    _Fischer, Johann_, born in the middle of the 17th
        century, in Swabia, was one of the first German
        violinists who made a reputation. He was, at the
        beginning of the 18th century, Capellmeister at
        Schwerin, and died in 1721 as Capellmeister to the
        Margrave at Schwedt.

    _Fleischhauer, F._, born July 24th 1834, at Weimar,
        pupil of Joachim and Laub, since 1865 Court leader at
        Meiningen.

    _Fontaine, Antoine Nicolas Marie_, born 1785, at Paris;
        pupil of Kreutzer; travelled much, and lived in Paris
        since 1825.

    _Fränzl, Ignaz_, born June 3rd 1736, at Mannheim,
        died 1803; was leader in the Electoral orchestra; an
        accomplished orchestral player. His son and pupil

    _Fränzl, Ferdinand_, born May 24th 1770, at
        Schwetzingen, died 1833, at Mannheim, was more
        celebrated than his father.

    _Ganz, Leopold_, born Nov. 28th 1810, at Mayence, died
        June 15th 1869, at Berlin, was leader in the Berlin
        Court orchestra.

    _Gaviniés, Pierre_, born May 11th 1726 or 1728, at
        Bordeaux, died Sept. 9th 1800, at Paris. He wrote
        studies, notably “Les 24 matinées”. (His father,
        François Gaviniés, was a violin maker, and was, in 1762,
        dean of the Paris Violin Makers’ Guild. _Tr._)

    _Geminiani, Francesco_, born towards the end of the
        17th century, at Lucca, died Dec. 1762, at Dublin, was
        one of Corelli’s most famous pupils. G. brought out
        the earliest Italian violin method, which became in
        great request, and by which the essential features of
        Corelli’s style have been handed down to the present
        day. The best of his violin sonatas have been published
        in G. Jensen’s “Classische Violin Musik”.

    _Giardini, Felice_, born April 12th 1716, at Turin,
        died Dec. 17th 1796, at Moscow. He toured, with
        brilliant success, in Germany and England, became
        orchestral conductor, and later theatre director, in
        which capacity, however, he had no success.

    _Gompertz, Richard_, born April 27th 1859, at Cologne;
        pupil there of Königslow and Joachim; now professor in
        the Royal College of Music, London.

    _Graun, J. Gottlieb_, born at the commencement of the
        18th century, died Oct. 27th 1771 (brother of Heinrich
        Graun, the composer of “Der Tod Jesu”), was leader in
        the Court orchestra, Berlin.

    _Grünberg, Max_, born Dec. 5th 1850, at Berlin. He was
        solo violinist at Meiningen under Bülow, leader and
        teacher in the Sondershausen Conservatorium, then at
        Prague, and now lives in Berlin, where he has founded a
        Conservatorium; is a celebrated teacher.

    _Habeneck, François Antoine_, born June 1st 1781, at
        Mezieres, died Feb. 8th 1849, Paris; pupil of Baillot in
        Paris. He was member of the orchestra, and subsequently
        conductor, at the Grand Opéra, then became concert
        conductor, in which capacity he introduced Beethoven’s
        symphonies to the Parisians. Founder of the celebrated
        Conservatoire concerts.

    _Haddock, Edgar_, born in Leeds, 1862, taught by his
        father; appeared in public at the age of six. Originator
        of the Leeds Musical Evenings.

    _Halir, Karl_, born Feb. 1st 1859, at Hohenelbe in
        Bohemia; pupil of Prague Conservatorium and of Joachim.
        He was soloist in Bilse’s orchestra, leader at Mannheim
        and now at Weimar.

    _Hänflein, Georg_, born March 17th 1848, at Breslau;
        pupil of David and Joachim; leader at the Royal theatre,
        Hanover.

    _Hann, W. H._, born May 30th 1831; musician in ordinary
        to the Queen. His five sons received their education
        first as choir boys at the Chapel Royal, afterwards
        all studying the violin or ’cello at the Royal Academy
        of Music. Brahms’ Sestett for strings was performed in
        London, 1888, entirely by this musical family.

    _Hauser, Miska_, born 1822, at Pressburg, died Dec.
        8th 1887, Vienna; pupil of Böhm and Mayseder in Vienna;
        travelled nearly all over the world. A few of his
        compositions are in vogue,—e. g., The Bird in the Tree,
        and Lieder ohne Worte.

    _Heckmann, Robert_, born Nov. 3rd 1848, at Mannheim,
        died Nov. 29th 1891, Glasgow; pupil of Becker and David.
        He was leader at the Euterpe, Leipsic, and at the town
        theatre in Cologne; then travelled as quartett player,
        winning universal recognition.

    _Heermann, Hugo_, born March 3rd 1844, at Heilbronn;
        pupil of de Bériot; was leader at Frankfort, and since
        1878 principal violin teacher at Hoch’s Conservatorium.

    _Hegar, Friedr._, born Oct. 11th 1841, at Basle, pupil
        of David; Concertmeister with Bilse, and at Zurich; now
        director of the Music School there.

    _Hellmesberger, Georg_, born April 24th 1800, at
        Vienna, died Aug. 16th 1873, pupil of Böhm; was
        member of the Imperial orchestra and teacher in the
        Conservatorium. His eldest son, Georg, born 1828, was
        leader at Hanover, where he died in 1853. His younger
        brother

    _Hellmesberger, Joseph_, born Nov. 3rd 1829, lived
        at Vienna as Director of the Conservatorium and
        Court-Capellmeister. He became very noted as a quartett
        player. His son Joseph, born 1855, was from 1878 solo
        violinist in the Court orchestra; died Oct. 24th 1893.

    _Hermann, Friedr._, born 1828, at Frankfort; studied at
        the Leipsic Conservatorium; for many years professor in
        the same, and also, up to 1876, first viola player in
        the Gewandhaus concerts. He has written chamber music,
        violin solos, &c., besides arranging many classical
        works for various combinations of stringed instruments.

    _Hess, Willy_, pupil of Joachim, was leader at
        Frankfort and at Rotterdam; then settled in Manchester
        as solo violinist in Sir Charles Hallé’s orchestra; in
        1895 called to Cologne as leader in the Town Orchestra
        and teacher at the Conservatorium.

    _Hilf, Arno_, born March 14th 1858, student of the
        Conservatorium, Leipsic, until his 17th year. He was
        leader at Moscow, and in 1888 at Sondershausen; then
        joined the Gewandhaus orchestra, Leipsic.

    _Himmelsstoss, Richard_, born June 17th 1843, at
        Sondershausen; pupil of Ulrich and Joachim; leader at
        Breslau.

    _Holländer, Gustav_, born Feb. 15th 1855, at
        Leobschütz, Silesia; pupil of David and Joachim; was
        leader and teacher in Cologne Conservatorium. Composer
        of the “Spinnerlied”, and other pleasing violin pieces.

    _Jacobsen, Heinr._, born Jan. 10th 1851, at
        Hadersleben; pupil of David and Joachim. He was first
        violinist in the Leipsic Gewandhaus orchestra, solo and
        chamber music player to the Duchess of Anhalt-Bernburg
        at Ballenstedt, and since 1876 teacher at the Berlin
        High School. Died 1901.

    _Jacobson, Simon_, born Dec. 24th 1839, at Mitau; pupil
        of David; leader at Bremen and New York; was afterwards
        teacher at Cincinnati, and now lives at Chicago.

    _Janitsch, Anton_, born 1753, in Switzerland, died
        1812, as Capellmeister to Count Burg-Steinfurth; pupil
        of Pugnani at Turin. He was leader at Trèves with
        Prince Wallerstein-Öttingen, and conductor at the
        theatre, Hanover.

    _Jansa, Leopold_, born 1796, at Wildenschwert
        in Bohemia, died Jan. 25th 1875, at Vienna. His
        compositions formerly enjoyed much favour. He lived in
        Brunswick, Vienna, and London.

    _Japha, George_, born Aug. 27th 1835, at Königsberg,
        died Feb. 25th 1892, Cologne; pupil of Singer, David and
        Alard; leader and teacher in Cologne Conservatorium.

    _Jensen, Gustav_, born Christmas Day, 1843, at
        Königsberg; pupil of Laub and Joachim; died Nov. 26th,
        1895, as professor at the Conservatorium, Cologne.
        He wrote orchestral works, a violin sonata, chamber
        music, &c., besides ably editing and arranging many
        compositions of the old masters for violin and piano
        (“Classische Violin Musik”, “Vortragsstudien”, &c.).

    _Joachim, Joseph_, Prof., Dr., born June 28th 1831, at
        Kitse near Pressburg; pupil of Böhm in Vienna. He was
        leader at Leipsic, Weimar, and Hanover; subsequently
        director of the High School, Berlin. He is the first
        among living violinists, and has formed a large number
        of prominent players.

    _Kalliwoda, Johann Wenzeslaus_, born Feb. 21st 1801,
        at Prague, died Dec. 3rd 1866, at Karlsruhe; conductor
        of Prince Fürstenberg’s orchestra at Donaueschingen.
        In addition to violin pieces, he wrote symphonies and
        overtures.

    _Kes, Willem_, born Feb. 16th 1856, at Dordrecht; pupil
        of David and Joachim. He was leader at Amsterdam, and
        Capellmeister at Dordrecht, and since 1883 conductor at
        Amsterdam.

    _Kiesewetter, Chr. Gottfried_, born Dec. 24th 1777,
        at Ansbach, died Sept. 27th 1827, London; lived
        successively in Amsterdam, Oldenburg, Hamburg, Hanover
        and London.

    _Kömpel, August_, born Aug. 18th 1831, at Brückenau; pupil
        of Spohr, David and Joachim; leader at Weimar, retired
        on a pension in 1884, died April 7th 1891, Weimar.

    _Königslow, Otto von_, born Nov. 14th 1824, at Hamburg;
        pupil of Pacius and Hafner, afterwards of David. From
        1858-1881, he was leader at Cologne and teacher at the
        Conservatorium, but resigned the former post on account
        of a bad arm; received the title of Professor, and
        removed to Bonn. Died 1898.

    _Kopecky, Ottokar_, born April 28th 1850, at
        Chotebor in Bohemia; pupil of Bennewitz in the Prague
        Conservatorium. He was leader at the town theatre,
        Brünn, at the Mozarteum, Salzburg, and in the
        Sondershausen Court orchestra, where he received in 1881
        the title of “Kammervirtuos”. He now lives in Hamburg as
        soloist and teacher.

    _Kotek, Joseph_, born Oct. 25th 1855, at
        Kamenez-Podolsk in Russia, died Jan. 4th 1885, Davos;
        pupil of Laub and Joachim; teacher at the Berlin High
        School.

    _Kreutzer, Rudolph_, born at Versailles, Nov. 16th
        1766, died June 6th 1831, Geneva. He was a famous
        virtuoso, professor in the Paris Conservatoire, and
        composed much. His 42 Studies still remain at the head
        of all studies, and have passed through many editions.
        (Beethoven’s grandest violin sonata, Op. 47, is
        dedicated to him, although it is said he never played
        it. _Tr._)

    _Kruse, J. S._, born March 23rd 1859, at Melbourne;
        pupil of Joachim in Berlin, leader in the Philharmonic
        there, and since 1892 at Bremen.

    _Kudelski, Carl Matthias_, born Nov. 17th 1808, Berlin,
        died Oct. 3rd 1877, Baden-Baden; pupil of Ed. Rietz and
        Lafont; lived in Berlin, Russia, Hamburg and Baden-Baden.

    _Lacroix_, born 1756, at Remberville, died 1812, as
        music director at Lübeck.

    _Lafont, Chas. Philippe_, born Dec. 1781, at Paris,
        died Aug. 14th 1839; pupil of Kreutzer and Rode; he made
        many concert tours, and composed much. Held appointments
        in St. Petersburg and Paris.

    _Lalo, Ed._, born 1823, at Lille, died April 22nd 1892,
        Paris; student at the Conservatoire. He was quartett
        player in Paris, and then busied himself chiefly in
        composition.

    _Lamotte, Franz_, born 1751, Vienna or in the
        Netherlands, died 1781, in Holland. He was a great
        virtuoso and sight-reader, but in consequence of his
        looseness of conduct could make no position.

    _Lamoureux, Chas._, born Sept. 28th 1834, at Bordeaux;
        studied in the Paris Conservatoire, he was violinist
        in various Parisian theatres, afterwards conductor,
        and has rendered great service by introducing German
        compositions into France.

    _Laub, Ferd._, born Jan. 19th 1832, at Prague, died
        March 17th 1875, at Gries near Botzen; pupil of Mildner
        at Prague; was leader at Weimar, Berlin and Moscow. His
        Polonaise for the violin is well known.

    _Lauterbach, Joh. Chr._, born July 24th 1832, at
        Culmbach; pupil of Fröhlich at Wurzburg, and de Bériot
        at Brussels. He was leader at Munich, afterwards at
        Dresden (pensioned 1889), and taught in the Dresden
        Royal Conservatorium until 1877.

    _Leclair_, born 1697, at Lyons, was murdered in Paris,
        Oct. 22nd 1764; laboured chiefly as teacher and composer
        for his instrument. His compositions have appeared
        in various editions, some of his best sonatas in G.
        Jensen’s “Classische Violin Musik”.

    _Leonard, Hubert_, born April 7th 1819, at Bellaire,
        Belgium, died May 6th 1890, Paris; pupil of Habeneck in
        Paris. He was for a long period a teacher in Brussels
        Conservatoire, then resided in Paris. He produced a
        violin school, besides studies.

    _Lipinski, Carl Joseph_, born 1790, at Radzyn in
        Poland, died Dec. 16th 1861, in Galicia. He travelled
        much as a virtuoso, was from 1838-1859 leader in the
        Royal orchestra, Dresden. His Military Concerto is the
        best known among his writings.

    _Locatelli, Pietro_, born 1693, at Bergamo, died 1764,
        Amsterdam; pupil of Corelli; was regarded in his day
        as a great virtuoso. He produced “L’Arte del Violino”,
        concertos and sonatas.

    _Lolli, Antonio_, born about 1730, Bergamo, died 1802,
        Naples, was, next to Locatelli, the chief founder of
        pure virtuosity, and owed his success to his technique
        alone. Of his artistic development there is little to be
        said.

    _Lotto, Isidor_, born Dec. 22nd 1840, at Warsaw;
        pupil of Massart in Paris. He was teacher in Strasburg
        Conservatorium, then in that of his native town. His
        “Fileuse” is well known.

    _Lubin, Leon de St._, born July 8th 1805, at Turin,
        died Feb. 18th 1850; pupil of Spohr; was leader at the
        Königstädter theatre, Berlin.

    _Marsick, Martin Pierre Joseph_, born March 9th 1849,
        at Liège; pupil of Leonard, Massart and Joachim. He made
        himself known through several concert tours in France,
        England, Germany, &c., then settled in Paris since 1892
        as violin professor at the Conservatoire.

    _Massart, Joseph Lambert_, born July 19th 1811, at
        Liège: died Feb. 13th 1892, Paris; pupil of Kreutzer.
        Since 1843, he was teacher in Paris Conservatoire;
        taught Wieniawski and Lotto.

    _Matthäi, Heinr. Aug._, born Oct. 3rd 1781, Dresden,
        died 1835, at Leipsic, where he was leader at the
        Gewandhaus; pupil of Kreutzer.

    _Maurer, Ludwig Wilh._, born Feb. 8th 1789, at Potsdam,
        died Oct. 25th 1878, at St. Petersburg, where he had
        lived since 1832, having been previously leader in
        Hanover. His concerto for 4 violins is well known.

    _Mayseder, Joseph_, born Oct. 26th 1789, at Vienna,
        died there Nov. 21st 1863; pupil of Schuppanzigh; was
        leader in the Imperial orchestra. He composed many
        violin pieces, quartetts, &c.

    _Mazas, Jacques Féréol_, born Sept. 23rd 1782, at
        Bezières, died 1849; pupil of Baillot; was teacher in
        Paris Conservatoire.

    _Meerts, Lambert Joseph_, born 1802, Brussels, died
        there May 12th 1863; pupil of Habeneck, Lafont and
        Baillot; taught in the Brussels Conservatoire. He
        published a violin school, and studies.

    _Mestrino, Nicolo_, born 1748, at Naples, died 1790,
        Paris, as leader of the orchestra at the Opéra Italien.
        He began as a street player, underwent imprisonment
        on account of some foolish prank, and during his
        confinement advanced his technique.

    _Meyer, Waldemar_, born Feb. 4th 1853, at Berlin; pupil
        of Joachim, was from 1873-1881 first violinist in the
        Court orchestra, Berlin, then went on tour. His brother
        Felix is Royal Kammervirtuos, and an accomplished
        violinist.

    _Milanollo_, the sisters Therese and Maria, born
        Aug. 28th 1827, and June 19th 1832, respectively, at
        Savigliano near Turin. They were regarded as juvenile
        prodigies during the years 1839-1846. The younger died
        in 1848 in Paris, the elder retired into private life in
        1857.

    _Mildner, Moritz_, born 1813, at Turnitz, Bohemia, died
        Dec. 4th 1865; was teacher in Prague Conservatorium, and
        leader at the theatre.

    _Molique, Wilhelm Bernhard_, born Oct. 7th 1802, at
        Nuremberg, died May 10th 1869, at Cannstadt; pupil of
        his father and of Spohr. He was leader at Munich and
        Stuttgart, made many concert tours, and composed many
        violin pieces, &c. (His 5th concerto has been frequently
        played by Mr. Carrodus, and his oratorio “Abraham” was,
        for a time, in favour. _Tr._)

    _Mori, Nicolas_, born in London, 1793, died June 18th
        1839; of Italian origin; he occupied, for nearly 30
        years, a prominent position in England as a violinist.
        He was also a music publisher.

    _Möser, Carl_, born Jan. 24th 1774, at Berlin, died
        there Jan. 27th 1851. He was employed at intervals
        in the Berlin Court orchestra, being appointed Royal
        Capellmeister in 1840. His son

    _Möser, August_, born Dec. 20th 1825, Berlin, pupil of
        his father and of de Bériot, lived for many years in
        South America, and died on a concert tour there, 1859.

    _Mozart, Leopold_, born Nov. 14th 1719, at Augsburg,
        died May 28th 1787, at Salzburg, where he was
        Vice-Capellmeister. Published one of the earliest violin
        methods.

    _Mühlmann, Ernst R._, born June 5th 1856, at
        Klingenthal, Saxony; pupil of David and Röntgen at
        Leipsic Conservatorium. In 1875 appointed soloist to the
        Duchess of Anhalt-Bernburg, at Ballenstedt; 1876-1878 at
        the town theatre, Leipsic: until 1882, leader in Laub’s
        orchestra at Hamburg; until 1884, leader in Neumann’s
        Wagner Tour; since then, leader Hamburg town theatre.

    _Müller, Carl Friedr._, born Nov. 11th 1797, at
        Brunswick, died April 4th 1873; pupil of Möser at
        Berlin. He was leader in the celebrated quartett formed
        by the brothers Müller, and in the ducal orchestra.

    _Nachèz, Tivadar_, born May 1st 1859, at Pesth; studied
        at the Prague Conservatorium and under Joachim. He has
        made many tours as virtuoso, but lives chiefly in London.

    _Nardini, Pietro_, born 1722, at Fibiana, died 1793, at
        Florence, pupil of Tartini. From 1753-1767 he was member
        of the Würtemberg Court orchestra, Stuttgart; then solo
        player at the Florentine Court. A few of his sonatas are
        still performed.

    _Naret-Koning, Joh. Jos. David_, born Feb. 25th 1838,
        at Amsterdam; pupil of David, 1859-1870 leader at
        Mannheim, then at Frankfort.

    _Neruda, Wilma Maria Franziska_ (Lady Hallé), born
        March 21st 1840, at Brünn; pupil of her father and of
        Jansa; found her vocation in concert tours, now lives in
        London. (Lady Hallé has been for many years associated
        with the Monday Popular Concerts, and her excellent
        example has undoubtedly given a great stimulus to the
        study of the violin in England by ladies. _Tr._)

    _Ole Bull_, born Feb. 5th 1810, at Bergen; a self
        taught violinist, who made many concert tours, amongst
        others three times to America. From a musical point of
        view his compositions are unimportant, corresponding
        to his playing, and only calculated for the production
        of virtuoso effects. (Ole Bull died Aug. 17th 1880, in
        Norway. His first appearance in London was in 1836.
        _Tr._)

    _Ondricek, Franz_, born 1863, at Prague; pupil of
        Bennewitz and Massart; in 1882 visited Germany during
        his concert tours. Played in London 1895.

    _Paganini, Nicolo_, baptized Oct. 27th 1782, Genoa,
        died May 27th 1840, Nice. The most talented and gifted
        violinist that ever lived; in every respect an original,
        a speciality. About his career the most romantic
        stories of adventure were circulated, to which his
        fantastic, almost ghostly, appearance gave rise. Of his
        compositions, the concertos and 24 Caprices are best
        known.

    _Papini, Guido_, born at Camagiore near Florence, Aug.
        1st 1847; pupil of Giorgetti. For several years he was
        director of the Florentine Società del Quartetto; now
        principal professor at the Royal Irish Academy. Writer
        of a method and many effective pieces for his instrument.

    _Petri, Henri Wilh._, born April 5th 1856, at
        Leyst near Utrecht; pupil of Joachim; was leader at
        Sondershausen, Hanover and Leipsic, then in the Dresden
        Royal orchestra.

    _Pichl, Wenselaus_, born 1741, at Bechin in Bohemia,
        died 1805 (? 1804), at Vienna; pupil of Dittersdorf and
        Nardini; lived in Vienna and Italy.

    _Pisendel, Joh. Georg_, born Dec. 26th 1687, at
        Carlsburg, died Nov. 25th 1755, at Dresden; pupil of
        Torelli and Vivaldi. He was useful in promoting violin
        playing at Dresden, where he was leader; in particular,
        he obtained from the violins in the orchestra great
        equality in playing.

    _Pixis, Fried. Wilh._, born 1786, at Mannheim, died
        1842, at Prague, where he taught in the Conservatorium.

    _Pollitzer, Adolphe_, born at Buda-Pesth, in 1832;
        studied under Böhm in Vienna Conservatorium. Was awarded
        First Prize in 1846, and went on tour through Germany.
        He settled in London in 1850, became principal violin at
        Covent Garden, the Wagner and Gounod Concerts, and the
        Albert Hall Choral Society. He has been for many years
        principal violin teacher, and since 1890 co-director, of
        the London Academy of Music. Died 1900.

    _Pott, Aug._, born Nov. 7th 1806, at Nordheim, died
        Aug. 27th 1883, at Gratz; pupil of Spohr; was Court
        Capellmeister at Oldenburg until 1861, then lived at
        Gratz.

    _Prill, Carl_, born Oct. 22nd 1864, at Berlin; pupil
        of Joachim. He was solo violinist under Bilse, leader
        at Pawlowsk, then at Magdeburg; since 1891, in the
        Gewandhaus orchestra, Leipsic.

    _Prume, François_, born June 5th 1816, at Stavelot
        (Belgium), died there July 14th 1849; pupil of Habeneck.
        Was teacher in Liège Conservatoire, and travelled much.
        Of his compositions, “Mélancolie” was formerly a great
        favourite.

    _Pugnani, Gaetano_, born 1727, died 1803, at Turin;
        pupil of Tartini. He travelled a great deal, and was
        from 1770 until his demise leader at the Turin Court
        theatre. He trained Viotti, amongst others.

    _Rab, Aug._, Vice-Concertmeister at the Leipsic theatre
        and Gewandhaus orchestra; also leader at the Euterpe.

    _Ralph, Francis_, born 1847, died Sept. 8th 1887;
        educated at the R. A. M., London, where he became one of
        the most valued teachers.

    _Rappoldi, Eduard_, born Feb. 21st 1839, at Vienna;
        pupil of Jansa and Böhm. He was leader at Rotterdam,
        then Capellmeister at Lübeck, Stettin, and Prague, next
        teacher at the Berlin High School; then leader in the
        Court orchestra, Dresden, and since 1893 teacher at the
        Conservatorium there. Died 1903.

    _Rehfeldt, Fabian_, born Jan. 23rd 1842, Tuchel; leader
        in the Royal orchestra, Berlin, since 1873; industrious
        composer.

    _Remenyi, Eduard_, born 1830, at Heves in Hungary;
        studied at the Vienna Conservatorium. He interrupted his
        artistic career in order to take part in the Hungarian
        revolution and thus came to be an Adjutant of Görgey’s.
        He then fled to America, living subsequently in Weimar,
        London, St. Petersburg and Paris, also in South Africa,
        returning to Europe in 1892. Died San Francisco, 1898.

    _Ries, Hubert_, born April 1st 1802, at Bonn, died
        Sept. 14th 1886, Berlin; pupil of Spohr; was leader in
        the Royal orchestra, Berlin, and produced many works for
        violin. His son

    _Ries, Franz_, born 1846, Berlin; pupil of his father,
        and of Massart (Paris) was engaged at the Italian Opera,
        London, as violinist, but gave up performing in 1873 on
        account of a nervous affection of the arm, and founded
        a music business in Dresden. He composed many violin
        pieces and songs.

    _Ries, Louis_, brother of Franz, was born in Berlin
        in 1830. He has occupied the post of 2nd violin at the
        Monday Popular Concerts since 1857.

    _Rietz, Eduard_, born 1801, in Berlin, died 1832,
        brother of a former Dresden Capellmeister, Julius Rietz;
        was member of the Royal orchestra, Berlin.

    _Rode, Pierre_, born Feb. 26th 1774, at Bordeaux,
        died there Nov. 25th 1830; pupil of Viotti; taught in
        the Conservatoire, Paris, then became solo player in
        St. Petersburg. His compositions and his violin school
        enjoyed great favour.

    _Romberg, Andreas_, born April 27th 1767, at Vechte,
        died Nov. 10th 1821, as Court-Capellmeister at Gotha;
        was previously member of the orchestras in Bonn and
        Hamburg.

    _Röntgen, Engelbert_, born Sept. 30th 1829, at
        Deventer; pupil of David, and afterwards his successor
        as leader in the Gewandhaus orchestra, Leipsic, in which
        capacity he rendered great service (he had been a member
        of the same orchestra for about half a century). Died
        1897.

    _Rosa, Carl_, born March 21st 1842, in Hamburg, was
        leader there from 1863 to 1865; then made concert tours,
        afterwards becoming opera impresario. He died in Paris,
        1889.

    _Sainton, Prosper Phil. Catherine_, born June 5th 1813
        Toulouse, died Oct. 17th 1890, London; pupil of Habeneck
        at the Paris Conservatoire. He made concert tours
        throughout Europe, then was appointed teacher of his
        instrument at the Toulouse school of music. He visited
        London in 1844, settling there in 1845 as professor at
        the Royal Academy of Music, a post which he held until
        his death. He was also leader in the orchestras of
        Covent Garden Theatre (1846-1871) and of Her Majesty’s
        (1871-1880), &c. He wrote two violin concertos, besides
        solos.

    _Salomon, Joh. Peter_, born 1745, at Bonn, died 1815,
        in London; made himself useful in producing Haydn’s
        works; was leader in Berlin, then lived in London.

    _Sarasate, Pablo Martin Meliton, y Navascues_, born
        March 10th 1844, at Pampeluna in Spain; pupil of Alard
        at Paris Conservatoire; gained world-wide celebrity
        through his concert tours.

    _Sauret, Emile_, born May 22nd 1852, at Dun-le-Roi
        (Cher); pupil of de Bériot. He toured with much success,
        settled in Berlin, but was subsequently called to London
        to succeed M. Sainton as professor at the Royal Academy
        of Music.

    _Schnitzler, Isidor_, born June 2nd 1859, Rotterdam;
        studied at Cologne Conservatorium, also under Wirth,
        Wieniawski, and Joachim; toured successfully in
        Roumania, Germany, America and Australia.

    _Schradieck, Henry_, born April 29th 1846, at Hamburg;
        pupil of Leonard and David. He was leader in Bremen
        and Hamburg; then teacher in Moscow Conservatoire; in
        a similar capacity at Leipsic (1874); from 1883 in
        Cincinnati, but returned to Germany in June 1889.

    _Schroeder, Hermann_, born July 28th 1842, at
        Quedlinburg; was soloist with Bilse in 1866, then with
        the Duchess of Anhalt-Bernburg. He founded in 1870 a
        music school at Berlin, is also teacher in the Royal
        High School (Church music department), and received
        the title of professor in 1888. Wrote a prize method,
        studies, theoretical works, &c.

    _Schubert, Franz_, born July 22nd 1808, in Dresden,
        died there 1878; pupil of Rolla and Lafont; was leader
        in the Dresden Court orchestra.

    _Schuppanzigh, Ignaz_, born 1776, in Vienna, died there
        1830; pupil of Wranitzky. He was the first to introduce
        quartetts into public performances systematically, these
        renderings being held in high regard.

    _Seifriz, Max_, born Oct. 9th 1827, at Rottweil, died
        Dec. 20th 1885, Stuttgart. He was Capellmeister in the
        Hohenzollern-Hecking Court orchestra; lived since 1869
        at Stuttgart, and was appointed Court-Capellmeister
        there in 1871. Issued, jointly with Singer, a violin
        method.

    _Seitz, Fritz_, born June 12th 1848, at Günthersleben
        near Gotha; pupil of Ulrich at Sondershausen, and of
        Lauterbach in Dresden; was leader at Sondershausen, at
        Magdeburg, and then at Dessau in the Court orchestra.

    _Singer, Edmund_, born Oct. 14th 1831, at Totis in
        Hungary; pupil of Böhm; was leader at Pesth, Weimar,
        and subsequently Stuttgart; Professor also in the
        Conservatorium there.

    _Sivori, Ernesto Camillo_, born Oct. 25th 1815, at
        Genoa; pupil of Paganini; travelled much as virtuoso,
        and died in 1894.

    _Skalitzky, Ernst_, born May 30th 1853, at Prague;
        pupil of Mildner and Joachim. He was from 1873-1879
        leader in the Park orchestra, Amsterdam, then in a
        similar capacity at Bremen.

    _Soldat, Marie_, born March 25th 1864, at Gratz; pupil
        of Pott and of Joachim; made successful concert tours.

    _Spohr, Louis_, born April 5th 1784, at Brunswick,
        died Oct. 22nd 1859, at Cassel; pupil of Franz Eck. He
        was leader at Gotha and Vienna; visited Italy, England
        and France; became Court-Capellmeister at Cassel in
        1822, receiving a pension in 1857. Spohr was equally
        celebrated as a violinist and as a composer. His most
        distinguished pupils were Leon de St. Lubin, Ries,
        David, Bott, Kömpel, and Pott.

    _Stamitz, Joh. Carl_, born 1719, at Deutschbrod in
        Bohemia, died 1761, at Mannheim; is regarded as the
        founder of the German school of violin playing. He was
        leader at Mannheim. His son

    _Stamitz, Carl_, born May 7th 1746, at Mannheim, died
        1801, at Jena; was leader at Mannheim, finally music
        director at Jena.

    _Straus, Ludwig_, born March 28th 1835, Pressburg;
        pupil of Hellmesberger and Böhm in Vienna; was leader at
        Frankfort; settled in 1864 in London. Died 1899.

    _Struss, Fritz_, born Nov. 28th 1847, at Hamburg, pupil
        of Auer and Joachim; was Kammermusikus in Schwerin and
        in Berlin, subsequently leader in the Royal orchestra.

    _Tartini, Giuseppe_, born April 12th 1692, Pirano, died
        Feb. 26th 1770, Padua, the greatest executant and most
        prolific composer of his time. He wrote hundreds of
        concertos and sonatas, of which the “Trillo del Diavolo”
        is the most celebrated. His best sonatas are published
        in G. Jensen’s “Classische Violin Musik”.

    _Telemann, Georg Philipp_, born March 14th 1681, at
        Magdeburg, died June 25th 1767, at Hamburg; was leader
        at Eisenach and subsequently Capellmeister there; then
        conductor at Hamburg.

    _Thomson, César_, born at Liège, March 18th 1857;
        studied under Jacques Dupuis and Leonard. Having
        acquired an exceptional technique, he has toured with
        great success. He was leader of Bilse’s orchestra,
        Berlin; since 1883, teacher at the Liege Conservatoire.

    _Tua, Teresina_, born May 27th 1867, at Turin; pupil of
        Massart in Paris; one of the most popular lady players
        of the present time.

    _Ulrich, Ed._, born April 12th 1815, at Leipsic, died
        Nov. 26th 1874, at Stendal; pupil of Matthäi; was leader
        at Magdeburg and Sondershausen.

    _Unthan_, a violinist of the present day deserving
        mention as a curiosity, in that having no arms he plays
        with his toes.

    _Veracini, Francesco Maria_, born 1684, died 1759; in
        his time a noted player and composer; lived in Italy,
        England, and Dresden; greatly influenced Tartini’s
        development. Some of his sonatas are published in G.
        Jensen’s “Classische Violin Musik”.

    _Vieuxtemps, Henri_, born Feb. 20th 1820, at Vienna,
        died June 6th 1881, at Algiers; pupil of de Bériot. He
        visited Germany, England, France and Russia; was named
        virtuoso in chamber music to the Russian Court in 1846,
        resided in St. Petersburg until 1852, then travelled and
        visited America, living subsequently in Frankfort, Paris
        and Brussels.

    _Viotti, Giov. Battista_, born May 23rd 1753, at
        Fontanelle, died March 13th 1824, in London; pupil of
        Pugnani; after Corelli and Torelli, the greatest Italian
        violinist of the last century. He made extended concert
        tours, as teacher practising chiefly in Paris, where he
        also conducted the Grand Opéra for a brief period.

    _Walter, Benno_, born June 17th 1847, at Munich; leader
        in the Court orchestra there, and teacher at the Music
        School.

    _Wasielewski, Joseph W. von_, born 1822, at
        Gross-Leesen, near Dantzic. He was educated at the
        Leipsic Conservatorium, where he entered the Gewandhaus
        orchestra; then, after becoming leader at Dusseldorf,
        and conductor at Bonn, settled at Sondershausen. He has
        made himself known also as a writer on musical subjects,
        through his biography of Schumann, “The violin and its
        masters”, “The violoncello and its history”, &c. Died
        1896.

    _Weber, Miroslaw_, born Nov. 9th 1854, at Prague; was
        member of the Sondershausen Court orchestra, leader and
        opera conductor at Darmstadt, and afterwards in the like
        capacity at Wiesbaden Court theatre.

    _Wieniawski, Henry_, born July 10th 1835, at Lublin,
        died April 2nd 1880, at Moscow; pupil of Massart. In
        1860 he was entitled Imperial Russian Kammervirtuoso,
        taught for five years in St. Petersburg Conservatoire,
        travelled a few years in America, then succeeded to
        Vieuxtemps’ duties at Brussels, went again on tour,
        dying in Moscow of heart disease.

    _Wilhelmj, Aug. Emil Dan. Ferd._, born Sept. 21st 1845,
        at Usingen (Nassau); pupil of David; undertook his first
        concert tour in 1865, in Switzerland. In the following
        years he visited Holland, England, &c., afterwards
        living near Wiesbaden, Blasewitz, and (1894) London.

    _Wipplinger, Paul Carl_, born July 7th 1824, at Halle;
        was leader at Aix, and since 1860 at Cassel.

    _Wolff, Heinr._, born Jan. 1st 1813, at Frankfort;
        since 1838 leader there. Was also a talented composer.

    _Wolff, Johannes_, born May 1862, at the Hague; studied
        with Wirth in Rotterdam, and Rappoldi in Dresden,
        subsequently gaining the _premier prix_ in Paris;
        made his début at one of M. Pasdeloup’s concerts; toured
        through the continent and settled in London.

    _Ysaye, Eugène_, born at Liège, in 1858; studied the
        violin from the age of five, chiefly with his father.
        He made the acquaintance of Wieniawski in 1873, and was
        invited by him to Brussels. Toured successfully through
        Europe, and is also in the front rank as teacher; lives
        in Brussels.

    _Zajic, Florian_, born May 4th 1853, at Unhoscht
        (Bohemia); pupil of Mildner and Bennewitz in the
        Conservatorium, Prague. In 1870 he became leader at
        Augsburg, was from 1871-1881 in the Mannheim orchestra,
        then, until 1880, principal violin teacher in the
        Conservatorium of Strasburg. From 1889 he was first
        teacher at Stern’s Conservatorium, Berlin. He has toured
        with success in Germany, England, France, Austria and
        Switzerland.


Some Violinists of the 20ᵗʰ Century.

    _Hall, Marie_, born at Newcastle-on-Tyne, 1884, studied
        with Mossel, Kruse & Sevčik; made a successful
        _début_ in London, Feb. 16th, 1903.

    _Hegedüs, Ferenez_, born at Buda-Pesth, 1881, studied
        with Hubay; appeared in London, June 1901.

    _Kocian, Jaroslav_, born in Bohemia, 1884, in 1896
        became a pupil of Sevčik’s, visited London 1902, with
        great success.

    _Kreisler, Fritz_, born at Vienna, Feb. 2nd, 1875,
        studied there, later with Massart in Paris, where
        at the age of 12 he won the “Premier Prix” of the
        Conservatoire. Introduced by Richter, he made a highly
        successful appearance in London in 1902.

    _Kubelik, Johann_, born July 5th, 1880, at Michle near
        Prague, pupil of Sevčik, introduced to England by
        Richter he became extremely popular as a Paganini player
        of exceptional technique.

    _Pecskai, Louis_, born July 20, 1880, at Buda-Pesth,
        admitted to the Academy there by the Minister of Public
        Instruction at the age of 7, visited London 1896.

    _Rivarde, Serge Achille_, of French parentage, in
        1879 shared with Ondricek the first prize of the Paris
        Conservatoire. Appeared with success in London in 1894.

    _Sevčik, Ottokar_, born 1852 in Bohemia, entered
        the Prague Conservatorium, where he subsequently became
        very famous as professor of the violin. Author of some
        important studies.

    _Zacharewitch, Michael_, born at Ostrow, Russia, in
        1877; studied 5 years with Sevčik, appeared with
        success in London in 1903.




Translator’s Appendix.

The Viola.


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

[Illustration]

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

The tuning is as follows:—

[Music: 1ˢᵗ 2ⁿᵈ 3ʳᵈ 4ᵗʰ

A string D string G string C string]

The G and C are both covered strings.

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

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

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

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

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

                                                       in.
    Length of body (from base of button to tail pin)  16³/₁₆
    Breadth (upper bouts)                             7⁵/₁₆
       ”    (lower   ” )                              9¹⁵/₃₂
       ”    (inner   ” )                              5⁵/₃₂
    Height of ribs (upper bouts)                      1¹⁷/₃₂
       ”    ”   ”  (lower   ”  )                      1⁹/₁₆

NB. For Guide through Viola Literature see page 179.




GUIDE THROUGH VIOLIN LITERATURE.


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


Violin Methods.

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

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

    =David, F.= Violin School.

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

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

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

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

    =Mazas.= Petite Méthode.

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

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

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

        The explanatory text is clear and to the point.

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

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

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

    =Spohr, L.= Violin School.

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

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




Technical Exercises.

    =Casorti.= Technique of the Bow.

    =Courvoisier.= L’École de la Vélocité.  (7603 a, b).
        The School of Velocity.
        Book 1, Systematic Finger Exercises.
        Book 2, Studies of Scales and Chords in systematic order.

    =Dancla.= Op. 74.  École du Mécanisme.

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

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

    =Ritter.= Scale and Chord Exercises.  (5676).

    =Wohlfahrt, F.= Daily Exercises.  (7624).




Studies.


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

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

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

    =Courvoisier, C.= The School of Velocity.
        Book I. Systematic finger exercises. (7603 a).
            Exercises in all possible fingerings of the first position.

        Book II. Studies of Scales and chords in systematic order.
                 (7603 b).

        Book III. Melodic Studies in Major Keys. (7603 c).

        Books IV and V belong to following steps.

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

        Book I. First Position. 30 Elementary Studies in the most
            practicable major keys. By Alard, Bach, Corelli, Dont,
            Heim, Hermann, Hofmann, Kayser, Kreuz, Ritter, Spohr,
            and Steffani. (5471).

        Book II. First Position. 18 More advanced Studies in major
            and minor keys. Easy double-stopping. Enharmonic change.
            By Bach, Corelli, Handel, Hermann, Kreuz, Spohr, and
            Steffani.—Half Position. 16 Studies, changing from
            First to Half Position. By Alard, Dont, Hermann, Kreuz,
            and Wichtl. (5472).

        10 books of Graduated Studies revised by Ernst Heim,
            containing all the material for a serious study of the
            Violin, each book corresponding in difficulty with the
            same book of his Violin Duets (Arena), see page 120 and
            his Violin and Piano pieces (Palaestra),
            see pages 128, 129.

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

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

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

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

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

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

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

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

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

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

        This Manual is written for Students of all Grades.

    =Popular Instructor in Violin Playing=:—

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

    =Schön, M.= Practical Course of Instruction:—

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

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


Step II. First four Positions.

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

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

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

    =Courvoisier, C.= The School of Velocity.

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

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

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

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

        Book III. First Position. Chords and easy Arpeggios.
            Chromatic Passages. Second Position. Changing from
            First to Second Position, (Alard, Dont, Heim, Hermann,
            Hofmann, Hohmann, Kayser, Ritter, Spohr, Steffani, etc.)
            (5473).

        Book IV. Third Position. Changing between First and Third
            Positions. Portamento and Tremolo. (Bach, de Bériot,
            Corelli, Dont, Fiorillo, Haydn, Hofmann, Kayser,
            Kreutzer, Mazas, Wenzel Pichl, Righini, Scarlatti,
            Spohr, and Wichtl.) (5474).

    Graduated Studies revised by Ernst Heim; each book
        corresponds in difficulty with the same book of his
        Violin Duets “Arena”, see page 121 and his Violin and
        pianoforte pieces “Palaestra”, see page 133.

    =Hermann, F.= Op. 24, Bk. 1. 30 Studies in the 1st position.
       (5659).

        also with 2ⁿᵈ Violin. (5613).

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

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

    36 elementary and progressive Studies (introductory to
        those of Kreutzer). Op. 20. Complete (8662) or in 3
        Books. (8662 a-c).

        Minute instructions are given by Mr. Heim at the end of each
            study as to the manner of execution, the part of the
            bow to be used, and various fingerings. Each 10 bars
            are also numbered to simplify the repetition of single
            portions of a study.

        An edition is published with a separate part for a 2ⁿᵈ violin
           (5610 a-c), also one with pianoforte accompaniment
           (7397 a-c).

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

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

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

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

    =Popular Instructor in Violin Playing=:—

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

    =Schön, M.= Practical Course of Instruction:—

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


Step III. First five Positions.

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

        Livre I., Op. 1. Sonate da Chiesa a tre (Due Violini, e
            Violone, o Arcileuto col Basso per l’Organo). In Roma,
            1683. Op. 2. Sonate da Camera a tre (Due Violini, e
            Violone, o Cembalo). In Roma, 1685. (4936 a).

        Livre II., Op. 3. Sonate da Chiesa a tre (Due Violini,
            e Violone, o Arcileuto, col Basso per l’Organo). In
            Modena, 1689. Op. 4. Sonate da Camera a tre (Due
            Violini, e Violone, o Cembalo). In Bologna, 1694.
           (4936 b).

        Livre III., Op. 5. Parte Prima. 6 Sonate a Violino Solo e
            Violone, o Cimbalo. Parte Seconda. Preludii, Allemande,
            Correnti, Gighe, Sarabande, Gavotte, e Follia a Violino
            Solo e Violone o Cimbalo. (4936 c).

        Livre IV., V., Op. 6. Concerti Grossi con duoi Violini,
            e Violoncello di Concertino obligati, e duoi altri
            Violini, Viola e Basso di Concerto Grosso ad arbitrio
            che si potranno radoppiare. In Roma. 1712. 2 Livres.
            (4936 d, e).

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

        The last of these exercises belong to Step IV.

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

        Book V. Fourth Position. 15 Studies, changing between the
            1st and 4th Positions. By de Bériot, Cramer, Dont,
            Hofmann, Kayser, Kreutzer, Mazas, and Rode.—Fifth
            Position. 25 Studies, changing between the 1st and
            5th Positions. By de Beriot, Dont, Hofmann, Kayser,
            Kreutzer, Maurer, Mazas, and Rode. (5475).

        Graduated Studies revised by Ernst Heim, each book
            corresponds in difficulty with the same book of his
            Violin Duets “Arena”, see page 124, and his Violin and
            Piano pieces, “Palaestra”, see page 142.

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

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

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

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

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

        Book 4 contains “Introduction of the 2nd and 3rd positions.
            15 studies and major and minor scales through all keys
            in the first three positions.” Book 4 contains 12 short
            technical exercises and 15 studies in the first three
            positions, introducing various technical difficulties
            and arpeggios through all keys.

    =Schön, M.= Practical Course of Instruction:—

        Bk. VIII. Fundamental Instructions in the study of the
            positions, with examples and easy melodious Duettinos
            for two Violins in various major and minor keys (Third
            Position). (7618).

        Book IX. The same (Second Position). (7619).


Step IV. All Positions.

    =Blagrove, H.= 12 Studies. (9415).

    =Courvoisier, C.= The School of Velocity.

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

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

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

        These studies impart great flexibility to the bowing,
            together with much practice in the higher positions.

        A careful revision of fingering and bowing with the
            addition of expression marks and part of bow to be used
            distinguish E. Heim’s Edition from all others.

        The same, revised by Carl Courvoisier. (5655).

        The fingering and phrasing has been carefully marked on the
            basis of the Joachim School. He avoids slurs of too
            great length which impair the power of tone.

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

        Book VI. Sixth Position. 10 Studies, changing between the
            1st and 6th Positions. By Fiorillo, Hofmann, Kreutzer,
            Mazas, and Rode.

        Seventh Position. 20 Studies, changing between the 1st and
            7th Positions. By Alard, de Bériot, Fiorillo, Hofmann,
            Kayser, Kreutzer, Maurer, Mazas, Rode, and Wichtl.
            (5476).

        Book VII. Eighth to twelfth Positions. 30 Studies arranged
            according to their Musico-Technical object, independent
            of Position.

    _A._ Studies on the Shake and Passing Shake. By Alard,
        Bruni, Cramer, David, Dont, Fiorillo, Heim, Kayser,
        Kreutzer, Mazas, Rode, Rolla, Schubert, and Spohr.
        (5477).

        Graduated Studies revised by Ernst Heim, each book
            corresponds in difficulty with the same book of his
            Violin Duets, “Arena”, see page 125, and his Violin
            and piano pieces, “Palaestra”, see page 151.

    =Hermann, F.= Op. 24, Bk. 3. 25 Studies, 3rd to 7th
        positions. (5661).

        also with 2ⁿᵈ Violin accompaniment. (5615).

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

        16 Studies (comprising studies in the half, 1st, 2nd, 3rd,
            4th, 5th, 6th, and 7th Positions). Op. 28. (8660).

        16 Studies (to follow the 36 Studies, Op. 20). Op. 30.
            (8661).

        This carefully revised edition is particularly useful by
            frequently giving two or more different fingerings
            for one and the same study or single passage. The
            numbering of every tenth bar is also useful in studying
            sub-sections.

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

        The original text has been carefully adhered to. The
            revision (fingerings, bowing and marks of expression)
            show the same care which distinguishes all Heim’s
            editions, while the explanatory remarks make this
            Edition particularly valuable.

        The same, revised and phrased by Carl Courvoisier (5665).

        Courvoisier’s Edition gives very good advice on the choice
            of position. While Heim has kept closely to the original
            text giving advice to the manner of rendering it,
            Courvoisier preferred to give his own phrasing etc. in
            the text, e. g. the cadencial figures in the first study.

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

        Book 6. 6 studies in the 4th and 5th positions, and 6
            studies in the first six positions in flat keys, major
            and minor.

        Book 7. 12 studies in the first six positions in sharp keys,
            major and minor.

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

    =Schön, M.= Practical Course of Instruction:—

        Book XI. Fundamental Instructions, examples and pieces in
            the form of exercises for the study of the positions
            (Fourth, Fifth, Sixth, and Seventh Positions. (7621).

        Book XII. 12 Exercises for the Violin. (7622).

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

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

    =Wessely, Hans.= Comprehensive Scale Manual. (5686).


Step V.

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

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

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

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

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

      Book VIII. Studies arranged according to their
            Musico-Technical object, independent of Position:—

        7 Studies on Staccato. By Fiorillo, Kreutzer, Mazas, Rode,
            and Schubert.

        7 Studies on Springing Bow, Spiccato, Saltato. By Benda,
            Bruni, David, Kayser, Mazas, and Wieniawski.

        7 Studies on Octave passages. By Fiorillo, Kayser,
            Kreutzer, and Mazas.

        8 Studies on Double Stops and Chords. By Dont, Fiorillo,
            Kayser, Kreutzer, St. Lubin, and Wichtl. (5478).

      Book IX. Studies arranged according to their
            Musico-Technical object, independent of Position:—

        8 Studies on Double Stops and Chords. By de Bériot, David,
            Dont, Fiorillo, Kalliwoda, Kreutzer.

        4 Studies on the Double Shake. By Cramer, Fiorillo,
            Gaviniés, and Rode.

        3 Studies on “Flying Staccato,” thrown stroke. By Alard
            and Mazas.

        5 Studies on Arpeggios (difficult). By David, Dont, Mazas,
            and Meerts.

        10 Studies on tenths and other large intervals. By Dont,
            Fiorillo, Gaviniés, Mazas, H. Ries, and Rovelli. (5479).

        Graduated Studies revised by Ernst Heim, each book
            corresponds in difficulty with the same book of his
            Violin Duets, “Arena,” see page 126, and his Violin and
            piano pieces, “Palaestra,” see page 156.

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

        The original text has been adhered to, with very clear
            indications of positions, fingerings, bowing and marks
            of expression by Ernst Heim.

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

        Courvoisier does not adhere altogether to the original text,
            but uses his own discretion, here as elsewhere he is
            careful to avoid very long bows which would counteract
            the production of a broad and powerful tone.

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


Step VI. Very difficult.

    =Gaviniés, P.= 24 Études 24 Matinees.

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

        Book X. _A._ 17 Studies in the Polyphonic
            Style.—Prelude. Fugue. Fughetta. By Bach, Campagnoli,
            and Pichl.—_B._ 13 Concert Studies, Harmonics and
            Pizzicato with the left hand. By Alard, Dancla, Leonard,
            Lipinsky, Mazas, Paganini, Prume, and Wieniawski. (5480).

        Graduated Studies revised by Ernst Heim. Each book
            corresponds in difficulty with the same book of his
            Violin Duets, “Arena”, see page 127, and his Violin and
            piano piece, “Palaestra”, see page 158.

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




Pieces for Violin Solo.


Step I. In the first position.

    =Hermann, Fr.= 50 favourite Melodies. 5465 a.

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

in the first position:—

    Le Postillon.         (5401a).
    La Sonnambula.        (5402a).
    Norma.                (5403a).
    Le Calife de Bagdad   (5404a).
    La Dame Blanche.      (5405a).
    La Fille du Régiment. (5406a).
    Lucia di Lammermoor.  (5407a).
    Orpheus.              (5408a).
    The Messiah.          (5409a).
    The Creation.         (5410a).
    Zampa.                (5411a).
    Wildschütz.           (5412a).
    Czar und Zimmermann.  (5413a).
    Joseph.               (5414a).
    St. Paul.             (5415a).
    Il Seraglio.          (5416a).
    Il Flauto Magico.     (5417a).
    Don Giovanni.         (5418a).
    Der Freischütz.       (5419a).


Step II. In various positions.

    =Gurlitt.= Our Favourite Tunes. (7608).

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

    The Bohemian Girl.               (5420a).
    Egmont.                          (5421a).
    Fidelio.                         (5422a).
    L’Elisire d’Amore.               (5423a).
    Lucrezia Borgia.                 (5424a).
    Iphigénie en Aulide.             (5425a).
    Judas Maccabaeus.                (5426a).
    Das Nachtlager in Granada.       (5427a).
    Hans Heiling.                    (5428a).
    A Midsummer Night’s Dream.       (5429a).
    Elijah.                          (5430a).
    Les Huguenots.                   (5431a).
    Le Prophète.                     (5432a).
    Le Nozze di Figaro.              (5433a).
    Die lustigen Weiber von Windsor. (5434a).
    Maritana.                        (5435a).
    Oberon.                          (5436a).
    Preciosa.                        (5437a).
    Der fliegende Holländer.         (5438a).
    Lohengrin.                       (5439a).
    Rienzi.                          (5440a).
    Tannhäuser.                      (5441a).
    Il Barbiere.                     (5442a).
    Guillaume Tell.                  (5443a).
    Masaniello.                      (5444a).
    Faust. (Gounod)                  (5445a).




Duets for 2 Violins.


Step I. First Position.

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

        Book I., Op. 22. Elementary. 1st position. (5599 a). Book
            II., Op. 22. Elementary. 1st position. (5599 b).

        This excellent work should form every student’s companion
        from the first beginning until a degree of considerable
        technical skill has been reached. It gains much by E.
        Heim’s careful revision as to the fingering, bowing and
        all marks of expression.

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

        Book I. First position. 8 Easy Duets in the most frequently
          used keys, by Wichtl, Dancla, Alard, and de Bériot.
          (11801 s).

        Book IA. First position. 6 Easy Duets in the most frequently
          used keys, by Blumenthal, Kalliwoda, and Mazas. (11801 a).

        Book II. First position. 5 Easy Duets in major and minor
          occurrence of easy double-stopping and chords, by
          Pleyel, Bruni, Mazas, Thomas, and Ries. (11802 s).

        Book IIa. First position. 5 Easy Duets in major and minor
          (occurrence of easy double-stopping and chords), by C.
          Gurlitt, Kalliwoda, Pleyel, and Mazas. (11802 a).

        20 Books of graduated Duets revised by Ernst Heim, each
          book corresponding in difficulty with the same book of
          his Violin Studies (Gradus ad Parnassum), see page 111,
          and his Violin and Piano pieces (Palaestra),
          see pages 128, 129.

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

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

        Except one or two more suited to Step II.

    =Our Favourite Tunes.= Arranged. (7609).

        Some of these belong to Step II.

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

        Also published with Piano Accompaniment. (11461 a, b).

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

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

        Potpourris on Popular Melodies from classical and modern
          Operas and Oratorios, arranged by Richard Hofmann.
          45 Books.

Step 1. (in the first position):—

    Le Postilion.        (5401b).
    Sonnambula.          (5402b).
    Norma.               (5403b).
    Calife de Bagdad.    (5404b).
    Dame Blanche.        (5405b).
    Fille du Régiment.   (5406b).
    Lucia di Lammermoor. (5407b).
    Orpheus.             (5408b).
    Messiah.             (5409b).
    Creation.            (5410b).
    Zampa.               (5411b).
    Wildschütz.          (5412b).
    Czar und Zimmermann. (5413b).
    Joseph.              (5414b).
    St. Paul.            (5415b).
    Il Seraglio.         (5416b).
    Il Flauto Magico.    (5417b).
    Don Giovanni.        (5418b).
    Freischütz.          (5419b).

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

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

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

        Delightful little “bits”, short and very easy.

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

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


Step II. First four Positions.

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

        Book III, Op. 22. Elementary. 1st and 2nd positions. (5599 c).

        This excellent work should form every student’s companion
          from the first beginning until a degree of considerable
          technical skill has been reached. It gains much by E.
          Heim’s careful revision as to the fingering, bowing and
          all marks of expression.

    =Album opératique.= (5639).

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

        Book III. Easy Duets, with change between first and second
          positions, by Mazas, Geminiani, Hering, and Ries. (11803 s).

        Book IIIA. Easy Duets, with change between first and second
          positions, by Geminiani, Mazas, C. G. Müller, and
          Blumenthal. (11803 a).

        Book IV. Duets up to the third position, by Ignaz Lachner,
          Alard, and Hering. (11804 s).

        Book IVA. Duets up to the third position, by C.
          Gurlitt. Ignaz Lachner, and Viotti. (11804 a).

        Book V. Duets up to the fourth and fifth positions, by
          Hering, Mozart, Kreutzer, and H. Ries. (11805 s).

        Graduated Duets revised by Ernst Heim; each book corresponds
          in difficulty with the same book of his Violin Studies,
          “Gradus ad Parnassum”, see page 112, and his Violin and
          piano pieces, “Palaestra”, see page 133.

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

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

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

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

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

    Bohemian Girl.             (5420b).
    Egmont.                    (5421b).
    Fidelio.                   (5422b).
    L’Elisire d’amore.         (5423b).
    Lucrezia Borgia.           (5424b).
    Iphigénie en Aulide.       (5425b).
    Judas Maccabaeus.          (5426b).
    Nachtlager.                (5427b).
    Hans Heiling.              (5428b).
    A Midsummer Night’s Dream. (5429b).
    Elijah.                    (5430b).
    Huguenots.                 (5431b).
    Le Prophète.               (5432b).
    Figaro.                    (5433b).
    Merry Wives of Windsor.    (5434b).
    Maritana.                  (5435b).
    Oberon.                    (5436b).
    Preciosa.                  (5437b).
    Der fliegende Holländer.   (5438b).
    Lohengrin.                 (5439b).
    Rienzi.                    (5440b).
    Tannhäuser.                (5441b).
    Il Barbiere.               (5442b).
    Guillaume Tell.            (5443b).
    Masaniello.                (5444b).
    Faust. (Gounod.)           (5445b).

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

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

        36 elementary and progressive Studies (introductory to
          those of Kreutzer). Op. 20. Bks. 1 and 2. (5610 a, b).

        16 Studies (comprising studies in the half, 1st, 2nd, 3rd,
          4th, 5th, and 7th Positions). Op. 28. (5619).

        Nos. 10 and 11 Step III, and 12 to 16 Step IV.

        16 Studies (to follow the 36 Studies, Op. 20). Op. 30.
          (5620).

        Nos. 6 and 8 Step III; Nos. 4, 5, 9, 11, 12, 13 and 16
          Step IV.

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

        There is an air of brightness and humour in these sonatinas
          which reminds one of Haydn and Mozart. Without making
          great demands upon the technique of the player, the
          sonatinas are brilliant and diversified, and although
          they chiefly appeal to the young they are never
          childish. Op. 98 with its charming “Rococo” colouring is
          sure to make friends upon acquaintance.

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

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

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

        Book  I. First position. Easy double-stopping. (5629a).
        Book II. First and second positions. (5629b).

        These melodious and graceful compositions are rendered more
          valuable by the careful revision of fingering, bowing
          and marks of expression. They contain a wealth of
          technical devices.

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

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


Step III. Five Positions.

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

        Book  IV., Op. 22. Elementary. 3rd position. (5599d).
        Book   V., Op. 23. Easy. 3rd position. (5599e).
        Book  VI., Op. 23. Easy. 3rd position. (5599f).
        Book VII., Op. 23. Easy. 3rd position. (5599g).

        This excellent work should form every student’s companion
          from the first beginning until a degree of considerable
          technical skill has been reached. It gains much by E.
          Heim’s careful revision as to the fingering, bowing,
          and all marks of expression.

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

        Book V. Duets up to the fourth and fifth positions, by
          Hering, Mozart. Kreutzer, and H. Ries. (11805 s).

        Book VA. Duets up to the fifth position,
          by J. S. Bach, Mozart, and Polledro. (11805 a).

        Graduated Duets revised by Ernst Heim. Each book corresponds
          in difficulty with the same book of his Violin Studies
          “Gradus ad Parnassum”, see page 114, and his Violin and
          Piano pieces, “Palaestra”, see page 142.

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

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

    =Hermann.= Op. 26. Morceaux mélodiques; Bks. 1, 2, 3.
        (Piano _ad lib_). (5328 a-c).

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

        36 elementary and progressive Studies (introductory to
          those of Kreutzer). Op. 20. Book 3. (5610 c).

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

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

    =Pleyel, I.= Op. 23. Duos. (1085 d).
        — Op. 24. Duos. (1085 e).
        — Op. 44. Duos. (5628).

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

        Book III. Up to third position. (5629 c).

        These melodious and graceful compositions are rendered
          more valuable by the careful revision of fingering,
          bowing and marks of expression. They contain a wealth
         of technical devices.

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

    =Viotti.= Concert duets. 13 Bks.


Step IV. All Positions.

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

        Book VIII. Op. 23. Easy. 5th position. (5599 h).
        Book   IX. Op. 27. Brilliant. 7th position. (5599 i).
        Book    X. Op. 27. Brilliant. All positions. (5599 k).
        Book   XI. Op. 27. Brilliant. All positions. (5599 l).
        Book  XII. Op. 27. Brilliant. All positions. (5599 m).

        This excellent work should form every student’s companion
          from the first beginning until a degree of considerable
          technical skill has been reached. It gains much by E.
          Heim’s careful revision as to the fingering, bowing and
          all marks of expression.

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

        Book VI. Duets up to the sixth and seventh positions,
          by H. Ries, Haydn, and Alard. (11806 s).

        Book VIA. Duets up to the sixth position,
          by Hauptmann and Blumenthal. (11806 a).

        An excellent collection of graduated Duets revised by
        Ernst Heim; each book corresponds in difficulty with
        the same book of his Violin Studies “Gradus ad Parnassum”,
        see page 115, and his Violin and Piano pieces, “Palaestra”,
        see page 151.

    =Hauptmann, M.= Op. 2. 2 Duets. (1082).
        — Op. 16. 3 Duos. (5611).

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

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

        16 Studies (comprising studies in the half, 1st, 2nd, 3rd,
          4th, 5th, 6th, and 7th Positions). Op. 28. (5619).

        Nos. 1-9 belong to II; 10 and 11 to III.

        16 Studies (to follow the 36 Studies, Op. 20). Op. 30.
          (5620).

        Nos. 1-3, 7, 10, 14, 15 belong to II; Nos. 6 and 8 to III.

    =Mayseder.= 3 celebrated Duets. Op. 30, 31, and 32.
        (10007 a-c).

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

        Book IV. Up to sixth position. (5629 d). Book V. Up to
          seventh position. (5629 e). Book VI—IX. In all
          positions. 4 Books. (5629 f-i).

        These melodious and graceful compositions are rendered more
          valuable by the careful revision of fingering, bowing
          and marks of expression. They contain a wealth of
          technical devices.


Step V. Difficult.

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

        Book VII. 2 Duets in all positions (difficult), by Hauptmann
          and De Bériot. (11807 s).

        Book VIIA. 3 Duets in all positions (difficult), by
          Haydn, J. B. Viotti, and Campagnoli. (11807 a).

        Book VIII. 2 Duets in all positions (very difficult), by F.
          Ries, and Hauptmann. (11808 s).

        Book VIIIA. Duets in all positions. (Very
          difficult), by C. de Bériot, and M. Hauptmann.
          (11808 a).

        Graduated Duets revised by Ernst Heim; each book corresponds
          in difficulty with the same book of his Violin Studies,
          “Gradus ad Parnassum”, see page 117, and his Violin and
          piano pieces, “Palaestra”, see page 156.

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

    — Op. 26. Morceaux mélodiques. Bk. 6. (5328 f).

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

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

        The addition of an excellent second violin part by
          Ludwig Abel combined with the careful revision which
          characterises Heim’s work, and the numbering of every
          fifth bar, will make this edition welcome to all students.


Step VI. Concert Duets.

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

        Book IX. 2 Concert Duets, by Spohr and H. Ries. (11809 s).

        Book IXA. Concert Duets. Nos. 33 and 34 by Spohr,
          No. 35 by Mazas. (11809 a).

        Book X. 3 Concert Duets by Spohr. (11810 s).

        Book XA. Concert Duets, by M. Hauptmann & L. Spohr.
          (11810 a).

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

        These are the finest and most difficult duets for two violins.


Duets for Violin and Violoncello.

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

    =Beethoven.= 3 Duets. III.

    =Haydn, J.= Duet in D. III.

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

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


Duets for Violin and Organ.

    =Album.= 10 Pieces. (2450).

    Nos. 1, 2, 3 and 6. II. Nos. 5, 6, 7, 8. III. Nos. 4, 9
        and 10. IV.

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

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

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

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

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

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

    =Spohr.= Adagio from 9th Violin Concerto, arr. by I.
        Lachner. IV.


Pieces for Violin with piano accompaniment.


Step I A. First Position, Elementary.

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

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

        An excellent collection of graduated pieces revised by
          Ernst Heim, each book corresponds in difficulty with the
          same book of his Violin Studies, “Gradus ad Parnassum”,
          see page 111, and his Violin Duets, “Arena”, see page 120.

        Book IA. Contents.—4 Pieces on the open strings
          by Ritter, Reinecke, etc., and 7 easy Pieces in the
          easiest keys, first position, by Ritter, Moffat, Aprile,
          Saint-George, etc. (11471 a).

        Book IB. 9 easy Pieces in the easiest keys, first
          position by Moffat, Heim, Reinecke, and Gurlitt. (11471 b).

        Book IC. Supplement to Books a and b. Piece on
          the open strings by Bordogni, and 9 easy Pieces in the
          easiest keys by Moffat, Ritter, Concone, Stephen Heller,
          Volkmann, Laubach, etc. (11471 c).

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

        Op. 38. No. 1. Ave Maria.

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

        Most useful and attractive collection for young beginners.

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

        Nos. 1-10. Nos. 11-16 belong to the following grade.

      —Short Drawing Room Pieces.

        A very attractive set beginning with a little prelude for
          the open strings only. Book 1 contains 7 melodious
          little pieces, books 2 and 3 belong to the next division.

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

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

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

    =Rieding, O.= 6 Easy Pieces.

        Nocturne, Impromptu, Romance, Nos. 4, 5 and 6 belong to Ib.

    =Ritter, E. W.= 12 Short Pieces.

        Book 1 contains three little pieces for the open strings only.
        Book 2 utilizes only the 1st and 2nd fingers.
        Book 3 introduces the 3rd, and Book 4 the 4th finger.

    =Wurm, Marie.= Lullaby.


Step Ib. First Position, Easy and progressive.

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

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

        Book IIA. Easy Pieces in major and minor keys, and
          in the first position, by Mendelssohn, Ritter, Laubach,
          and R. Hofmann. (11472 a).

        Book IIB. Easy Pieces in major and minor keys, and
          in the first position, by R. Hofmann, Handel, and L.
          Nicole. Occurrence of easy double-stopping, chords, and
          easy ornaments, by Laubach, Meo, and Haydn. (11472 b).

        Book IIC. Supplement to Books a and b. Pieces by
          Wolfermann, Stephen Heller, Tschaïkowsky, Kreuz, and
          Kullak. (11472 c).

        An excellent Collection of Graduated Violin and Piano
          pieces revised by Ernst Heim; each book corresponds
          in difficulty with the same book of his Violin Duets,
          “Arena”, see page 120, and his Violin Studies, “Gradus
          ad Parnassum”, see page 111.

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

    =Clark, Scotson.= Melody in A.

    =Danbé, J.= 6 Petits Morceaux. Cantabile & Allegro,
        Petite Valse, Caprice, Adagio and Rondo, Minuet, Petite
        Barcarolle.

        Melodious and attractive to young pupils.

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

        3 Morceaux. Op. 38. No. 2, Barcarolle; No. 3. Mazurka.

         Morceaux. Op. 39. No. 1, Cavatine; No. 2, Ländler; No. 3,
           Tarantelle.

        Very effective little pieces within the compass of a fourth;
          with very attractive piano accompaniments.

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

      —Morceaux de Salon (faciles). Op. 146:—

        Ländler, Neues Leben, Nocturno, Impromptu. (8677 a).

      —Two miniature Sonatas (in first position). Op. 180 in F
        and D. (7500).

        An excellent introduction to concerted playing for
          musically intelligent young beginners.

      —The Chase. (Die Jagd.) Op. 190, No. 6.

    =Hauptmann, M.= 3 Sonatinas. (7384).

        The rudimentary features of the sonata form are here packed
          into a very small compass indeed; all three movements of
          No. 1 occupying only one page in the violin part.

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

        Book II. Nos. 26-45. (11461 b).

    =Hering, Carl.= 16 Pieces in progressive order. Nos.
        11-16. Op. 14. Revised and marked for teaching purposes
        by Ernst Heim. (11493).

      — 8 pieces. Op. 21. (Ernst Heim.) (11494).

      — 10 Petits Morceaux. Op. 66. (7392).

      — Short Drawing Room Pieces. Bks. 2 and 3.

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

        The same are also arranged for violin solo, (5465 a); 2
          violins and piano, (5465 d); Violin, violoncello and
            piano. (5465 f).

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

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

        Especially pleasing is No. 3. No. 1 contains a few bars only
          playable to those prepared to enter on II.

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

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

    Adam.  Der Postilion.  (5401 c).
    Bellini.  Nachtwandlerin.  (Sonnambula).  (5402 c).
    Bellini.  Norma.  (5403 c).
    Boieldieu.  Le Calife de Bagdad.  (5404 c).
    Boieldieu.  La Dame Blanche.  (5405 c).
    Donizetti.  La Fille du Régiment.  (5406 c).
    Donizetti.  Lucia di Lammermoor.  (5407 c).
    Gluck.  Orpheus.  (5408 c).
    Handel.  The Messiah.  (5409 c).
    Haydn.  The Creation.  (5410 c).
    Hérold.  Zampa.  (5411 c).
    Lortzing.  Wildschütz.  (5412 c).
    Lortzing.  Czar und Zimmermann.  (5413 c).
    Méhul.  Joseph.  (5414 c).
    Mendelssohn.  St. Paul.  (5415 c).
    Mozart.  Il Seraglio.  (5416 c).
    Mozart.  Il Flauto Magico.  (5417 c).
    Mozart.  Don Giovanni.  (5418 c).
    Weber.  Der Freischütz.  (5419 c).


    =Horrocks, A. E.= Rigaudon.

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

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

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

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

      — Op. 36. 6 easy Pieces. 2 Bks. (7519 a, b).

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

        Contains 14 Marches by Lully, Couperin, Rameau, Handel,
          Haydn, &c.

    =Meo, Alfonso.= The Dolly’s Dance.

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

      —English Classical Album. 12 Pieces for Violin, with
          figured Bass, by English Masters of the 17th and 18th
          centuries. (7523).

      — 12 Classical Pieces (in the first position). 2 Books.
          (7526 a, b).

      — 12 Pieces by English Masters of the 17th and 18th
          Centuries. (7537).

        These pieces are well written for the violin. They are,
          moreover, melodious and have interesting accompaniments.

    =Nicole, L.= Minuet and Gavotte.

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

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

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

        No. 9 belongs to II.

      — Op. 213. 10 Petits Morceaux. (7542).

        Characteristic little pieces with interesting piano part.

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

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

    No. 1.  Variations on “The Carnival of Venice”. (7550 a).
    No. 2.  Stradella, by Flotow.  (7550 b).
    No. 3.  Variations. “Rule, Britannia”.  (7550 c).
    No. 4.  Rondo, “The Bay of Biscay” and “Hearts of Oak”. (7550 d).
    No. 5.  “Logie O’Buchan”.  Fantasia.  (7550 e).

      — 12 Short Pieces:—Book IV.  (For all four fingers.)

         No. 8. March; No. 9, Gavotte; No. 10. Intermezzo;
         No. 11. Romance; No. 12, Tarantella.

    =Schmitt, J.= 2 Sonatinas. Edited and fingered by Emile
        Thomas. (7572).

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

    =Terschak, A.= Popular Melodies:—

    Vol.   I. England.  18 Popular Melodies. (8698 a).
    Vol.  II. Scotland. 20 Popular Melodies. (8698 b).
    Vol. III. Ireland.  18 Popular Melodies. (8698 c).

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

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

    =Wurm, Marie.= March in D.


Step II. First four Positions.

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

        Book IIIA. Rather more difficult pieces in the
          first position; Occurrence of chords, double-stopping,
          and ornaments: 3 Pieces by Saint-George and J. S. Bach.
          Employment of the half position: 3 Pieces by Gurlitt,
          Reinecke, and Scotson Clark. (11473 a).

        Book IIIB. Employment of the half position: 2
          Pieces by Dolmetsch and Schubert. Second position;
          changing from first to second position: 4 Pieces by
          Crescentini, Boccherini, Scotson Clark, and Senaillé.
          (11473 b).

        Book IIIC. Supplement to Books A and B. Pieces by
          Wolfermann, Scotson Clark, Nicole, Kullak, Loeschhorn,
          and A. Krug. (11473 c).

        Book IVA. Pieces up to the third position;
          change between the first and third position without
          _Portamento_: Pieces by J. S. Bach and Veracini.
          Change between first and third positions with
          _Portamento_: Pieces by Mathilde Heim-Brem,
          Strelezki, and Ignaz Lachner. (11474 a).

        Book IVB. Pieces up to the third position: change
          between the first, second, and third positions: Pieces
          by Gurlitt, Haydn, and Ignaz Lachner. Change between
          the half, first, second, and third positions: Pieces by
          Handel and Mendelssohn. (11474 b).

        Book IVC. Supplement to Books A and B. Pieces by F.
          David, A. Jensen, De Bériot, H. Ries, and N. W. Gade.
          (11474 c).

        An excellent Collection of Graduated Violin and piano
          pieces revised by Ernst Heim; each book corresponds
          in difficulty with the same book of his Violin Duets,
          “Arena”, see page 121 and his Violin Studies, “Gradus ad
          Parnassum”, see page 112.

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

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

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

        Vol. XV. Strelezki, Minuet à l’Antique; Arensky, Serenade;
          Dobrzynsky, Les Larmes; Gautier, Le Secret; Raff,
          Chanson Suisse, Rubinstein, Barcarole; Squire, Gavotte
          Humoristique; Field, Notturno; Weber, Maienblümchen
          Walzer. 7322 p).

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

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

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

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

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

      — Gavotte from 6th Sonata. (9401 c).

      — Fifth Prelude from “Das Wohltemperirte Klavier”. F.
        Hermann. (M.F. 95).

      — My heart ever faithful. F. Hermann. (M.F. 115)

    =Beazley, J. C.= Sonatina in F.

      — Sonatina in D minor. (7327).

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

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

    =Boccherini, L.= Minuet in A.

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

    =Burgmüller.= 3 Nocturnes. (8673).

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

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

        Adam, Christmas; Gruber, Tyrolese Christmas Hymn; Bach, Aria
          from the Christmas Oratorio; Gurlitt, Andante religioso;
          Reinecke, Chorus of Angels; Goltermann, Berceuse; Grieg,
          Christmas Song; Bortnianski, Adoration; Mendelssohn,
          Christmas Piece; Gounod, L’Angelus.

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

      — Marche indienne. (9403 b).

      — Marche militaire. (9403 c).

      — Procession March. (9403 d).

      — Pilgrims’ March. (9403 e).

      — Meditation.

      — Melody in D.

      — 12 Morceaux (Original pieces). (7350).

        One or two are for those entering Step III, but all are easy.

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

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

      — Recreations. Easy Pieces. Op. 48. (Pastorale, Gavotte
           and Musette, Romance, Scherzo, Barcarolle, Waltz.)
           (7355).

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

    =D’Alquen, F.= Nocturne in G.

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

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

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

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

      — Sonata in G. (E. Thomas.) (7347).

    =Dolmetsch, A.= Romance.

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

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

      — Soirées Musicales. Arranged by R. Hofmann:—The Mill.
         The Smithy. Spinning Song. Swing Song.

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

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

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

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

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

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

      — Minuet, arranged by Cornelius Gurlitt.

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

    =Gungl, J.= Oberländler. (M.F. 19).

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

        Bk. II. Ländlicher Tanz, Elegie, Aufschwung, Romanze.
          (8677 b).

        Bk. III. Barcarolle, Andante religioso, Fantasie, Capriccio.
          (8677 c).

        Pleasing and useful teaching pieces, Book III containing the
          most difficult of the set, leading into next Step. Also
          published folio size in separate Nos.

      — Snow-flakes (Schneeflocken). Short Pieces. Op. 164:—

    Book I. Humoreske, Notturno, Ständchen, Bauerntanz. (7382 a).
    Book II. Elegie, Canzonetta, Impromptu, Ländler. (7382 b).
    Book III. Rêverie, Intermezzo, Adagio. Valse noble. (7382 c).

    Twelve pleasing and graceful teaching pieces, also in
        separate Nos.

      — Idylle in D.

      — Op. 190, No. 7. “Under the Village Lime-Tree”.

      — Andantino in B flat, from the Sonatina, Op. 134, No. 2.

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

        No. 1 in D.  (7378 a)
        No. 2 in E minor.  (7378 b).

        Jensen has been particularly happy in the selection of
          the pieces which form these Suites and his thorough
          knowledge of the great master’s style has enabled him to
          provide accompaniments which breathe Handelian spirit,
          and are in themselves full of interest.

      — Adagio religioso ed Allegro (Jensen, V. 19).

      — Sonata III. (A maj.). Arr. by F. Hermann. (7376).

      — Sonata XII. (F. maj.). (Dr. Riemann.) (7502).

      — Sonatas for Flute with Basso continuo, arranged; with
          marks of expression by Gustav Jensen. (7385).

      — Sarabande. (M.F. 96).

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

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

      — Adagio recitativo. (Jensen. V. 3).

      — Ox Minuet. (M.F. 43).

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

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

      — Dorflied. (M.F. 56).

    =Heim, Ernst.= Abendlied (Evening Song).

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

        Two poetical little pieces entitled “Mittagsstille” (Noon),
          and “Zwiegespräch” (Duet in Canon).

    =Henkel, H.= Sicilienne.

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

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

      — Op. 28, No. 2. Sonatina in D. (7390 a).

      — Dance Movements from the works of Great Masters.

        The following are suitable for this Step:—

    Bach, Sarabande.  (7387 a).
    Cherubini. Ballet music.  (7387 h).
    Handel, Scherzo.  (7387 b).
    Gluck, Musette.  (7387 l).

    =Hoffmann, J.= Cantilena in A.

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

      — 8 Vortragsstücke. Op. 103:—No. 1. Intermezzo. 5.
           Berceuse.

      — Three Short Pieces, Op. 110; No. 3. Scherzo.

      — Wiegenlied (E. Heim).

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

    Balfe.        The Bohemian Girl.               (5420 c).
    Beethoven.    Egmont.                          (5421 c).
    Beethoven.    Fidelio.                         (5422 c).
    Donizetti.    L’Elisire d’amore.               (5423 c).
    Donizetti.    Lucrezia Borgia.                 (5424 c).
    Gluck.        Iphigénie en Aulide.             (5425 c).
    Handel.       Judas Maccabaeus.                (5426 c).
    Kreutzer.     Das Nachtlager in Granada.       (5427 c).
    Marschner.    Hans Heiling.                    (5428 c).
    Mendelssohn.  A Midsummer Night’s Dream.       (5429 c).
    Mendelssohn.  Elijah.                          (5430 c).
    Meyerbeer.    Les Huguenots.                   (5431 c).
    Meyerbeer.    Le Prophète.                     (5432 c).
    Mozart.       Le Nozze di Figaro.              (5433 c).
    Nicolai.      Die lustigen Weiber von Windsor. (5434 c).
    Wallace.      Maritana.                        (5435 c).
    Weber.        Oberon.                          (5436 c).
    Weber.        Preciosa.                        (5437 c).

    =Holländer, G.= Op. 3. Spinnerlied.

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

      — “Les Fleurs des Opéras”, edited and fingered by
        Courvoisier. 20 Bks. (7441-7460).

      — Second Series. 7 Books. (7463-7469).

    =Jensen, A.= Ländler. (M.F. 8).

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

        Nos. 7, 10, 11 of these charming pieces belong to III.

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

        Books I and II. (7397 a, b).

        Book III belongs to the following step.

    =Kearne, L.= Canzonetta.

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

      — Hunting Sketch, No. 3. Op. 608.

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

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

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

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

        No. 1, Nocturne belongs to III.

    — Op. 108. 4 Duos. Nocturne, Grande Polonaise, Ländliche
        Idylle (Country Idyll), Böhmischer Original-Bauerntanz
        (Bohemian Peasants’ Dance).

      — Op. 94. No. 1, Siesta; No. 2, Grande Polonaise.

      — Op. 99. Sonatina in A. (7503).

      — Op. 100. Sonatina in B♭. (7504).

      — Op. 101. Sonatina in G. (7505).

        Three excellent sonatinas for young pupils.

        Lachner’s music recalls much of the spirit of Haydn,—it
          is straightforward, healthy and genial in character.
          The influence of Schumann and the somewhat complicated
          rhythmical feeling introduced by many modern German
          composers into their otherwise technically easy pieces
          (rendering them difficult to be understood by young
          beginners who are not specially gifted) are here
          conspicuous by their absence.

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

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

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

      — Gavotte du Duc de Richelieu. (9406 f).

      — Sylvana. Menuet. (9406 c).

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

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

      — Gavotte et Rondeau d’Alceste. (A minor). (Hermann,
        C.V.M. 6).

    =March Album.= Bk. 2. Edited by Hermann. (8686 b).

        Contains 5 Marches by Beethoven, 3 by Cherubini,
          and 1 by Lesueur.

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

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

      — Christmas Piece. Op. 72. No. 2. (M.F. 112).

    =Meo, Alfonzo.= The Cubanese Dance.

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

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

      — Rondo (Sonata in F). (7324 c).

      — Sonata in D arranged from the Pianoforte Duet Sonata, Op. 3,
           No. 1, by W. Abert. (11566).

      — Romanze aus der “Nacht-Musik” (Jensen, V. 17).

    =Nölck, A.= Berceuse. Op. 92.

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

        Nos. 1, 2, 5 and 14 belong to I b).

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

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

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

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

    =Poznanski, J. B.= La Paresse.

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

      — Rigodon (Dardanus). (M.F. 99).

      — Rigodon en Rondeau (Dardanus). (M.F. 100).

    =Reber, H.= Berceuse in G.

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

      — Sonate miniature, in B minor.

      — 2 Miniature Sonatas (in first position). Op. 213. Nos. 11
        & 12. (7543).

        These four sonatinas would suitably follow those of Gurlitt
          under I.

      — Abendgebet. (M.F. 18).

      — Tears (Thränen). (M.F. 40).

      — Chant d’amour. (M.F. 51).

      — Farandole. (M.F. 86).

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

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

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

        No. 1. À l’antique. No. 2. Mazourka-Caprice. No. 3. Simple
          Mélodie. No. 6. Sous la lune.

        Nos. 4 and 5 belong to III.

      — Air du Dauphin. (9406 d).

      — La Kermesse de St. Cloud. (9406 e).

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

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

      — Entre nous. Morceau de Salon.—Tristesse.—Vieille
         Histoire.

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

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

        No. 1 in D, No. 3 in G; No. 2 belongs to III.

      — Moment musical. (M.F. 5).

      — Ballet de Rosamonde. (M.F. 28).

      — Menuet favori. (M.F. 52).

      — Divertissement à la hongroise. (M.F. 93).

      — Am Meer. Arr. by Emile Thomas.

      — Romance from “Rosamonde.” Arr. by Emile Thomas.

      — Serenade. Arr. by Emile Thomas.

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

      — Romanza espressiva. (M.F. 101).

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

      — “Revery” and “At the Fireside” (Hermann).

      — Album. 56 Pieces arr. by F. Hermann. (7574).

      — Scenes of Childhood (Kinderscenen). Easy Pieces. Op. 15.
         Arranged by F. Hermann. (7575).

         Nos. 12 and 13 belong to IV.

      — Album for the Young (Jugend-Album). Op. 68. Arranged by
          F. Hermann. (7576).

         No. 4 belongs to Ia. Nos. 2, 23 and 42 to Ib. No. 22 to III,
          and 33 to IV.

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

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

      — Sonate. (Jensen). (7405).

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

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

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

      — Barcarolle from 3 Duettinos op. 135. (8695).

      — Larghetto in G. (M.F. 92).

    =Squire, W. H.= Gavotte sentimentale.

      — Reverie.

      — Serenade in A.

      — Bourrée. Op. 24.

      — Meditation. Op. 25.

    =Strelezki, A.= “L’Absence”, Mélodie.

      — Mélodie réligieuse.

      — 4ième Menuet à l’Antique. (M.F. 103).

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

        No. 1. Gondoliera.

    =Sutcliffe, W.= Andante in E.

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

    =Thomas, Emile.= Air de Ballet.

      — Danse Lente.

      — Sanssouci Valse.

      — Polka.

      — Danse rustique.

        Light salon pieces in simple rhythms.

      — Sonatine en Ut (C).

    =Tschaïkowsky, P.= Album of Favourite Pieces:—

        1. Mazurka; 2. Sweet Dream; 3. Neapolitan Song; 4. Autumn
          Song; 5. Barcarolle; 6. Andante cantabile; 7. Chant sans
          paroles; 8. Troïka; 9. Christmas. Edited and partly
          arranged by Fr. Hermann. (7590).

        Nos. 1, 6, 7, 8 and 9 belong to II.

      — Chanson triste. (M.F. 85).

      — Chant sans Paroles. (M.F. 27).

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

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

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

      — Sarabanda e Danza rustica. (Moffat.) (7589).

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

        No. 4. On the Lake. (M.F. 62).
        No. 6. The Shepherd. (M.F. 64).

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

      — Maienblümchen. (F. Hermann). (M.F. 105).

      — Sonatina in C for 4 hands, arranged. (Abert.) (11765).

    =Witting, C.= Andante alla Siciliana.

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

        Melodious pieces, containing excellent practice.

      — Romance. No. 1 of 3 pieces.


Step III. First five Positions.

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

        Book VA. Pieces with change from first to fourth
          position, by Lachner, Gurlitt, Hofmann, and Moffat.
          Piece with change from first to fifth position, by
          Lully. (11475a).

        Book VB. Pieces up to the fifth position, by Spohr,
          Geminiani, Mozart, and Handel. (11475b).

        Book VC. Supplement to Books A and B. Pieces by
          Liszt, Jensen, Heller, Gade, and David. (11475c).

        Palaestra, a collection of graduated pieces, revised by
          Ernst Heim, offers the most suitable material for the
          study of style and phrasing; each book corresponds in
          difficulty with the same book of his Violin Duets.
          “Arena”, see page 124, and his Violin Studies, “Gradus
          ad Parnassum”, see page 114.

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

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

        A number of favourite pieces, such as Rubinstein’s “Melody
          in F”, Raff’s “Cavatina”, etc., are contained in these
          books, the majority being suited to III, but a few to
          the next Step.

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

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

      — Andante. (Sonata in A minor, No. 3.) (Jensen, V. 13).

      — Concertos in A minor and E minor.

      — Largo from a flute Sonata. (Jensen, V. 20).

      — Siciliano from a flute Sonata. (Jensen, V. 21).

      — Sonata in G minor. (7434).

      — 3 Tonsätze, arr. von H. Henkel. (1. Berceuse; 2.
        Sarabande; 3. Toccata.) (7326).

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

    =Batiste, E.= Voix céleste. (M.F. 70).

    =Becker, J.= Romance. (M.F. 42).

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

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

        Two of the choicest gems of violin literature. One of the
          best and clearest editions is that fingered and edited
          by G. Jensen.

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

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

      — Overture, “The Naïades”. (8671b).

      — Overture, “The Wood Nymphs”. (8671c).

    =Bériot, C. de.= 6me Air varié. (7335).

      — 7me Air varié. (7338).

      — 12 Mélodies Italiennes. 2 Bks. (7334a, b).

      — La Verginella. (M.F. 87).

    =Blagrove, Stanley.= Rêverie.

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

      — Romance in G. Op. 57. (11326).

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

      — Romance and Bolero. Op. 88. Duo Concertante.

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

      — Sonata No. 4, in G minor. (7414).

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

      — Ungarische Tänze. 4 Bks.).

        Simplified arrangement by F. Hermann.

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

    =Burgmüller.= Nocturne. (M.F. 91).

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

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

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

      — Marche funèbre. (M.F. 89).

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

        Part  I. (Sonatas 1 to 6). (7354a).
        Part II. (Sonatas 7 to 12). (7354b).

        The accompaniments to these beautiful Sonatas are the work
          of a true artist, who, with all the technical resources
          at his command, worked in reverential spirit with
          regard to the style and character of the old Master.
          The accompaniments are varied and very interesting in
          their wealth of contrapuntal device and figuration. The
          careful way in which all the ornaments are written out,
          and the bowing and fingering add still further to the
          value of this fine edition.

        The same work in Score by Joachim and Chrysander:—

        Livre III. Op. 5, Parte Prima: 6 Sonate a Violino Solo e
          Violone, o Cembalo. Parte Seconda: Preludii, Allemande,
          Correnti, Gighe, Sarabande, Gavotte e Follia a Violino
          Solo e Violone, o Cembalo. (4936c).

      — Follia con variazioni. (G. Jensen). (7419).

        After a lapse of two centuries the study of Corelli is still
          indispensable. The above new edition has been admirably
          done by G. Jensen, who has availed himself of the
          ornaments as played by Corelli.

    =Danbé, J.= Mazurka de Salon.

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

      — Op. 30. “Bunte Reihe”. (F. Hermann). (7363a, b). 24
          pieces in two books.

        No. 1 is an attractive Scherzo. No. 5, a graceful
          Gondellied. No. 16, a good wrist study, No. 24, an
          equally good staccato leggiero study. In others, the
          keys of 5 and 6 sharps and flats are freely used.

      — Romance in F sharp major (original key).

      — Romance in F major (transposed).

      — Scherzo. (M.F. 2).

      — Ungarisch. Op. 30, No. 19. (Fr. Hermann).

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

      — Biondina. Mélodie. Op. 10.

      — Petite Légende.

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

      — Op. 28, No. 1. Sérénade Italienne.

      — Op. 32, Album. (Improvisation, Tarantelle, Melodie,
          Adieu, Serenatella, Canzonetta amorosa, Bourrée,
          Mazurka.) (7364).

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

      — “Sylvia”. Barcarolle and Pizzicati. Arranged by M.
          Marsick.

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

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

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

        A very favourite work.

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

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

    =Ersfeld, C.= Op. 15. Romance in B♭.
        (7373).

    =Gabriel-Marie.= Sérénade Badine.

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

      — Op. 21. Sonata in D minor. (7374).

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

      — Selected Sonata movements. (7412).

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

      — Saltarelle. (7370).

      — Three Dances from “Henry VIII”.

    =Godard, B.= Berceuse de “Jocelyn”.

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

      — Berceuse.

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

      — Meditation on Bach’s 1st Prelude. (M.F. 118).

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

    =Guillaume.= Op. 4. Mélancolie; Romance.

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

        True and unsophisticated melody distinguish these two
          Sonatinas. The Andante of the first is particularly fine.

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

      — Sonatas in A (7422), in G minor (7426), in D (7427), in
        E (7377).

      — Suites Nos. 1 and 2. (Jensen). (7378a, b).

        These Suites belong to II except for a bar in each.

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

      — Berceuse, Ier Morceau de Salon.

    =Hauser, M.= Le Désir. (M.F. 4).

      — Le Rêve. (M.F. 11).

      — Barcarolle. (M.F. 54).

      — Hungarian Dance.

      — 6 Songs without Words. (7506).

        Melodious and characteristic salon pieces.

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

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

        Bk. I. (Passé, Souvenir, Romance, Lied, Agitato, &c.).
          (7386a).

        Bk. II. (Rêverie, Un Caprice, Inquiétude, Prière pendant
          l’orage, Intermezzo, and Thème original et variations).
          (7386b).

        Brilliant and fanciful. Very grateful drawing room pieces.

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

    =Henkel, H.= Gavotte moderne. Op. 81.

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

        Beethoven. Allegretto, (7387 f): Haydn. Nachtwächter
          Menuett. (7387 c): Marschner. Tanzmusik. (7387i):
          Monsigny, Chaconne. (7387 m): Mozart. All’Ongarese.
          (7387 g): Mozart. Minuet. (7387 e): Rameau. Chaconne and
          Musette. (7387 k).

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

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

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

    =Holländer, V.= Polonaise. (11501).

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

    =Ireland, John.= Berceuse.

    =Jensen, A.= Träumerei.

        As arranged by Wilhelm; this makes a fine solo for the
          fourth string.

      — Serenade (Ständchen). Arranged by Hermann. (M.F. 58).

      — Wanderbilder. Nos. 7, 10 and 11. (2129 a, b).

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

        Prélude from the same.

        Barcarolle from the same.

      — Op. 28. Three Pieces.

      — Op. 31. 3 Morceaux Caractéristiques. (7394).

      — Op. 36. 2nd Romance in B♭.

      — Op. 38. Berceuse.

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

    =Kjerulf, H.= Frühlingslied. (M.F. 75).

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

      — Four Pieces. Op. 28. (7517).

      — Cavatina in E♭. Op. 44. No. 1.

      — Sérénade napolitaine. Op. 44, No. 3.

      — Le rêve. Morceau. Op. 45. No. 3.

    =Kücken, F.= 6 Duos. (8681 a-f).

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

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

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

      — Sarabanda and Tambourino. (Jensen, V. 4).

      — Tambourin. (Hermann, C.V.M. 8).

      — Sonate IV. (G. Jensen). (7245).

    =Le Jeune, A.= Coronation March.

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

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

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

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

        Three interesting and quite uncommon pieces.

      — Three Romantic Pieces. Op. 27. No. 1. L’Espérance. No.
        2. Sérénade. No. 3. Rêve d’amour.

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

    =Mallard, C.= “Sehnsucht und Hoffnung”.

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

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

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

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

    =Moffat, Alfred.= La Gracieuse. Mazurka.

      — Légende.

      — Mazurka hongroise.

      — Fantasia on Scottish Melodies.

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

      — Op. 47. 6 Mélodies. 2 Books. (9405a, b).

         No. 6 is especially piquant.

    =Monsigny.= Rigaudon. (7387d).

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

      — Op. 21. Album Espagnol. (7529).

         Arranged by E. Thomas from the piano duets.

      — Op. 23. “From Foreign Parts”. (E. Thomas). (7531)

      — Mélodie. (M.F. 1).

    =Mozart, W. A.= 18 Sonatas.

        Mozart’s sonatas, although presenting no special technical
          difficulties, require great delicacy and refinement in
          rendering. Nos. 8, in C, 11, in G, and 18, in F, might
          be first studied.

      — Andante, Minuet and Rondo (Haffner Serenade). (7418).

      — Larghetto, from clarionet Quintet. (Jensen. V. 14).

      — Andante in E♭ (Sonata in B♭). (7324b).

      — Adagio, edited by E. Heim. (11567).

      — Adagio. (M.F. 94).

    =Nicodé, J. L.= Barcarolle. (M.F. 31).

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

      — Op. 27. Cracovienne in A. (M.F. 74).

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

        No. 1. Gavotte. No. 2. Romance sans Paroles. No. 3.
          Scherzettino.

        Papini’s compositions belong to the better class of salon
          music, being especially melodious and attractive.

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

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

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

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

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

      — Chanson suisse. (M.F. 106).

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

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

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

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

    =Roeckel, J. L.= Croquis musicaux.

        No. 4. Thème dansant. No. 5. Dans la barque.

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

        Allegro appassionato. (7562a).
        Andante. (7562b).
        Allegro. (7562c).

      — Romance (E flat). (M.F. 37).
      — Mélodie. (M.F. 41).
      — Russian Songs. (M.F. 67).
      — Barcarolle. (M.F. 107).

    =Saint-George, G.= Désir.

      — Canzonetta.

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

      — Danse Polonaise. (M.F. 23).

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

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

      — Ave Maria. Arr. by Emile Thomas.

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

      — Allegretto grazioso. (M.F. 83).

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

      — Abendlied. (M.F. 3).

      — Op. 102. 5 Stücke im Volkston. (7583).

      — Op. 113. Märchenbilder. (7584).

      — Warum. (M.F. 90).

    =Simonetti, A.= Rêverie.

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

    =Somis, G. B.= Adagio and Allegro. (7403).

    =Spohr, L.= Barcarole. (M.F. 30).

      — Alla Tedesca. (M.F. 39).

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

      — Op. 26. Humoresque.

      — Gavotte humoristique. (7586).

    =Strelezki, A.= Appassionata.

      — “Asphodel”, Chant sans paroles.

      — Cavatina en Ré majeur.

      — Romanza in E flat.

      — En Valsant.

    =Struss, Fritz.= 2 Characteristic Pieces. Op. 12:—
          No. 2. Idylle.

    =Sutcliffe, W.= Romance.

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

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

      — Giga in D. (Jensen. V. 9).

      — Sonatas Nos. 4 and 10 of Op. 1. (7407).

      — Sonata No. 8 in C minor. (7408).

      — Sonata in C major, and Giga in D. (7409).

      — Pastorale. Hermann, C.V.M.2).

    =Thirlwall.= Favourite Airs, with Variations:—

        No, 6. Old English Song (Malibran’s Favourite). (9412 f).
          Good study for the bow.

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

      — 2de Fantasie sur les Airs écossais.

      — Danse Sicilienne.

      — Danse des Fées.

      — Légende.

      — Méditation réligieuse.

    =Thomé, F.= Op. 25. Simple Aveu.

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

      — Romance, (M.F. 81).

      — Troika. (M.F. 76).

      — Album of Favourite Pieces:— 1. Mazurka. 2. Sweet Dream.
          3. Neapolitan Song. 4. Autumn Song. 5. Barcarolle.
          6. Andante cantabile. 7. Chant sans paroles. 8. Troïka.
          9. Christmas. Edited and partly arranged by Fr. Hermann.
          (7590).

        Nos. 2. 3. 4. and 5 III.

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

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

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

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

      — The Knights. (M.F. 46).

      — Musical Picture Book (arranged by Hermann). Nos. 2,
          “The Postillion”: 3. The Russians are coming:
          5. “The Cuckoo and the Wanderer”.

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

      — Rienzi’s Prayer. (M.F. 65).

      — Spinning Song (from Flying Dutchman). (M.F. 68).

    =Walger, Carl.= Serenade.

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

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

      — “Kuyawiak”, 2de Mazurka. (7493).

      — Gigue. (7492).

        Effective and brilliant pieces. No. 1 of Op. 12 belongs to IV.

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

    =Wüerst, R.= Op. 25. Two Romances.

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


Step IV. All Positions.

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

        Book VIA. Pieces up to the sixth position, by Max
          Brauer, C. Gurlitt, and J. S. Bach. (11476a).

        Book VIB. Pieces up to the seventh position, by E.
          Thomas, R. Orlando Morgan, and J. Hoffmann. (11476b).

        Book VIC. Supplement to Books A and B. Pieces by
          C. Ersfeld, C. Gurlitt, B. Molique, M. Hauser, and A.
          Strelezki. (11476c).

        Book VIIA. Pieces up to the thirteenth position
          by A. Strelezki, P. Rode, de Angelis, and A. Moffat.
          (11477a).

        Book VIIB. Pieces up to the thirteenth position by
          Beethoven, Baillot, de Angelis, and G. Papini. (11477b).

        Book VIIC. Supplement to Books A and B. Pieces by
          Molique, Mazas, and de Bériot. (11477c).

    Palaestra, a collection of graduated pieces, revised by
        Ernst Heim, offers the most suitable material for the
        study of style and phrasing; each book corresponds in
        difficulty with the same book of his Violin Duets,
        “Arena”, see page 125 and his Violin Studies, “Gradus ad
        Parnassum”, see page 115.

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

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

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

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

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

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

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

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

      — Op. 100. Scène de Ballet (E. Heim).

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

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

      — Op. 14. Legend (from the Concertstück), (7353).

        Of decided originality; for musically gifted students only.

      — Valse-Caprice. Op. 23. (7358).

      — Danse nègre, from “African Suite.” Op. 35. (6100d).

      — A Negro Love-Song. Op. 35, No. 2. (7359b).

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

    =Cui, César.= Berceuse.

    =Danbé, J.= Berceuse.

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

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

    =Ernst.= Elegy. (7366).

    =Field.= Nocturnes (Hermann). (2128).

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

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

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

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

      — Op. 137. “Commedietta” Ouverture. (8676).

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

      — Op. 13. Sonata in G minor (7522).

      — Op. 45. Sonata in C minor.

        Three of the freshest and most poetical of modern sonatas.

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

      — Réverie, 2d Morceau de Salon.

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

      — Ungarisch. (M.F. 71).

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

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

    =Henselt, A.= Chant d’amour. (M.F. 29).

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

    =Hoffmann, J.= Bourrée; Gavotte.

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

        Wagner.  Der fliegende Holländer. (5438 c).
        Wagner.  Lohengrin.               (5439 c).
        Wagner.  Rienzi.                  (5440 c).
        Wagner.  Tannhäuser.              (5441 c).
        Rossini. Il Barbiere di Seviglia. (5442 c).
        Rossini. Guillaume Tell.          (5443 c).
        Auber.   Masaniello.              (5444 c).
        Gounod.  Faust.                   (5445 c).

      — 8 Vortragsstücke. Op. 103:— No. 2. Barcarola. 3. Aria.
            4. Bolero. 6. Zigeunertanz. 7. Cavatina. 8. Perpetuum
            mobile.

    =Holländer, G.= Op. 50. Waldmärchen.

    =Jensen, Gustav.= Op. 39. Capriccio.

    =Jensen, G.= Bolero in D minor.

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

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

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

    Belongs to III, except the opening on the G string.

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

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

    =Moffat, A.= Mélodie amoureuse.

      — Punchinello. Gavotte.

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

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

      — Op. 23. “Les Nations” (arranged by Nachèz). (7530).

    A less difficult arrangement by E. Thomas is also
        published. (7531).

      — Valse brillante. Arranged by Emile Thomas. (7532).

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

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

      — Zingaresca. Op. 27. (M.F. 80).

      — Les Larmes. Op. 36, No. 1.

    =Palmer, G.= A Dream. Nocturne.

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

    =Parkyns, Beatrice.= Berceuse.

    =Popper, D.= Romance. (7548).

    =Rachmaninoff, S.= Romance in D minor.

      — Hungarian Dance.

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

        These pieces dedicated to the late Ludwig Straus are gems
          of violin literature. The Cavatina is one of the most
          popular violin pieces.

      — Méditation. (M.F. 25).

      — Op. 73, 78, 128, 129, 145. 5 Sonatas. (2568 a-e).

        Some movements of these fine Sonatas belong to V.

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

      — Op. 3. Sonata in D major. (7536).

    =Rode.= Concerto No. 7.

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

        One of the composer’s most genial works.

      — Sonata in D. Op. 18. (7564).

    =Saint-George, G.= Chant sans Paroles.

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

        Book 1. Souvenir de Constantinople. Danse et Ronde. (11694 a).

        Book 2. La Revue, Gondoliera et A Péra. (11694 b).

          Interesting pieces, full of oriental colouring.

      — Morceaux caractéristiques. Op. 47:—

        No. 1, Canzona; No. 2, Impromptu.

      — Scènes Villageoises. Op. 50. 5 Morceaux de Salon:—

        No. 1, Le Matin; No. 2, Pastorale; No. 3, Vieille chanson;
          No. 4, Danse; No. 5, Idylle.

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

        No. 2 (F sharp minor); No. 3 (D major).

        Nos. 1, 4 and 5 belong to V.

      — Phantasiestück. (M.F. 33).

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

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

      — Op. 73. Fantasiestück.

    =Simonetti, A.= Mazurka.

    =Sinding.= Op. 10. Suite. (2477).

      — Op. 27. Sonata in E major. (2826).

      — Op. 30. Romance. (2827).

      — Op. 61. 4 Pieces. 3 Bks. (3050 a-c).

        Sinding’s compositions rank among the finest works by modern
          Scandinavian composers. The Suite Op. 10, resembles in
          style the “Holberg” Suite by Grieg.

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

      — Op. 71. No. 2. Nocturne.

      — Op. 71, No. 3. Scherzo-Tarantelle.

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

        This composer is a highly talented member of the modern
         Scandinavian School.

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

        Fine and characteristic pieces of the famous Czechian master.

    =Somervell, Arthur.= 3 Original Pieces:—

        No. 1, Romance; No. 2, Barcarolle.

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

      — Op. 135. Three Duettinos. (No. 2, Scherzo; 3.
          Sarabande). (8695).

        The Barcarolle, No. 1, belongs to II.

      — Op. 95. Duet in G minor. (9409).

      — Op. 112. Duet in E. (9410).

      — Op. 113. Hamburg Sonata. (9411).

      — 3 Adagios from the Violin Concertos (Fr. Hermann).
        (11705).

    =Stanford, Villiers.= Légende.

    =Strelezki, A.= Romanza in F.

      — Serenade. Op. 191, No. 4. (Thomas).

    =Sutcliffe, W.= Gavotte Romantique.

    =Thirlwall.= Favourite Airs, with Variations:—

        No. 1. English Air.                              (9412 a).
        No. 2. Scotch Air (Annie Laurie).                (9412 b).
        No. 3. Irish Air (Sprig of Shillelagh).          (9412 c).
        No. 4. Welsh Air (Poor Mary Ann).                (9412 d).
        No. 5. Northumbrian Air (Weel may the Keel row). (9412 e).
        No. 7. Ye Banks and Braes.                       (9412 g).
        No. 8. Carnaval de Venise.                       (9412 h).

        These pieces are excellent bowing exercises.

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

    =Tschaïkowsky.= Christmas. (Noël). (M.F. 117).

      — Sérénade mélancolique. Op. 26.

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

      — Elégie. Op. 30. Revised by K. Scholz. (7595).

      — Souvenir de Beauchamps. Op. 32, No. 1. (Fr. Hermann.)
        (11751).

      — Suite. Op. 43. (2582 a).

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

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

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

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

        No. 1. Home, sweet Home. (9413 a).
        No. 2. Long, long ago.   (9413 b).
        No. 3. The Red Sarafan.  (9413 c).
        No. 4. Santa Lucia.      (9413 d).
        No. 5. Robin Adair.      (9413 e).
        No. 6. Die drei Rosen.   (9413 f).

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

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


Step V. Difficult.

(Octaves, Springing Bow, Staccato etc.)

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

        Book VIIIA. Concert Piece with employment of
          staccato, by Spohr. Concert pieces with employment of
          springing bow by Bach and Paganini. (11478 a).

        Book VIIIB. Concert pieces with octave passages
          by Noskowski and Coleridge-Taylor. Concert Pieces with
          double-stop and chord passages by Beethoven and J.
          Hoffmann. (11478 b).

        Book VIIIC. Supplement to Books A and B. Concert
          Pieces by David, Vieuxtemps, Sauret and Wieniawski.
          (11478 c).

        Book IXA. Concert Sonatas in classical style by
          Leclair and Tartini. (11479 a).

        Book IXB. Concert Pieces in modern style by Ernst
          and Spohr. (11479 b).

        Book IXC. Supplement to Books A and
          B. Concert Pieces in modern style by
          Wieniawski, Nicodé, and Vieuxtemps. (11479 c).

        Palaestra, a collection of graduated pieces, revised by
          Ernst Heim, offers the most suitable material for the
          study of style and phrasing; each book corresponds in
          difficulty with the same book of his Violin Duets,
          “Arena”, see page 126 and his Violin Studies, “Gradus ad
          Parnassum”, see page 117.

    =Beethoven=. Ten Sonatas. Joachim. (3031).

        Op. 47 (known as the “Kreutzer”), the grandest of all violin
          sonatas, and Op. 30, No. 2 in C minor, belong to this
          Step, the other sonatas being less difficult. Op. 12,
          No. 1, and Op. 24, should first be taken by students
          passing from Mozart’s Sonatas to those of Beethoven.

      — Op. 61. Concerto. (Wilhelmj). (189 a).

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

      — Op. 55. 5th Concerto in D.

    =Bériot and Osborne=. Fantasia on “William Tell”.

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

    =Böhm, C.= Op. 314, No. 2. Cavatina.

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

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

      —Two Gipsy Movements. Op. 20. (No. 1, A Gipsy Song;
          No. 2, A Gipsy Dance). (7357).

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

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

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

    =Holländer, G.= Op. 10. Romance.

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

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

      —Op. 8. Polonaise. (1093 a).

    =Lauterbach=. Tarantelle. (2203).

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

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

    =Mackenzie, A. C.= Op. 47, No. 1, Highland Ballad.

    =Mendelssohn=. Op. 64. Concerto.

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

    =Nicodé, J. L.= Romance. Op. 14.

    Nicodé is one of the most talented and interesting among
        modern composers.

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

        A most useful wrist study.

      — Variations de bravoure sur Moïse.

        A fine study for the G string.

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

        An excellent study for _saltato_ bowing.

    =Rust, F. W.= Sonata in D minor.

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

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

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

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

    =Tartini.= Trille du Diable. Sonata.

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

      — Fantaisie. Op. 21. (Fr. Hermann). (11750).

      — Andante & Rondo. Op. 29. (2576).

      — Rondino (Hermann). Op. 32, No. 2. (11752).

      — Fantasia appassionata. Op. 35. (2580).

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


Step VI. Very difficult. (Concertos etc.)

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

        Book XA. Concert Pieces in the Polyphonic style
          by Bach and Ernst. (11480 a).

        Book XB. Concert Pieces in the virtuoso style
          by Ernst and Paganini. (11480 b).

        Book XC. Supplement to Rooks A and B.
          Concert Pieces in the virtuoso style by
          Moszkowski and Vieuxtemps. (11480 c).

        Palaestra, a collection of graduated pieces, revised by
          Ernst Heim, offers the most suitable material for the
          study of style and phrasing; each book corresponds in
          difficulty with the same book of his Violin Duets,
          “Arena”, see page 127, and his Violin Studies, “Gradus
          ad Parnassum”, see page 118.

    =Bach.= Chaconne. (2474).

        This edition of Bach’s great work is of special interest
          and value, as in it the accompaniments provided by
          Mendelssohn and Schumann may be compared.

      — Adagio and Fugue from 5th Violin Sonata. (B. Molique.)
          (9401 a).

    =Brahms, J.= Op. 77. Concerto.

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

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

        A favorite and brilliant piece.

      — Op. 53. Élégie et Barcarolle.

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

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

      — Op. 22. Hungarian Melodies. (2849).
      — Op. 23. Concerto in F minor. (2850).

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

    =Joachim, J.= Op. 11. Hungarian Concerto.

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

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

      — Le Streghe (Witches’ Dance).

      — Le Carnaval de Venise.

      — I Palpiti.

      — Celebrated Compositions. (1990).

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

    =Sarasate, M.= Airs Espagnols.

    =Spohr, L.= 7th Concerto in E minor.

      — 8th Concerto in A minor (Gesangscene).
      — 9th Concerto in D minor.

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

      — Second Concerto in F♯ min. Op. 19.
        (2574).

      — 6 Morceaux de Salon. Op. 22:—

        No. 1. Morceau brillant.     (7594 a).
        No. 2. Air varié.            (7594 b).
        No. 4. Souvenir du Bosphore. (7594 d).
        No. 5. Tarentelle.           (7594 e).
        No. 6. L’Orage.              (7594 f).

      — Concerto in D min. Op. 31.

      — La Chasse. Op. 32, No. 3 (Hermann). (11753).

      — St. Patrick’s Day. Popular Melody. Op. 33, No. 2. (7497).

      — Ballade et Polonaise. Op. 38. (7593).

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

      — Souvenir de Moscou. Airs Russes. Op. 6. (R. Scholz).
        (7499).

      — Capriccio-Valse. Op. 7. (Fr. Hermann). (11771).

      — Romance sans Paroles. Op. 9. (Fr. Hermann). (11772).

      — Carnaval Russe. Op. 11. (Fr. Hermann). (11773).

      — Scherzo-Tarantelle. Op. 16. (Fr. Hermann). (11774).


String Trios.


Three Violins.

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

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

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

        No. 1, in B flat major. (5293 a).
            2, in G major. (5293 b).
            3, in A. (5293 c).

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

    =Wichtl.= 3 Trios. Op. 79. II.


Two Violins and Violoncello.

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

        Livre I. Op. 1. 12 Sonate da Chiesa a tre (Du Violini, e
          Violone, o Arcileuto col Basso per l’Organo). In Roma,
          1683. Op. 2:—12 Sonate da Camera a tre (Due Violini, e
          Violone, o Cembalo). In Roma, 1685. (4936 a). II.

        Livre II. Op. 3. 12 Sonate da Chiesa a tre (Due Violini, e
          Violone, o Arcileuto col Basso per l’Organo). In Modena,
          1689. Op. 4. 12 Sonate da Camera a tre (Due Violini, e
          Violone, o Cembalo). In Bologna, 1694. (4936 b). II.

      — 6 Sonate da Camera a tre (due Violini, e Violone,
            o Cembalo). Opera IV. Arranged for 2 Violins and
            Violoncello (in parts), with all necessary indications
            for the mode of executing, for bowing and fingering by
            Gustav Jensen. (5303). I and II.

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

      — Op. 137. “Commedietta” Ouverture. (5310). II.

      — Our Favourite Tunes. (5345). I.

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

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

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

      — Op. 8. Six Trios. (7305). I.
      — Op. 44. 3 Trios. (5353). III.
      — Op. 48. Six Sonatinas. (5354). II and III.

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

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


Two Violins and Viola.

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


Violin, Viola, and Violoncello.

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

    =Haydn.= Op. 53. 3 Trios. III.

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

    =Beethoven.= Op. 8, 25. Serenade and Trios. IV.


Pianoforte Trios.


Piano, Violin, and Violoncello.


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

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

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

        Livre A. Op. 7; Op. 10, No. 2; Op. 26; Op. 27, No. 2.
          (7242 a). III.

        Livre B. Op. 10, No. 3. Complete. (7242 b). III.

        Livre C. Op. 2. No. 3; Op. 13; Op. 14. No. 2; Op. 31.
          No. 3. (7242 c). III.

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

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

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

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

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

      — Trio, in G. Op. 45. (9305). II.

      — Trio, in E minor. Op. 46. (9306). II.

      — Trio, in C minor. Op. 47. (9307). II.

      — Trio, in F. Op. 48. (9308). II.

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

      — Trio. Op. 42. (7256). IV.

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

      — Op. 137. “Commedietta” Ouverture. (7261). II.

      — Our Favourite Tunes. Arranged by F. Hermann. (9310). Ia and b.

      — Op. 181. Miniature Trio. (7259). II.

        The same refinement of conception which characterises all
          Gurlitt’s compositions pervades also this work which on
          account of its simplicity is very suitable for beginners.

      — Op. 129. Trio im leichten Style. (7260). II.

        Happily conceived for youthful minds. The composer has been
          wise in giving as much importance and melodic interest
          as possible to every instrument.

      — Op. 171. Third Trio (im leichteren Style). (7255). III.

        The technique of this Trio makes greater demands than
          Op. 129, but the brilliant spirit pervading this work which
          appeals to slightly more advanced pupils, will amply
          repay its study.

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

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

      — Sonatine en ré majeur. (7390 b). II.

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

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

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

    An excellent Op. 1. Interesting subjects well developed.

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

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

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

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

        No. 1, in G.  (9317 a).  Ib.
            2, in G.  (9317 b).  Ib.
            3, in F.  (9317 c).  Ib.

        These are not only easy and excellent in form, but their
          contents appeal to youthful minds, and they are invaluable
          to awaken the love for chamber music in children.

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

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

      — Op 8. Six Trios. (7272). I.
      — Op. 48. Six Sonatinas. (5261). II and III.

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

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

    Le Postillon.         (5401 e).
    La Sonnambula.        (5402 e).
    Norma.                (5403 e).
    Le Calife de Bagdad.  (5404 e).
    La Dame Blanche.      (5405 e).
    La Fille du Régiment. (5406 e).
    Lucia di Lammermoor.  (5407 e).
    Orpheus.              (5408 e).
    The Messiah.          (5409 e).
    The Creation.         (5410 e).
    Zampa.                (5411 e).
    Wildschütz.           (5412 e).
    Czar und Zimmermann.  (5413 e).
    Joseph.               (5414 e).
    St. Paul.             (5415 e).
    Il Seraglio.          (5416 e).
    Il Flauto Magico.     (5417 e).
    Don Giovanni.         (5418 e).
    Der Freischütz.       (5419 e).

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

    The Bohemian Girl.               (5420 e).
    Egmont.                          (5421 e).
    Fidelio.                         (5422 e).
    L’Elisire d’Amore.               (5423 e).
    Lucrezia Borgia.                 (5424 e).
    Iphigénie en Aulide.             (5425 e).
    Judas Maccabaeus.                (5426 e).
    Das Nachtlager in Granada.       (5427 e).
    Hans Heiling.                    (5428 e).
    A Midsummer Night’s Dream.       (5429 e).
    Elijah.                          (5430 e).
    Les Huguenots.                   (5431 e).
    Le Prophète.                     (5432 e).
    Le Nozze di Figaro.              (5433 e).
    Die lustigen Weiber von Windsor. (5434 e).
    Maritana.                        (5435 e).
    Oberon.                          (5436 e).
    Preciosa.                        (5437 e).

    III and IV.

    Der fliegende Holländer. (5438 e).
    Lohengrin.               (5439 e).
    Rienzi.                  (5440 e).
    Tannhäuser.              (5441 e).
    Il Barbiere di Seviglia. (5442 e).
    Guillaume Tell.          (5443 e).
    Masaniello.              (5444 e).
    Faust.                   (5445 e).

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

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

      — Trio. Op. 80. In F. (7273). V.

      — Phantasiestücke. Op. 88. (7275). V.

      — 3rd Trio, in G. Op. 110. (7276). V.

    =Silas, E.= Trios.

        No. 1, in C minor.  (10051).  IV.
            2, in A (Op. 27). (10052). III and IV.
            3, in C (Op. 46).  (10053).  III.

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

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

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

      — Trio, in F. Op. 123. (W. S. B. Woolhouse). (9664 b). V.

      — Trio, in A. Op. 124. (W. S. B. Woolhouse). (9664 c). V.

      — Trio, in B flat. Op. 133. (W. S. B. Woolhouse). (9664 d). V.

      — Trio, in G minor. Op. 142. (W. S. B. Woolhouse). (9664 c). V.

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

    =Volkmann, R.= Trio in B flat minor. Op. 5. (7286). III.


Pianoforte and Two Violins.

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

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

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

      — Op. 137. “Commedietta” Ouverture. (5306). II.

      — Our Favourite Tunes. 40 Melodies, ancient and modern.
          (5333). II.

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

      — Morceaux mélodiques. Op. 26. 6 Books. (5328a-f).
          Bks. 1-3 III. Bks. 4-6 IV and V.

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

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

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

      — Op. 8. Six Trios. (7308). I.
      — Op. 44. 3 Trios. (5334). III.
      — Op. 48. Six Sonatinas. (5336). I.

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

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

    Le Postilion.         (5401d).
    La Sonnambula.        (5402d).
    Norma.                (5403d).
    Le Calife de Bagdad.  (5404d).
    La Dame Blanche.      (5405d).
    La Fille du Régiment. (5406d).
    Lucia di Lammermoor.  (5407d).
    Orpheus.              (5408d).
    The Messiah.          (5409d).
    The Creation.         (5410d).
    Zampa.                (5411d).
    Wildschütz.           (5412d).
    Czar und Zimmermann.  (5413d).
    Joseph.               (5414d).
    St. Paul.             (5415d).
    Il Seraglio.          (5416d).
    Il Flauto Magico.     (5417d).
    Don Giovanni.         (5418d).
    Der Freischütz.       (5419d).

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

    The Bohemian Girl.               (5420d).
    Egmont.                          (5421d).
    Fidelio.                         (5422d).
    L’Elisire d’Amore.               (5423d).
    Lucrezia Borgia.                 (5424d).
    Iphigénie en Aulide.             (5425d).
    Judas Maccabaeus.                (5426d).
    Das Nachtlager in Granada.       (5427d).
    Hans Heiling.                    (5428d).
    A Midsummer Night’s Dream.       (5429d).
    Elijah.                          (5430d).
    Les Huguenots.                   (5431d).
    Le Prophète.                     (5432d).
    Le Nozze di Figaro.              (5433d).
    Die lustigen Weiber von Winsdor. (5434d).
    Maritana.                        (5435d).
    Oberon.                          (5436d).
    Preciosa.                        (5437d).
    Der fliegende Holländer.         (5438d).
    Lohengrin.                       (5439d).
    Rienzi.                          (5440d).
    Tannhäuser.                      (5441d).
    Il Barbiere di Seviglia.         (5442d).
    Guillaume Tell.                  (5443d).
    Masaniello.                      (5444d).
    Faust.                           (5445d).

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

        The Golden Sonata. (7410). II.

        Sonata in B minor. (7429). II.

        Sonata in A minor. (7430). II.

        Sonata in C major. (7431). II.

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

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

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

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

    =Morceaux d’Ensemble.= (F. Hermann):—

    Chopin.      Marche funèbre.                          (5330a).
    Schubert.    Moment musical.                          (5330b).
    Mendelssohn. Duo. Op. 38.                             (5330c).
    Fr. Hermann. Petite Marche.                           (5330d).
    Nicolai.     Merry Wives of Windsor.                  (5330e).
    Beethoven.   Marche turque des Ruines d’Athènes.      (5330f).
    Mozart.      Andante du 8me Quatuor.                  (5330g).
    Fr. Hermann. Barcarolle.                              (5330h).
    Weber.       Finale d’Euryanthe.                      (5330i).
    Schumann.    Chœur de Paradis et Péri.                (5330k).
    Schubert.    Entr’acte de Rosamonde.                  (5330l).
    Beethoven.   “An die Freude,” Hymn from 9th Symphony. (5330m).


Pianoforte, Violin, and Viola.

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

        Very fine work, not over-difficult, worthy of being better
          known.

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

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

      — Trio facile, in C. Op. 32. (5272). II.

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

      — Trio in C. Op. 103. (5278). II.

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

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

    Wagner.  Der fliegende Holländer. (5438s).
    Wagner.  Lohengrin.               (5439s).
    Wagner.  Rienzi.                  (5440s).
    Wagner.  Tannhäuser.              (5441s).
    Rossini. Il Barbiere.             (5442s).
    Rossini. Guillaume Tell.          (5443s).
    Auber.   Masaniello.              (5444s).
    Gounod.  Faust.                   (5445s).

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

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


Violin, Pianoforte, and Organ (or Harmonium).

    =Audibert.= Andante réligieuse. (9551). III.

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

        Also for Flute, Violin, and Harmonium. (9785a). II.

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

        Also with 2nd Violin, and 2nd Violoncello.

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

      — A te o cara (Puritani). (9552). II.

      — Meditation in B flat. (9553). II.

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

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


Music with Toy Instruments.

(The Toy Instruments may be had of the Publishers)

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

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

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

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


String Quartets.


Quartets for 4 Violins.

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

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

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

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


3 Violins and Viola.

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

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


3 Violins and Violoncello.

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

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


2 Violins, Viola and Violoncello.

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

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

      — Op. 127. Quartet in E flat. (Woolhouse.) (9633). V.
      — Op. 59, 74, 95. Quartets. (195 b).
      — Op. 127. 130-133, 135. Quartets. (195 c).

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

        Livre A. Op. 7; Op. 10, No. 2; Op. 26; Op. 27, No. 2.
          (7197a). V.

        Livre B. Op. 10, No. 3. Complete. (7197 b). V.

        Livre C. Op. 2, No. 3; Op 13; Op. 14, No. 2; Op. 31,
          No. 3. (7197 c). V.

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

      — Op. 67. Quartet in B flat.

    =Cherubini.= 3 Quartets. (1346).

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

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

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

      — Op. 101. Quartet. No. 39. (9260 a). V. Score. 8 vo.
        (9260 b).

      — Op. 102. Quartet. No. 42. (9261 a). V. Score. 8 vo.
        (9261 b).

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

    =Gurlitt, Cornelius=:—

      — Op. 105. Ouverture des Marionettes. (7210). III.
      — Op. 137. “Commedietta” Ouverture. (7211). III.

    =Haydn.= 83 Quartets, complete. (15).

      — 15 celebrated Quartets. (289).

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

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

      — Capriccio. Op. 43. (7216). III.

    =Lachner, Ignaz.= Quartet in G. Op. 104. (7217).
        II and III.

      — Quartet in A minor. Op. 105. (7218). II and III.

      — Quartet in B flat (Œuv. Posth.) (7221). II and III.

    =Mendelssohn.= 7 Quartets. (1742).

    =Mozart.= 10 celebrated Quartets. (16).

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

        Score. 8 vo. (9266 b).

      — Quartet in D minor. (9267 a). III.

        Score. 8 vo. (9267 b).

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

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

      — Op. 8. Six Quartets. (7222). I and II.
      — Op. 48. Six Sonatinas. (7223). II and III.

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

      — Op. 15. Second Quartet, in B flat. (9270). IV.

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

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

        Arranged by Jensen for Solo Violin with easy string
          accompaniment.

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

        An excellent and melodious quartet for beginners.

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

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

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

      — Op. 45, No. 2. Quartet. (2483 c).

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

        Score. (12 mo.) (9272 a).
        Parts. (4 to.) (9272 b).


Piano Quartets.


Violin, Viola, Violoncello, and Piano.

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

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

        Livre A. Op. 7; Op. 10, No. 2; Op. 26; Op. 27,
          No. 2. (7175 a). IV.

        Livre B. Op. 10, No. 3. Complete. (7175 b). IV.

        Livre C. Op. 2. No. 3; Op. 13; Op. 14, No. 2; Op. 31,
          No. 3. (7175 c). IV.

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

      — Op. 60, No. 3. Quartet in C minor. VI.

    =Mendelssohn.= Complete Quartets. (1741).

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

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

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

        Op. 8. Six Quartets. (7182). I.
        Op. 44. 3 Quartets. (7180). III.
        Op. 48. Six Sonatinas. (7181). I.

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

      — Op. 18, in F. (9253). IV.

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

    =Schubert.= Adagio & Rondo. (1347).

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

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

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


2 Violins, Violoncello, and Piano.

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

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

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

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

      — Potpourris on melodies from Operas and Oratorios. Second
         Series, with use of the higher positions. 26 Bks.
        (5420 f-5445 f.) II-IV.

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

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

        The Golden Sonata. (7410 a). II.
        Sonata in B minor. (7429).  II.
        Sonata in A minor. (7430).  II.
        Sonata in C major. (7431).  II.

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

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


3 Violins and Piano.

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

      — “Commedietta” Ouverture. Op. 137. (7212). II.

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

    Chopin.      Marche funèbre.                          (7215 a).
    Schubert.    Moment musical.                          (7215 b).
    Mendelssohn. Duo. Op. 38.                             (7215 c).
    Fr. Hermann. Petite Marche.                           (7215 d).
    Nicolai.     Merry Wives of Windsor.                  (7215 e).
    Beethoven.   Marche turque des Ruines d’Athènes.      (7215 f).
    Mozart.      Andante du 8 me Quatuor.                 (7215 g).
    Fr. Hermann. Barcarolle.                              (7215 h).
    Weber.       Finale d’Euryanthe.                      (7215 i).
    Schumann.    Chœur de Paradis et Péri.                (7215 k).
    Schubert.    Entr’acte de Rosamonde.                  (7215 l).
    Beethoven.   “An die Freude”. Hymn from 9th Symphony. (7215 m).

    =Papini, G.= “Hope” March. I.

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


String Quintets.


3 Violins, Violoncello, and Bass.

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


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

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

        Livre A. Op. 7; Op. 10, No. 2; Op. 26, Op. 27,
          No. 2. (7143 a). V.

        Livre B. Op. 10, No. 3. Complete. (7143 b). V.

        Livre C. Op. 2, No. 3; Op. 13; Op. 14, No. 2; Op. 31,
          No. 3. (7143 c). V.

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

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

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

        J. S. Bach. Sarabande from the 2nd Violin Sonata (7151 a). II.

        G. F. Handel. Scherzo from the Concerto in G minor.
          (7151 b). II.

        Joseph Haydn. Nachtwächter-Menuett. (7151 c). III.

        Monsigny. Rigaudon from “La Reine de Golconde”. (7151 d). III.

        Mozart. Minuet from the Divertimento in D. (7151 e). III.

        Beethoven. Allegretto from “Die Geschöpfe des Prometheus.”
          (7151 f). III.

        Mozart. All’ ongarese from Violin Concerto in A. (7151 g). III.

        Cherubini. Ballet music from “Ali Baba.” (7151 h). II.

        H. Marschner. Tanzmusik from “Des Falkners Braut.”
          (7151 i). III.

        Rameau. Chaconne and Musette. (7151 k). III.

        Gluck. Musette from “Armida.” (7151 l). II.

        Monsigny. Chaconne from “La Reine de Golconde.” (7151 m). III.

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


2 Violins, 2 Violas, and Violoncello.

    =Beethoven.= 4 String Quintets. (599).

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

    =Haydn.= Quintet concertant. Op. 88.

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

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

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

    =Schubert.= Op. 163. String Quintet. (775).


Solos with Quartet Accompaniment.

    =Mozart, W. A.= Adagio:—

        For Violin, with Quartet. (7153). III.
        For Viola, with Quartet. (7154). III.
        For Violoncello, with Quartet. (7155). III.


Pianoforte Quintets.


Piano, 2 Violins, Viola, and ’Cello.

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

        Livre A. Op. 7; Op. 10, No. 2; Op. 26; Op. 27,
          No. 2. (7145 a). V.

        Livre B. Op. 10, No. 3. Complete. (7145 b). V.

        Livre C. Op. 2, No. 3; Op. 13; Op. 14, No. 2; Op. 31,
          No. 3. (7145 c). V.

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

    =Gurlitt, Cornelius=:—

      — Op. 105. Ouverture des Marionettes. (7149). II.
      — Op. 137. “Commedietta” Ouverture. (7141). II.

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

      — Op. 8. Six Quintets. (7160). I.
      — Op. 48. Six Sonatinas. (5021). I.

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

        Wagner.  Der fliegende Holländer. (5438 q).
           —     Lohengrin.               (5439 q).
           —     Rienzi.                  (5440 q).
           —     Tannhäuser.              (5441 q).
        Rossini. Il Barbiere.             (5442 q).
           —     Guillaume Tell.          (5443 q).
        Auber.   Masaniello.              (5444 q).
        Gounod.  Faust.                   (5445 q).

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

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

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

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

    =Spohr.= Op. 130. Quintet. (W. S. B. Woolhouse.) (9632). IV.


Piano, 3 Violins, and Violoncello.

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

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


Piano and 4 Violins.

    =Leo, Leonardo.= Concerto a quattro Violini obbligati,
        arranged by Gustav Jensen. (5001). II and III.

    =Maurer.= Op. 55. Concertante. (2908). III.


Piano, Violin, Viola, Violoncello, and Bass.

    =Hummel.= Grand Quintet in E flat minor. Op. 87.
       (W. S. B. Woolhouse.) (9622). IV.

    =Schubert.= Op. 114. Trout Quintet. (169).


Sextets.

    =Bennett, W. S.= Op. 8. Sextetto. For Piano, 2 Violins,
        Viola, Violoncello, and Double Bass. (9621). III.

    =Jensen, G.= Symphonies arrangées pour Flûte (ou
        Violon), deux Violons, Viola, Violoncelle et Basse:—

        Jos. Haydn.   En RÉ major (D major).             (7131). III.
            —         En UT mineur (C minor).            (7132). III.
        W. A. Mozart. En UT majeur (C major).            (7133). III.
            —         En LA majeur (A major).            (7134). III.
        Jos. Haydn.   En SI bémol majeur (B flat major). (7135). III.

    =Potpourris= on Popular Melodies from classical and
        modern operas and oratorios. (Flute, 2 Violins, Tenor,
        Violoncello, and Pianoforte.) Arranged by R. Hofmann.
        III to IV:—

        Wagner. Der fliegende Holländer. (5438 n).
          —      Lohengrin.              (5439 n).
          —      Rienzi.                 (5440 n).
          —      Tannhäuser.             (5441 n).
        Rossini. Il Barbiere.            (5442 n).
          —      Guillaume Tell.         (5443 n).
        Auber.   Masaniello.             (5444 n).
        Gounod.  Faust.                  (5445 n).

    =Saint-George.= L’ancien régime. Petite Suite:—II.

    2 Violons, Alto, Violoncelle, Contrebasse et Piano. (7570 h).

    3 Violons, Violoncelle, Contrebasse et Piano. (7570 i).


Septets.

    =Beethoven=. Op. 20. Septet. (2466).

    =Corelli, Arcangelo=. Œvres revues par J. Joachim et
        F. Chrysander. 8vo:—

        Livres IV., V. Op. 6. Concerti Grossi con duoi Violini,
          e Violoncello di Concertino obligati, e duoi altri
          Violini, Viola e Basso di Concerto Grosso ad arbitrio
          che si potranno radoppiare. In Roma, 1712. (In Score.)
          2 Books. (4936 d, e). II.

    =Morceaux d’ensemble=, for 3 Violins, Viola, ’Cello,
        C. Bass, and Piano. (F. Hermann):—II.

        Chopin.      Marche funèbre.                          (7110 a).
        Schubert.    Moment musical.                          (7110 b).
        Mendelssohn. Duo. Op. 38.                             (7110 c).
        Fr. Hermann. Petite Marche.                           (7110 d).
        Nicolai.     Merry Wives of Windsor.                  (7110 e).
        Beethoven.   Marche turque des Ruines d’Athènes.      (7110 f).
        Mozart.      Andante du 8me Quatuor.                  (7110 g).
        Fr. Hermann. Barcarolle.                              (7110 h).
        Weber.       Finale d’Euryanthe.                      (7110 i).
        Schumann.    Chœur de Paradis et Péri.                (7110 k).
        Schubert.    Entr’acte de Rosamonde.                  (7110 l).
        Beethoven.   “An die Freude,” Hymn from 9th Symphony. (7110 m).

    =Squire, W. H.= Serenade. Op. 15. Piano, 2 Violins and
        Violoncello, with Flute, Clarinet, and Double Bass _ad
        lib._ (7122 c). IV.


Octets.

    =Gade, N. W.= Octet, Op. 17, for 4 Violins, 2 Violas,
        and 2 Violoncellos. (7107). V.

    =Mendelssohn=. Op. 20. Octet. (1782).

    =Schubert=. Op. 166. Octet. (1849).


Old Chamber Music.

    =Riemann, Dr. Hugo=. Old Chamber Music (Alte
        Kammermusik). A selection of Canzones, Sonatas, etc.
        (_da chiesa_ and _da camera_), for strings
        alone, or with a thorough-bass, by composers of the 17th
        and 18th centuries; edited and arranged. In score.
        3 Bks. (5391-93).


Violin and Orchestra.

    =Nardini, Pietro=. Adagio for Violin, arranged for
        Violin and small Orchestra (2 Flutes, 2 Bassoons,
        Violins, Violoncellos, and Contrabass) by Gustav Jensen.
        Score and parts. (7072). III.


String Orchestra.

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

    Livre A. Op. 7; Op. 10, No. 2: Op. 26; Op. 27,
      No. 2. (7143 a). V.

    Livre B. Op. 10, No. 3. Complete. (7143 b). V.

    Livre C. Op. 2, No. 3; Op. 13; Op. 14, No. 2; Op. 31,
      No. 3. (7143 c). V.

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

    =Corelli, Arcangelo=. Œuvres revues par J. Joachim
        et F. Chrysander. 8 vo:—

        Livres IV., V. Op. 6. Concerti Grossi con duoi Violini,
          e Violoncello di Concertino obligati, e duoi altri
          Violini, Viola e Basso di Concerto Grosso ad abitrio che
          si potranno radoppiare. In Roma, 1712. (In Score.)
          2 Books. (4936 d, e). II.

    =Del Valle de Paz, E.= Prélude. Op. 9, No. 3. (7045). II.

      — Minuet from “Ondina”. Op. 21. IV.

        Score. (7044 a).
        Parts. (7044 b).

      — Arioso. Op. 26, No. 1. (7046). IV.

    =Haydn, J.= Symphonies arranged by Gustav Jensen:—

        In D major. (7131). III.
        In C minor. (7132). III.
        In B flat major. (7135). III.

    =Iliffe, F.= Pizzicato Serenade. Score and Parts. (7057). II.

    =Kreuz, Emil=. Suite in G (Prelude, Allemande, Gigue,
        Intermezzo, Scherzo, and Finale). Op. 38. (7015). IV.

    =Lee, Maurice=. Gavotte du Palais-Royal. (7066). II.

    =Mozart, W. A.= Symphonies, arranged by Gustav Jensen:—

        In C major. (7133). III.
        In A major. (7134). III.

    =Roeckel=. Air du Dauphin. Ancienne Danse de la Cour.
        (7083).

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

    =Scharwenka, X.= Andante religioso, for String
        Orchestra, Harp, and Organ. Op. 46 B. IV.

        Score. (7088 a).
        Parts. (7088 b).

    =Schütt, E.= Serenade in D. Op. 6. Score and Parts. III.

    =Wüerst, R.= Sous le Balcon. Serenade for String
        Orchestra with Violoncello Obbligato. Op. 78. V.

        Full Score. (7098 a). Orchestral Parts. (7098 b).

      — Russian Suite for String Orchestra with Violin Obbligato. IV.

        Full Score. (7097 a). IV. Orchestral Parts. (7097 b).

    =Wurm, M.= Estera Gavotte. Score and Parts. (7099). III.

    =Dance Movements= from the Works of Great Masters. (F.
        Hermann). II and III:—

        J. S. Bach. Sarabande from the 2nd Violin Sonata. (7151 a).

        G. F. Handel. Scherzo from the Concerto in G minor. (7151 b).

        Joseph Haydn. Nachtwächter-Menuett. (7151 c).

        Monsigny. Rigaudon from “La Reine de Golconde.” (7151 d).

        W. A. Mozart. Minuet from the Divertimento in D. (7151 e).

        Beethoven. Allegretto from “Die Geschöpfe des Prometheus.”
           (7151 f).

        Mozart. All’ ongarese from Violin-Concerto in A. (7151 g).

        Cherubini. Ballet music from “Ali Baba.” (7151 h).

        Marschner. Tanzmusik from “Des Falkners Braut.” (7151 i).

        Rameau. Chaconne and Musette. (7151 k).

        Gluck. Musette from “Armida.” (7151 l).

        Monsigny. Chaconne from “La Reine de Golconde.” (7151 m).

NB. Any of the pieces mentioned in the “Guide” can be procured from
Messrs. Augener & Co. It will be sufficient to give the Edition No.
where marked; where there is no No., name of author and title should
be given.




GUIDE THROUGH VIOLA LITERATURE.


Methods for the Viola.

    =Bruni, A. B.= Tenor Method. Edited, with fingering,
        bowings, and marks of expression by Emil Kreuz. (7659).

    =Hermann, Fr.= The Study of the Viola (Das Studium der
        Viola—L’Étude de l’Alto):—

        Part I. Instruction in Viola Playing: 20 Introductory
          Exercises with explanatory remarks. (7652 a).

        Part II. 24 Easy Exercises (1st position), after the
          Author’s “Études spéciales, Op. 24, Book I,” with
           2ⁿᵈ Viola _ad lib._ (7652 b).

        Part III. 12 Easy Exercises and Pieces (1st to 3rd
          Positions), after Op. 24, Book 2, with Pianoforte
          accompaniment _ad lib._ (7652 c).

    =Laubach, A.= A Practical School for the Viola (Méthode
        pratique pour Alto), comprising the rudiments of music,
        scales, arpeggi, progressive exercises, and pieces in
        all major and minor keys. (7654).

    =Lütgen, H.= Practical and Progressive Method, intended
        both for beginners and for more advanced players.
        Containing Exercises by the greatest Masters and some
        passages from the Works of Haydn, Mozart, Beethoven,
        Schumann, etc.

    Lütgen’s method consists largely of extracts from the
        great masters; Hermann’s is the simplest course for
        young beginners. In Laubach’s method the exercises
        are specially well graduated as to difficulty.

    =Schroeder, C.= Handbook of Violin Playing, has a chapter
         on Viola Music. (9212).


Viola Studies.


Steps I—II.

    =Hofmann, R.= Op. 86. The first Studies. (2732).

    =Kreuz, E.= Progressive Studies for the Viola, with
        accompaniment of a second Viola. Op. 40:—

        Book I. Commencing with exercises on the open strings, and
          gradually introducing the notes of C major in the first
          position. (7653a).

      — Select Studies, taken from the works of Campagnoli,
         Mazas, Corelli. Kreutzer, Spohr, Fiorillo, Wenzel Pichl,
         Rode, and Gaviniés; in progressive order, phrased,
         fingered, and arranged:—

        Book I. 30 Elementary Studies in the first position, with
          accompaniment of a second Viola, by Campagnoli and
          Mazas. (7657a).

      — Scales and Appeggios for the Viola, through all major
         and minor keys; systematically arranged, bowed, and
         fingered:—

        Book I. Through one and two octaves. (7658a).


Step III.

    If Laubach’s method be adopted, Book 3 of Hermann (7652c)
     might suitably follow, to be succeeded by:—

    =Bruni.= 25 Studies from his Method (E. Kreuz). (7659a).

    =Kreuz, E.= Progressive Studies for the Viola, with
        accompaniment of a second Viola. Op. 40:—

        Book II. Studies in the first position in the flat keys,
          major and minor. (7653b).

        Book III. Studies in the first position in the sharp keys,
          major and minor. (7653c).

      — Select Studies for the Viola, taken from the works of
         Campagnoli, Mazas, Corelli, Kreutzer, Spohr, Fiorillo,
         Wenzel Pichl, Rode, and Gaviniés; in progressive order,
         phrased, fingered, and arranged:—

        Book II. 30 Studies in the first position by Corelli,
          Campagnoli, Kreutzer, and Spohr. (7657b).

        Book III. 20 Studies in the first three positions, by
          Corelli, Campagnoli, Kreutzer, Fiorillo, Spohr, Wenzel
          Pichl, and Mazas. (7657c).

      — Scales and Appeggios for the Viola, through all major
         and minor keys; systematically arranged, bowed, & fingered:—

    Book II. Through two and three octaves. (7658b).


Step IV.

    =Campagnoli, B.= 41 Caprices pour le Viola, revus et
        doigtées par E. Kreuz. (7651).

    =Kreuz, E.= Progressive Studies for the Viola, with
        accompaniment of a second Viola. Op. 40:—

        Book IV. Introduction of the 2nd and 3rd positions, and
          studies in the first three positions. (7653 d).

      — Select Studies for the Viola, taken from the works of
         Campagnoli, Mazas, Corelli, Kreutzer, Spohr, Fiorillo,
         Wenzel Pichl, Rode, and Gaviniés; in progressive order,
         phrased, fingered, and arranged:—

        Book IV. 20 Studies in the higher Positions. (7657 d).

        Book V. 20 Studies in the higher Positions. (7657 c).


Pieces for Viola and Piano.


Step I.

    =Kreuz, E.= The Violist. A Series of progressive pieces. Op. 13:—

        Book I. 12 very easy pieces, commencing with the open
          strings, and gradually introducing the notes of C major
          in the first position (7636 a).

      — 25 Pieces in progressive order. In the 1st position:—

      1. Kreuz. No. 1 Prelude; No. 2 Melody.
      2. Schumann. Op. 68, Nos. 1, 2. Melodie; Soldatenmarsch.
      3. Gurlitt. Berceuse, and “Heiterer Morgen.”
      4. Schumann. “Trällerliedchen” and “Jägerliedchen.” Op. 68.
      5. Fitzenhagen. Cavatine.
      6. Reinecke. Air, “Unbekümmert,” from Op. 213.
      7. Kreuz. Melody.
      8. Schumann. “Kleine Romanze” and “Fröhlicher Landmann.”
      9. Gluck. Air from “Orfeo.”
     10. Gurlitt. “Ständchen” and “Jagdstück.”
     11. Mendelssohn. Lied ohne Worte, Op. 30, No. 9.
     12. Haydn. Aria from “Die Jahreszeiten.”


Step II.

    =Kreuz, E.= The Violist, Bk. 2. Easy Pieces in C. (7636 b).

    — The Violist, Bks. 3, 4. 20 progressive melodies in the
        1st position. (7636 c, d).

    — 25 Pieces in progressive order. (In the 1st position):—

      13. Schumann. “Canonisches Liedchen” and “Schnitterliedchen.”
      14. Kreuz. Gavotte, from “The Violist.”
      15. Mozart. “Gib mir die Hand” from “Don Giovanni.”
      16. Schubert. “Das Fischermädchen.”
      17. Mendelssohn. Venetian Gondola Song.
      18. Schumann. ⁂ & Siciliano.
      19. Kreuz. “Pensée fugitive,” from “The Violist.”
      20. Reinecke. Farandole, Op. 213, No. 10.
      21. Weber. Air from “Der Freischütz.”
      22. Beethoven. Sonatina.
      23. Handel. Aria from Ouverture to “Ariadne.”
      24. Kreuz. Romance, from “The Violist.”
      25. Bach. Gavotte, from French Suite.

    =MacCunn, Hamish.= 3 Romantic Pieces. Op. 27:—

        No. 1. L’Espérance.

    =Mendelssohn.= Op. 72. 6 Pieces. Arranged. (7631).

    =Reinecke.= Op. 122 a. 10 Petits morceaux. (7642).

      — Op. 213. 10 Petits morceaux. (7643).

    =Albums.= Vols. 1 and 2. (7625 a, b).

    =Album Classique.= (Moffat-Laubach). (5566).


Step III.

    =Burgmüller.= 3 Nocturnes. (7626).

    =Goltermann, G.= Op. 114. Sonatina. (7635).

    =Handel.= Sonata for Viola da Gamba and Cembalo
        concertato, arranged by G. Jensen. (5551).

    =Hermann, F.= 12 easy Exercises and Pieces
       (1ˢᵗ to 3ʳᵈ positions). (7652 c).

    =Kalliwoda.= Op. 186. 6 Nocturnes. (2104).

    =Kreuz, E.= Select pieces in progressive order, Viola
        Part in the first three positions:—

      26. Mozart. Song from “Figaro.”
      27. Weber. Air from “Der Freischütz.”
      28. C. Gurlitt. “Buds and Blossoms.” Op. 107, No. 4.
      29. Mendelssohn. Song without Words, No. 14.
      30. Handel. Largo.
      31. Schumann. Revery. Op. 15, No. 7.
      32. Mendelssohn. Song without Words, No. 22.
      33. Gluck. Ballet from “Orfeo.”
      34. C. Gurlitt. Slow waltz. Op. 146, No. 1.
      35. Kjerulf. Longing.
      36. Strelezki. Cavatina.
      37. Mendelssohn. Song without words, No. 25.
      38. E. Kreuz. Sketch. Op. 13e, No. 3.
      39. Schubert. Serenade.
      40. Fr. Hermann. Rondino. Op. 24, No. 2.
      41. Mendelssohn. Christmas Pieces. Op. 72, Nos. 4 and 5.
      42. Handel. Sonata.
      43. Haydn. Air from “The Creation.”
      44. Mendelssohn. Song without Words, No. 13.
      45. Schumann. Fairy Pictures. Märchenbilder. Op. 113. No. 4.

    =Kreuz, E.= Op. 5. Liebesbilder. (7627).

      — Op. 9. “Frühlingsgedanken” (Spring Fancies). (7628).

      — Op. 13. The Violist. A Series of progressive pieces.

        Book V. Three easy Sketches in the first three positions.
          (7636e).

        Book VI. Sonata in A minor. (7636f).

      — Op. 45. Suite de Pièces. (Prélude, Nocturne, Le Rêve,
          Danse rustique.) (5572).

    =Kücken.= 6 Duos Concertantes. 6 Bks. (7629a—f).

    =Laubach, A.= 20 Scottish Songs. (7633).

    =Mendelssohn.= Op. 4. Adieu à Berlin. (7632).

    =Sitt, Hans.= Op. 39. Albumblätter. (2549).

    =Stehling, K. A.= Morceaux Favoris. 10 arrangements in
        separate Nos:—

        Albumblatt, Wagner; Consolation, Liszt; Abendgebet,
          Reinecke; Tears, Reinecke; La Fontaine, Henselt, Gavotte
          and Rondeau, Lully; Romance, Ries; Scherzo, David;
          Berceuse, Reber; Mazurek, Rheinberger.

    =Squire, W. H.= Gavotte Humoristique. (7647).

    =Thomas, E.= Sans Souci Waltz.

      — Sonatina in C. (7644).

    =Volkmann.= Op. 11. Musical Picture Book.
        Arr. by Hermann. (7650).

    =Wagner, R.= Album-leaf. (7649).


Step IV.

    =Goltermann.= Op. 15. Duo. (1997).

      — Op. 25. (2207).

    =Kreuz, E.= Select Pieces in progressive order.
        Viola Part in the higher positions:—

      46. Schumann. Little Study. Op. 68, No. 14.
      47. Schubert. Am Meer.
      48. G. Goltermann. Romance from Sonatina. Op. 114.
      49. W. H. Squire. Gavotte Humoristique.
      50. Schumann. “Stücke im Volkston.” Op. 102, No. 2.
      51. Schubert. Romance.
      52. A. Strelezki. L’Absence.
      53. E. Thomas. Sans Souci Valse.
      54. Mendelssohn. Song without words. No. 1.
      55. W. H. Squire. Réverie.
      56. Schubert. Ave Maria.
      57. A. Strelezki. Asphodel. Chant sans Paroles.
      58. J. S. Bach. Air from the Orchestral Suite in D.
      59. E. Kreuz. Liebesbilder. Op. 5, No. 2.
      60. Schumann. Evening Song. Op. 85, No. 12.

    =Joachim.= Op. 9. Hebrew Melodies. (7630).

    =MacCunn Hamish.= 3 Romantic Pieces. Op. 27:—

        No. 2. Sérénade.
         ”  3. Rêve d’amour.

    =Mozart.= Adagio. (7634).

    =Popper.= Op. 5. Romance. (7637).

    =Prout, E.= Op. 26. Sonata in D major. (7639).

    =Schumann, R.= Evening Song. (9676).

      — 3 Romances. Op. 94. (7641).

      — 5 Stücke im Volkston. Op. 102. (7645).

      — Märchenbilder (Fairy Pictures). Op. 113. (7646).

    =Vieuxtemps.= Op. 30. Elegie (Scholz). (7648).


Step V.

    =Brahms, J.= Op. 120. Sonatas in F minor and E♭.

    =Kreuz, E.= Op. 20. Concerto in C minor. (5571).

        An effective modern work. The Barcarolle is published
          separately as No. 65 of “Select pieces.”

    =Kreuz, E.= Select Pieces in progressive order, in the
        higher positions:—

      61. Meyerbeer. Air from “Les Huguenots.”
      62. E. Kreuz. Spring fancies. Op. 9. No. 2.
      63. Chopin. Nocturne. Op. 37, No. 1.
      64. Beethoven. Romance in F major. Op. 50.
      65. E. Kreuz. Barcarolle from Concerto for Viola
             and Orchestra. Op. 20.

    =Rubinstein, A.= 3 Salon Pieces, Op. 11, edited by F. Hermann:—

      Moderato. (7638a).
      Allegro con moto. (7638b).
      Allegretto. (7638c).

      — Op. 49. Sonata.

        One of the finest compositions for the viola.


Duets for Violin and Viola.

    =Fiorillo.= Op. 9. 6 Sonatas. II.

    =Jansa.= Op. 70. 6 Duets. 2 Bks. (2234a-b). III.

    =Kalliwoda.= Op. 208. 2 Duets. (2105). III.

    =Kreuz, E.= 4 Duos. 2 Bks. (5594a, b). II.

    =Mozart, W. A.= Op. 28. 2 Duets. III.

    =Pleyel.= Op. 44. 3 Duets. (7858). III.

      — Op. 69. 3 Duets. II-III.

    =Schoen, M.= 6 Easy Duettinos. 1ˢᵗ and 3ʳᵈ positions. (7620). I-II.

    =Spohr, L.= Op. 13. Grand Duo. V.


Trios for Violin, Viola and Piano.

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

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

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

      — Trio facile, in C. Op. 32. (5272). II.

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

      — Trio in C. Op. 103. (5278). II.

    =Mozart.= Trio. Op. 14. in E♭. Clarinet or Violin, Viola and Piano.

      — Symphonie Concertante. (2206).

    =Pleyel.= 3 Trios. Op. 44 (Hermann). (5280). II.

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

        Wagner.  Der fliegende Holländer. (5438s). III.
          —      Lohengrin.               (5439s). IV.
          —      Rienzi.                  (5440s). III.
          —      Tannhäuser.              (5441s). IV.
        Rossini. Il Barbiere.             (5442s). III.
          —      Guillaume Tell.          (5443s). IV.
        Auber.   Masaniello.              (5444s). III.
        Gounod.  Faust.                   (5445s). IV.

    =Reger, Max.= Trio. Op. 2. (5283). IV.

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

NB. Any of the pieces mentioned in the “Guide” can be procured from
Messrs. Augener & Co. It will be sufficient to give the Edition No.
where marked; where there is no No., name of author and title should
be given.




GUIDE THROUGH VIOLIN LITERATURE.


                               Contents.
                                                                Page
    Violin Methods                                               109
    Technical Exercises                                          110
    Studies                                                      110
    Violin Solos                                                 118

                                Duets.
    Two Violins.
        Step  I. First position                                  119
          ”  II. First four positions                            121
          ” III. First five positions                            123
          ”  IV. All positions                                   125
          ”   V. Difficult                                       126
          ”  VI. Concert Duets                                   127
    Duets for Violin and Violoncello                             127
      ”    ”  Violin and Organ                                   127
    Violin, with Pianoforte accompaniment.
    Step Ia. First position, elementary                          128
      ”  Ib. First position, easy and progressive                129
      ”  II. First four positions                                133
      ” III. First five positions                                142
      ”  IV. All positions                                       151
      ”   V. Difficult. (Octaves, Springing Bow,
                         Staccato, etc.)                         156
      ”  VI. Very difficult. (Concertos, etc.)                   158

                             String Trios.
    Three Violins                                                160
    Two Violins and Violoncello                                  161
    Two Violins and Viola                                        161
    Violin, Viola, and Violoncello                               161

                             Piano Trios.
    Violin, Violoncello, and Piano                               162
    Two Violins and Piano                                        165
    Violin, Viola, and Piano                                     167
    Violin, Piano, and Organ (or Harmonium)                      167
    Music with Toy Instruments                                   168

                           String Quartets.
    Four Violins                                                 168
    Three Violins and Viola                                      168
    Three Violins and Violoncello                                168
    Two Violins, Viola, and Violoncello                          169

                            Piano Quartets.
    Violin, Viola, Violoncello, and Piano                        171
    Two Violins, Violoncello, and Piano                          171
    Three Violins and Piano                                      172

                           String Quintets.
    Three Violins, Violoncello, and Bass                         172
    Two Violins, Viola, Violoncello, and Bass                    173
    Two Violins, two Violas, and Violoncello                     173
    Solos with Quartet Accompaniments                            174

                            Piano Quintets.
    Two Violins, Viola, Violincello, and Piano                   174
    Three Violins, Violoncello, and Piano                        175
    Four Violins and Piano                                       175
    Violin, Viola, Violoncello, Bass, and Piano                  175

                             Sextets, etc.
    Sextets                                                      175
    Septets                                                      176
    Octets                                                       176
    Old Chamber Music                                            176
    Violin and Orchestra                                         177
    String Orchestra                                             177

                           VIOLA LITERATURE.
    Methods                                                      179
    Studies                                                      180

                                Duets.
    Viola with Pianoforte accompaniment.
        Step   I                                                 181
          ”   II                                                 182
          ”  III                                                 182
          ”   IV                                                 184
          ”    V                                                 185
    Violin and Viola                                             185

                                Trios.
    Violin, Viola, and Piano                                     185