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).