THE BAR IN OLDEN TIMES--THE MODERN ONE--THE OPERATION OF FITTING AND
FIXING THE BAR--CLOSING AND COMPLETION OF THE REPAIRS--VARNISHING OF
THE REPAIRED PARTS HAVING FRESH WOOD.
Much false reasoning upon insufficient premises has at times on and
off been bestowed upon the subject of the bar and its supposed mysteries.
Space at command will not allow of a dissertation on this detail of
the constitution of the violin. A few remarks will perhaps be
sufficient for present purposes. When violins were first sent forth
by their inventor, Gasparo da Salo, the bar was sometimes omitted,
possibly in all the earliest ones, the strain on the upper table being
then slight as compared with that of the present day--at others it was
very short and weak. The substance of the upper table was considerable,
and much over that which the later and modern makers approve of, and
thus there was a counter-balance.
At the present time still stronger bars are inserted, and very
frequently without rule or reason. Occasionally a coarse bar will allow
of good results as regards the emission of the tone, the length and
thickness happening to be suitable to the proportions in detail of the
instrument. A weakness at each end of the bar is an oft-recurring cause
of bad going with regard to the vibrations.
From this we may infer that when the bar was first thought of and
inserted it was simply with an idea of supporting the part over which
the third and fourth strings were stretched, and that as the tension
of the strings became greater in consequence of the rise in the pitch,
so the bar had to be increased in strength, that is, longer and deeper.
The discovery or unearthing of an old master in its original condition
will therefore be followed by the opening and re-barring for the
emission of the tone according to modern ideas; these may be summed
up as the getting of the largest amount of tone accompanied by freedom
of vibration or ring.
As the removal of a defective or weakly bar and its renewal and fixing
in accordance with the best knowledge of the subject is an operation
that should be seldom attempted by other than an experienced
professional repairer, it may be as well to pay another visit to our
chief and his assistant, James.
After some lapse of time we find on looking in at the establishment
that there is no perceptible change in the working or general routine;
violins innumerable have come and gone and still seem likely to do so
for ever.
The chief has been occupying a few minutes looking through a newspaper,
not so much in connection with his business, which, as no doubt will
have long since been perceived, is a private or personal one, he is
simply keeping up with the times in reading about what is going on
outside his own little world.
James, notwithstanding his lesser amount of artistic and scientific
knowledge than the chief, has been steadily improving in his own way,
that of implicitly following directions put forward for his guidance
and given with so many axioms, the result of long experience and
watchfulness. It is a warm day and really heavy work would not be to
the disposition of either master or man.
Looking through the doorway into the workshop at the back, James can
be seen sitting as quietly and contentedly as his master in the front.
He is engaged on some fitting of small pieces into some fractures of
the upper table of a Stradivari. Having been told to do them neatly,
cleanly and with every precaution, experience and deft handling of
tools, he has got these latter into nice cutting order. The finest and
even semi-transparent shavings will have to come from the fractures
and the portions of wood to be inserted therein. James has by this time
acquired considerable neatness in the treatment of "delicate jobs,"
as he calls such as the present. His tools have had special attention
in the keenness of their edge and he thinks that when all is finished
the violin will be as good as new, and very little of the damage done
while in charge of the owner will be perceptible unless hunted for.
He argues within himself that the greatest amount of expenditure of
muscle work and fitting together of ever so many parts has been done
by himself, and therefore the honour ought to be principally his, in
fact the fiddle is more of his make than that of old Strad. His
ruminations are stopped rather suddenly by the voice of the chief, who
calls out, "I say, James, what about the re-barring of the Maggini that
Miss Winks left a week back?"
"Well, sir, she called again yesterday, and said she didn't think it
would be done, because we seemed slow people, but intended to call again
in three days."
"Perhaps you had better set to work, James. Have you got everything
ready for placing the bar?"
"Yes, sir, everything except the bar itself, which is not cut to shape
yet."
"Well, let me see it. Is it of nice straight grain and from the stock
of that old Italian?"
"Yes, I've picked out a piece that appears to me just the thing; it
only wants the curve cutting to fit the upper table, and that is quite
clean and regular without any slips of the tool in cutting the old one
out, which I think was the original one."
The chief gives two or three glances over the work, his accustomed eye
being ready to catch any little fault likely to have been made by his
man.
"That surface, James, for a Maggini, is remarkably even; as often as
not the gouge marks are left, making a close fit of the bar an
impossibility, let me see the bar."
The piece of wood is produced; the Maggini being a full fourteen inches
in length of body, the proposed bar is cut to ten and a half inches
in length and seems to the chief to be satisfactory.
"You can now go on, James; let me see the bar before you glue it in."
The upper table of the Maggini and the bar are taken away by James,
who goes at once to work with the necessary preparation for placing
the bar in position correctly.
With a rather soft lead pencil he marks off the length from each end
of the table that the bar will occupy, that is, a little over at the
lower end than the upper, the exact distance from the joint or central
line, a trifle, perhaps eighth of an inch nearer at the upper part,
letting the middle or thickest part of the bar be at the spot where
the foot of the bridge will rest.
After this the bar, at present straight and about three-quarters of
an inch high all along its course, has marked upon the part that has
to remain uppermost some indication to the fancy of the operator that
will keep in mind which end is to be placed at the upper part.
This being done, he commences with a chisel to cut away portions at
each end, and tries on the surface of the part to be fitted to. After
two or three times the chiselling has to be more finely done until the
closest fit possible is obtained; it is then ready for fixing. The bar
is as yet quite straight along the upper part. With regard to the
levelling of the bar to the curve of the interior part of the upper
table, there used to be a custom in the repairing business of "putting
the bar in with a spring" as it was termed. The repairers always spoke
of it as "the regular thing to do," but on being asked questions as
to how much and under what circumstances the "spring" would be best
one way or the other, became somewhat reticent, possibly from fear of
being led into some scientific depths from which it might not be easy
to extricate themselves. James, however, has been taught differently
in the management of this portion of his work; he having found from
close examination that the rise of the curving on the outside on the
bar side was quite high enough, went on with the operation.
Had the bar side been in a sunken condition, his chief would have
required him to restore the elevation by the wetting process before
alluded to.
The accessories, glue and cramps being in readiness, two pieces of
thick hard brown paper are folded together to go over the varnished
surface of the upper table. This will be quite thick enough, as any
more will cause a liability to press the bar into the wood when under
the influence of the damp of the glue. This result is often seen in
violins that have been through the hands of inexperienced repairers,
there being an elevation at each end where the bar terminates when the
violin has been strung up.
Cramps are used of sufficient width for reaching over the border at
each end and quite on to the end of the bar. James, after his repeated
trials as to the closeness of the relation of the curve of the bar to
that of the table, takes it to the chief as commanded, who expresses
his satisfaction and orders the completing process to be gone through.
The curved surface of the bar is wetted and some glue placed along,
the part of the table with which it is to be in contact is also wetted,
but not much. After a few minutes for the glue to soak in, the final
glueing is done along the course on the table and the curved course
of the bar; the latter is then placed in position and first one cramp
at one end is fixed, then the other; the screwing down is very gently
done, James, from experience, knowing just how much and no more. The
hard brown paper between the cramps and their padded or corked ends
prevents any injury to the varnish.
For the central and adjacent portions of the bar to be pressed, James
uses at times wooden cramps with a longer reach, and treating all parts
of the bar with gentle but sufficient pressure, being meanwhile careful
that the pressure is not directed on one side but direct downwards;
he knows that if this is not strictly attended to, the bar will be
twisted and when dry, or even finished, will not appear straight but
curved along its course.
James having seen that this part of the operation has proceeded
satisfactorily, places the table away to dry, and when so, the cramps
are removed and the table examined by the chief. All being assumed to
be satisfactory, James is told to go on with the shaping down of the
bar, which is done with a chisel held with the bevel downwards, this
being safer and less likely to slip.
This having been done to the curving desired by the chief, the
glass-papering to a nice even surface and finish is proceeded with,
and the operation may be said to be completed.
We now come to the closing down of the upper table. This last is a final
process that when done clumsily, hurriedly, or in many ways improperly,
has been the cause of much damage, if not positive destruction, to many
good or valuable works of the great masters and others.
Before deciding upon the precise moment for this important stage of
repairing, there should be a most careful investigation of the
condition of the whole of the interior of the instrument.
Without this there is the possibility of fine splinters of wood, or
cracks, being left unattended to that may announce themselves when all
is supposed to be in readiness for the bow, by a jarring, or, when the
bow is applied, by a buzzing which will take all the knowledge,
experience and guessing, perhaps more, that can be brought to bear upon
the matter without any practical result, excepting perhaps that of the
necessity of re-opening.
If found out before closing down, neighbouring parts should be rigidly
examined, as a slight, almost invisible fracture, will, on testing,
be frequently found to be much more extensive than was at first
suspected.
Gentle tappings may be tried and testings of resistance to bending at
the same, keeping the light at right angles to enable the slightest
opening or fracture to show itself and be at once placed under treatment.
When every test proves the instrument to be sound and ready for closing
up, preparations may be commenced.
There is probably no one of the different details of repairing that
gives more evidence than this of the kind of workman engaged upon it.
It may almost be said that this is rarely done as it ought to be in
the manner that can be described as being good in every way for the
purpose, and neatly done.
The bad manner of closing has been, more frequently than any other,
the means of putting the whole instrument out of order, gradually
distorting, if not actually bringing it to ruin as a work of art, and
to destruction as a means of producing good musical sounds.
Judging by the ways adopted by many inferior grades of repairers,
professional and amateur, the closing down of the upper table is
thought to be a trifling matter and simply that of passing some glue
on a brush rapidly round where the ribs are to come into contact with
the table, clapping it down, placing the cramps round, screwing them
tight, and, if the weather is cold, acting with more rapidity.
Ten minutes may be said to be the average time that this performance
takes, and in the majority of cases is thought to be a good one.
But not so by a really competent, painstaking repairer. From his view
this operation is to be one of the most cautiously conducted ones in
the whole series of joinings in connection with the repairing or
constructing of the violin.
As with other processes, there is more than one way of doing a thing
and that well.
I recollect in early days being acquainted with an exceeding dexterous
amateur in cabinet making, the principal part of whose furniture, in
a large house, was his own individual and unaided workmanship. He also
combined with this the making of violins, and of them I have a
recollection of their exceedingly neat workmanship, being, in fact,
ahead in that respect of many professional makers of the time. I often
received from him hints as to the best methods of overcoming many little
mechanical difficulties.
Once I was telling him about the dexterous manipulation required in
fixing accurately and swiftly the upper table. There was the difficulty
of getting perhaps the two end parts in position and fixing with
sufficient rapidity before the glue had stiffened or set at the other
parts.
He asked me why I wanted "to do this all at once, instead of a part
at a time? He never did it."
He then proceeded to show me that the glue might be applied to the two
end blocks and the corresponding parts of the table that were to be
affixed, and these cramped exactly and with comparative ease, in their
proper position. This being done, a very thin worn table knife could
be used for working in glue at the other parts and the cramping down
proceeded with as before.
Another way suggested itself to me some time after, which in careful
hands would be still more adapted for accurate fitting. It is as
follows:--Having seen that the opposing surfaces or parts that are to
be affixed to each other are quite level, fit each other, have been
cleaned and are free from any oiliness or greasy particles, the glue
is neatly brushed round the parts requiring it, both upper table and
ribs being treated. The corner and end blocks, if new, will require
more than one coating, and these to be allowed to dry, as the end of
the grain is very absorbent.
Assuming that the glue is sufficient in quantity all round, it may be
allowed to dry.
The upper table can now be tested for a good fit by laying it, and
noticing whether the marginal projection over the ribs is regular or
not; in some instances a little humouring or averaging of this
projection has to be made, especially when the instrument is very old,
and bears evidence of much trouble under the hands of repairers of
different degrees of skill, experience and patience.
This being found satisfactory, a slight brushing of thin glue over the
upper and lower end blocks will be enough before placing the table in
position and cramping them down.
For the other parts the thin knife will be sufficient, wetted and worked
between, the cramps being applied as before.
This way of closing up dispenses with all cause for hurry. The exact
amount of glue can be calculated without danger of over-loading, and
the next necessary opening for repairs can be effected without the
least risk of damage to the margin of the upper table. By this method
there is no occasion for wiping superfluous glue from underneath the
over-lapping edge, as there will not be any perceptible, or, indeed,
present, when tidily done.
Sufficient time being allowed for drying--a little longer for the end
blocks, these being more hidden and slowly affected by the
atmosphere--the cramps may be removed.
As a final process, the varnishing over the parts that have been
repaired may be touched upon.
The success of this so much depends upon the natural talent of the
operator for matching colours and mixing of different gums for
obtaining as close as possible resemblance to the surrounding work,
that any hard and fast rules concerning it cannot be laid down.
An alcoholic mixture is almost invariably used for the covering of raw
repairs, time scarcely ever being available for the use of an oil
varnish.
The most commonly used basis is a lac varnish. The ease with which this
is dissolved and manipulated is a temptation to use it at times when
it would be the least desirable for the imitation of old varnish. One
great fault in connection with it is its retaining a glare on the
surface when hardened, and the undesirable aspect is given of polished
spots where repairs have been going on. There is only one way of
counteracting this--by mixing other gums or resins that have less or
but little glare when hard. Those of a very astringent quality should
be avoided, as when dry their pulling power or contraction is very great,
and a cracked surface not at all like the rich fused appearance of many
of the old masters, but dry and uninteresting, will make itself too
evident.
By a carefully-calculated mixture of soft and hard gums, with a little
transparent colouring matter when necessary, a very good if not highly
successful imitation of the surrounding work can be accomplished, such
as will prevent the repair "catching the eye" too soon, for it must
do so eventually when hunted for. The density of colouring and
thickness of the principal component parts must always be studied, as
the same depth of tint by a very thin layer as that of a thick one will
not have the same effect, and one or the other, when making a contrast
with the adjacent old surface, will be conspicuous as a failure.
A few hints may be acceptable as to material and the management of it.
We will assume, for instance, that a portion of the upper table of a
rather deep brown-red old master has been repaired, and a slice of
comparatively light coloured or new wood has been inserted as a
necessity, the grain as a matter of course having been matched to the
best of the ability of the repairer.
The first step taken will be that of putting a nice clean even surface
over the fresh wood, and in such a manner, that on passing the hand
or finger over it, no lumps, edges, or rough spots are felt. Having
brushed the dust or powdered wood away, the colour of the wood will
have to be lowered or subdued, otherwise the whiteness will obtrude
itself and stare through any carefully selected varnish. This, for good
effect, will be found advisable with the repairing of any old
instrument.
The precautions to be taken at this stage are respecting the quality
or disposition of the stain (as we may call it). The stains ordinarily
sold for colouring wood are quite useless for present purposes, as they
are absorbed between the threads, leaving these by contrast very light
and the reverse of what is desirable.
A very weak solution in water of bichromate of potash will lower the
colour sufficiently for most purposes, and when quite dry the wood will
(having swelled with the moisture) require the fine glass-papering
again, after which, the next stage can be proceeded with.
The solution of nitric acid in water should be avoided, as, although
giving a fairly good lowering of the tint, it destroys the soft parts
of the wood, and, further, causes an odour that may cause annoyance
to the musician and suspicion to the expert.
Another solution may be recommended, that of the black liquorice, which
is a transparent brown, and naturally hard. Judgment will have to be
exercised in the management of either of the above solutions that they
are not put on too heavily.
The staining being effected, a slight coat of a diluted or light tint
of the upper or deeply coloured varnish may be painted over and left
to dry.
If time is not an important item for consideration, a turpentine
varnish may be applied.
An excellent first colouring can be effected with the transparent
preparation of gamboge. This material has for long, perhaps always,
been in request for coloured varnish, as it can be used with (after
due preparation) either alcohol, turpentine or oil. If dissolved in
the last, the drying will take so long as to be practically useless
to the repairer. The turpentine solution is more rapid, but not
sufficiently so for the restorer under ordinary circumstances.
It will be therefore plain that an alcoholic solution of gums or resins
will have to be relied on for obtaining the best results when time is
limited.
The solution of gamboge in alcohol is, when used alone, too weak or
insufficient in body; it is therefore advisable to incorporate with
it some other material of a resinous or gummy nature, but such as will
not impair the transparency. Among the most useful are the bleached
or white shellac. This, as it leaves the manufactory, is not always
in a condition for immediate use by the restorer; it should be washed
in water and then dried well, pounded up and placed in a bottle with
about four-fifths of alcohol; after remaining in solution for some days
the clear portion can be poured into another bottle and retained for
use.
This, when used alone in its colourless condition, will possibly have,
when dry, too much glare upon its surface, but the colouring matters
put into it may oppose this sufficiently.
The use of a little gum guacum in solution will be found occasionally
advantageous; this gum is fairly hard and will lower the colour and
prevent too much of an approach to gaudiness, that is, if a highly
coloured varnish has been found necessary. When it is desirable to
dispense with lac of any kind in the varnish, other materials can be
found that will perhaps answer the purpose as well, if not better; a
solution of benzoin has no colour sufficient in itself and therefore
may be used as a priming or mixing with the gamboge or with dragon's
blood if that is desirable; the latter, like the gamboge, requires
something to give it body.
Dragon's blood will soon let the operator know that its power of
colouring to a staring degree will require suppression. To lessen its
strength the following may be taken as an excellent means, and will
reduce the violence _ad libitum_. With a lighted candle, wax for
preference, smoke a piece of clean glass, and with a camel hair brush
remove the black and stir it carefully with the coloured varnish. Care
must be taken that too large a quantity is not put in, or an unpleasant
tone, even blackness, will be the result.
With regard to the strength of the red, the same precautions must be
taken: on comparing the varnish of a very red old master of Italy, say
a Landolphi, with some made with a fairly strong solution of resin and
dragon's blood, the violence of colour in the latter will be very
apparent. At a little distance off the old master will look very modest
while the other will seem coarse and vulgar.
For softening purposes a very small quantity of gum thrus may be used,
too much will result in tackiness.
For hardening, sandarac has its place and usefulness, although, as with
the naturally soft gums and resins which return to their original
condition after the solvent has evaporated, great care must be taken
to use a very small proportion.
A mixture of sandarac and shellac will result in an extremely hard and
almost insoluble varnish, a very undesirable covering for a musical
instrument of any kind as it wears badly, that is, suddenly and harshly
with a rough fractured edge, instead of the gentle thinning-away under
usage, seen with a delicate yielding material.
Acroydes is an Australian "grass gum," with very little recommendation,
as in any considerable amount, it impairs the transparency of the other
gums with which it may be mixed.
For a brown colour, a little burnt sugar will give a good tint, although
too much will spoil the consistency of the other ingredients, and the
whole will be easily affected by damp. Aloes, of which there are several
kinds, have been used as a colouring ingredient, but the results are
not on the whole to be considered as good.
Of the different lacs, or as it ought to be termed, condition of the
resin, as they are all from the same source, seed lac and garnet lac,
in proportion with other resins, will be found to have considerable
colouring matter and requiring very little in addition.
For our present purposes, those of varnishing fresh parts of injured
violins, the above mentioned component materials will be found, when
in good proportion, according to the experience of the operator, to
be nearly all that would be desirable in imitating the surrounding
work.
There is nothing that can be suggested to enable a careless or
incompetent repairer to achieve good results without care or
calculation, and these two are an absolute necessity when the repair
and restoration of a violin at all worthy of the name is the subject
in hand. Innumerable effects may be obtained by changing the proportion
of groundwork or priming, and top or coloured varnish. As the
celebrated old Italian varnish was not one kind but very many different
kinds, it is more than probable that the different results obtained
by the celebrated liutaros consisted to a greater extent in the manner
of the application than any wonderful quality of material. Of this
subject much might be written which would fill many times over the
capacity of our present volume.
A few words more may be said in conclusion regarding the varnishing
of new work on old violins; it must not be supposed that for the
imitation of the surrounding work an exact repetition of the old
Italian process with the identical substances used by the liutaros
would be absolutely necessary for perfect or near success; it must be
borne in mind that old varnish near the spot with its partial decay,
probably from many causes, has to be imitated, and that what would be
a great success with regard to a small space, might in all probability
prove a signal failure when the whole instrument is so treated.
As a final stage, a freshly varnished portion (and over newly inserted
wood), will require a little rubbing down (as it is termed); this may
be done with some of the finest and worn glass-paper, finely ground
pumice and oil, with a last turn of tripoli powder or rotten stone with
oil. This should be done only when the varnish is quite dry and hard.
THE END.
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HOW TO STUDY THE VIOLIN
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With Full Page Illustrations (exact size) by Photo Process.
MONS. EMILE SAURET writes--"I have read it with great interest, and
think that it supplies a real want in giving musicians such an excellent
description of all matters referring to this important instrument."
SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and
interesting book. You are quite successful and all the artists and
amateurs are indebted to you for a so exact and correct '_Texte_' on
the subject."
ADOLF BRODSKY writes--"I am delighted with the book and find it very
instructive, even for those who think to know everything about the bow.
It is very original and at times very amusing. No violinist should miss
the opportunity to buy it."
THE TIMES.--"A useful treatise on the Bow, in which the history,
manufacture and use of the bow are discussed with considerable
technical knowledge."
DAILY TELEGRAPH.--"To the student there is much of interest in the work,
which has the advantage of being copiously illustrated."
DAILY NEWS.--"This book seems practically to exhaust its subject."
"THE STRAD" LIBRARY, No. IV.
_Crown 8vo., Cloth, 5/-, Post Free, 5/4._
CELEBRATED VIOLINISTS: PAST AND PRESENT,
_Translated from the German of_
A. EHRLICH,
_And Edited with Notes and Additions by_
ROBIN H. LEGGE.
_WITH EIGHTY-NINE PORTRAITS_.
PRESS NOTICES.
"Those who love their fiddles better than their fellows, and who
treasure up every detail that can be found and recorded about their
favourite and cherished players, will not fail to provide themselves
with a copy of this book."--_Musical Opinion_.
"This book of 280 pages is a most interesting and valuable addition
to the violinist's library. It contains 89 biographical sketches of
well-known artists, ancient and modern, of all nations. This is not
intended to be a perfect dictionary of violinists; the aim of the Editor
of the present volume being merely to give a few more up-to-date details
concerning some of the greatest of stringed instrument players, and
we must concede that no name of the first importance has been omitted.
Germany is represented by 21 names, Italy by 13, France by 10, England
by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known
ladies, such as Teresina Tua, Therese and Marie Milanollo, Lady Halle,
Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this
is most agreeable reading to the numerous army of violinists, both
professionals and amateurs, and after careful examination we can find
nothing but praise for this translation into English of a book well
known on the Continent."--_The Piano, Organ and Music Trades Journal_.
"THE STRAD" LIBRARY, No. V.
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
TECHNICS OF VIOLONCELLO PLAYING
BY
E. VAN DER STRAETEN.
COPIOUSLY ILLUSTRATED.
_Copy of Letter received by the Author from the great 'cellist,
SIGNOR ALFRED PIATTI._
Cadenabbia, Lake of Como, March 9th, 1898.
DEAR SIR,--I received the book you kindly sent me on "The Technics of
Violoncello Playing," which I found excellent, particularly for
beginners, which naturally was your scope. With many thanks for kindly
remembering an old ex-violoncello player.
Believe me, yours sincerely,
ALFRED PIATTI.
_Copy of Letter received by the Author from the eminent 'cellist,
HERR DAVID POPPER._
Budapest, February 22nd, 1898.
DEAR SIR,--In sending me your book on "The Technics of Violoncello
Playing" you have given me a real and true pleasure. I know of no work,
tutors and studies not excepted, which presents so much valuable
material, so much that is absolutely to the point, avoiding--I might
say, on principle--all that is superfluous and dispensable. Every
earnest thinking violoncello student will in future make your book his
own and thereby receive hints which will further and complete the
instructions of his master.
I congratulate you and ourselves most heartily on the new violoncello
book. With kind regards, Yours most sincerely,
DAVID POPPER.
"THE STRAD" LIBRARY, No. VI.
_Crown 8vo., Cloth, 2/6, Post Free 2/9._
VIOLIN PLAYING
BY
JOHN DUNN
CONTENTS
INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints
on the Choice of a Teacher--Some Tricks of pretending professors
exposed.
ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment
and repairs.
ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs
in Order.
ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as
accepted by the leading artists of the day.
ON FINGERING GENERALLY--The various positions--Scales
recommended--The Modern Orchestral "Principal" or (so-called) Leader.
ON GLIDING--Special Characteristics of some of the most Eminent
Players.
DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain
independence of Finger.
BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring
Bow--Mixed Bowings.
TONE PRODUCTION--Character of Tone--Rules and Conditions necessary to
produce a good tone--Style and Expression.
"THE STRAD" LIBRARY, No. VII.
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
Chats to 'Cello Students
BY
ARTHUR BROADLEY
"Musicians, devotees of the 'cello in particular, will welcome the
latest volume of the 'Strad Library,' 'Chats to 'Cello Students,' by
Arthur Broadley.... Mr. Broadley not only knows what he is talking
about, but has practised what he says. From the choice of an instrument
to finished delivery and orchestral playing, 'Chats to 'Cello
Students' leaves nothing undiscussed. The treatment is simple and
practical. The exhaustive chapter on 'bowing' should be an invaluable
aid to students. In the last chapter of his book, 'On Delivery and
Style,' Mr. Broadley has given a lucid expression to a subject which
has sadly needed voicing."--_The Tribune, Nuneaton_.
"Is a brightly written little volume filled with practical information
for those who seek to bring out the wealth of expression of which the
violoncello is capable. The instruction is presented in homely,
common-sense fashion, and there are upwards of fifty examples in music
type to illustrate the author's meaning."--_Lloyd's Weekly_.
"Every kind of bowing and fingering, the portamento, harmonic effects,
arpeggios and their evolution from various chords, are all ably treated,
and the work concludes with a few remarks on orchestral playing which
are of especial interest."--_Musical News_.
"As a writer on the technique of his instrument Mr. Broadley is known
all over the world, perhaps his most successful work being a little
book published by THE STRAD, 'Chats to 'Cello Students.'"--_The
Violinist_.
"THE STRAD" LIBRARY, No. VIII.
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
ANTONIO STRADIVARI
BY
HORACE PETHERICK
_Of the Music Jury, International Inventions Exhibition, South
Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert
in Law Courts, 1891; Vice-President of the Cremona Society_.
ILLUSTRATED BY THE AUTHOR.
"This is the history of the life-work of the great Italian stringed
musical instrument maker.... There is a most interesting analysis of
Stradivari's method of mechanical construction which again is
illustrated by original drawings from the many Strads which it has been
Mr. Petherick's privilege to examine. All lovers of the king of
instruments will read this delightful little volume."--_Reynolds_.
"Among makers of violins Stradivari perhaps occupies the premier
position, and this account of his work, designs, and variations in
finish of details will afford pleasure to many readers."--_Morning
Post_.
"This is a monograph which all students of the violin will be happy
to possess. The author is a connoisseur and expert, and his account
of the great Cremonese master and his life-work, is singularly well
and clearly told, whilst the technical descriptions and diagrams
cannot fail to interest everyone who has fallen under the spell of the
violin.... Mr. Petherick traces the career of Stradivari from his
earliest insight into the mysteries of the craft to his highest
achievements. Numerous illustrations lend attraction to the volume,
not the least being a view of Stradivari's atelier, from a painting
by Rinaldi, the sketch of which was made on the premises."--_Music_.
"Mr. Petherick is well known in the musical world as a violin expert
with a special knowledge of the instruments made by the Cremonese
master, whose biography he has here given us. He tells us how the master
worked, what his pupils did, and where their work differs from that
of their preceptor. In fact, the volume is as much a dissertation on
the violins of Stradivari as a biography of the master, and is full
of deeply interesting matter."--_Lloyds_.
"THE STRAD" LIBRARY, No. IX.
_Crown 8vo., Cloth, 5/-, Post Free, 5/4._
VIOLIN MAKING
BY
WALTER H. MAYSON,
With Thirty-one Full-page PHOTO ETCHINGS,
Illustrating the process of Violin-making in every stage--from the
rough slab of wood to the finished Instrument.
The text is written by an Actual Violin Maker, in a very clear and lucid
style.
"'Popular lecture' style, with photographic illustrations."--_The
Times_.
"A feature of the book is the clearness of the
illustrations."--_Morning Post_.
"Describes a very fascinating art from start to finish."--_Morning
Leader_.
"This new booklet, on how to make a violin, is an admirable exposition
of methods. Mr. Mayson avoids learned terminology. He uses the simplest
English, and goes straight to the point. He begins by showing the young
learner how to choose the best wood for the violin that is to be.
Throughout a whole chatty, perfectly simple chapter, he discourses on
the back. A separate chapter is devoted to the modelling of the back,
and a third to its 'working out.' The art of sound-holes, ribs, neck,
fingerboard, the scroll, the belly. Among the illustrations is one
showing the tools which the author himself uses in the making of his
instruments. To learners of the well-known Manchester maker's delicate
art we commend this little volume."--_Daily News_.
"THE STRAD" LIBRARY, No. X.
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM)
THE VIOLIN MUSIC OF BEETHOVEN,
Critically discussed, and Illustrated with over
FIFTY MUSICAL EXAMPLES,
BY
J. MATTHEWS.
The book contains analytical and historical notes upon the Chamber
Music of Beethoven, in which the violin takes part as a solo instrument,
with some account of the various editions of the principal works;
Beethoven's method of working, as shown by his Sketch Books, etc. It
is dedicated to Dr. JOACHIM, who has furnished some notes respecting
the stringed instruments possessed by Beethoven.
Extract from Author's Preface:--
"Young students often suppose that they ought to admire every work
which proceeds from a great genius; an attempt therefore has been made
to convey some idea of the relative art-value and importance of the
various compositions discussed in these pages. For between the best
work of any man and his least inspired, there is a wide difference.
Certainly nothing annoyed the great master more than to hear his least
mature works praised, especially at a time when many of his greatest
creations were too little studied to be understood save by a few."
"Mr. John Matthews--dealing with Beethoven's music in pleasant fashion,
and at not too great length--gives an historical account, and in many
instances short analyses, with illustrations in music type, of
Beethoven's works for this instrument, and particularly the sonatas
(to which considerable space is devoted), the trios, the quartets, and
other compositions in which the master employed the violin. The book
will be found by amateurs both interesting and instructive."--_Daily
News_.
"THE STRAD" LIBRARY, No. XI.
_Crown 8vo., cloth, 157 pages, 2s. 6d., Post Free, 2s. 9d._
Advice to Pupils & Teachers of the Violin,
BY
BASIL ALTHAUS.
CONTAINS OVER 200 MUSIC ILLUSTRATIONS
STRONGLY RECOMMENDED BY AUGUST WILHELMJ AND GUIDO PAPINI
_London, March 18th, 1903_.
DEAR MR. ALTHAUS,
I read your book "Advice to Pupils and Teachers of the Violin" with
great interest, and find it very useful. Hoping your book will meet
with the success it deserves.
I am, yours sincerely,
AUGUST WILHELMJ.
_London, Feb. 19th, 1903_.
DEAR MR. ALTHAUS,
I have read with interest your admirable book, "Advice to Pupils and
Teachers of the Violin." I have no hesitation in recommending it as
an indispensable work to all aspiring violinists and teachers. Your
remarks on the acquirement of the various bowings, with the many
musical examples, are excellent. I know of no work on this important
subject so explicit and exhaustive. Wishing your book the great success
it deserves.
Believe me, yours sincerely,
GUIDO PAPINI.
"I have read the 157 pages that go to form the book in question, and
can say, without any misgiving, that Mr. Althaus has successfully
achieved what he set out to do."--_Musical Standard_.
"The practical and lucid explanations given are assisted by numerous
illustrations."--_Reynold's Newspaper_.