3 310111 30111311 3 1 fur yrnfzssinn als nub 3matwrs (if all

3 3 10111 30111311 3 1 fur yrnfzssinn als nub 3matwrs (if allStriugxh attain ments g 13c with tbs 3 0m.

CONTR IBUTORS

BASIL ALTHAUS ARTHUR BROADLEY , WALTER HAM PSON .

W ILLIAM HENLEY , LANCASTRIAN . ROBIN H . LEGGE , MATTHEWS .

HORACE PETHERICK , E . VAN DER STRAETEN . V IOLA ,B . W INDUST .

DR . T . LAMB PHIPSON , ETC a rc.

VOLUME X IV .

330 11 110 11 :

PUBLISHING OFF ICE : 1 86, FLEET STREET,E C.

1 90 4 .

PR INTED BY

E . SHORE Co . . 3 . GREEN TERRACE . CLERKBNWELL , LONDON , E .C.

Anv1cs r o PUPILS Aim Tu ci tERs or r un V IOLIN 38Airs , Irish , for Violin . By Dr T . Lamb Ph ipson 50America , Kocian in 6Andrea Perucci . By Dr . T Lam b Phipson 1 78Answers to Corresponden ts

28 1 24 , 1 56 1 88 220 , 25 1 , 28 8 ,An Old Burmese Violin

5 3 3‘

BERr i E W i r i iER s

Boccheriii i , Biographical Sketch of . By Gas ton StE tien ne 1 86, i gg

Bridson , Doro thy 345Burglary a t Hayn es andCo . 27Burmese Viol in , An old 1 67

CAN V IOLIN S BE PLAYED Our By Stephen Ta lor 39'Cello , How to Con s truct a Dum b . By Gas ton St . litien ne 1 38’

Cel lo Player , The. By Wal ter Hampson 2 1 8Chew, Miss Oti

‘

c. 377

Co llege of V iolin is ts 39, 1 , 1 1 4, 294 , 347Com lete Course, A of Ins tructi on in V iolon 0 Playing .

y Ar th ur Broadley’4 1 48 : ’461 1 75 1 240 1 270 1 334 1 378

ponden ts , Answers to28 , 6o, 1 88 , 1 , 28 1 6, 80

Cz ar’

s los t Stradivari56 5 5 3 348 , 3

52

Con nn s r on n s ucz

Buyii‘i

f, Risks a t tendin g V iolin

Ca n iol in s be played ou t ?’

Cello , How to Cons truct a Dum bCremon a Secret , TheFifesh ire V iolin Maker , AHow to Cons truct a Dumb

’

CelloIncorn ten t TeachersKloz iolinsRemen yi

'

s V iolin sRisks a t tendin g Violin BuyingSecret , TheCremon aSt . Ma rga ret

'

s Mus ical SocietyTeachers Incompeten tTen s ion Theory , TheTired V iolin sViola , TheViolin Bu in g , RisksV iolin Ma er , A Fifesh ireV iolin s . Can they be played ou t ?V iolin s , RiosV iol in s , Remen yi

'

s

V iolin s , Tired

Di r r ii AR HEi uR icu . In terview with 57Doro thy Bridson 345Dumb Cel lo , How to Con s truct a . By Gas ton St . Et ien ne 1 38

En tr on’

s TABLE , Tii x1 8. 83 . 1 23 . 1 67. 21 9. 23 1 . 276. 295 . 327 . 372

F i Rs r V i ou ii . T it s , or JOSEPH HAYDN By Dr TLamb Ph ipson 1 1 3 , 1 55

Francis Rea Macm il l 249Fran z von Vecsey 3 1 3Fros town Orches tra l Society, The. By Wa l ter Hampson 30 7

GEiw i it z S'

rAi i i ER , A . By Dr T. Lam b Ph ipsonGera rdy , jea nGrumm er , Paul , An in terview withGua rnerius , joseph , h is Work an d his Mas ter . By Horace

Pethericli 1 6, 45 , 78 , 1 09 , 1 39 , 1 65 , 20 5 , 238 , 272 , 30 5 , 338 , 363

HAii i i ER , V IOLINS UNDER r uE

Haydn Joseph , The Firs t V ioli n of. By Dr T Lag?1 55Ph i

Hes s . il ly28 1

How San ta Claus came to Fros town . B Wal ter Hampson 2

How to Cons truct a Dum b’Cel lo . By as ton St . Et ien n e 1 3

INSTRUCTION IN V ionoucx n a o PLAY ING . By Ar thur

Broadley 1 4 48 , 90 , 1 08. 1 46. 1 75 . 203 . 240 . 270 . 3 1 5 . 334 : 379

In terview, An , wi th Paul Grummer 7

In terview wi th Hein rich Dit tma r 57

Irish Airs for V iol in . By Dr . T . Lamb Phipson 5o

GERARDY

£323?Guam erius , His Work and Hi s Mas ter . By

oraoe Pethes

rick

78 S 2 8 272 05 338 3631 1 4 0 1 309 1 39 1 1 1 20 1 i i i 1

Joseph Haydn , TheRirs t Vio in of .6By Dr .T. Lame

3

Ph ipson 1 1 3 , 1 55

KLEPr Oii A s iAc, Tu n . ByWa l ter HampsonKocia n in Amer icaKubel ik , j a n

LABELS , V IOLIN . 133 1

. Ma t thewsLiter a ture, The, of e V ioloncello .

31 B . van der Straeten

1 3 . 77. 1 23 . 1 34 . x77 . 1 98 . 23°

MAci t iLu E FRANCIS REAMorrison , om a s

Mus ic, Recen t Violin . By Dr . T. Lamb Ph ipson

NEW Yonx Nor Es 26. 250 . 283 . 346. 359

Oc z s r RA , TALES or r un . ByWa l ter Hampson21 8. 273 . 34° 37°

OticChew 377

Pi i i r sou Dr . T. LambPla yer ,The

’

Cel lo . By Wa l ter HampsonPlayin g , Violoncel lo , In s truction in . By Ar thur Broadley

x

g. 1 08 . 3

146. 270 . 3 1 5 . 334. 378

Polish V iol in is t ,The. Dr . Lam b Ph ipson 275Professor , The. By W ter Hampson 370

Profes sor Wil ly Hess 28 1

Rs cs i t r V IOL IN Mu s ic. By Dr . T. Lamb Ph ipson

S LE , THE , or TRADE V IOLIN SSgleeted Violin Solos and how to play them . By Ba s i l Al tha us

74. 1 06 . m . 1 70 . 20a . 235 . 267. 299. 33 1 . 36sSta in er , A Gen uin e. By Dr . T. Lam b Ph ipson 21 2

Stradivar i -Ama ti V iolin s , The. By Dr . T . Lam b Ph ipson 71

Stradivari, TheCz ar’

s los t 52

TABLE , Tii E En t r on’s 1 8 , 83 , 1 23 , 1 67, 21 9, 23 1 , 276. 295 , 327, 372

TALES o r r un ORcuEs r RA . ByWal ter Hampson

T'

he'

Cel lo PlayerHow San ta Cla us c'

1

.

FrostbwnThe Fros town Orches tr a l SocietyThe Kleptom an iac. .

The Professor

Thom as Mom son

Trade Violin s , The Sa lc‘

ot

VALit n io AND ANG IOLA , 0 R LA TARANr OLA

Lam b Ph ipson

Vecsey , Fr an z von

V iol i n . Advice to Pupi ls a ndTeachers ofV io l in , An o ld Burm ese

V io lin , Irish A i rs for . By Dr . T Lam b PhipsonV iol in Labels . By J Ma t thews

V iol in Mus ic, Recen t . 8gDr . T . Lam b Phipson

V iol in So los , Selected . y Ba s il Al th a us

74 , 1 06 , 1 42 , 1 70 , 202 . 23 5 , 267. 299 , 3 3 1 365W i l i a n i Hen le

yl1 7 2 1 0 , 242 . 30 2 . 368

o f Joseph aydn7By Dr

By Dr T

V iol in , The.

V io l in , The F i rs t . Lam

Ph ipson 1 1 3 , 1 55V iol i n s . Ca n they be Pla yed Ou t ? By Stephen Ta ylor 39V iolin s , The Sa le of Trade

”

49V io l in s , The Stradiva r i-Am a t i . By Dr . T . Lam b Ph ipson 71

V io l i n s under the Ham mer 263

s. 38 . 70 . m

1 3 2. 1 64 , 196 , 228, 260 , 292 , 324 , 3 56

V iol in is ts , Co l leg 39, 9 1 , 1 1 4 , 294, 347V io l i n i s t , The Po lish . By Dr . T . Lam b Phipson 275V io loncello Pla yin g , In s tr uction in . By Arthur Broadley

20 8 . 240 . 270 . 1 5 . 3 34 3 78

V ioloncel lo , The Litera ture of the. y B va n der tr aeten

198 2 30

V iol i n is ts Ab roadV io l in is ts a t Home

W 1 1 . t. v HEs s

W i thers , Ber t ie

ZACHAREW i Tscn

PORTRAITS .

Facin g page 345

377

57

21 7

28 1

1 85

MACM ILLEN , FRANCi s REA Facin g page

Mo n n i sou , THO Il AS

Pa i r s o n , DR . T . LAi i u

V z cs s v, FRANZ vou

W i r i i itn s , BERr i s

ZAcuAREwn scu

ILLUSTRATIONS .

GUARNERIL'S , Jo s s pit , The House

GUARNBRIUS ,

50 5 11 9 11 , Vio l i n by . Fron t and back views

G tJARNERw s , 0 5 11 9 1 1 V iol in by . Th ree views of scro ll

30 5Facin g pa ge 323

272

3 3 10111 111 11 11 1 fur firsfessimtals'

ash 3 111 118311 1 5 sf a]I

Stringeh attain ments 3 1119111 with the $1181 .Pus u s i i i it o On icr 1— 1 86. Fem Su n

-r . LONDON . E .C.

Vol . X IV .— N O. 1 57.

ARTHUR BOWLER(N ephew to the la teGeorges Cha not) ,

Violin , V io la , a n d V io lon cel lo

M AK ER a. n us r o n s n ,

1 8 , HILKER SQUARE, ISLINGTON ,

LONDON , N .

V IOLIN STR INGS .

Bes t NAPLES E a n d AD

Bes t Bu rn ished Silver G

BOWS RE - HAIRED , pos t free.

Ten t s —CASH WITH ORDER for a l l n ew V io lin s ,

Bows , etc.

Ca sh returned if not sa tisfied wi thin one'

week .

V IOLIN LESSONG.

R . BASIL ALTHAUS h as V aca ncies for a few

Pupi ls . For term s , &c , address— 1 0 9 , GOWERSr REE '

r , LONDON ,W .C .

T E E CE L E B R A T E D

AMERICAN VIOLIN

MAY , 1 90 3 . PR ICE TWOPENCE .

ANNUAL SUBSCR IPT ION . 216 Pos'

r FREE .

JOHN W . OWEN ,

V iol in . V iol a do’

Cel lo M a ker

9 , M ER R ION PLACE,AND

2 5 . W h l t t l n g n t a l l Ro a d , Fu l h a m , 8 .W .

—a

5 IO N o . 4 2 .

Ou r No . 8 5 a ACRIBELLE STRING a re the fin es t kn own , ou t four clea r len g th s ,w il l s ta nd h a rd wea r .

a nd g ive an excel len t ton e. Send four s tam ps for sample, a n d a sk for ou r n ew ca ta logue. (Men t ion th is paper . )

A . W . G ILM ER 81 CC .,

3 2 . P A R A D I S E S T R E E T , B I R M I N G H A M .

IS. MER R ION STR EET, LEEDS .

Th e N ew P a ten t P er fect F if th ,

V lo l l n , V io la a n d ’Ce l lo S t r in g s .For So lo Pla yer s .

Fif th s a lways per fect , n o wh is t l in gSpun by a n ew proces s b y elect r icity from the fines t Ita l ia nfu t . Th ose s trin g s a re t heon ly m ake t h a t ca n be depen ded uponor Solo Pl ayers .

I h ave been m a n y yea r s perfect in g t hose s tr in g s , and am n owIn t roducin g them in to En g la nd . I h ave n o a gen ts an d th eyca n n ot be procu red fr om a n y ot her sou rce.

Reta il andwholesa lePoles Lists on applicat lon to

R N AROOU R‘

I'

, 8 4 , ON E I N 8 1 3 , LO NDON ,

H. N . D

'

EROU ETTE ,

PROFES S OR OF V IOLONCELLO.

LESSONS OF THE HIGHEST GRADEPrepa ra t ion for a l l Ex am s , a t the va r ious M us ica l

Ex am m a tion s

98 THE STRAD

N o . 2 1 B .

ADVERr i s s i i EN '

r s .

Th e fo l low in g l in es h a ve b een a dded t o "ou r s . HAYN ES a Oo .’a

S t ock s l n oo t h e pu b l loa t lo n o f t h eir Ca t a log ue, No . 2 1 , In

Au g u s t , 1 9 0 2 , a n d a re s u b ject t o t h e ir u s u a l t r a de a n d

p r o fes s io n a l t er m s 1

8 .

MANDOLA S TR INGS. Per set of 8 covered

Str in gs , in box .

V IOLlN BOW GU IDES , to ass is t youn gplayers to keep the bow a t r igh t an g les

to the s tr in gs a nd obta in a good ton e.

Weig h t under 2o z .

V IOLIN STRING GAUGES . The

Reliance, bes t En g lish m ake ; Brass .

The m os t rel iable ga uges m ade

V IOLIN CASES . The Amer ican pa t tern .

bes t En g lish ma ke, America n cloth , sh apedto in s t rumen t , n ickel fi t tin gs , lea ther handle,

ba ize l in ingb u t with

in s ide of l id s tra igh t to keep th e bow fla t ,a nd with plush bla n ket to m a tch l in in g . £ 2 1 2 o

OCAR INASHoh ner

'

s Up to Da te Indes truct ible. each

on e packed i n a nea t box with in s truction s :

N o . 22 , Key B‘

per doz . 8

No . 24 G 1 2

No . 26 E 1 5NO . 28 C 1 1

MOUTH HARMON ICAS

Hoh ner'

s Bra ss Hoh n erphon es

NO . 3 50 0 , 1 0 sin g le holes , 20 reeds ,

per doz . , 15NO . 370 0 , 1 4 double

HOHNER'

S ORGANOLA

Th is is a m os t im por ta n t n ovel ty in Mou th

Orga n s , a nd m a rks a n ew depa r ture in th is

cla ss of in s trumen t . I t con s is ts o f a 8 0 10

Mou th Ha rmon ica , specia l ly tuned , con

ta in in g 2; octaves of reeds , n ea r ly ch rom a t ic.

With th i s is combined an accompan yin g

The METOLLIC HANDY MUSIC BINDER. La tes t Novel t

durable, s im ple a nd effect ive. W ill bin d a dozen or m ore sheets 0

Keeps the Mus ic erect on the desk

(I .

£ 1 0 0

Black or b rown lea ther , plush l ined: f 2 2 o

ZITHER BAN J O STR INGS .

Bel l Brand Th irds , or G , covered ,

No . 4 . 3No . 5 . 3

PIANO TUN ING WEDGES .

Bes t cane and lea ther

per do :

0 O

’

CELLO BAGS .

Wa terproo f, brown ca nvas . lea ther bound,

lea ther h andle, a nd b ow pocket 1 8 o

At tract ive,Mus ic in on e

m i n u te W i thout pa s te or gum . Ca n be readily rem oved when n ot requ ired .

per doz .

.1 ]

Ga ta logue, No. 27, sen t Pos t Free.

H a y n e s a n C o . , L t d . ,

25 20 . Gr ay’

s In n R oad, Lon don , W .C.

HOHNER’

S ORGANOLA—Coa tiiuied.

orga n ,with two sets of reeds wh ich accu

ra tely h armon ize with the So lo Organ . and

render ch ords a nd h as n o tes in an yva r iety wi th ch arm in g efl

'

ect .

The accompa n ying reeds a re con trol led

by a double row of valves , to wh ich wind i s

lied th roug h a sm a l l n ickeled tube,

in the mouth , a nd blown a lmos t i a

sen s ibly , wh ils t 0 ra tin g the So lo Orga n .

Any pla yer of t e Mou th Ha rmonica can

a t once, and with ou t specia l practice, pla ythe Orga n ola .

An in s truction book suppl ied with each

in st rumen t .

With 6 chordsWith 8 chords

V IOLIN STRINGS .

M u l ler'

s Akadem ie Silk Strings ,per bundle

P ICCOLO MOPS . Silk each

J AWS HARPS . o r J EWS HARPS . Bes t

En g lish m ake :No . 1 . 2 inches long , br igh t s teel ,wi th blue

spr in g per doz .

do . do .

blued and varn ished ,

fa n cypa t tern , per doz .

do . do .

do do .

ADVERTI SEMENTS .

ALFRED HAYSMUS ICAL AND THEATRIOAL AGENT

OllyBoxMet—I,ROIILEXCHIIGIIBLDGS. ,l ast EndBox Olnee—28,OLD3011) STREET,W.

Gra nd select ion of V io lin s , V io las a nd'

Cellos b yEn g lis h , French , Germ a n a nd It a l ia n Mas ter s .at very m odera te pr ices . Al l in g ood condit ion

a n d repa ir .

Specia l it ies in Octa g on V iol in Bows byE. Sa rt ory , Pa r is .

A gen uin e En g lis h HARP, m ade b y Mott ;fi ne preserva t ion : Grecia n m odel .

Fines t Stock of Guita r s a n d Mando lines byPANORMO, LAOOTE, V INAOOIA, etc.

11411080115 41 10 41 1. Accessor ies ran

4110vs warm/ 1 15 11 78

Gua ra n teed St r ing s from Naples 81Padua of t he finest qua l ity.

ILLUSTRATED CATALOGUE . POST FREE .

SOLE AGENT EOR

Celeb r a ted Buffet" Ba n d In s t rumen ts a n d

Br Sracia a Arron i r i i aN-

r B .K. K . r i i a Don a or En i n aonci i .

SPECIAL AWARD.

SILVER MEDAL. INVENTIONS EXHIBITION , 1 885 ,

FOR V IOLINS, TENORS V IOLONCELLOS.

O . BOULLANGIER ,

V IO L I N M A K E R A N D R E S T O R E“Manufact urer and Impor ter of t hefinest Franch aud Ita l ian Strings.

5 4 , F R ITH SOHO, LONDON , m .

DEPOT FOR GENU iNE ROMAN STR INGS.

J EFFERY J . G ILBERTtoo ao u a oa a u ar i.

MAKER or THE FAMOU SGILBERT VlOtINS. 1 1011 1 , 1 VIOLONcELLos,

P E T E B B O R O U'

G -H .

London ShowRoom— U , PATERNOSTER ROW , E .C.

Men t io n t h is Pa per .

W A R R I O K ,

Vi ol i n M a ker a n d R ep a i r er .

AWARDED GOLD MEDAL FOR HIGH

CLASS WORK .

V io lin s , own m a ke, 12 a n d 15 Gu ineas .

O LD O I L V A R N I S H ,

For V IOLINS, etc. ,

o f bea u t ifu l tran spa rency, a n d rich in colour ,As used by the best Viol in M akers .

ORANGE, RUBY OR BROWN RED.

4 0 2 . Bot t les . . 4 / 8 oz . Bot t les

4 1 , GRAND ARCADE, LEEDs .

THE STRAD

GHESSU R PLU S STOCK .

V IOLIN AND PIANO .

Post f ree, One Shil ling .

Th o A r t o f Pr a ct is in g t h o

S T U D I E S O F K R E’

U'

T Z E R

4 1 2 Ex amples of Fin gerin g a nd Bowin g ,BY

L. MASSART ,

Profes sor of the Con serva toire of Mus ic, Paris .

J . W . CHESTER ,

i and 4, Pa lace Place, BRIGHTON.

Ala rd . Br indis i Wa l t z

Leon a rd . Souven ir de HaydnDe Ber io t . Scen e de Ba l let . New Edi tion

edited a nd fin gered by Edmund Sin gerHub ay . Les I-

‘

ileuses

Co ler idge Taylo r . Hem o Da nce

It is ra ther w ild in ch a racter , a nd played'

wi th the requ isite éla n , i t is pret ty sure to rouse

theen thus ia sm of a n average audience. Th oughwr it ten l argely in the h igher pos i tion s of the

violin . i t is n ot m ore th an average difi cu l ty .

M us ica l N ews .

Pa g a n in i . Moto PerpetuoNew a n d Fin e Edit ion s of Concer tos for V iol in

with Pia n o Accompt .

Bach Concerto in A m in or 1 6

Ch acon n e x 0

Beethoven . Concer to in D x 0

De Ber iot . rs t Concer to . Op . 1 6 , in D r 6

2nd Concer to , Op . 32 , in B m in or 1 6

3 rd Concer to . Op . 44 , in E m ajor I 6

4 th Concer to . Op . 46 . in D m inor 1 6

s th Concer to . Op . 5 5 , in D or 1 6

6th Concer to . Op . 70 ,in A or r 6

7th Concer to . Op. 76 , in G or r 6

8 th Concer to . Op . 99 , in D or r 6

9th Concer to . Op . 1 04 . in A m in or 1 6

Er n s t . Concer to in F sh arp m in or x 6

Lipin ski . Concer to M ilita ire r 6

Mendels soh n . Concer to r o

Mo lique. Concer to , Op . 1 0 (D m in or 1 6

Concer to , No . 5 (A m in or) 1 6

Moz a rt . Concer to in D . Op . 98 r o

Concer to in D . Op . 1 2 : (David) 1 6

Tsch a ikovvs ky . Concer to . Op . 35 r 6

V IOLONCELLO AND P IANO .

Sa in t- Seen s’

s Second Concer to , Op . n o

TWO V IOLiNS AND PIANO .

An dre. Alpenveilchen , Landler Id Ile r 4Goun od . Medita tion (AveMafi a )

‘

el lo ad l ib. r 4Sch atz . DuoConcer tan te (r s t and3 rdposi t ion s) 2 8

Sch uster . Gavot te r 4Thome. Le Reve r 6

We n er . Preis lied from DieMeistersmger r 4We lfa h r t . Trio Facile. Op. 69 z 4

THE STRAD

tlinlin ists at £ 0 1112.Tm : rem a rkable pres s boom in con n ection

with the vio lin playin g of M is s MAM E HALL,

wh ich is s till r in gin g in ou r ea rs , m us t , I

im agin e, give pa use to those who , in these

n eu rot ic a n d ra pid days , have lit t le t ime to

th in k . A l l who a re pa ss in g or h ave a lreadypa s sed in to the sere a n d yellow lea f of age willbe able to fu rn ish m a n y in s ta nces o f the

u lt im a te depres s ion of a subject ca used byover - pra isin g it a t the ou tset . N o am oun t

o f s hou t in g from the housetops ca n bols ter upa wea k ca use for a n y len gth of t im e. In the

lon g run m os t th in gs in th is wor ld find, likewa ter , their own , a n d their proper level .Fa r be it from m e to seek to deprecia te in

a n y way the rea l a n d t rue m erits of M is sHa ll ’s playin g, wh ich un ques t ion a bly ex is t .

M is s Ha ll , a s the la tes t vict im o f the cra ze of

wh ich I am writ in g, an d wh ich I depreca tevery s incerely , is , so to speak , a very con

ven ien t peg upon wh ich to h an g m y a rgum en ts .

The fa u lt is n o t M is s Ha l l ’s.It is th a t of

those who un du ly a n d too rapidly rushed herin to a pos it ion wh ich it appea rs to m e she ca n

on ly con t in ue to occupy by a lm os t superhum a n

effort . In recen t yea rs n o new com er ha s

m et with such qu ick recogn it ion . W henPaderewski, la ter a grea t lion , fi rs t played inSt . jam es

’

s Ha ll , he played to a begga r ly row

Of em pty ben ches , there bein g , I have beentold , les s tha n on e h un dred a n d fifty people inthe ha ll . W hen M is s M a r ie Ha l l firs t

appea red there wa s ha rdly s ta n din g room in

the s am e ha l l . N ow, ca n didly , is M is s Ha l l ,on the very th resho ld of her ca reer— a lon ga nd prosperous on e, I hope in a l l s inceritya grea ter a rt is t tha n Paderewski ? If n ot ,

why th is differen ce ? W hy n ow a re m ore

pres s a ppl ica t ion s on ly for sea ts received forher con cer ts tha n the on e h un dred a n d fiftya foresa id curious fo lk who wen t ou t to greetPaderewski twelve or th irteen yea rs ago ?

I m ea n tha t n ow the press wou ld , a n theycou ld , occupy one hun dred a n d fifty sea ts

,

wherea s when Pa derewski cam e on e hu n dreda n d fifty covered a l l - com ers . Is the difficu l tya rea l on e ? I th in k n ot . In judicious boomin g ha s been the m ea n s of ru in in g m a n y a

prom is in g ca reer , wh ile it ha s never on ce in

h is tory placed a n a r tis t on h is r ig h t pedes ta l .Tim e a lon e ca n do tha t . He or she who

succeeds in a public ca reer ca n s ucceed on lyth rough tea rs a n d t r ibu la t ion , th rough ha rdwork, work , work— for rea l s uccess , the s ucces swh ich en dures I m ea n , n ot tha t wh ich com es

with the su n - rise a n d goes ou t with the sun

set , com es from with in , a n d there is n o roya lroad to it ; the gen ius a n d the “m ugwum p ”

have to tread the same pa th , b ut of course n o ta t the sam e pace. If th is be gen era lly conceded, a n d I ca n n o t see how it ca n be den ied ,

— is it n ot ten th ousa n d pit ies tha t so m uch

over - boom in g , over in fla t ion — for tha t is wha t

it am oun t s to —shou ld occur amcn g so m a n yof our cr itics who certa in ly shou ld kn owbet ter .

As I sa id , M iss Ha ll , who is a very cleverviolin is t , is m erely a peg . There a re others ,

a n d others of fa r riper yea rs , who , too , a re the

vict im s of th is cra z e for over - boom in g . Tha t

a ffa ir kn own a s the Br it ish M us ic Fes t iva l ,wh ich I rejoice to hea r ha s been pos tpon ed , o fwhich I wrote ra ther sava gely a m on th o r

two ago, is a n other ex am ple. Vie, who a re

in teres ted , a l l kn ow our Sta n fords a n d Pa rrys ,our M acken zies a n d Cowen s , a n d if the

boom in g goes on , we a re likely to kn ow too

m uch of ou r Elga r . A t im ewil l com e, I have

n o doubt , when ou r Gra in gers a n d Cyr ilScott s , ou r Cecil Forsyths a nd V a ugha nVVil l iam s

’

s wil l “en joy the boom . PleaseHea ven it will n o t be yet or good - bye for

a n o ther cen t ury to rea l a rt is tic progress inBritis h m us ic. M is s Ma rie Ha l l a nd the

youn g m en , a l l gen u inely in spired by the

serious n es s , the sacredn es s , of their ca ll in g ,

will be ten thousa n d t im es bet ter for figh t in gtheir own ba t t les , for m a kin g the rough placesin their lives sm oo th for them selves . Since

t im e wa s , the gia n ts in the ea rth h ave becom e

gia n ts on ly th rough toil a nd trouble, th roughprodigies of ha rd work . Bu t t hey have don ethe ha rd work them selves . I pin m y fa ith to

the youn g gen era t ion I have n am ed beca useon e a nd a l l a re in t en sely ha rd workers , a n dthough they a re a l l gen u in ely hum a n , I rea llyth in k n ot on e wou ld be spoilt or tu rn ed on e

inch from the pa th he h a s m a pped ou t for

h im sel f by a l l the boom in g of a l l the cr itics .

Bu t th is is a happy acciden t , a n d in n o

sen se relea ses the cr it ics from their respon s ib il it ies to hold their ha n ds , to encourage bya l l fa ir m ea n s , bu t n ot so to overpra ise tha t

the subjects of the o ften fulsom e a du la t ionbecom e m ega lom a n iac"Alrea dy the Da ily Teleg raph h a s sou n ded

the n o te of wa rn in g .

“M is s Ha l l ’s effo r ts

were received with a ppla use so dem on s tra tive

a n d a l together of such a specia l cha racter tha ton e m ig h t con s ider it pou red for th in ex cess ,

for wh a t will her en thus ia s t ic adm irers do

when , a s yea rs go on , she becom es a riper a n d

a grea ter a rt is t th a n she is a t presen tThey will h ave n o fu r ther t ribu tes to lay a t

her feet , a n d may become unpleasan t ly conscious

tha t a tfi rst they ra ther ot 'erdia’

the thing .

”

To m y m in d these be words of wisdom ,

wh ich in a sen sewere bu rn t in to m y though t s .

THE STRAD

( secon d violin ) , Mr . Lionel Tert is (viola ) , an dMr . Herbert W ithers (V ioloncel lo) . The

qua rtet will give its firs t con cert in April .Profes sor Hes s has recen t ly been concert

tourin g with succes s in Hollan d an dGerm an y .

s s Ivv Sr . AUBYN An cove,

'

Wesselyex h ibit ion er a t the Roya l Academ y of M us ic,h ad a very good s ucces s a t the term in a lconcert of the R . A. M . pupils jus t beforeCh ris tm as . The Times speaks of her ex ecu tiveskill a s very grea t , an d adds th a t she per

form ed the acroba t ics of Pag an in i’

s concerto

w ith rem a rkable ea se, wh ile the Standa rd,Sunday Times , an d Da ily Teleg raph a l l spoke interm s of very wa rm pra ise of the real ex cellenceo f M is s An gove

’

s perform an ce, thefirs t - n am edof the las t group recom m en din g a l l a nd

s un dry to keep a wa tch fu l eye on M is sAn gove in the future, for m uch is prom ised.

The a us tere cr it ic of the Da ily N ews says ,I sha ll n ot be s urpr ised if in a yea r or two ,M is s Angove is on the th resho ld of a verybrillian t ca reer a s a solo viol in is t . I tru s t

s he m ay be.

The progress of educa t ion is a s ' rem a rka b le

a s theeffor t s m ade to increa se it . I ha ve, lyin gbefore m e a t th is m om en t , a lon g accoun t of

a m os t in teres t in g lecture by the Rev . H . P .

Jam es on Stradiva r i (sic) a workin g m a n .

”

The lecture was delivered a t Bury, in La n

cas h ire, to a n a udience of workin g m en , an d

m us ica l illus t ra t ion s were supplied by, am on go thers , M r . Perciva l Hodgson , who playedE lg a r

’

s Sa lu t d’

Am ou r a n d a n Air va rié ,"

o

by V ieux tem ps , a n d, s ays the pa per , “displayed con s iderable ex ecu t ive abil ity .

”

F rom the Corh Ex am iner I cu l l the followin gpa ragraph s apropos of a concer t given by the

Cork Chora l U n ion in Decem ber An in

s t rum en ta i t r io , (a ) An dan te ca n tabile con

va riaz ion i ; (b) Allegro con brio (from Th irdTrio) (Beethoven ) , perform ed by Madam e

G ros s i, Sign or G ros s i and Mr . A . Pa lm er ,followed , in wh ich these wel l - kn own a nd

ta len ted perform ers won deserved dis t in ct ion .

The a l leg ro pa rt icu la rly was h igh ly appreci

a ted , a n d the players were reca l led . And

M r . A . Pa lm er’

s V ioloncello playin g h a sfrequen t ly ca lled for pra ise. He is a n accom

plished in s t rum en ta lis t , whose ex ecu t ion a nd

ton e a re ex cellen t . He is effect ive withou t

being showy . In (a )‘Can t ilen e '

(Golterm an n ) , (b) ‘Dan se M agya r ’

(Squ ire) , wh ichhe played on F r iday he rou sed the a udienceto en th us iasm . An im pera t ive reca ll n oces s it a ted h is playing a Gavot te Hum oresque bythe la t ter com poser . Th is , too , wa s warm lya ppla uded .

At the Tem peran ce Ha ll , Derby , M r .

HAROLD HEN RY’

S Orches tra l Society gave a

pre- Ch r is tm a s con cert . F rom an accoun t of

it from a loca l paper I quote the fo llow in gA very pret ty V a lse Caprice by M r . Hen ry

was pla yed eon a rnore by the ba n d, the com

poser con duct in g, a nd a m os t enjoyable perform an ce closed with a m us icia n ly ren derin gof W eber ’

s tun efu l over tu re to ‘Euryan the.

’

M r . Hen ry played as a solo a very beau t ifu lMedita t ion of h is own com pos ition , in wh ich

he displayed a ll the fin e qua lit ies as a solois tfor wh ich he ha s lon g been n o ted . Hewas wa rm ly en cored , an d respon ded with

d’

Am b ros io’

s Reverie.

M r . JOHN LAWSON seem s to be on e of the

bus ies t of m en , especia lly of violin player s ,for each m on th I receive a la rge bun dle of

program m es of concert s in wh ich he h as

played . F rom the presen t bun dle I n otice

th a t he h a s appear ed s in ce la s t I wrote a t O ld

Swa n , K in g’

s Hea th , St . George’

s Ha ll ,Liverpoo l ; Ru ncorn a nd Hope Ha l l , Liverpool . My con gra tu la tion s to h im . Of h is

Runcorn con cert a loca l paper s ays : M r .

Lawson scored the succes s of the even in gwith severa l finely ex ecu ted vio lin solos .

Apropos once m ore of m y ques t ion referredto a bove, a cor respon den t has sen t me the

followin g ex t ract from a let ter wr itten by a

n on - profess ion a l fr ien d . As m y correspon

den t says , comm en t is n eedlessHaveyou hea rd a vio lin is t n am ed Kreis ler

th is yea r ? He wa s pla yin g a t a concer t in

Dun dee a few weeks ago , a n d we though th im very good .

”

“I dares ay you wil l h ave hea rd Kubelikqu ite a n um ber of t im es . He ha s been heretwice the fi rs t t im e we liked h im very m uch ,

the secon d t im ewewere grea t ly disappoin ted,a n d we a re n ot a t a l l keen on h ea rin g h ima g a in .

A "very fin e Schum an n prog ram m e wa s

presen ted on Ja n ua ry 1 7th , a t the concer t of

the Sou th P lace Society. It in cluded the

qua r tet in A , a n d the pian ofor te qu in tet inE fla t . M r . Plun ket Green e sa n g the wholeof the Dich ter liebe, a n d M is s Marga retW ild played the Ca rn ava l . The s t rin gqua rtet con s is ted of Mes srs . Joh n Sa un ders ,Ch ar les W oodhouse, E rn es t Yonge, a nd

Ch a r les Crabb .

Since the above n ote wa s writ ten on the

Hes s Quar tet I hea r tha t the ex cellen torga n is a t ion h a s been reapin g r ipe, freshla u rels a t , I th in k , W olverh am pton a n d

Chelten h am , an d is get t in g in to very fin e

form prior to appea r in g in Lon don .

F rom M r . J . F ra n cis Ba rn et t’

s report on

t he recen t com pet it ion s a t the Leeds Collegeo f Mus ic, I lea rn th a t brillia ncy of ex ecu

t ion in rapid pas sages was very rem a rkable

294 THE STRAD

in some of the ca n dida tes for the sewor cla ssviolin prizes . Prizes were won by M iss D .

G . Spoon er (Jun ior , bron ze meda l , rs t) , andMas ter G . MacMa n us (a nd) , wh ile M 1 ss C.

Robin son wa s comm en ded . M iss M . M .

Tuff won the sen ior s ilver meda l, M iss M .

N eill takin g secon d prize. Cert ifica tes in the

s tringed in s t rumen t clas ses were won as

follows — For violin , Grade I .— Pass : M iss

Carter . Grade II.— Hon ours : M iss A .

Ma rgison . Pas s : Misses A . W orm a ld , E .

Hill , Mas ter J . W h itehead . Grade III .

Hon ours : Mas ter B . H . Bea n . Pass : M issesA . Wood ,

'

C. Robin son , Mess rs . D . Reason ,

M . Hersh feld, F . Wen tworth , N . Broadhead.

Grade IV .— Honours : M iss M . M . Tq

'

.

For V iolon cello, Grade II .— Pa s s : M iss D;

Middleton .

How Often we lea rn tha t a prophet is not

withou t hon our save in h is own coun try .

Yet it’

s tru th is n ot brough t home to us everyday a s in th is paragraph from the Violin Wor ld,a paper published in N ew York MissFrancis MacMil len , a n other America n gir l ,h as won dis t inct ion in Europe as a violin is t .She com pleted her s tudies in Germ an y, an d

appea red with s uccess in Ber lin . Las t weekshe m ade her début in Lon don , and scored a

dis t inct t rium ph . Severa l m an agers a re a fterher .

”Yet it is n ot m an y mon th s s ince a

young vio lin is t of precisely s im ila r n am es

Ch ris t ian and surn am e— crea ted a very fineim press ion in Lon don , and I recollect writ in gvery en th us ias t ica l ly in these colum n s abouthint . Yet a ll the wh ile he

”was appa ren t ly

a she”

Mis s MAUD POWELL is off to America— byn ow is there, I th in k— for a lon g tour .

F rom the Chesh ire Da ily Echo of a recen t

da te I lea rn th a t Mr . W ALTER HAMPSON hasheld a s tuden t s ’

concer t with grea t success .“It wa s very plea s an t , says th is paper , “tosee youn g m us ician s en ter with s uch zea land spirit in to their work as these youn gpeople did, a nd one cou ld see th a t one of them ethods by wh ich the m as ter taugh t h ispupils was kin dness . Every litt le fiddlerwho sa t ben ea th the bi ton seemed fil led withan x iety to please the con ductor .

”Bravo.

These be grea t words . Am on g the lon g lis tof perform ers— fa r too lon g to reproducehere— wa s M r . Ham pson

’

s da ugh ter , a

s tuden t a t the Roya l Ma nches ter Col lege OfMus ic, who scored a veritable t rium ph .

Aga in bravo— and to a l l concern ed .

GAMBA.

Ta s Bos ton Symphon y Orches tra is playin g a newsym phon y in D m in or by Ern s t Doh n a ny i . theHun ga r ia n pia n is t . The work shows a keen sen se

o f in s trumen t a l va lues , a nd the orches tra tion is fu l lof fine effects .

COLLEGE OF V IOLIN IS'

IS .

Ta s ex am in a tion s have n ow been in ful l swin g since

the rs t of December . and. takin g the average playin g ,

there is an im provemen t . A t the ex am in a tion s in

London on Dec. 8 th , held a t theBirkbeck In s ti tu t ion ,

there were severa l can dida tes who showed rem a rkableprom ise, especia l ly th ose for the de ees Of Associa te

or Licen t ia te. The playin g tes t for th these deg rees

is in n o way easy , an d is not lessened by the ordea l ofper form in g before such a r tis ts a s Prof . W ilhelmj,Chev. Ernes t DeM n nck , Messrs . J . Jacques Haakm an ,

Gordon Tan n er , Leon ard Fowles a nd Basil Al th aus .

bes ides a n umerous a udience o f lovers of the viol in .

wh o always con g rega te and take a l ively in teres t inthe proceedin gs . M a n y , it was n o t icea b le to rem a rk .rem a ined in their sea ts the wh o le of theday . We un

ders ta nd tha t so n umerous were the appl ica tion s tha t

a second London ex am . is to ta ke place ea r ly inFebrua ry .

There is one pa r ticula r in which these ex am in a tion sstan d apar t from a l l others . and th a t is . th a t violinplayers are ex am ined by viol in is t s , and there n o doubtex is ts a sym pa th y between ex ami ner and candida te,

wh ich was

Ai la in ly shown on this occa sion by the

fr iendly an cour teous a t t itude of each individua l

ex am iner to the n um erous ca ndida tes who presen tedthem selves . The grea tes t pa tien ce was shown , especi

a l ly to those who sufl'

ered wi th ex t reme nervousness .

The few kindly words g iven rea ssured them , a nd

en abled them to do bet ter jus tice to them selves .

An other item of im por ta nce is the fact th a t , wi thoutex cept ion , a ll the ca ndida tes

’

vio l in s a re tuned for

them by on e of the ex am iners , and an y deter iora tion

of

(pitch dur in g the exam in a tion is immedia tely recti

fie Of fa ilures of course therewere severa l— some

ca used by in sufi cren t prepa ra tion , others by a n over

es t ima ted ambi t ion in a t tem ptin g too h igh a degree,

and some sheer n ervousness .

Such an ex am in a tion as th is is o f vas t use and im

por ta nce to the s tuden t , for the m a rks ' ca rd—o i which

a copy is a lways obta in able— sh ows a l l the defects and

sh or tcom in gs , or otherwise, as the ca se ma y be . For

in s ta nce, in order to en able a candida te to pass in theSen ior division , it is n ec to obta in

75ma rks ou t

of a pom ib le 1 0 0 . wh ich a re'

vided as ol lows — For

the actual perform a nce of thechosen so le, 1 : m a rksfor ex ercise playin g , 1 2 sca le pla yin g , 1 5 ; sigh t

readin g , 1 0 ; bowin g , 5 in ton a tion , 5 ; s tyle a nd tone,

6 ; a nd paper work , t o . For the in termedia te grade

kn own as Gradua te z— Solo playin g , 1 5 ; exercise.

1 5 sca les . 1 5 ; bowin g , 6 ; in ton a tion ,6 sigh t

readin g , 6 viva voce, 6 , wh ich includes question s on m us ica l n ota tion . t ime s ign a tures , a nd

the genera l rudim en ts of m us ic ; and s tyle a nd

tone, 6 . For th e Jun ior grade. of wh ich there

a re th ree progress ive s tages , the ma rks are awarded

th us — So lo , 1 5 ex ercise, 1 5 ; sca les , 1 5 ; bowin g . 8 ;

in ton a t ion . t o ; s tyle an d tone. 6 ; viva voce, 6 . Byth is method , the growth of a n y m an ner ism s , bad

bowin g . or defective in tona t ion , is a t once a r res ted.

a nd the ser ious can dida te, h avin g obtained un bias sedex per t opin ion , wi ll kn ow ex act ly how to act in the

con t in ua t ion of s tudy . M r . Bas i l Altha us , the

director , in formed us th a t it is a notewor th y factth a t the un successfu l candida tes in var iably try aga in .and in mos t cases wi th the des ired resu l t . He is ofopin ion tha t a word o f t imely advice to '

oung s tuden tsfrom an ou ts ide source is h igh ly ben e cial .

Th e n ew Syl labus , wh ich is n ow ready . con ta in s the

an n ouncemen t of Two Ex h ibition s , va lue 6 6s . pera n n um ,wh ich wi l l bepa id to thepro fessor of t e s ucces s

fu l ca ndrda teas paymen t or pa r t paymen t of a year ’

s

fees . These ex h 1b i tion s a re awarded to the succes s fu lca n dida te for the degree of Associa te who obtain s the

THE STRAD

h ighes t num ber of ma rks durin g each b i- a n n ua l ex

am in a tion . The firs t o f these ex h ibi tion s wi l l beawa rded a t the end of the Summer ex am in a t ion s . Al lex h ibi tion ho lders wil l be requ ired to pla y before on e

of the Board o f E x am iner s a t the end Of six m on th s ,

th a t the

ym ay judge a nd repor t on their proper pro

g ress . he age l im i t is twen ty - one yea r s . The ar

ra n gemen t a per ta in in g to these schola r sh ips is

ex ception a l , or the profes sor who h as so carefu l lyprepa red h is pupils need h ave n o fea r of los in g th em .

An other fea ture of the n ew edit ion of the Syl labusis the Teachers

'

Sect ion , wh ich provides for a specia lex am in a tion for teachers . The tes ts en umer a ted a re

th ose wh ich a n y ex perienced teacher wil l feel qua l ifiedto pas s withou t an y addi tion a l work . These specia ld

iplomas wil l be of g rea t a ssis tan ce to the la rge body

0 pion eers of viol in playin g .

The fol lowin g is the Pass Lis t to Ja n . 1 5 th

Ll CENTIATE .— Ch as . Ba iley , London ; Mar Dray

ton (hon ou rs ) , London Ka tie Hol loway , ndon ;

Dan iel M i l ler , Gla sgow Bern ard Rei ll ie, London .

ASSOCIATB .—Ma rguer l te Bamberg (h on ours Lon

don ; N ora Corbey (hon ours) , Lo ndon ; David uru s y ,G lasgow ; Fran k Far thin g , Sunder land ; Wa l terF ran cis . London Harry Ha r tley , Burn le Doro th yKers tin g . London ; Irene La ne (h on ours London ;

V iolet Lund. London : W . J . Ma tt hews , Br idgend ;M agg ie McLach la n . G las gow ; Edith Nor ton ,

Wa t

ford ; Den is O'

Su ll iva n , Dublin ; Haro ld Sco t t ,Burn ley ; Joh n Sm a r t (hon ours) , Glan w ; Ar th u rSquires , Lo ndon Win ifred Weekeley , St . Leon a rd

'

s

GRADUATE — DorothyAl th aus ( ’cello , hon ours ) London ; Jessie Beer , Edin bu rgh Vera Bil l in g , Plymou thWil l iam Bu tterwor th , Burn ley ; An n ie Cru iksh an k ,Edin burgh ; Rober t Dickson (hon ours) , G lasgow ;

{ph n Evan s , Swan sea ; Ger trude Foley ,

Worces ter

avid Golds ton , Glasgow : John Ha r ley , Fa lkirkA lice Ha r tr idge, London ; Eugen ie Ho l loway (honours ) , Bletch ley ; James Kea ne, Dubl in ; Leon ardLeeson , Dubl in ; T . E . Moo re, Hul l ; Con s ta nceN ewel l

, Wa t ford ; Thoma s O’

Too le, Dubl in ; M a udS tarkey , Wa t ford ; V ictor Suh r , Brigh ton ; Liz z ieThom pson (hon ours) , Burn ley ; Joseph Wil l iam s ,

Mer thyr .

Tm RD GRADE Ju n roR .— Ivy Abbot t , Br idgend ;

R ubyAbbo t t , Br idgend Ol iveBeddome, St . Leon a rdsAlber t Dickson (hon ours ) , G lasgow ; Doroth y Dola nd,

London ; E thel Ba tley , Wa t ford ; Will iam Francis ,Bridgend ; Hyam F reedm an , Bridgend ; E lea n orG ibbs , London ; M a rga ret Lloyd, Swa n sea ; PercyLowther , London ; Alex . McCa l l , G la sgow ; Joh nMcCa l l , Glasgow ; Ha zel McHinch (hon ours ) , London ; Ha rry Pr itch a rd , Ba r row- ia - Furn ess ; MadgeR hodes (honou rs ) , St . Leon a rds ; Joh n Rorison ,

B a rrow- ih - Fu rnes s ; Ma rjor ieShepherd , St . Leon a rds ;Wa l ter Sh u t t lewor th , Worces ter ; Lucy ' S teven s ,

London ; Rich ard Taylor , Ba r row- in - Furnes s ; Joh nWa tson , G lasgow ; Do t Wh itwor th (hon ours ) . St .

Leon a rds .

SECOND GRADE Jum on .— Fra n k Aria n . Mer thyr ;

Thom a s Braybon , Brigh ton ; G ladys Cas tlem a n ,

Bletch ley ; E rn es t Doble, Br idgend ; M a ry Down ie,

G la sgow ; Bern a rd Ever shed , Br igh ton ; Nel lie F ield ,

Worces ter Eva Godley (hon ou rs ) , Br igh ton ; BessieHa l l , Br is tol ; In nes Har g rea ves , Bletch ley ; M adgeIn n es , G l ow ; Herber t Isa acs , Br is to l ; M aryKeega n , Du l in ; Phyl lis Kidner ( 'cel lo , h on our s ) ,Hendon Stan ley Lyddon , Bris tol Am y McLern on ,

B letch ley ; Ha rry N icholson , Wa t ford ; Bar rs Pa r

t r idge (hon ours Worces ter ; Doug la s Pren t ice,

Bris tol ; Osca r Ober ts , Brigh ton ; M aud Roos , London N orm a n Sm ith (hon ours) , Br igh ton ; Gwendo lenWea therhead , Bletch ley ; Gbrdon Br idge,

Worces ter .

F IRST GRADE Jum on .— Bess ie Branwood (hon our s)

'

Bletch ley ; Ha rold Brodie, Alex a ndr ia ; In ez Brown'

B letch ley ; Lawrence Cotter , Mer th yr ; Ka th leen deGa n n ius (h on ou rs Br idgend Edwa rd Godfrey , London ; Leon ard a n son , Lo ndon ; Ch ris tin e Ha rdy ,Lo ndon ; Francois Hol lowa y (hon ours ) , Bletch ley ;Herber t Holmes . Newton Abbo t ; Wil liam orda n ,

Glasgow ; Pa tr ick La ffer ty , G lasgow ; uz a n ne

Legig an (h onours ) . London ; Ma rcel la M aca n (honours ) , London Helen McFa r la ne (hon ours ) . Alex a ndr ia ; Ar th ur Morr is , Ba rrow - in - Furn ess ; Tom

Mor timer , Br is to l ; George Muir . G la sgow ; oh n

M urph y hon ours ) , Ba rrow - ln - Furn ess E rnes t P mer

(p

r

on oun Lon don Jam es Peters Alex a ndria : Grace

in g le, Alex andria ; Edward Qu i n , Gla sgow Edith

Ro l fe, Bletch ley ; Hen ry Rowe, Newton Abbo t ;Alex ander Sh a nd, Alex andria ; James Slowey , G lasgow ; Ka te Sween ie , Alex a ndria ; Gwladys Thom as ,

Swa n sea ; David Wa l ls hon ours) , Alex a ndria ;ea n n ie Wren . Fa lkirk ; ren a Yel ls (honours) ,endon Wil l iam Kn ox , G las gow.

Musie,Books , etc. . t’

n tesdedfor review, should beaddressed t

theEdi tor , 3 , Green Terrace, Rosebery Aven ue.London , E .C.

Mus ic The n umber s placed a fter the pieces 1n

dica te the deg ree of difficu l ty th us : ( 12, mea n s qu ite

elemen ta ry ; very ea sy ; easy ; fa ir ly ea sy ;modera te y difficu l t ; dimcu l ties ca n be over

come by a good .

ama teur ; difi cu l t : verydifi cu l t on ly for a r tis ts .

FROM MESSRS . AOGENER 8: Co .

M in nel ied for viol in a nd pia n o b J . L . Roecltel

TwelveCapr ices for two vio loncel losby A . F ran chomme .

Book I . con ta in s the firs t six . They a re eviden t ly intended for m as ter an d pupil , a s the firs t ’

cel lo pa r t isfa r more difficu l t th an the secon d. a lso the second

par t h as the firs t par t wri t ten over it . There is plen tyof in teres t in g s tudy to be found in them . F irs t

’

cel lo

(8 ) second (6)Ba l let A lbum , bein g a co l lection of dancemovemen ts

from theva rious opera s . ar ra n ged for vio lin a nd pia n oby F . Herm an n . V ol 1 . con ta in s Air de Ba l let

from Meyerbeer ’

s Rober t le Diable the Ba l let

m usic from Ross in i s Wil l iam Tel l , the Bolero

and Ta ra n tel la from Auber ’

s Masa n iel lo and the

Boh em ian Da nce from Meyerbeer ’

s Le Prophets .

”

A splendid book for home playin g . especia l ly wherem us 1cof the l ig h ter vein is prefer red

SONGS wrm V IOLIN OBLIGATO .

From time to t ime we h ave m an y en quiries fot

good son gs wi th good viol in obl iga to . Thewel l - kn ownones , such as Brag a

’

s bea u ti fu l Serena ta an d Bach

Gounod Medi ta tiorr, wil l n o doubt rem a in fresh for m a n ylon g year s— b u t the wor ld is ever on thea ler t for someth in new , so it is wi th grea t plea su rewe recommend

the ol lowin g , a l l o f wh ich ca n be obta in ed , in th reekeys , of MEs s n s . GOULD AND Co . . 25 . Po la n d Street ,W .

— A Song of Ven ice, words by Ed . Ox en ford,

m usic by Ch as . H . Fogg , a deligh t fu l son g . The

Va les of Arklow, b Les l ie Stuar t . a son g o f so lem n

order . Dreamla n Voices , Those Memor ies Divine,TheHope of Yea r s , a l l th ree by th a t fa vourite com

poser , An gelo M a scheron i . Fa rewel l to Summer a nd

Memor ies of the Hea r t , by N oel Joh n son ; the obliga toto bo th these son gs ca n eith er be pla yed by viol in or’

cel lo . A l l the Wh i le, by Lovet t Kin g , is excwdi n g lych arm in g ; a nd TheFa i res t F lower , by F . W . Spar row ,

is a lso a n o ther gem .

296

TO ORCHESTRAL SOCIETIESSend/or deta iled l ists a] CARL VOLTI

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S PECIM ENS POST FRE E.“The Am a teu r Concer t ."

A Collection of Over tures , Opera t ic Selection s ,Movemen ts from Symphon ies . etc. , arranged as Solos.Duets , Trios . or uartets for Viol in , Pian o, andV iolin .

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Nos . Band and Piano , as . 6d. each ; Separa teParts .Plano, rs . ; Other Par ts . 6d. each .“The Hig h la nd Wreath .

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A Selection of the mos t admired Scotch Airs for theViolin , with Accompa n imen ts (ad lib . ) for Piano , andV iolin , V iola .

’

Cel lo , Flute. Cla rionet and Cornet . 48

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Pian o . 6d. ; Other Parts , 3d. each .

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Selection s from Oratorios , Masses , etc same arrangemen ts and dose as Ama teur Concer t ."

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A Selection of the mos t adm ired SacredAirs . 34 Numbers for same In str umen ts and prices as Hig h land.

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The success with wh ich advan ced Studen ts a re

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Au g u s t W l l h e lm j ,Hu go Her m a n n ,

Ho n s-y W lo n l a w s l rla re n ow or ha vebeen s tudyin g under Prof . SEVCIK .

By a n lm P l a l Ed lo t , issued by theAus tr ia nM in is ter for E uca tion on Ju ly rst . 1 90 3 , t hewh oleMet h od was recommended to a l l Schoo l s a nd

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R . 8cD . s’new 72 pageCa talogue o f High

Grade V iol in s ,’

Cel los , Ba sses , Fi t t in gs and

M usic, with usefu l H in ts on the Ca re of the

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for re iab le Mus ica l Goods in the U .K

RUSHWORTH 8: DREAPERW holsea le Reta i l , Man ufacturer s Importers .

13 ls ling tou LIVERPOOL

20 2 THE

SELECTED vnou n sow s .

HOW TO PLAY THEM .

BY BASIL ALTHAUS .

Author of“Advice to Pupils and Teachers of

the Violin .

Con tinuedfrom page 773 .

SECTION I . LETTER A .

ELEMENTARY .

VALSE , by Siegfried jacoby (Gou ld an d

Cc., as . is a n ex cellen t firs t piece. A

lit t le m ore difficu lt is the “Scherzo by the

same com poser (Gou ld a n dCc. , a s . t here

bein g m ore va r iety in the bowin g .

“Bluette,” by Gu ido Papin i , Op. 5 7

(Cha n ot , is one of the bes t ex am ples of

th is com poser ’s works for easy a n d m elodiouspieces .

An a lbum of “Six Sim ple Pieces , for

begin ners , by Therese Polon aski (Gould a n dCc. , I S. net ) , a re eviden t ly writ ten ex press lyfor ch ildren . The six pieces a re en t it ledNo. I , Melodie, a n An da n te in G , com

posed of m in im s a nd sem ibreves ; N o . 2 ,

Au Revoir , in F m ajor ; N o . 3 ,“Cha n t

V illageois ,” a llegro m odera to , in C m ajor ;N o. 4 , En dors - toi, a n da n te in G ; N o . 5Regret ,

”in F ; a nd N o . 6, In voca t ion ,

a pret ty wa ltz m ovem en t in D . Altogether an ice lit tle book of pieces for the juven ileperformer .

LETTER B .

(Easy , in i st posit ion )Petit A ir V a n e facile, by F . Aer ts

(Cra n z and Cc. , A m os t en couragin gpiece for the youn g s tuden t . A short In tro

duct ion leads to a very pleas a n t " Them e,"

followed by a var ia t ion in t riplets , a n d the

F in a le. The n otes l ie wel l un der the fin gers ,a n d t he bowin g is pla in a nd eas

Topsy,”Dan se N egre, by Guido Pa pin i

(Bosworth a nd Cc. , rs . 6d. n et ) . N ot on ly isth is a pret ty piece, bu t a lso a ffords a n Oppor

tun ity for the pract ise of the dot ted n ote,

sepa ra te bows . These dot ted n otes shou ld beplayed qu ite a t the poin t , a n d a lways short

a n d crisp . The ex press ion m a rks a re few ,

b u t of grea t im porta nce, es pecia l ly the accen tswh ich occur on the secon d bea t .“An da n te Religioso ,

” by Ch a rles Duret

(Cha n ot , It is seldom on e m eets with a

piece of such a pa thetic n a ture so easy of

ex ecut ion , tha t is to say , as re a rds t he actua lfin ger in g a n d bowin g ; the difficu lty of course

lies in the in terpreta tion , a nd it is such a

piece tha t helps the profes sor to fin d ou t the

m us ica l ca pabilit ies and in s t incts of h is pupil .

AND

STRAD

It is quite worthy the a tten t ion of the m ore

advanced player , an d makes a good solo withorga n accom pan im en t .

LETTER C.

(Easy ,using Ist and 3 rd positions . )

Da nce V illageoise (May Pole Dan ce) ,by AndreLa Ta rche (Ca ry , a s . net ) . As the

t it le im plies , th is piece is of the lively orderThe firs t fou r ba rs of violin part

SECTION II . LETTER D .

(Modera te, not ex ceeding the 3 rdposit ion . )Con cert in a , by L . a n za , Op. 54 (Cran z

a nd Cc. ,rs . 6d. n et

). othin g ca n be better

in the s tuden t ’s ea r y t ra in in g than com pos it ion s of th is kin d , especia l ly when writ ten so

ca refu lly, a nd with the eviden t pu rpose of

fur therin g their progres s . The th ree m ove

m en ts— Allegro m odera to in D, Roco adagioin F , a n d the Ron do in D— a re a l l m elodious ,a nd n ever once overs tep the boun ds of pla inbowing a nd fingerin g ; a l l tends to the en

la rgem en t of tone and s tyle, an d in everyway is ex tremely helpfu l . It ca n be h igh lyrecommen ded for s tuden ts ' concert s , a n d,m oreover , a n orches tra l accom pan imen t canbe obta in ed .

Schuber t ’s bea u tiful AveMa ria , a rran gedby R icha rd Hofm an n (Jul . Hen r . Zimmer

m a n n ) . Th is a rra n gemen t , wh ich is in D , is

a l l th a t ca n be des ired .

The th ird a nd fourth bar s a re better playedas m a rked in quota tion , an d n ot sepa ra tebows , a s in copy . The bowin g th roughou tm us t be ligh t .A ch a rm in g an d a r t is t ic Berceuse, by J .

Jacques Haakm a n n (Cha rles Woolhouse, 4s ) .As in al l th is com poser ’s works , the bowin ga nd fin gerin g is m os t ex plicit ly m a rked .

The Gay Toreador ,” a Bolero by A .

Ma u rice Volt i (John Blockley, Bri llia n t ,easy , melodious and effect ive des cribes th is

piece.

Pas sepied , by Moszkowski, arran ged byF ran z R ies (E . Ha tz field, A piece th a tis a genera l favourite.

Chan t d’

Am our ," by Wm . Back (Swa n

a n d Cc. , is a plea s in g melody, chieflycon fin ed to the G s trin g, an d m os t usefu l foracquir in g the use of the firs t and thirdpos it ion s .

THE STRAD

Moszkowski’s Sa rabande, a rra n ged byF ran z R ies (Ha tzfeld, a s . net ) . A piece tha trequires b readth of tone, the s low tempo

givin g plen ty of scope to display the player ’spowers in th is direction . It IS in every waysu itable for m us ic in church .

Brigh t an d lively i s the“Polish Dance, byR icha rd Hofma n n (Zimmerm an n , 3 s“) The

dotted n otes m us t be played very n ea t ly— n ot

too shor t , b ut jus t su fficien t res t between thedotted sem iquaver a nd the dem isem iquaver

th a t follows to m ake it brigh t and dis t inct .

LETTER E .

(As fa r as 5 ih position . )Capriccio, by C. Bohm (Boswor th a nd

Cc. , 45 Th is is more of a Moto perpetuo ,

the sem iquaver tr iplets ca rrying ou t the

m elody righ t th rough , as in firs t ba r

The arpeggios in the m ajor a revery effective,a nd if thewhole piece is ta ken a t a good speedone has a capita l lit t le solo, especia l ly suitablea s an encore piece.

’

Bourrée,” by Edgar Haddock (Schot t ,

O43 .

requ i res a s tron g bow a rm . In t he repeti tionof thefirs t s tra in we have :

Thes e chords m us t be played with a brigh ta nd swi ft s troke, grippi n g the s trin gs wellbefore a ttackin g them . More difficult a re thechords in the m in or :

wh ich m us t be trea ted in a l ike m an n er , a n d

played with repose.

The Mazur ,” by E . M lyn a rski (Boswor th

a nd Co . , 65 . is a well kn own solo, a n d ha s

deligh ted m an y thousa n ds of people— bothl is teners and players . It is a Splen did solo ,

a n d IS su ita ble for a l l classes of concert work.

There is n o occa s ion to ex ceed the th irdpos ition , an d the fin gerin g does n ot ca l l for

an y am oun t of techn ica l skill— thedifficuly liesi n the br illia ncy of ex ecu tion an d the qua litya nd qua n t ity of ton e requ ired .

LETTER F .

(Dificn lt as rega rds expression . )Amer ickan isches Stan dchen (M in s trel

Seren ade , by Maur ice

),

Arn o

ldOp. 3 2 (Breit

kopf a n Hartel , m akes one of thesweetes t lit tle solos poss ible.

The Son a ta i n A ,

” by N iels Gade, Op. 6

(Breitkopf a n d Ha rtel , 3 3 . n et . Th is is a

m os t i n teres t in g work for hot pian o a ndviolin . In the an dan te the fol lowin g con

t in uous passage occurs :

a nd ca re m us t be taken to pla y it equa lly an da t the same t ime

fian issimo. In a l l three

m ovemen ts grea t de icacy is requ ired .

An other well kn own solo is the Secon dMazu rka of W ien iawski, Kuyawiak

(Augen er , 1 8 . n et) , in wh ich the th ree and

four n ote chords take such a prom inen t pa rt .The gen era l fa u l t is to play them too quickly,a nd al so too h a rsh ly . The firs t two ba rs W111be sufiicien t to ex pla in

Do n ot comm en ce thesechords too n ea r the

heel of the bow . Place the bow wel l on the

s t rings a nd m ake a qu ick a nd decided s trokewith as m uch bow as you ca n com for tablym a n age. If too short a bow is used , the chordssoun d hard an ddry. The sem iquaver fol lowin gthe firs t chord shou ld be short an d dis tinct ,with very l it t le bow . In the “graziosom ovem en t it is advisable to s lacken the t ime

a lit t le. The ha rm on ics a t theend, an d wh ich

m ake such a n effect ive fin ish , should n ot be

hurried un t il the ch rom a t ic sca le, and the las tchord is bet ter played pizzica to.

SECTION III. LETTER G .

(Using a l l positions . )Bohém ien n e, by Hen ri V ieu x tem ps , Op.

40 . On e of the solos by th is celebra ted composer t ha t ha s n ot been played to dea th . As

a solo it ca n wel l be recomm en ded . In the

open in g Len to in D m in or there is everyopportun ity to displa y good tone a nd ex press ion , an d the pres to wh ich follows th u s

THE STRAD

supplies the bril lian t elemen t n ecessa ry for a

concert solo .

Sa uda de (La rme d’

am our by GuidoPapin i, Op. 40 (Cha n ot , m a es a bea ut ifu l drawin g room piece. The pla in t ivem elody appea ls to the emot ion a l player , a ndthe workin g up to the gra n d clim a x , wh ich

occurs some s ix teen ba rs before the end of the

piece, is very fine. W ith study and propera t ten t ion to theex cellen t fin gerin g an dph ras in ggiven , the player ca n coun t on th is as one of

h is m os t effect ive solos .

Ta ren telle,” by N . W . Ga lkin (Zimmer

m an n , a brillia n t piece wh ich requ iresthe sprin g bow”

for a ll the s tacca to pa ssages .

The m os t difficult pa rt is towa rds the end

4 1 4 a 1 t e i am ,

n wh ich it is n ecessa ry to keep in the seven thpos it ion , and the sim ilar passage wh ich com

m ences on the h igh C, in the n in th position .

Les Fileuses ,” by Jeno Hubay, is one of

those deligh t fu l fa n tas tic pieces so well knownto th is com poser ; the Hun garian elemen t isn ot so preva len t as in m os t of h is other works .

The firs t difficu lty tha t presen ts itself is thebowin g, which m us t be the sprin g bow

(sa utillé) th roughou t the firs t pa rt , and the

m elody wel l brough t out , as in dica ted withthe accen ts , thus

In the An da n te movem en t in G m inor ,grea t a t ten t ion m us t begiven to thecrescen dosas in secon d ba r , th us

There is a good dea l of repetit ion of th isph rase, a nd un less the ex press ion is of a nem ot ton a l kin d , it is apt to et m on oton ous .“An da n te Rom a n tico ,

” iy Guido Papin i,Op. 90 (Cha n ot a nd Son s , is a fin e solo ,a n d on ly wa n ts to be kn own to be adm ired .

It i s free in s tyle, a n d some of the pa ssages ,espea a lly those in octaves , will require ca refu l

study. It is of a drama tic cha racter a nd

requ ires a player who has comm an d of a goodtone, and is possessed of tha t a r t is t ic feelin gtha t alon e ca n give th is compos ition a j us tin terpreta tion .

LETTER H .

Six Concert Pieces by Ferdin a n d David(Breitkopf an d Haertel , 5 3 . net ) . The s ix

pieces a re of a s im ila r type, b ut m ake a

splen did choice of rea l violin m usic. The

violin pa rt a lon e con ta in s fifty pa ges . N o . I ,

In troduction an d V a ria t ion s , Op. 6, on the

wel l known Russ ian m elody :

with four va ria tion s . N o. 2 , a lso In troductionand V a ria tion s , Op. I I , is foun ded on t he

a re bes t played n ea r the heel of the bow,

m akin g th is ex pres s ion fa l l on the firs t of eachth ree n otes as m a rkedIn the pa rt commencin g

a nd has five varia t ion s .

The third on e, Op. 1 5 , with a s im ila r tit le,differs very lit t le from the firs t two, with t heex cept ion of the melody, an d perhaps as concert solos they a re ra ther out of da te. I shou ldra ther recommen d them for acqu irin g freedomof style, for in th is pa rt icu la r they a re firs tra te, these th reen um bers , with their varia t ion s ,con ta in in g nea r ly every var iety of bowin g,together with the gracefu l a nd ex plicit fin gerin g so celebra ted in the school of Ferdin a n dDavid .

N o . 4, the An dan te an d Scherz oCapriccioso, Op. 1 6, wi ll ever be fresh a ndaccepta ble to the solois t , a nd is the bes tkn own of th is com poser’s work . In t heScherzo the octaves

THE STRAD

t he sem iquavers m ust be played very ligh tly,a nd a t the same time the ton e in the m elodym us t be good and roun d . DO n ot let the

sem iquavers , wh ich form par t of the accom

pen imen t , be too prom inen t .In the pa rt

the five s tacca to n otes shou ld be playedricochet .

The chroma tic descen din g sca le from theh igh E

'

can be fin gered with the fourthfi n ger as fa r a s the D , th ird pos ition .

NO. 5 , Concert Va ria tion s , Op. 1 8, an d NO.

6 , In troduction and Va ria tion s , are of the

s ame type as those a lrea dy men t ioned , anda re ex cel len t .

LETTER I .

(For Virtuosi .)Concerto , by Char les Lipin ski, Op. 2 1

(Breitkopf a nd Hartel , rs . 6d. net) . Th isconcerto is kn own as the M il ita ry. Thoughra rely hea rd in the concert - room n ow- a - days ,it is an in teres t in g work a nd ex cellen t s tudy,especia l ly for adva nced tech n ica l difficu lt ies ,s uch as double h a rm on ics . In th is editiona ll n ecessa ry fin gerin gs a re pla iu l m a rked .

The Th ird Concer to O Bern ha rdMolique, in D m in or , Op. 1 0 (Breitkopf a ndHar tel, rs . 6d. n et) . The presen t edi t ion has

been edited by Hen r i Petri, and leavesn oth in g un ex pla ined as rega rds the ph ras in g .

It is a fin ework, an dwell worth thea tten t ion

Of a ll a r tis ts . It will be remem ered tha t thecom poser was the m a s ter Of the la te J . T.

Ca rrodus . F rom a tech n ica l poin t Of viewit is n o t so difficu lt . Its pu rity of con s truct ioncomm an ds the fin es t in s tincts of players .

To be con tinued.)

J OSEPH GUARNERIUS, HIS WORK

AND HIS MASTER.

Bv HORACE PETHERICK.

Con tinued from page

ALTHOUGH the efl'

ects obta in ed by th is m ethodon m an y of the violin s of Giuseppe Gua rneri

were so strikin g, it was not h is inva ria blerule to use th e a lmos t colourless un dercoa tor prim in g , over h is rich ly figured sycam ore ;

a t times the first coa t in g was a degreewa rmer , or more a

pproach in g an oran ge tin t ,

t han a t others: T is may have been a lm os t

20 5 ,

acciden tal , or don e with some amoun t Of ih

difference as to the precise heigh ten in g of thecolour . Act in g on the spur of them omen t ,

”

or the hum our occa sioned by the surroun din gcircums tances , seem to havebeen so Often a ttendan t upon Giuseppe’

s work as to a lmos t appea ras h is regular habit . The part of h is ca reer nowun der con s idera tion wou ld— withou t doubtshow further and s tron g evidence of this , D a t

a n y time a few m ore specimen s came to ligh ttha t ma n y a re s till ex is tin g an d likely to comeu nder in spection a t an y m om en t , has beenproved over a n d over aga in by in s ta nces of

other makers of the t im e.

There is n o pa rt icu la r da te wh ich ca n be,with any degree of certa in ty, or even grea tprobab il t ty, poin ted to a s the m omen t of

Giuseppe’

s depa rture from wha t we may cal l

h is ea r ly m iddle period in to tha t in which

there is sca rcely a t race Of the in fluence of

h is teacher , Gisa lbert i.

Tha t it was a ra ther ra pid t ra n s ition , a ndn ot a very s low developmen t , we ma y rea son

a b l conclude from the several , if n ot ma n y,difeen t cha n ges in the trea tmen t of m in or

deta ils during the progress Of con s truction .

Our a tten ti on is firs t ly drawn to the absencein h is ea r lies t work of the peg a t each end of

the back. The m akers whose habit it was toin sert th is , appear to have m os t ly, if n ot

always , in serted them in the fron t a s well , butin th is pos it ion they are not ea s ily discerned,m a n y havin g been cu t th rough or wit hdrawn

by repa irers , an d the holes filled up.

F rom al l tha t ca n be lea rn t upon ex am ine -z

tion of a very la rge n um ber Of Ital ia n in s trumen ts , includin g the th ree s izes , as to its

purpose, it was in serted for holdin g each ta blein pos ition wh ile some fin ishin g touches werepu t , especia l ly roun d the edges . Tha t m a n ym akers of em in en ce did n ot use th is litt le pegfor s teadyin g m a tters durin g the progres s ion ofthe work, is neither for or aga in s t the appropria teness or a dvan ta ge of its use.

Gisa lberti does n ot seem to have beenfavourably disposed towards its use, tha t is onthe back. Repa irers a nd dea lers have, however , in some 1n s tances , n oticed the a bsence,a nd kn owing fu l l well tha t the grea t Iawgiver ,Stradiva ri , was in the habit of in ser tin g twoin the pos ition , have with m os t dut ifu l in tent ion suppl ied the deficiency.

The in sert ion of the peg by Giuseppe seem sto have become a r u la r ha bit from th is t ime,as in h is la tes t wor in good preserva tion itis seen . It m ay he rem a rked, however , tha tdifferen t to wha t m igh t have been ex pected Ofa m aker of such bold in dividua lity , it is n ot

large, but un der the average siz e Of those

in serted by other makers , and so m ana ged as

THE STRAD

regards colou r a nd nea tn ess of its . set tin g a s

n ot to draw a t ten tion .

The nex t is the m a n ner of afi x in g the s idelin in gs , a lready n oticed in deta il ; the use of

va rn ish of deeper or s tron ger hue than wash itherto h is cus tom and tha t of h is teacher ,a nd the m an ipu la t in g or afli x in g it in such

m a n ner as wou ld en hance the gen era l efl'

ect .

M i rther the va ria t ion or uncerta in ty in the

modellin g with its m a ny subt le curves ; m uch

ca re is taken to avoid m ore tha n a verym odera te rise, in fact , durin g the whole of hisw eer , Giuseppe Gua rneri wa s n ot inclined toa n y sort of fu ll m odelling . If h is fa ncy occas ion a l ly wa s for a s ligh t ly deeper cha n n ellin g,with more em pha t ic rise inwardly , the cen traleleva tion was low an d comin g qu ite . with in

the term , a s gen era lly un derstood, fla t model .The des ign s of the soundholes begin to show

sign s of som e outwa rd in fluen ce from wha t wa sgoin g on aroun d . In the very ear ly periodthey were uprigh t , with a fu ln ess of the lowerportion , an dwith such cha racter as m igh t haves truck cri tics of the t ime— of which there wa s

probably a plen tifu l supply a lways a t han da s bein g of a differen t cas te to the usua lCrem onese school , with its clea r in dica tion s ofAma ti origin , an d in wh ich there was som e

subst ra tum of truth .

Coupled with the inclin a tion s of the upperpa rt toward the cen tra l lin eof the ta ble, thereis perceptible a des ire for better proport ion ,

the lower win gs a re very s ligh t ly hollowed .

In th is par ticula r Giuseppe was s trict in h is

habit , so m uch so, tha t it is very doubtfu lwhether he ever cut any soun dholes with an

em pha t ic hol lowin g when it is presen t , closescru t in y ma be rewa rded by the discoverytha t thewor ha s been un der revis ion by somem odern wou ld - be improver havin g the idea of

makin g it m ore com plete.

Yet an other deta il in which some a ltera t ionis m ade, a l though bu t a t rifle in itself, m ay be

n oticed, tha t of the junction of the ribs a t thecorners as seen outs ide, wh ich is less sharpa nd more in un ison with the work done bythe con tem poran eous liuta ros of the place.

It ha s been n oted previous ly tha t Gisa lbert i’s fa ncy was for a com pa ra tively sha rpan gle a t th is pa rt , in the m an ner of Loren zoGuadagn in i, and other m akers of lesserren own .

In n on e of Giuseppe Gua rn er i 5 work, ea rlyor la te, is th is t rea tmen t followed ou t with

ex actitude. H is des ire to work on a differen tsys tem was shown a t once when leavin g h isteacher .

At n o time does th is pa rt appea r to have beenfinely fin ished or squa red OH with mechan ica lnea tnes s . jus t en ough of th is for gen era l

effect was wha t he seems to have been pleasedto act up to as a ru le. The m iddle rib , a fter

bein g fix ed in pos ition , has each end, on the

in ner s ide, shaved ofl'

, con tin uing the ex tern a lhollow of the corn er block to the ex treme

corner , or poin t . The fu l l thickn ess of the

lower a nd upper ribs is reta in ed al l a lon g ,a n d when pressed in to pos ition— the lengthbein g sufficien t to a llow of some projecti onbeyon d the m iddle rib— it is a fterwa rds pa reddown ; th is m akes , if well don e, a n in vis iblejunction . There wa s n oth in g new in th is , it

bein g the comm on pract ice of the Ama t i

school general ly .

His old m an n er of securing the n eck to th e

body of the violin does n ot appea r to have

been a ltered . Al l those tha t havecome un derm y n ot ice in sufficien t ly origin al con dition ,

have been t rea ted in the sam eway, thus , the

upper ribs have been m ade of one piece cont in uous a ll roun d, and before clos in g up the

violin fin a lly, a fla t hea ded n a il ha s beendriven th rough the block in to the lower port ion , or root of the n eck .

Durin g th is period there is n o specia l orradical cha n ge in the trea tmen t of the scrol l,boldn es s is a qua lity presen t from firs t to las t .

Notwiths tan din g the fact of the in fluence of

Gisa lberti bein g presen t for the whole of thefirs t ha lf of the workin g ca reer of GiuseppeGuarneri , there is the s tam p of in dividua lityof though t and desire for progress .

The firs t turn , or the ear , as it is termed,a t a l l times invariably commences h igh up, an d

is wel l and open ly gouged . The back downto the shell difl

'

ers , some bein g broader tha nothers , a l l bein g somewha t rough ly hewn ou t

a n d the m ajority shal low. The‘

width is

s ligh t ly grea ter as the lower pa rt is reached ;th is is so with the scroll of M r . Kirkhope

’

s

Joseph Gua rn erius , il lus tra ted herewith .

The foregoin g a ltera tion s , m odifica t ion s , orim provemen ts a s they m ay appea r to the

s tuden t of Giuseppe’

s work, a lthough , perhaps ,not the though t of a day or week, seem to

in dica te tha t therewa s someouts ide in fluence,a nd tha t they were n ot from in tu it ion or the

ou tcome of in dividua l though t and effort a t

im provem en t .There was n o reason appa ren t to us why

Giuseppe Gua rn eri, after lea vin g Gisal bert i’

s

s tudio for on e of h is own , shou ld n ot have

con tin ued— as la rge n umbers of other l iuta rosdid before and a fter h im— towork on the same

lines as h is form er mas ter , with con ten tmen t

and a s m uch u se a s circums tances al lowed .

Assum in g there is good groun d for the suppos it ion of outs ide in fluence, we wil l looka roun d for a possible, or con s is ten t source.

We have n o kn owledge wha tever of the

THE STRAD

ex act spot in Crem on a where the youn g A COMPLETE COURSE OF INSTRUCl iu ta ro, Giu seppe Gua rneri, or a s h is la t in izedn am e on h is t ickets run s , Joseph Gua rner ius ,firs t com menced bus in ess as a m as ter . It

is with in possibility tha t when Gisa lberti leftCrem on a for Pa rm a— he wa s wo rkin g therein 1 71 6

— h is youn g pupil a nd follower m ayhave con tin ued the bus in ess with the same

s tyle of work .

If th is was rea lly the case, he m ay have

con t in ued workin g in dust rious ly a t m a n ydes ign s wh ich a re los t to us th rough the

acciden ts of usage a nd other ca uses .

The pos it ion of “the hou se of Gua rn eri ,wh ich m ay be ass umed wa s th a t of the

grea t Joseph ,”is well kn own to people of

the presen t day ; it formed a port ion of the

block of houses in wh ich were in cludedthose of the Stradiva ris , Bergon z is , Ruggieris ,a nd the Am a t is . It was n ea rly a t the corner ,a nd in a lin e with the firs t two . josephGua rn erius , a s we cal l h im n ow , wa s , in the

la tter ha lf of h is workin g ca reer , in the hea rt

of the cen tre of violin m akin g of Crem on a ,

a nd wh ich had by tha t tim e been es ta blishedfor over a cen tury .

I th in k it will be readily gran ted tha t thereis very litt le likelihood of the youn gGiuseppeGua rneri open in g n ew prem ises and com

m encin g busines s a t such a spot a t once a fterh is sepa ra tion from Gisa lbert i . A ve boldproceedin g , such a s cou ld on ly be equ led bya youn g m an of the presen t day imm edia telya fter the term in a t ion of h is appren t iceship insome ou ter por tion of Lon don , s ta rt in g on h isown accoun t with in a door or two of one of

the la rges t a n d oldes t es ta blished firm s in the

hea rt of the city . If we concede to there

bein g some poss ibility a t the presen t for a

n ovice with plen ty of capita l a t h is back ,there was s till less in the times we a re ta lkin gof. On the other han d , if we s uppose the

l iu ta ro , Giuseppe Gua rn eri, to have beenworking for m an y years up to 1 720 -

30 , he

m ay have in dus trious ly accum ula ted capita len ough to en able h im to take a place a lon gs ide the dign itaries of h is cra ft , a nd be in

closer touch with the kin d of pa tron age hewa s en joyin g a n d am bit ious of ex ten din g .

Fa l lin g in with th is is an other hypothesisconcern in g h is workin g a t this spot .

To be con tinued.)

W 3 h ave lea sure in con gra tu la tin g M iss M . G .

Brookes olpDuckin field, a pupil of M r . Ha rry

Wh itfield. who h a s no t on ly ga i n ed the degree of

Associa te of the Col lege of V iol in is ts , b u t al so the

firs t pr ize a t the Blackpoo l Mus ica l Fes t ival V iol inCom pet ition . M r . Wh itfield is a clever a nd r is in gteach er , and we h ope to hear of h im and h is pupi lsa ga in .

TION IN VIOLONCELLO PLAYING .

BY ARTHUR Ba ox n n s v.

IN a pam ph let en titled Advice to the

Com posers a nd Performers of Vocal

Lon don , a tran s la t ion from the Ita lia n ,

appea rs the followin g An ex cellen t voice,fine t as te, a nd the power of s in gin g perfect lyin tune, wh ich is the efl

'

ect of a n ice ea r , a re

gifts wh ich n a ture bes tows bu t on few, an d

wh ich , if im proved a nd perfected by s tudy ,will render a l l the other qua l ities neces sa ry toform a fin ished s in ger compa ra tively eas y .

The principa l am on g thes e are, ex act time, a

dis tinct ex pres s ion of thewords , the power of

firm ly a nd s teadily sus tain in g the voice, a n d

the ca pacity of en terin g fu lly in to the spirita nd des ign of the com poser ; to which may bea dded the cha racterizin g, or em bell ish in g, thecom pos it ion with the appropria te graces , a n dsome others of less accoun t . If these n eces

sa ry qua lifica t ion s a re n ot ma naged wi th

judgm en t , without wh ich n either n a ture n or

a r t can be brought to perfection , the couse

quence wil l be, tha t our bes t performers wil lbe b ut in differen t , an d the in differen t , in tolerable. It is th is good judgmen t a lone tha t ca ndirect us to the bes t m an agemen t of the voice,a n d the due im provemen t of our tas te, so as

to give every son g with its own apprOpria techa racter— to be g ay or la ng u ish in g

“, spa rklin g

or severe, as the com pos ition requires . To

s in g in t ime a nd tune is , of course, indispen s

able ; it is the life an d soul of the a rt ; withou t these al l the embellishmen t in the wor ldis b ut wa s tin g the brea th in va in .

There are other im portan t parts of the

m a n agem en t of the voice ; such as bin din gtogether the n otes firm ly an d decidedly, oru t terin g them with lively a nd pecul iar dis tinctn ess (ex pressed by the Ita lian s in the term s

lega ra a nd staccan la both are gracesagreea ble in their way, though directlycon tra ryto each other , an d n oth in g bu t good judgmen tca n direct the s in ger how to use them proper lyan d appro pr ia tely ; in other words , accordin gto the true cha racter an d des ign of the com

position : the fin es t graces and ca dences a re

in them selves bu t noisy my?“(the nugaecanon :

of Horace) , un less em ployed in th is spiri t ,a nd accordin g to thes e ru les .

"

If we subs titu te theword ton e for voice,we h ave an ex cel len t trea t ise on the elemen tsof s tyle and ex pres s ion in in s t rumen ta l m us ic.

Let us al ter as follows : Ex act t ime, a

dis t inct en uncia tion of the phra ses , and the

power of sus tain in g where um a

of equal power added to this , we ve the

THE STRAD

a pla yer whowith ease seem s to use s ix inches

of bow for the quickes t note ; an d the fine

delica te techn ique of Popper , whose bow ha n dseem s sca rcely to m ove in such com pos it ion sas h is Elfen tan z, or Spin n lied. Choose

then the garmen t wh ich fits you , both in the

ma tter of techn ique, tem po, n ua nces , a nd

com pos it ion s . Do n ot s tudy a work if you

ca n n ot th row your whole sou l in to it , a nd

n u mber you can pu t your soul in to tech ique

if it is of the r igh t kind. L it i s too shor t ,and com petition too keen to study everyth in gwh ich is writ ten , even for the

’

cel lo . Try to

kn ow as ma n y works a s you can—either byhea rin g them , or playing th rough them a t

s ight ; but before you decide to was te a mon th ,or even a week, m practisin a work, decidewhether it is wor th your wh

'

e to was te your

time on it . Now- a - days the general publicare critics , an d they requ ire every effort to beon e

’

s bes t , and every work pla yed to be givena dis tinctive and origin a l reading .

(To be con tinued. )

THE VIOLIN .

PLAYING, AND

By W ILLIAM HENLEY .

PART II .

(Con tinuedfrom page

1 654 .

An dreas Freydig . Born 1 654 . Died 1 71 8 .

ived‘

a t W 1en .

1 656 .

Gervace Litt leton . Lived in Ox ford aboutth is period .

1 657.

GiuseppeTorelli. Born a t Bolog n a , 1 659.

Died a t An spach , 1 70 8 . He is un iversa l lyregarded a s the crea tor of theConcertoGrosso .

H1s m us ic is in va riably en gagin g a nd deligh tful from the firs t to the las t b a r .

Op. 8 . Concer to for two violin s an d pian o(Augen er) . Allegro m a n on Troppo

Adagio An dan te Allegro

Giova n n i Ba t t is ta Ba ssa n i. Born a t Padua ,1 657. Died a t Ferra ra , Supposed to

have been Corel l i’s teacher , bu t con s iderin ge da te of h is birth is la ter tha n h is surm ised

il lus trious pupil , the fact is m en t ioned withcertitude by the m ajor ity of biographers .

do n ot kn ow of an y of h is com pos it ion s , n orif he ever published a n y .

1 65 8 .

Hen ry Purcel l (com poser) . Born inLon don , 1 65 8 . Died in Lon don , on N ovem An ton io V iva ldi .

1 660 .

Born a t Ven ice, 1 660 .

ber a rs t , 1 695 . Orga n is t of W'

estm in s ter'

Abbey in 1 679. For St . Cecilia '

s Day, in

1 694, he com posed h is immorta l Te Deum

a nd “Jubila te.

”

Son a ta in G m inor (Sim rock) . Adagio56. Modera to Adag io

V ivace

Th is work is s im ple but equa l ly ex quisite.

It m ust have been written in on e frame of

m in d .

”For clea rness an d s im plicity of con

m uction , this son a ta is ex cellen t . It is a

temptin g work. The ama teur in sea rch of

old and in teres tin g works for violin and pian owi ll fin d th is on e one of the bes t ex am les .

Such a work, even if it does n ot a tta in a so

lu te perfection , is nevertheless roof of the

serious a im of the com poser . t is teem in gwith freshness an d cha rm in g melodicchan ges ,and it has qua lit ies wh ich ex cite the h0pe tha tit will n ot be con s idered un deservin g of a n

ever las tin g place in t he l ibra ry of al l m olin is tswho have a pa rtial i for old mus ic, an d more

pa rticu la r ly tha t of n g lish com posers .

Purcel l 's m u s ic does n ot reach such a h ighlevel as the son a tas of Bach a n d Ha n del , b u tit surpas ses the m us ic of any other com poserof h is or their day ; an d it splen didly il lust ra tes wha t a n En glish com poser cou ld do inthose a ncien t days . There ough t n ot to be thecon tem pt shown for En glish m usic as there

is , for I am con fiden t tha t fam ilia rity withsuch com position s as th is Son a ta in G m in or

cou ld n ever fos ter in sen sibil ity to its merits .

Th is fact ough t to be recogn ized.

Al l thewor ld ackn owledge th a t theEnglis ha re ga in in g groun d every

‘

day, a nd it is n ot

bein g self-opin ion a ted to a ssert tha t En glis hm us icia n s in ten d to a bso lutely oblitera te the

m is ta ken prejudice tha t they can n ot wr ite inspired m usic. Publishers of the class ica lworks of our n a t ive com posers are n ot on l ywan t ing , but a re becom in g in dispen sable, an dtheEn glish com position s will soon benecessa ryaddition s to the repertoire of a ll a rtis ts an d

virtuos i.

1 659 .

An ton io Veracin i. The above da te is on lya pprox im a te.

II he on ly in forma t ion to behadis tha t he res ided a t F lorence.

Op. 3 , Son a ta da Camera , in A m in or

(Augen erg. Edited by Jen sen . Modera tely

easy. T e origin a l was pub l ished in 1 696 .

By m a n y m us icia n s h is m us ic is pron ouncedto be superior to tha t of h is m ore celebra tedn ephew, F . M . Veracin i. GraveV ivace La rgo— J = 84. Vivace

THE STRAD

Died a t Ven ice, 1 743 . H is mus ic is wel lwrit ten , and it is so good t hat one can n ot

fritter awa on e’

s ta len t on it - quite t he

reverse. ival di eviden tly was a m an of

en la rged m ind and refin ed tas te. Hewen t t oGerm an y and ga ined some distinction as a

so lois t , as well a s a writer of operas a nd a

com poser for h is favour ite in s trumen t . We

have al l hea rd of the once celebra ted an d

popular Cuckoo Solo . Well "he was thecom poser of tha t piece, wh ich is a movemen tin one of h is son a ta s .

in G m inor (Sim rock) . Edited byMoffa t . Easy . Preludio 56 . Giga

1 1 2 Sa raban da— J‘ : 76. Corren te

Op. 2, No. 2 . Son a ta in A m ajor Breitkopfand Han el . ) Edited by David . odera telyeasy. There is al so an edit ion by Augen er .

Preludio a Ca priccio— J : 1 32 . AllegroAgita to—J = 1 oo . Corren te—J =72 . Adagio

69. Giga— J 1 1 2 .

Hen ry Eccles . Born abou t 1 660 . He ca n

be classed amon g them os t con spicuous of theo ld En glish players . His abilities were ap

pa ren t ly n ot apprecia ted in En glan d, for hem an aged to become a mem ber of the Kin g’

s

Ban d in Pa ris , wh ich appoin tm en t he held form an y yea rs .

1 663 .

Humphrey Madge. Res ided in Lon don .

1 666.

Ludovico .Ma rzia n i . Lived in Dresden .

1 668 .

Am brose Beeland. Lived in Lon don .

1 669 .

Giovan n i Ba t tis ta Pascaci.

Dres den abou t 1 669 .

Jean Ferry Rebel . Born a t Pa ris , 1 669 .

D1ed in Paris , 1 747. Lea der of the Opera inh is n a tive city, and on e of the Kin g’

s“24

violin s .

"

Lived in

1 670 .

Ba rtolomeo Bern a rdi. Born‘a t Bologn a

a bou t 1 670 . Died a t Copen hagen 1 730 . Arem arka ble player .

Robert V alen t in e (com poser) . Born in1 670 . Died in 1 730 . Con s iderin g the periodh is m usicwas writ ten m , it is very in teres t in ga nd worth playin g .

Son a ta in A m in or (Sim rock) . Edited byMoffa t . Easy ; on ly u s ing firs t a nd th irdpos ition s . W ri tten in 1 70 1 . Adagio

Corren te— J= 1 20 . Sa raban daJ = 72 . GigaW illiam Corbet t . Born in 1 670 . Died in

1 747. He was lea der at the Hayma rket

Thea tre in 1 70 5 . His inclin a tion s for collectin gval uable violin s frequen t ly led him to m a keEns ig n tours .

1 673 .

ohn Bann is ter; jun . Born in

in on don , 1 735 . He wrote forDivision V iolin .

1 674 .

Thomas Albinon i. Born a t Ven ice, 1 674.

Died a t Ven ice, 1 745 . The fact tha t Bach

occa s iona lly chose themes from h is works willa lways preserveAlbin on i

’

s namewith his torica lin teres t .

1 676.

Loren zo Som is . Born a t Piedmon t , 1 676.

Died in 1 763 . Pupil of Corelli and Vivatdi.Leader of the Roya l Ban d a t Turin . Hism usic shows the s teady labour of a m in d,wh ich the posses sor determ ined to cu ltiva teby un rem ittm g s tudy . The son a ta , wh ich isgiven below, does n ot merely ex h ibit an occa

s ioua l display of in spira t ion , or a glimmer of

fan cy a nd then van ish in to the common place.

It is a very equa l work th roughout . It was

published a t Rome in 1 722 .

Son a ta in G m ajor (Sim rock) . Edited byMoffa t . Modera tely ea sy . AllegroAdagio— f 69 . A llegro— J 92 .

1 675 .

Obadia h Sh ut t leworth . Born in 1 675 .

Died in 1 73 An ex traordin a ry performer inh is day. Iiis com pos it ion s , wh 1ch includedconcer tos andson a ta s , a recom pletely forgotten .

Eva ris to Felice Da l l’

Abaco. Born a t

Veron a , 1 675 . Died a t Mun ich , 1 742 . Hewas the descen da n t of a very fashion a blefam ily a t Veron a . At an ea rly age heshowedsign s of becom in g a vigorous a nd powerfulperformer , and soon su rpas sed a ll the teachersof his birthplace. He therefore wa s sen t to

Moden a , to s tudy with V ita li and other m as

ters . In 1 70 4 he wen t to Mun ich , and pre

sen ted h itn sel f beforeElector Ma x Emm an uel ,whose gen erosity and love of m us ic wa sun iversa lly kn own . After s ta in in Mun ichfor a good n umber of yea rs , e ad a sligh tm is un derstan din g with the Elector, wh 1chresu lted in Abaco acceptin g a pos t a t the

Conserva toire jus t then open ed a t Brus sels .

But in 1 726 he retu rned to Mun ich as concert

ma s ter to h is former pa tron . On the dea th of

the E lector , m us ica l even ts in Mun ich wen t

beh in dhan d, and a fresh set of m usicia n s

occupied themos t prom in en t pos it ion s . Theyeven tua lly pu t Abaco more a nd more in the

backgroun d .

Breitkopf and Hartel publish twelve soloson a tas , Op. 1 and 4 . I have n ot seen them .

2 44 THE STRAD

a nd in s truct ive preface written by the dis ting uished violin is t . The Chacon ne, in spite of

a ll pieces written before of Si nce, occupies a

place in violin m u s ic tha t n oth in g ca n fil l .

It does a nd wil l deligh t m an y thousan ds of

am a teurs of al l n a t ion a lit ies . Al lema n daCorren te Saraban de = 88 .

G iga Chacon n e— J r

(To be con tinued. )

RECENT V IOLIN MUSIC.

By DR . T . LAMB PHIPSON .

Author of Confessions of a Viol in ist , etc.

I n ave der ived very much plea sure a nd profi t by theper usa l every mon th in THE STRAD of the excel len t

n o tes published by M r . Ba s il Al th aus on SelectedV iol in Solos . a nd how to pla y them ,

wi th specimen sof bowin g , fin ger in g of in trica te passa ges . accen tua

t ion . etc. , wh ich on l a violin is t of the g rea tes t

ex perien ce cou ld possi ly wr ite. Th is adm irable a ndlabor ious work . so usefu l to a l l classes of players , andso in s tr uct ive to s tuden ts wh o h ave n ot yet acquired a

cor rect s tyle, ca n n o t be too h ig h ly pra ised . At the

same t im e, I ca n n o t help n o ticin g the wonderfu l

en terpr iz e of our m us ic publishers . We h ave theEdi t ion Ch ariot . Mes s rs . La ndy a nd Cc. , the

Cecil ia M usicPubl ish in g Cc. . a nd o thers in London

Sva l s of the an cien t h ouses o f Schot t . Augener . and

'

cordi

),who h ave g iven to t he presen t gen era tion of

violin p ayers a vas t n um ber of excel len t publica tion s ,produced a t the m os t modera te rices .

I t is no wonder th a t the a r t 0 m us ic h as prosperedm a rvel lous ly in Grea t Bri ta in dur in g the la s t h a lfcen tury . I com pa re the presen t s ta te of th in g s wi thwh a t ex is ted when I was a boy pla yin g th e twelveIta l ian Melodies of De Bér io t , with pian o accom

pa n imen t . wh ich ,in the m iddle of the las t cen tu ry .

n oth ing cou ld s upersede for young s tuden ts - a nd a re,

even n ow , the bes t m odels o f g race and melodious

ca n ta bile— b u t there was l i t tleelse.

Perh aps the mos t profi table am ong our m odern

publ ica t ion s a re th ose pieces wh ich dem a nd a cer ta inamoun t of s tudy to acqu ire.

a nd when acqu ired wi ththe requ is ite fin ish , ca n be per form ed succes s fu l ly inthe drawin g room . a nd even in the concer t h al l . Ih ave la tely m ade the acqua in ta nce o f m a n y new andexcel len t pieces o f th is kind , wh ich wil l prove a grea tboon to the adva nced ama teu r who is n ot who l lyaddicted to orches tra l per forma nces b u t delig h ts to

di s tin guish h im sel f a nd plea seh is a udience as a so lois t .

In former a r t icles I h ave men t ion ed some of theproduct ion s o f Wil lem ten Ha ve : Reverie, Ca pr iccio ,

Al legro br i l lan t . Polon a ise. etc. , a s mos t effective

pieces o f th is ca tegory . equal ly good as s tudies an d a s

so lo pieces fit for thedrawin g room a n d concer t room .

Since then the same publisher s . Messrs . La ndy andCc. , h ave brough t out a very bea ut ifu l work byPapin i , ca l led Reve a la Mer (A Dream a t the Seas ide) , in wh ich the passa ges of double- s toppin g andfor the four th s tr in g a re m os t effective. It is a verypoet ica l com pos it ion . An ea sier so lo by the same

com er .wh ich is es ecia l ly ca lcu la ted to brin g ou t

the £ 3: tones o f the our th s tr in g . is hi s Ch an t du

Soir (Even in g Son g ) , al so jus ub l ished .

The same en terpr isin g firm h ave l ikewise issued a

n ew edit ion of t he Concer tin o b Sig h icel li , edited bHa rold Heur the Al leg ro an Anda n tin o of wh ioa bound in b r i lia n t passages of double- s toppin g . This

piece. su ited m ore pa r ticu la r l for the concer t h a l l , is

wri t ten ch iefl for a display o vir tuos i ty . I t form s an

ex cel len t s tu y . a s well as a n effective so lo , less tryin gth a n . the more difi cu l t works of V ieux temps , DeBériot , a nd W ien iawski . and quite as as ton ish in g . In

wr iti n g it , the com ser h as been in spired by th e

works of Rode, De ériot . an d Paga n in i .

A ch a rm in g piece o f a difi'

eren t ki nd . so ea sy as to

be with in th e reach of an y vio lin is t , a nd a t the same

time mos t elegan t and effect ive, is th e Ga vot ta . byGiuseppe Verme.

publ ished b F . W . Ch an ot a nd

Son s , with a s imple, b u t excel en t pian o accompan i

men t . I ca n recommend th is l i t t le n ovel ty as a mos ttel lin g drawin g room so lo for a n am a teu r wh o pa

proper a t ten tion to the p and f pa ssages . a nd w 0

ca n play wi th del icacy a nd ta s te . In the h a nds of an

a r tis t i t is a per fect l it t le gem .

Two very fine a nda n te pieces ,with ou t a n y double

s topping . a re the R om ances of Cam il lo Sivor i . n ew

im ress ion s of wh ich a re is sued by severa l m us ic

sel ers . The firs t is in two fla ts . the second in th ree

fla ts both a re equa l ly fine. a n d have been kn own forsome yea rs . I prefer t he chea edi t ion sold byChes ter an d Co . , of Br igh ton , a n adver t ised in THE

STRAD .

With regard to the practice of new pieces , pa r ticu

la r ly those of the concer to cla ss . i t is wel l th a t the

s tuden t , or the pro fessor , should look ou t for m isprin ts ,

bo th ih the viol in an d pian o pa r ts . It is t r ue th a t

n ow- a -days they do n o t o ften occu r . b u t occa s ion a l lythey s lip in . When a pa ssag e does n ot soun d sa tis

factory ,i t is im po r ta n t to look ca refu l ly a t both pa r ts .

For ex am la , in a wel l kn own concer to I recen t lyfound F s a rp. in s tead of G , repea ted th ree t imes in

the bass of the pia n o par t , wh ich , of course , roduced

the m os t abom in able discord . I t wa s my 0 d fr iend

Guido Papin i who . yea rs ago . drew m y a tten t ion to

th is subject in some of h is ea r lier pieces , but . for tu

n a tely , such th in gs a re o f ra re occurence .

Noth in g is more del ig h t fu l to a youn g viol in is t th a nto receive a n ew so lo a nd bes ides the plea sure wh ichhe derives from pract is in g it , wi th an able pia n is t a saccom pa n is t . i t W i l l be foun d , wh en he h a s brough t i tto per fection . th a t h is kn owledge o f m usic h as im

proved . Never theless . he m us t n o t neg lect a l i t t le

ex ercise every m orn ing on h is in s trumen t a lone a nd

for am a teurs who a re am bitious . as wel l a s s tuden ts , I

ca n hea r t il recommend Papin i 8 two l i t t le books oftwel ve s tu ies each . en t it led Etudes eleg a n tes ,issued recen t ly by the St . Cecil ia Music Publ ish in gCc.

, a t one sh i l l in g each . There is a clas s ica l qua li tyabou t these s tudies wh ich wil l en sure for them a .

la s tin g repu ta tion . Each of them form s . as i t were ,

a li t t le ar t is t ic solo for th e vio l in . withou t a n y accom

pa n imen t ; they a re wel l ca lcu la ted to im prove the

tone, the bowin g . and the s tyle of the youn g la yer .

Moreover . the co n scien t ious s tuden t wi l l find t a t the

more he lays them . the more he wil l l ike them , a nd

the m ore n efit h e will derive from them .

With rega rd to m us icfor the sm al l am a teu r orches tra ,

Adolf Herma n h as wri tten a n um ber o f over tu res

wh ich are melodious . bril l ian t a nd efi'

ect ive. with ou t

being too dimcu l t . These, a nd s im ila r works . such a s

Reylofl‘

s Gavot te, Delb ruck'

s Grass ho pets"

Les

Sau terel les ) , cer ta in wa l t zes byWal dteu fe Bu os i ,M étra , a n d others . wh ich a re to be found in the

ca tal ogues o f m a n y of ou r publ ish in g h ouses , wil lencourage begin n ers to ta ke up. la ter on the cele

b ra ted over tu res o f Moz a r t . R oss in i , Weber Auber ,

etc. . wh i ls t , under a good conductor , they W i l l proveva luable a ids in ac u ir in g the a r t of readin g correctly ,

of rh thm , en semb e, sh adin g a nd ex pression . Theyca n so be played as qua rtets . a nd the pia n o pa r t is ava luab le adjunct to al l such pieces .

ADVERTISEMENTS.

'

l'

o Pon i es -o n a n d S t u den t s .

CA R L Y O L T I ’B

OBLI BBA'

I'

ED TUTORS, etc. ,

F O R T H E V I O L I N 8MASTER AND PUPIL, i s . net. Thegrea t Duet Book.

“Ti t sS-

ru n"

says of th is work It should be in the hands ofevery

‘ l i as tsr and Pupi l.”

BABY TUN B , l s. cd. net . Simpl icity i tscl f . A rapid in s tr uctor .

SCALES . i s . net ; wi th Er a -clas s , its . net . In dispen sab le forStudm ts . Used in a ll the rin cipa l School s .

OATBOBISH a TEXTBOO wi th Ex am in a tion Papers . i s . not .

sseor and pupil. A t time- saver .

HISH, i s . net . of useful in forma tionfor thecon noisseur . Mos t in teres ting and ins truct ive.

TWELVE DUE-TS ( 1 s t pos ition ). 2s . net . Favourites from theGrea t Mas ters—Pin s ] , Geheuer , Mul ler , Maz es , etc.

PABHBB‘

S TUTOR (edi ted Vol ti) , 2s . 6d. net . Con ta in s impor tan taddition a l ma tter , as wel l as theor ig in a l . U sedeverywhere.

LODEB'

S TUTOR (edi ted Vol t i ) , 2s . 6d. net . The fines t edit ionex tan t . With addi tion a l dust s , etc , over 80 pages .

Landon : eons BLOCKLEY, I, ARGYLI STREET,

EEVGIK ’E N EW V IOLIN M ETHOD.

HEIN R ICH DITTMAR ,V iol in is t ,HERRPupil of Professor SBVOIK (Mas ter of KUBBLIK

KOOIAN ) , gives LESSON8 in th is sys tem in LONDON a t

s o , M o r e S t r eet . Ox f o rd S t reet ,and in LEEDS , YORK , and m ean .

Tran s la t ion of Test imon ia l

e, Ma y 27th , 1 902.

I certi fy herewi th , tha t Kerr Hein rich ttm ar , Violin is t , ofHarroga te, Eng l and, s tudied with ms during the years 1 901 - 1 903 ,and ha s en t irely acquired my teach ing method, and is ab le toteach theViolin according to th is method.

(Sla ted) O‘

I‘OKAB SEVOIK ,

Professor a t the Con serva toire a t Prague.

For Prospsct ns ,etc. , address to Herr Dit tmer’

s va ts addresses—cither 60, Berners Street , London , W . , or ever ley Hotel ,Han -

og a te.

l as t out . N ew Song ,

I P R A Y Y O U , COM E,

(W it h ad . l ib . V iol in 0 1m m) , by

T H E R E S E P O L O N A S K I,

Words by CECIL LORRA INE.

P r io n 1 a . 0 d”

From the Composer , Mdme. Porox s s x i , K in wea r , 46 , Ten

ta l lon Road, Ba lham , S.W or of thePub l ishers , eaars . J . andWCuesr a a , 1 , Pa lace Place, Ca st le Square, Brig h ton .

M r . E. va n der STRAETEN‘

S

SU ITE ON ENGLISH AIRS .

On ly 25 more copies a re offered to Subscr ibers for3 s . 2d. per copy , includin g pos tage.

Those who wish to secure a copy o f th is veryeffective a nd melodious work shou ld a ply a t once to

E . VAN DER STRAETEN , 40 , Alm a qua re, N .W .

Th e bes t a n d m os t cor rect Edit ion of t heCla s s ics , edit ed by En g . D’A iber t— F. Bus on i—Cs r i Reinecke— J adas s oh n — 0 erm er — Cis raSch um a n n L. Koh ler Ferd . David Ha n sS it t , etc. To be had of a l l Mus icSel lers .

THE STRAD

o n e W EEK ’S s a s s TR IAL.

£ 2. TYROLESE V IOLINS. £ 2.

Gen uin e h and-made VIOLINSkfrand tone, firs t pr iz e oil varn ish ,

ebony fi t t ing s th roug hou t : usu reta i l price. £ 8 1 0s . Cash wi thc

arr

ier money

dretu rned if n ot sa t isfied. W ith Bow and Case,

I . O

J . G. lNGI- lfi ,

8 , SI . IM P"ROAD“WILEY. lOIDOI .

Established 1 860.

FO R THE F IN EST

EDW IN RACE ,

REGENTST. ,DOUGLAS,

ISLE OF MAN .

S E N D F O R P R I C E L I S T .

P.S.— See “V IOLIN AND HOW TO

MASTER IT on V iolin Strin gs .

V IOLIN STR INGSDIR I OT f ro m t h e FACTORY t o t h e CONSUM l R ,

A? THE FOLLOW ING' IIOLESI l"Gash Prices PER 002“RINGS

B No 12, m . lon g i s . 8[ 1 1 . 25 6/ m . zin . Ita l ianA 46 , 2/ 48 ,

‘8/ 88, 4f t . loug , Ita l ian .

D 69, 2[ 82, 8 1 e

lk , 4ft . long , Ita l ian .

( I 79, ery gnodqual , 8 No . 80 , ex tra qua l ity , 8 perdos . Striuri ge. l dos . as sor ted String s a t same p

NEW PATENT PERFECT FIFTH VIOLIN STRINGS FOBSOLO PLAYERS.

No 21 B, No . 66 A . No. 89 0 , l / per Bing .

1 0 D. Alum in ium , 8d. per St rin g .

98 0 , good qua l ity , 8d. ; 98 0 , real Silver , l / per Strin g .

Performers on the V iol in wil l find m y new Specia l ity a

togrea t

boon . They have a mos t beau t iful tone, arevery easy to lJn ty

upon , the r if ths beiug a lways per fect , andarefree from wh ia in gEach order should be accompan ied by a rem it tance.

Orders for 10/ and upwards Pos t Free.

n . un k n own , 3 4 , com smu t . tosses. se.

(Speciality) ROUGHNEAPOLITANS(TheseStr ing s a re sen t al l over thewor ld) ,

Bu n dles of 3 0 , Ha lf Bu n dles ,

Sa m ples , 6d. each , 3 for I / l .

VERYFINESTACRIBELLES,Ha l f Bun dle,

SterlingSilverG, is. , is. 3d. 2s. 6d.ALSO FOR BASS , V IOLONCELLO ,

V IOLA , GU ITAR , s'

rc.

THE STRAD

THE V IOLA .

To theEdi tor of THE Sr n a n .

Sm ,— As a lover of the viola , I h ave read with

in teres t M r . Barn a rd’

s let ter and a l so the one he

m en tion s from the M usica l Times , with rega rd to

t he n eg lect of th is in s trumen t .

U n less I am grea t ly m is ta ken , th e reason g iven , viz . ,

t he Clef diflicu l ty , is far from th e ma in ca use wh ym ore people do n ot pla the viola . In the orches tra

t o wh ich I belon g , a l the vio lin is ts except two or

th ree pla y the vio la , a n d they n ever ex perienced a n ytrouble wi th rega rd to the clef , except perh aps wherethe G clef i s used on the con tra ry they a l l decla red

they cou ld get accus tomed to the a l to clef in a

few m in u tes . M y own opin ion as to the sca rcity of

viola players is— Firs t : U n t il recen t ly the vio la was

n ever hea rd a s a so lo in s trumen t , a nd I fea r i t wil l

be a lon g t ime ere one hea rs of a g rea t so lo violis t

i n the same way on e hea r s of a'

cel l i s t , vio lin is t , or

cla r inet tis t .

Secondly : Th ere is no t su fficien t dem a nd for a

m us icia n to devo te h im sel f to th is in s trumen t exceptto the vio la pla yers who play in celebra ted qua r tets ,a n d even these gen t lem en , I bel ieve, ei ther play or

teach the viol in as wel l

Th irdly there is n o t m uch or igina l mu s icwri t ten for

t he viola , a n d the l it t le there is , though ex cel len t

e n oug h , is n ot o f the kin d th a t a ppea ls to a n ama teu r ,

u n les s he h a s som e o ther in s trumen t a nd its l itera ture

t o help h im .

I h ave offered repea tedly to teach the viola g ra tu it

o us ly to a n yonewho wou ld lea rn , in o rder to get playersfor chamber m usic, b u t I fin d these pupils soon wa n t tot ry the vio l in , with the resu l t th a t th e wi l l n ot leave

i t to pract ise,wh a t to them is , a es s fascin a t in g

in s trumen t

I often wonder wh y m ore orga n is ts do no t take upt he vio la : they h ave the l i tera ture of the pia n ofor te.a nd orga n to help them , a nd they a re supposed to be

fam il ia r wi th a l l the seven clefs .

Person a l ly it is the in s trum en t of a l l o thers I would

devo te mysel f to , b u t I find th a t if I pract ise the vio la

for a n y len g th o f t ime ,it m a kes m e pla y ou t o f tu ne

o n the viol in , and some o ther viol in is ts find the sa me

t rouble . A . M . G IFFORD , L .R A M

THE CR EMONA SECRET .

To the Edi tor of THE STRAD .

S im— Th is subject h a s ca used th e publ ica t ion ofm a n y let ter s in THE STRAD , ever s ince M r . Ha s t in g sHa l l

'

s let ter to m e wh ich I copied in to you r jou r n a ll a s t ja n ua ry . On Feb . 29 th la s t I received a n o ther

comm un ica t ion from M r . Ha l l , wh ich should have been

a ddressed to you . U n for tun a tely , th is let ter go t m is

l a id am on g m y pa er s ; I so ugh t fo r i t in va in un t il

t o - day ,a nd n ow orwa rd i t th a t you m ay publ ish i t

:i f you th in k proper . Yours fa ith fu l ly,

Ca sa M ia , Pu tney , S .VV. T . LAMB PH IPSON .

Ha r t ford , Con necticu t , U . S .A .

Feb . l 9th , 1903 .

To Dr . T . LAMB Pm ps o x .

SIR ,I b eg to m ake a few correct ion s a n d a n swer

s ome of the ques t ion s in reply to m y let ter , if you

find t ime to publ ish th is let ter for me I wou ld es teem

i t a g rea t fa vour .

;I did n o t say th a t Pag a n in i'

s vio l in wou ld playa lon e, or th a t we cou ld n o t get doub le h a rmon ics

o n a n ordin a ry vio l in . I did n o t sa y th a t a mu te

in terrupts the ten s ion o f a vio lin or th a t n o on e ever

used ten sion in a vio l in . It is qu ite useless to t ry a nd

d iscuss a problem w ith person s wh o w il fu l ly dis tor ta nd bur lesque wh a t they ca n n o t unders ta nd . In my

let ter I sa id , or in ten ded to sa y .

‘

free vibra t in g body .

’

The ‘ free'

was om it ted an d the mea n i n g dis tor ted .

The more ten s ion or res is ta nce (up to a cer ta indeg ree) the body is under , the m o re sen s it ive itbecomes . To rove th is , ta ke an ordin a ry vio lin ,

it im proves wit age, why? beca use the t es su t e o f

the bridge under con s ta n t vibra t ion wil l 61 the pla tesor body with ten sion , m ak in g i t more sen s i t ive . Itis the ten s ion or res is ta nce wh ich m a kes the freedom .

Of course t h is ca n be dis tor ted or m ade to appea rridicu lous , b u t a n y boy who h a s pounded a drum wi l lun ders ta nd my mea n in g . X . asks wh y t he br id e isfu l l o f ten s ion . An swer : beca use it is under a u t

twen ty four po unds pres su re, a nd is cu t in the bes tposs ible m an n er to receive th is ten s ion , if he does n ot

believe it , t ry a so l id br idge M r . Om on d a sks iss uch spr in g perm an en t ?A person wish in g to profi t by ex per im en t wou ld

n a tu ra l ly u se a vio l in in s tead of a ieee o f pine ,

1 8 by 2 by 1’s for there is a sl igh t di erence If heca n devise some way to get the ten s ion ou t a fter t hein s t rumen t h as been g lued together he h a s m ade a

va lua ble discovery . I h a ve tr ied hea t , s team . spir i ts ,

a nd wa ter ,when there wa s too m uch ten s ion , b u t

the ton e wou ld rem a in t he sam e a nd reta ined theorig in a l ch a racter is t ics . I h ave h ad a vio l in in use

for n ea r ly five yea rs , a n d it is s t i l l im provin g . I f a n ym aker is so acu te th a t he can determ ine the effects ofsoi l , cl im a te, age of tree, etc on the tone, he shou ldbe able to work won der s w ith the ten s ion .

From t ime to t ime the youn g m akers h ave a s kedthe o ld vetera n s h ow th ey find ou t a l l their m ys t icsecrets . If th ere is n o t someth in g ta n g ible wh ichthey ca n g ra sp . I h ave n ever rea d a s ing le defin itean swer . It cer ta in ly is s t ran ge wh a t a divers i ty ofopin ion s there a re on th is subject , ’ s t il l the factrem a in s th a t ten s ion is the very l ife of ton e. M r .

Broadley saw on e o f my firs t ex per imen ts , since thenI h a ve added the des ired qua l i ty a nd far surpassed m yform er work If M r Omond

'

s r ig id ex perimen tsa re as elabora te a s the piece o f dea l ben t over h isfin ger , I refuse to ex ce t h is judgm en t a s fin a l , for Ih ave m ade over a b un red ex perimen ts in the sh apeo f vio l in s , a nd ca n n o t disprove th is theory as yet . IfX wil l h ave pa t ience, I wil l g ua ra n tee to rel ieve h is

a n x iety . Sincerely Yours ,

LOU IS H . HALL

CZAR’

S LOST STRADIVARI.

IN our issue for N ovem ber , 1 90 2 , we a n n ounced a

Stradiva r iu s vio l in h ad been s to len from a col lect ionin St . Petersbu rg , a n d gave a descr ipt ion o f t hein s trumen t , wh ich was suppl ied to us by ju l Hein r .

Zimmerm a n n .vio l in m akers to the Cza r , a nd on the

same au th or ity we a re plea sed to a n n ounce t h a t thein s t rumen t h a s been recovered . The fol lowin g is thet rue s tory o f the Cz a r

'

s los t vio l in — The Em perorN icholas wa s h or r ified some m on th s ago to find in theM useum in St Petersburg th a t a common fiddle la y inthe case in the place of a celebra ted St radiva r i vio l inwh ich u sua l ly lay there. The Cz a r ordered the

s tr ictes t inqu iry to be m ade . Even tua l lyM r . Pa r tel lo ,

a U n i ted Sta tes Trea s u ry a gen t in Ber l in , h im sel f acol lector o f old viol in s an d owner o f four St rads ,

in teres ted h im sel f , a nd even tua l ly tracked a nd secu redt he in s trumen t for fiveh u ndred pounds from a co l lectorin the sou th of Fran ce . The Con su l took i t to

"St .

Peter sbu rg , where i t wa s recogn ised as the m iss in gStrad . The on ly l in k wa n t in g is how the fiddle go tlos t a nd wh o s tole i t . The Cz a r is very g ra tefu l toM r . Pa r tel lo for recover in g h is vio l in .

ADVERTISEMENTS. THE STRAD

ESSRS . PUTTICK AND SIMPSON hold

Mon thly Sa les of Piauofcr tea, Ha rmon iums, AmericanO rga n s , Harps , Violins , Tenors .

'

Cel los , Doub le Basses and other

Musica l Ins t rumen ts . Property in tended for same. or a not ifica

t ion thereof, shou ld he sen t a t least ten da ys prior .

A SH DOW N E D ITION

S TA N DAR D w o u n mu s le( VIOLIN PIANO) . NVOL

L Alb5 , d

d1 ‘ e um I“) a s . l

a . DISH. Six r 6

3 . Bu uIler. Three Nocturnes I 0

4. Hel er an d Erns t. Les g ag eso

d'

amitie, Book I

(6Ern s t. our Marceau dcSalonKa yser . Four Son a t inas , Op. 58Lange. Six pieces a. .

r. Gra nd V iolin School, completeBa il lot . Formula Sca les and Arpegg ios )Dieh l. Popu la r pieces (N os . 1 to 6)Ho llaender . Four characteristicpieces , Op. 4u

m

lItohr . Concert o Dra tn a t ique.

6Op. 47

nouf i

°°

sSix Melo

glilz

, (ap. 36

er e ix Ba ga t u p .

Papin i. Six Cha racter is tic“.

OpTours. 1 2 Studies of Stephen HellerHofimann . Six piecesCorel l i. Six piecesRoeckel. Trois mercea ux melodiquesBlacow. Practica l V iolin School “

(To l s con fu s ed) .

EDWIN ASHDOWN (Lim ited) .N EW YORK. LONDON . TORONTO.

T E N T H Y EA R O F

1 9 0 4 E V I D E N C E .

Ca sa M ia , Pu tn ey ,M r . J . K . M owt . 4th Ja n uary , 1 90 4 .

Dea r Sir ,

The im provemen t you h ave efi'

ected in th e

m odern Fren ch viol in th a t I sen t you by the appl icat ion o f you r Tr iple- Ba r Sy s t em Is l it t le s horto f m a rvel lou s .

The in s trumen t , wh ich .was h ardly fi t for orches tr a l

work , is n ow a n ex cel len t vio l in for s o lo

p la y in g . Yours tru ly ,T . LAM B PHIPSON , Ph D . ,

Former ly Pres iden t a nd Solo V io lin to the

Bohem ia n Orches tra l Society ; Au thor of

Con fess ion s of a V iolin is t , etc.

M O N K ’S N EW V IO L IN S

a re E QU A L I N TON E to old It a l ia nIn st r um en t s .

J . K . MON K ,

I7 , LIMES GROVE, LEWISHAM , S E.

A free tria l is al lowed. a nd money return ed i fn ecess a ry . They can a lso be seen a t KEITH ,

PROWSE a nd GyO . , CHEAPSIDE , E .C.

3 75

GNGIIESTIIALPLAYERS NGULODOWELLBy sendin g Ten pence for a Sample Parcel o'

i Twelvecom lete V iol in Par ts to TheOrpheus Pub l is h ers ,MOSRGATE ARCADE , LONDON , E C. Lis ts frm .

Mm E. SEM O R SONS ,

7 , Un ion Bu ildin g s , AYR,

Beg to ca l l t he atten t ion of Viol in is ts to their Specia l and Un ique" R INGS . Practica l ex perienceen ab les us to choose—S tr in g s

for a l l clas ses of Players .

TO PLAYERS OF DANCE M USICwe recommend our own Specia l

S A M S O N I AStr in g . m ade of the F ines t Silk . impervious to

mois ture or swea t . and o f g rea t durabi l i ty .

In R in gs . 60 inches long a t 4d . each

84 a t 6d .

1 20 a t 8d .

TO ORCHESTRAL PLAYERS who require a

rel iable Gu t Str in g ,w ith pur ity of tone as wel l as

durabil ity . we cordia l ly recommend our FamousSta ndfas ts .

E or F irs t . 4 len g th s 6d . each

A or Second, 2 len g th s 6d .

D or Th ird. 2 len g th s 6d .

G or Four th , 1 len g th 6d .

TO SOLO PLAYERS —We s tron gly recommendour F in e Ita l ian Tes ted Str in gs . wa rran ted to g ivePure Fifth s on a n y par t of fin ger boa rd . The tone isfree. br ig h t , a nd tel l i ng . with themos t absolute pur ity .

E'

s . 1 len g th . 4d. each D’

s . 1 len g th . . 6d . eachA

’

s . 6d. G’

s . Pu reSilver .

Profession a n d Trade suppl ied on usua l term s .

V iol in is ts sh ou ld in s is t on their loca l dea ler supplyingthem wi th SEN IOR

‘

S STR INGS . There a re n o

St rin gs in theM a rket equa l to th em .

STAINER’

S PATENT STRINGSThese s trings are re

ga red b

a new from t e nes t gull

of EN LISH lambs : and owingto the use of a power fu l an tiseptic during manufacture. thefinished s trings rem a in in primecondition for yea rs . even in thehot tes t cl im a tes .

ONE QUALITY ONLV—TbeBes t .PERFECT TONE—Jus t like

Ita l ia n .

REMARKABLY TRUE— Ahsolutely correct fifth s .

VERY DURA8 LE—Stronger s tr ings can n ot bem ade.

A Su n s , con s xsrwc o r

3 ful l leng th E

Ia} len A

a} len g th D r R Silver Gi n nea t box , wil l be sen t pos t free on receipt oi rem it t ance for 1 17 .

SPECIA L PR ICES FO R QU I NTITI ES

GENUINE RUFFINI VIOLIN STRINGS,

E , 8d. . A , 8d D. rod. each . Pos t Free.

Gua ran teed fresh and direct from the Factory .

STAINEII'

S GENUINETGNGNI STRINGS,Guaran teed I tal ia n .

E . 6d A . 6d . . D . 7d. . rea l Si lver . each . Pos t Free.

A bea u t ifu l Gaglia n o V iol in . 75 Ton on i , £ 5 0 ;Gu ida n tus . 5 0 ; Lo ren zo Guada n in i , £ 1 5 0 a ndsevera l oth ers .

ms Sl i ll tll aluminum comm . m.

92. St . Ma r t in’

s La ne, Ch a r in g Cros s . London .

THE STRAD ADVEii r i snu ENr s .

M U S IO fo r V IOLl N NOVELTIESFIIRSTRINGEIIINSTRUMENTS

WITH PIANO AOOOMPANIMENT .

PUBLISHED BY

BRAI-IMS, J OHANNO

ES . KUGENER CO.

Hun ga r ian Da nces , b yDr . joseph Joach im4 books each 1 0

The same. eas y a rra n gemen t . by F . Herm an n V IOLIN AND PIANO.

—4 books each 6 AW "Edi tion .

Op . i x . M in uet 4Op . 49 . N o . 4 . Wiegen l ied 4

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Op . 78 . Son a ta . G m a jor net 7Op . 1 0 0 . Second Son a ta , A m ajor n et 8 x 0

Op . 1 08 . Th ird Son a ta , D m in or net 8

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K0 ] N ‘dl‘f l Ad 9 Emu . ERNST. Aren a . A Col lect ion oIDuetsAdag io (uber Kc t i scl ie Mo t ive) for s Violins , arrang

i:d in progrpssiveorder

Adag io appa ss ion a to Bog;

V1 10 al l m in

im (415 011 103 6

{gjr

gdgggcer

gggcggggg by C. de Ben ot and N . auptman n

Swedish Da nces—2 books Book lXa . Concert Duets by Spoh r and M6

K‘m m “as

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”Eook x a . Concert Duets by M . Ha uptma nn

Seren ade (Anda n te con moto— Al lam a rcia—Not turn o— Al legro ener

get ico e V ivace) for violin and or VIOLONCELLO AND PlANO ,

ches tra . For V iolin a nd pian o n et

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and Swedish Airs— z books . each .

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Op . x x . Rom ance in F m in or Arranged

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Op . 57 . Son a ta . F m ajor net688 BACH, 8 . Selected P fro th Viol

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each 5673 LAUN CH, A. Sca le apd Arpeggio N anua l [or

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cer t purposes by R icha rd Ba r th gm ao

toa ndm m u“fi

rm ”

2 books each RIBS HUBERT. O s4. 3 Tt ios for 2

Op. 75 . Roma n tische St i’

iclte 0

Op . 94 . Rondo

Op . t oo . Son a t ine

W a ldesr uhe, Adag io

La rgo from Op. 95 . Symphon y From th;New Wor ld u . s o Studies

Specia l l is ts of V iol in . Chamber . Pia no and Orga n

Mus ic— a lso'

o i Ful l - s ize a nd M in ia ture Scores

ALFRED LENGN ICK ’Lea nn a : AUGENER C0 . 1 99 1 3 0 3“37 3 3“W.

5 8 , BO I‘I‘l O I‘O S t reet , Lo n do n , W u 6, w Bun n ies

-

ox Sr as x r , W. , t as , Nu rs e-rs e s a r , E C

D’

AMBROSIO, A. Orien ta le, Op: 24 net

BEBIOT, C. de. Scene de Ba llet. Fan tasia ,

t oo. Revised E . Heiin net

DA ID, F. By the oun ta in (Am Spr ingquel l) ,Characteris t ic Piece. Edited b Ern s t Harm . n et

DUNCAN , EDMON DSTOU E. 3 Pieces.

MEN ELSSOHN -BARTHOLDY .

from the V iol in concert o , ca refu llyan notated, by Erns t HeimMO l

'

FAT, A. Hebr iden Ta n sPA l’iN i c. Den a Airs Suedoisan " . j.

r63. Arra ngedRO CKLL, J . L. Minnelied (Love Song ) net

WHITAKER ,W . Concer t Mazurka

SUPPLEMENT TO N o . 1 64 or The St rad. December , 7903 .

FRANCIS MACM ILLEN .

THE STRAD

M U S IC fo r V IOLINWITH PIANO ACCOMPANIMENT.

PIECES SELECTED FOR THE

LIAI IIIIIIOIIS or Tilt course or VIOLINISTS.

Violin a n d Pia n o.

Bur lasen , Op . 64 . Bas il Al th aus (Th ird Grade) . 4]Seren ade Creo le 4]Prem ier Con cer t in o , Op . 29 . Bas il Al th aus

(Gradua te) . 6]Capr iccio . W . ten Have 5 ]Concer to . A . M is towski 8]Concer to . Op 3 0 . W . ten Have

Viol a a nd Pia n o .

Lea ” m a in . A . Dolmet sch 4]

’Cel lo a n d Pia n o

Le Soir , Op I2 . L . Schotte

Seren ade. Ha n s Si tt

Gavot te.

L A U D Y'

8 5 C 0

NEW EDITION(With Ar g los and their In ver sion s ) .

SCALES a ARPEG i s for VIOLIN , for Studen ts prepa r in gfor t he R. A .M . and .C.M . Loca l Ex am in a tion s , b

HENRY TOLHURS l‘

. 2s . n

igh y

MODERN VIOLIN TUTOR , includin g Sca les . andEx ercises inal l the pos it ion s , by HENRY TOLHURST. as . 6d. net .

TWELVE TECHNICAL STUDIES in the Fir s t Pos it ion , fortheV iol in , by HENRY TOLHURST. 2s . net .

BALFOUR’S

PERMANENT SALE REGISTER

oi OLD ITALIAN V IOLINS, i n ,

Is est abl ished for th e benefit of al l buyers an d sel lers of old Ita l ia nV io lins , Violas . Violoncell i, andCon t ra Bass . Those pomes sin g oldviol in s, Sc , of wh ich they wish todispose, a s wel l a s th osewho desireto aecu re a fine in s trumen t a t a reason a b le price, sh ould wr ite forfu ll pa rt icu la rs to Messrs. Ba s soon Lo. (es ta b lished r84o) .An t ique It a l ia n Violin Tra n sfer Agen ts and Ex perts , r r , RoodLa ne, Fenchurch St reet , London , E .C. L icen sed Va luer s forP roba teor u h r -wire.

T H E

M a n ch es ter Vi o l i n M a ker ,

[1 E S K E T HShows resu l ts n o o t h er En g l luh V lo l l nM a l tes ca n show , h aving m ade n o less than 1 0V lo l l n . (including {our Ten ors ) for use in the

Ha l lo (Dr . Richter’

s ) O rch es t r a .

2 3 . LOW ER MOSLEY STREET .

Price £ 1 8 1 8 O

2 1 7

BONN’

S PATENT BRIDGE

BONN'

S PREMIER STRINGS.

FOR VIOLIN ,V IOLA,

’

CELLO, BASS, ETC.

IMPORTANT NOTICE.

Al l Subscript ion s , Advertisemen t s a nd business commun ica tionsto ba sen t to Ta x Ma n s on , l ia a av La vaun ca 3 , Gu n s

TERRACE, Ros x a a avAc ux , Louon s , E.C. Cheques and Pos ta lOrders to be made pa ya b le to Hu n t LAVENDER , a nd crossedUn ion of London a nd Sm ith

'

s Ba nk .

"

Editor ia lCommun ica t ions , Invita t ions , Mus icfor Review,otc. ,etc. ,to be addressed to Tit s Ro tToa , 3 , Gu am Ta a n ea , Rosa na"Ava uux , Lox Dos , E.C.

TERMS OF SUBSCR IPTIONgot theUn i ted K ingdom , per ann um pos t free)or the Con t inen t . America and C on ies wi th in

posta l un ion , per a nn um (pos t free)

E li e "t r a hNOVEMBER, [ 90 3 °

ss . 6d.

Sax on SARASATE says :“I find it a db

.

ed improvemen t- on the old two footed

Budge.

Ha n a DAVID POPPER says : It possesses a l l the advan tages u cla im for i t .

”

Mon s . JOHAN NES OLFo

sa ys : Wh ileit grea t ly improves the inn er st rings , theouterstn np are moreclear .

"

Al l V iolin ts ts kn ow tha t with the old two footed bridge the twoi n ner St rings are never so power lul a nd b ri llian t as the two ou ter

ones—tn fact , they a rever y much weaker. Tn is is becaus e theou ter

St r i ngs have a direct bea r ing on t he bel ly of t he In strumen t .wherea s the i n ner ones have not .BONN

'

S NEW BRIDGE WITH FOUR FEET renders eachStri perfect . Clea r ring

'

clearer iz z ica to no tes , notes inh i¢h

ngpo

ssit ions mg:

mellow?"g

£5; ca n -

yrll

'

n: powgr , a nd a bov

ail

ev tr tn in ower b ri la ne

Sfl PLE 610 IN BRpIDGE r s. rd.

y

Used at‘

the Principal Conserva toires ontheCon t inen t .

Perfect in tone. Art is ticin cons truction .

PR ICE LIST AND TESTIMONIALS

POST FREE.

Sos a Aces -

r r oa Ga z a-

r BR ITAIN a rm

Com m as .

J . EDWIN BONN .

J EAN GERARDY .

IN 1 890 m us ical Lon don was s ta r tled by theadven t of a sm a ll boy n ot m uch ta ller thanh is own

’

cello , whose m as tery over h is in s tru

men t caused won der even in the m in ds of olda nd ex per ienced judges . In fa n t prodigieswere in the ascen da n t a t tha t t im e, but th is

br igh t - eyed youn gs ter ex h ibited qua lit ies tha ten tit led h im to con s idera tion a s a n a rtis t

ra ther tha n a ch ild -won der . On Februarya6th , 1 90 3 , Géra rdy aga in appea red am on gus , and m an y were the opin ion s ex pres sedbefore the concert . Would he h ave fu lfilled

3 78 THE

whose n am e is legion , the resu lt of a dem a n dby the public The supply seem s inex h a us

t ible. In m y own m in d I h ave a kin d of

sn eakin g n ot ion deep down t h a t a lm os t

everyth in g of wh ich we ca n conceive the

elem en ta ry idea is pract ica lly pos sible to

h um a n bein gs , th a t for pract ica l purposeseveryt h in g ca n be don e. I kn ow th is is wha t

is ca l led a very b ig order . Bu t I am veryn ea r ly con vinced o f it s t ru th , nevertheles s .

On ly a few yea rs ago on e h ardly im ag in edth a t violin playin g , on it s techn ica l s ide, a t

leas t , cou ld adva nce fa r ther th an Sa ra s a te,

Joach im , Lady Ha l lé an d the res t h ad ca rriedI t . Sudden ly the wor ld is dazzled , am a zed bythe adven t of a lon g - h a ired you th— Kubelik ,to wit . N o sooner h ad on e begun to becom eaccu s tom ed to h is brillia n t fin gerin g a nd

bowing, than there ca m e a perfect a rm y o f

cam p - followers ,” every on eof whom seem edto find the t rium ph in g over wha t used to be

deem ed im poss ibilit ies , s im ple ch ild ’

s play .

N ow , is it not quite reason able to believe th a tthere is a s m uch gen u in e ta len t la ten t inthe wor ld s t il l a s th a t with wh ich we a re

al l acqua in ted Upcomes a R ich a rd Strauss .

Im m edia tely the m us ica l wor ld is flooded byh is fol lowers , every on e of whom h a s a

tech n ique for descript ive purposes as grea t ,or well n igh a s grea t as h is . Jus t a s the

m a ter ia l ea rth con ta in s for a certa in ty m ore

m in era l wea lth s t ill th a n h as ever been dugup from it s in s ide, so I th in k the m us ica lea rth con ta in s abilit ies a t leas t as grea t a s

a n y a lready kn own in h is tory. I s uppose th is3 in som e sen se rela ted to evo lu t ion , I don

’

t

kn ow . Andwhen occa s ion requ ires som eth ingn ew , when h is tory has to be m ade, progres sa nd adva n ce to be ca rr ied on , then up comes

the —wh a t is it ? gen ius — I don ’

t kn ow— upcom es the advan cer , theprofes sor , and h is toryis ca rr ied a s tep fa r ther a nd developmen twith it .

At t im es th is developm en t 'gets a lm os t ou t

o f ha n d . It becom es difficu lt to keep pacewith it . In the pa s t th ree years a lm os t the

grea tes t developm en t in m u s ica l m a t ters of

a tech n ica l n a tu re h a s been in violin playin g .

At ten t ive readers of THE STRAD wil l h ave

seen a l l the wor ld over— for everywhere THESTRAD is read— how grea t the n um ber of

g rea t players has becom e in th is very shor t

period of t im e. N ow we h ave yet one m ore

—n ex t m on th n o doubt we sh a l l h ave an other ,a nd so on , a nd so on ad infin itum .

Th is m on th’

s n ew - com er is M is s OT I E

CHEW , who h ad the grea t good fortun e to bet aken up by Dr . Ha n s R ich ter . To m e,

whose du ty a s a crit ic ca r r ies m e in to the

byeways as well a s the h ighways of m u s ica l

STRAD

life, her n ame wa s n ot n ew. I had a cert a in

recol lect ion of her wh ile shewa s s t ill a s t uden ta t the Royal Col lege of Music in Ken s in g ton ,of wh ich in s t itu t ion she wa s a dis tin gu ishedschola r wh ile s t ill s tudyin g un der Herr

Rich ard Gom pertz, th a t dis t in gu ished pla yera n d teacher . M is s Chew wa s born in Lo n don ,

I im ag in e, n ot m ore t h an— a t m os t— twen tyyea rs ago . (I h 0 pe I m ay s tan d forgiven i f

th is is a n ex aggera t ion "I merely m a ke t he

sugges t ion to show how lon g a fu tu re M iss

Chew m ay hope for . ) On qu it t in g the R oyalCol lege of Mu s ic, M is s Chew wen t for

further s tudy to M . Em ile Sa uret , an d s t il lla ter , for th ree yea rs to Ber lin . There,

joach im , s truck by her n a tu ra l abi lity u n dertook to teach her for a yea r , and she h a s a lsobeen warm ly pra ised by Ys aye.

In Lon don m us ica l life proper M is s Chewm ade her firs t bow a t the fin a l R ich ter

Concer t of the presen t sea son in the Queen’

s

Ha l l la s t m on th . She played a Bach Con cer tovery well in deed for a new -comer who

perfect ly n a tura lly wa s ra ther n ervous .

Som edays la ter she gave a recita l in Bech s teinHa ll , where she showed to fa r grea teradvan tage. There she played H a n del ’sSon a ta in A an d the Men dels soh n Con certo,am ong other th ings , a nd proved her self a

violin i s t of gen u in e a b il it Person al ly , Ibelieve she will do very weil in deed when age

a n d ex perience h ave ripen ed her . You this n o crim e : b u t ex perience is n eces s a ry toca rry ou t even the ideas th a t youth con ceives ,an d it is n ot the lea s t s a t is factory pa r t of thewh ole m a t ter th a t in M is s Chew we h a ve

a n other m os t welcom e a nd m os t va lu ableaddit ion to ou r lis t of Brit ish - born a rt is ts .

GAMBA .

A COMPLETE COURSE OF INSTRUC

TION IN VIOLONCELLO PLAYING .

Bv ARTHUR Ba oaocs v.

Con tinuedfrom page 33 5 .

CHANT D’

AMOUR , BY C. CASELLA.

THIS beau t ifu l m elody offers fine opport un it iesfor the displa y of a l l those qua lit ies of

ex press ion of wh ich I con s ta n t ly wr ite. It

is a s im plemelody, an d from its very s im plicitysprin g a l l those pos s ibilities of in terpret a t ion .

The melody , accom pa n ied as it is on ly bys im ple chords , shou ld beyieldin g as a piece of

clay in theh a nds of a skilfu l a rt is t . It is there

awa it in g . the touch of gen ius wh ich willtra n s form it in to a rea l livin g th in g— some

th in g wh ich people look on a nd adm ire. The“Ch ant d'

Amour is of such a cha racter

THE STRAD

th a t it n ot on ly bea rs a s m uch in dividua lityo f trea tm en t a s the a rt is t can pu t in to it , b u t

i t rea l ly dem a n ds such a ren derin g , in orderto give it the n eces sa ry life and sou l . I W i l lproceed to describe ex act ly m y m ethod of

playing it , lea vin g m y reader to accept or

reject a s m uch or a s lit t le as he chooses , on lycau t ion in g h im th a t m y m ethod of t rea tm en t

ha s been adopted on ly a fter lon g con s idera t i on ,

a n d in accorda n ce with the n a tura l laws of

ex pres s ion wh ich every a r t is t follows m ore or

les s con scious ly . The firs t fou r ba rs a re

given to the pian oforte, wh ich by a series

of syncopa ted chords , descen ds from the

fi fth of the key to the ton ic (C m in or ,) on

wh ich chord the’

cel lo comm ences . The

fir s t por t ion of the m elody is divided i n to

fou r sect ion s of four ba r s each . The firs t

two sect ion s gradua lly ascen d, the n ex t two

an swerin g section s gradua lly descen d un t i lth e ton ic is aga in reached , a nd on th is h an gsth e method of trea tm en t . My copy , a t lea s tthe

’

cel lo pa rt , is incor rect ly m a rked for te.

I s a incorrect ly advisedly, as n o m us icia nwou (I th ink of comm encin g a m elody of th isdescr ipt ion forte, thus des t roying h is ch a nceof m akin g a crescen do . N o "we m us t

ign ore the ex pres s ion,m a rks , th a t is qu ite

eviden t , a nd s upply som e of our own .

Comm ence quite pia n o , the ton e shou ld beof tha t veiled qua lity wh ich one usua l lyas socia tes with the s in gin g of P lun ket Green e.

It is difficu lt to ex pla in it o therwise. If m yreaders h ave hea rd th a t a rt is t s ing Schuber t ’sL itan ie they wil l readily grasp m y mea n in g.

Th e qua lity wh ich is produced in the h igherreg is ter of the G s t rin g a ss is ts in givin g th issm ooth , th ick ton e, the pla yer shou ld bow as

for flau tando , i .e. , with a n ice ligh t bow,

ra ther n ea r the fin gerboa rd . Commencequ ite s im ply— n o close sh a ke, in troduce th iswhen the ton e increa ses in volume. Thefin gerin g I have m a rked is tha t wh ich givesthe bes t ex pres s ion , observe how I u se thes ame fin ger for two n otes , in order to

in troduce the glis san do . The tone shou ldgradua lly grow in vo lum e and in wa rm th ,m aking a s ligh t dim in uen do a t the end ofthe secon d sect ion .

1 3 3 “2

The th ird an d fou rt h section s a re a lsoplayed en t irely on the G s t ring . In the

th ird b a r of ex am ple 2 , m ake m uch of the

gliss a n do , from the n ote C to D, develop a

fu ller ton e, and gradua lly in crea se the volum eof ton e un til the m a x im um is reached on the

low A , m ake th is n ote, a nd the liss an do to

the n ote D a fea ture ; then gradu ly dim in ishthe ton e to the end of the ph rase. Th is is

rea lly the firs t port ion of the solo ; take its low ly, b ut n ot so m uch so th a t the sen se of

the melody is los t . Group the n otes , n ot

with the bow in th is°

ca se, bu t by a n ice

m a n ipu la t ion of the periods .

Ba rs 2 1 to 36, con ta in th is m elody with

cer ta in addit ion s , b u t n ow it is played a n

oct ave h igher , and ch iefly on the A s trin g .

The ton e is n a tu ra lly n o t so som bre, a nd theplayer s hou ld en deavour to in troduce a lit t lem ore va riety in to th is repet it ion of the s ubject .

1 2 l

The firs t two ba rs shou ld be played with a

sm ooth bow a nd with sca rcely an y pres s urea pplied , then apply m ore pressu re as th e

pa s s age proceeds . In the th ird ba r of

ex am ple 3 , observe how the secon d fin geris advanced to a pos it ion h igher th a n the n ote

s topped with the fourt h finger . In order toaccom plish th is withou t a n y break in the

s lur , the secon d m us t be placed on the s t rin g,then the four th is ra ised a t the same t ime

as the secon d m oves . In the s ix th b a r of

th is ex am ple, play the two grace n otes rapidly,takin g the tim e from the precedin g crotchet ;in th is same b a r m ake m uch of the glidefrom B fla t to A fla t .

THE

(To be con tinued. )

i nsurers to GEsrrzspsnhm ts.

The Editor wil l be g lad to answer ques tion s on a nys ubject likely to in terest layers 0 stringed ins trumen ts .

All letters to be addr to the dttor . 3 , Green Ter race,Rosebery Avenue. London , E .C.

Rn s n s s s m ay ob ta in our o

pin ion endorsed b a

leading London ex per t a s to t e va lue, etc. , of t eirviol in s for a fee of 5 3 . Al l in s trumen ts shou ld besen t , carriagepa id, to the Ma n ager , 3 , Green Terrace,

Rosebery Aven ue, London , E .C.

Bastoutau . r . Surely you ca n improve. especia l lyw ith the a id of a good m a s ter . 2 . There is n o l im i t

to the a ge for the deg ree o f wi th the except ion of candida tes t ryin g for one of the scholarsh ips .

Al l Col lege of Viol in is ts'

ca ndida tes a re judged on

their meri ts .

A W Cha r l ton . You ca n n o t do bet ter th an ar ran gepositio n of quar tet . firs t and second viol in together ,’

cel lo opposite firs t vio l in . a n d viola Oppos ite second.

Impeeum ous . Your bes t pla n is to scan the adver t isemen t colum n s , Mus icia n s wa n ted , in the Stage,publ ished.everyTh ursda y , a nd theE ra every Sa turday .

If you a re competen t you wil l soon find a place.

M . S . , Gloucester . Your query is ra ther difi cu l t .

So m uch de

gnds on the s tyle in wh ich you wish to

l ive. Your t ter plan is to wr ite direct . Are youa n adva nced player ? otherwise I am a fra id you wil lh ave difficul t ies in s tudyin g with the g rea t ma s ter .

Wea re told l ivin g is cheap in Prague.

1 . j . M . There is n o journ a l publ ished g ivin gex ercises . For the study of pos it ion s get the secondpa r t of Gu ido Papin i

’

s Method (Cha riot) , or

Seven Pos ition s ." by Ba s il Al tha us (Ha r t) .

A nx ious Amateur . Ex cel len t duets for two viol in sa nd pia n o a re, Su ite. Op . 68 , by Hen kel (Ch a n ot ) .

Opera tic select ion s on va r ious opera s by Hofm a n

(Augener) . A firs t ra te concer t duet by Banola isthe Four th Sym phon y (Sch o tt ) .1 . B . , Dudley . We sh ou ld say the so lo Tris tez z a

e Ma rcia ,

” by Leon a rd. recommended by M r . Al th a usin h is ar ticles wou ld s u it you . For a n oisy solo .

V ieu x temps'

s“Souven ir d '

Amer ique,

”founded on

Yan kee Doodle.

"

j . H Ca rdzfl'

. In theg rand detache"the bow does n o t

lea ve the s tr in g , b u t a jus t perce tible: res t is madebetween each s t roke. The wor s tacca to mean s a

s hor t sound. a nd thus the n o te loses a sm a l l por t ionof its soundin g va lue 2 . N o . 2 , L

'

Archet .” by

Papin i , is to beplayed wi th a good firm s troke. thebowtravel l in g a t the same speed a nd with equa l ity o f tone.

3 . The outside s lur re resen ts th a t the n otes coveredby it a re to be in on e w . The under s lurs mus t beobserved. b u t withou t cha n g in g the bow .

Pit tsburger . The piece for viol in a nd pian o .

V irela i ." by Edwa rd Elga r , is publ ished by Mes srs .

STRAD

Swa n a n d Cc. , Bern ers Street , London , W . For

other works by this com poser , we recommend Sur

sum corda (Schot t ) . Pa s tourale"

(Swa n ) , La

Capr iccieuse (Breitkopf andHar tel ) . and Gavo t te

(Scho t t) . We do n ot kn ow of a Trio or Son a ta .

Dr . Frank 1 . N ovak , Ch icago ,writes in a n swer to H

Old Cha r l ton’

s . query re m usicfor viola a nd’

cel lo he

kindly men t ion s a Sona ta by Pleyel . publ is hed a t

Scho t t’

s . Perha ps some o f our readers ca n tel l us of

some more. Thecombin a tion is un usua l . b u t n on e

the less plea s in g .

.l l aund, Swindon . Th is maker m ade some fine vio l ins ,b u t for a m odern in s trumen t the pr ice you men t ion is

too h igh .

Ca nada . We have in terviewed the gen t lem an you

refer to in your en qu iry , and he says nei th er

commun ica t ion h as been received by h im . He has

taken your address and wil l wr i te you .

W . U Hul l . A vio l in sen t to the office of th is paperfor ex per t opin ion wil l be returned the da y fol lowm gits a rriva l .

W. A . Br idge and sound- pos t adjus tmen t a re

respon sible m a in ly for th e upper reg is ter ; see th a t

these a re per fect . Hot h ands show wea kn ess ofthe fingers . Tech n ica l s tudies are you r bes t remedy .

A . G . . Lisbon . You appea r to h ave ex h a us ted a l l

ava ilable a u thors on th is subject up to da te your l is tis such a good one. no o ther ca n be sugges ted .

Subscr iber . U se a sma l l camel h a ir brush a nd wa ter .th rough so und- h oles .

Purcel l . D'

Espine'

s work . as a rule, is of la rge, fla t

a nd hea vy t pe. urflin g incl ined to be coa rse. va rn ish

red . of g qu i ty . per iod about 1 85 0 , fu l l ton e .

R a nda l l . Gaspar da Sa lo’

s im ita tors a re leg ion

your description is fa ir ly accura te, except in g the h ea d,

wh ich . a s a rule,is m os t pr im itive. See the headin g

o f th is colum n .

D . D . . Derby . ( r) . We h ave never hea rd o f or seen

a violin wi th h oles a s your sketch sh ows ; probablyan ex perimen t , to produce more tone ; ca n no t ascr ibeit to a n y pa r t icular m aker . A good sam le. in fine

condit ion . m igh t be wor th £ 20 0 or 30 0 . he h eads

of old in s trumen ts a re genera l ly g ra fted if th is

is n ot the ca se you m a y put I t down to a modern

m aker , if indeed the wh ole in s trumen t is n ot a copy .

H N orwich . The in s trumen t you n ame is of

French m ake, a nd avera ge mer it as a m odern on e.

L . C N ewCross . We a re incl ined to th in k i t

wou ld produce a firmer tone .

Ch roma t ic. Coven try . ( 1 . Genera l ly in m odern in s t ru

men ts the wa rpin g o f t e fin ger boa rd is the prima ryca use. 2 . A Si lver G s t r in g genera l ly g ives a bet terton e bu t is n ot in fa l l ible. A modern in s trum en t

requ i res heavier s trin gs th a n an old on e ; see our

a n swer to R . A . Ga uge . A so ft br idge produces a mel lower ton e for a new in s trumen t a h a rder

on e for an old in s trumen t is more su itab le. To

preven tbendin g occas iona l ly move backwa rd with

i ndex fin ger and th umb o f r igh t h a nd .

R . 1 Leicester . We ca n n ot fol low your en qu iry .

Plea se repea t .

Vn i l l a ume. Limer ick . So m a n y copies of th is m akera reabroad, wecan n ot— withou t firs t seein g the in s tru

men t— g ive an y opin ion . The m aker is a good one.

a nd the va lue of a gen u ine specimen m igh t be { 40 or

£ 5 0 . See headin g of th is colum n .

R . A . Ga uge. It is en tirely a ma t ter o f suitab il it

some a re bet ter with th e A th icker . o thers wi th theG th icker . The resu l t sh ou ld decide.

Stafi’urdsh i re. The m ea n in g of the n otes a nd figures

you quo te is s imply a ch a n ge of pos i tion . from second

to th i rd . You wil l find Spoh r '

s concer tos con sider

ably more difficu l t th an the ones you m en t ion . The

favour ites a re Nos . 8 a nd 9 (Brei tkoff a nd Haer tel) .

THE STRAD

2 . The ex am les g iven on sh ift in g a re gen era l ly on

on e s tr in g i o therwise they a re specia l ly m a rked .

R . C Stoke N ewing ton . For perspirin h ands a

l i t t le vinega r or a lum is good ; b u t your t t rea t

m en t for removin g the t rouble is to practise tech n ica ls tudies such a s Sch radieck .

St'

i 'dd. I . Divided equa l ly on s tr in gs a nd br idge.

2 . Meth yla ted spir i t a nd flower pum ice. U se on a

soft l in en rag . 3 . Kreu t zer ' s Son a ta is con ta ined inAugen er

’

s Album o f Beethoven’

s Son a ta s , complete,

65 . Th is is the ch ea pes t a nd bes t way to get i t .

Rode’

s Seven th Concer to is a lso to be obta in ed of

the sam e firm .

A . Glasgow. You h ad bet ter con sul t some goodteacher before decidin g on ma kin g the vio l in yourprofes s ion . We su ges t M r .

{oh n Da ly of your town .

Th ree yea r s sh ou l be amp e t ime to qua l ify as a

profes s ion a l orches tra l player .

'

Cel l ist . r . Por t ra its of Gera rdy appea red in No .

1 63 o f THE STRAD Becker in N o . 1 46 . Fo ldesy in

No . 1 54 , Ber tie Wi thers in No . 1 60 . The M an ager

ca n s upply you wi th a n y o f th em for 3d. each , pos tfree . Severa l other

’

cel l is t’

s por tra i ts h ave appea redin THE STRAD . 2 . Wr i te Mess r s . Breitkopf a nd

Haer tel for their ca ta logue, a lso Augen er . 3 . You

ca n obta in Becker '

s Ch in res t of Mess rs . Black a n dCo .

Strugg l ing On . The sa u t il le is wel l ex pla ined in the

secon d book of Sta nda rdTu tor . Ba s i l Al tha u s (Gould) ,a nd th e s tacca to in the firs t book .

T. j . , F a l louficld. 1 . No . 2 . R hythm ,

l ish ed by Augener .

S . j I lf racornbe. Prague wil l be sufficien t address .

pos tage 2Qd . Trio ,Ta n n h auser ,

"

Ma rch by Dan ola(Ch an o t ) , Gipsy Rondo (Sta nda rd En g l ish Edit ion ) .2 . Nervousness . Do n o t t ry too m a n y so los a t on e

t ime.

pub

BARZON I

V IOLINS ,

£ 3 3 0

TO BE I'

IAD OF

ALL DEALERS.

I I

Boun d In handsome red cloth wi th gold let ter in g

Price 3 [ pos t free 3 16

TITLE AND INDEX FOR VOL. XIV . THE STRADPrice 3 d. , pos t free a id .

GASES FOR BINDING VOL. XIV .

“THE STRAD

Price 1 16 . pos t free US

8 , GREEN TERRACE . ROSEBERY AVENUE, LONDON , E.Co

MARAVELLI'

V IOLINS,

£ 2 O 0

TO BE I'

IAD OF

ALL DEALERS .

Th is Il l ust ra t ion es re roduced f rom a very A r t ist icShow Ca rd,wh ich

is sen t F ram

3 4a ,

complete to ou r customers on appl ica t ion .

RATHBONE PLACE, LONDON , W .

V IOLINS 6L ’CELLOS .

COLLIN - MEZIN of PARIS .

V IOLIN . V IOLONCELLO BOW MAKER.

ExposIt ion Unlvem lle. Pal-ls tu . Grand Prlx .Gold and Silver l eds ls at the Exhibit ion of Paris 1810.Paris 101i ; Pa t-is 1m . Academloa l Pa lms (FlueArts) .Tfl E MOST PERFECT IN THE . WORLD.

Used by the Grea tes t Ar tists . and Con sidered by Masters

THE MODERN STRADIVARIUS .

I was pa yr ticu ls r l lea sed with thequa l ity of the tone of theCol lin -Méz in V iol in . w ich we t ried in St . J ames

's Ha l l , an d

g l ad to fin d It car r ied so wel l .Abu t 5 th , 1897. J OSEPH J OAOHIM .

M ETZLER AND

SaleAgents for the Un i ted Kingdom and theColon ies

CCOMPAN IST.- Youn g Lady, accom

"

pl ished s igh t reader , used to s in gers and in s t ru'

men ta lis ts ) , des ires en gagemen ts for At Homes .

’

pr iva te practice, etc. For term s address , M is sTHOMAS , 1 0 4 . BR IXTON H ILL , S .W

,

R EADY APR IL 1 5TH .

VOL X IV “THE STRAD

382

Specia l Appoin tmen t to H . .E .H TheDukeof Edi n burgh .

GOLD MEDAL. INVENTION8 EXHIBITION ,

ON,

vmuu BowMAKERS All") EXPERTS,Dealers in Violins . Strings . &c.

Bow s b y a l l t h e celeb r a t ed o ld M a ker-a .

All kinds o f Repa irs don e skil fu l ly .

N o con nect ion with a n y o thers of the n am e of TUBES .

ONLY An n a z s s

94 . WARDOUR ST LONDON .

OUR SALE AND EXCHANGE MART .

Charge for insert ion , sowords Cd. a nd i d. for 0 addi tiona l

th reewords . Trade advu 'tiau neu ta n ot w in is column .

Adm . to beaddreased to 8 . Gwen Ter race. Rosebsry Aven ue. E.C.

V iol in Mu s ic for Sa le. chea p—solos a nd overtures ; send for

l is t . Wh a t offer s Sen ior . 12, Cumber l and Road Bradford .

V iolin . fit ted wi th Mon k‘

s pa ten t t r i Is ba rs and Becker'

s pa ten t

wi th case and bow,for 3 5 s . ll liam Phil ip, 90. Queen

Street , Peterhead.

For Sa le—Old En g l ish Violoncel lo , wi th wooden case ; splendid

condition ; pr ice 1 4 gu inca s . C. N . , c/c S'

r na n on ce, 8 , Green

Terrace. Rosebery Aven ue. London . E .O.

Old V iol in , fine ready - tone, Am a t i Model . £ 5 1 0s . Also old

Stein er , £ 7. J . Clapham . 21 , Books Lane, Dudley Hil l ,Bradford .

Magn ificen t old V iol in , a t t r ibu ted to David Tecckler , wi th new

cowh ide case : wi l l accept £ 25 . Apply , Earp, 1 , St. An n‘

s

Crescen t , Lewes , Sus sex .

Old V iol in (m aker un kn own ). su it solois t ; us t been repa ired.

£ 6, or exch ang e for cycle. Fran k Lee, 74, ewh ampton Road ,

W . ,Wolverh ampton .

Large uan t ity of secon d- h and Mus ic for viol in , violin and

pian o , vic in duets and s tudies , for sa le. or wou ld ex ch a n g e for

viola or lea ther viol in ca se. Li s t on appl ica t ion to L. Delan ey,52. Al ber t Dr ive, Cros sh i l l , Glasgow.

Fine old’Cel lo , mel low tone, wi th 25a . ca se an d bowcomplete ;

4 or neares t ofier . W il l iam Parkin son , 5 , Sam uel S treet ,ver ton , Live ol .

Wan ted, ful - s iz eDum b ’Cel lo ( any m ake) . Kummcr’e Schoola nd m iscel la neous

’Cel lo Mus ic. L. F . ,

1 8,Rockmead Road,

Sou th Hackn ey .

Severa l fin e V iol in s . f rom a sm a l l b u t choice col lection , for

Sa le, each cer t ified and s uit ab le for solo playin g . Enqu i ries

in vi ted. Hayn es , l u l l , Ma ryon Road, Old Cha r l ton . S E.

E g idius Kloz V iol in . 1 695 . exce on a l ly fi ne, ex London

g ua r an teed sa le above £ 1 6 ; eu rior ondon m ake, £ 20 . Both

b a rga in s . 78. Cardig an Road . eeds .

STRAD , Nos . 1 to 1 68 , good condit ion , wi th pla tes . Viol in

Tim es .

" Nos . 1 to 66 . a l l un boun d. Wha t offers In ca sh for the

l ot . Mis s Horne. 1 56. Darn ley Street . Pol icksh ields . Glasgow.

Ita l ian V iolin (oil varn is h by Car lo Brun o. Th rin . m ade for

a nd ex h ibi ted a t t hePa ri s Ex b it ion , 1 900. ob ta in in g a diplom a

Bril l i an t and son orous tone of excel len t qua l ity ; price £ 1 0 . G

Purcel l V il la , Urm s ton . Lance.

V iolin . Reg is tered Car lo Storion i, Cremon a . 1 896 . beau t iful lym arked. very fine tone ; in case, £ 15. A . Moore, 28 , Wha r f Street ,Leices ter .

Rosewood V iol in Ca se. a s n ew. 1 03 72 St rads " a nd V iol in

Times ."20 . 6d. ; Bow by Lamy , 30s . Maun d, 8 , Aven ue Road ,

Swindon .

Old Thompson V iol in . 1 sth cen tury . in good condi t ion ; rich

tone : rice 75 s . Approva l . G 27, Copth orneRoad , Bradford .

Old iol in . by R ich ard Duke. London , in good condit ion . fia t

pa t tern , in ca se, £ 9 . Ofiera . G . ,27

,Copt horn eRoad Bradford .

V iola ( gen u in e Hil l ) , fine ton e. splendid condi t ion : l a te the

mm of Rev. W . A. Arm s trong ; pr ice £ 12. G.

'

Ih filey , 81 ,1 HoweStreet , Leices ter .

V iola . by Leca vi l le. for Sa le, to yea r s old. 1 inches , deepr ib s , oil varn is h . fin e tone ; pr ice £ 8 . M. . 80 . B ig bury Park .

Magn ificen t Dou b leBas s , b ra s s machin e. four - s t rin ged, l arge

s ize, French m aker . s tam ped ; ton e and condit ion per fect .Con tra ,

"co Sr a a n Office, 8 , Green Terrace, Rosebery Aven ue,

London , E.

Seba s t ian K loz . oran ge varn ish , beau tiful ton e £ 1 5 ; Wm .

Fors ter , vc fine dark red varn ish, £ 12; Mat h ias

'

Ror n s ta iner ,orange varn sh , exception a l l y fine and 15

mm , £ 1 8. Exchan gerea l l y good uine

’cel lo and viola . Iclin , 1 7, Grey Street ,

Manches ter uare, W .

Two gen uineBot tison i V iol in s . on esuit lady . rich Ital ian tone.

Cases , s ilvers moun ted Bows , £ 8 each . Approva l . Benn et t ,Ram sbury Park, St . Albam ,

THE STRAD Anvs n '

r t s s n s n r s .

GEN U IN E OLD V IOLIN S .

ARTISTIC REPAIRS.

WHOLESALE II PORTEIIS of the new M IG st atues.

G. A . WEBB Ge SON ,

(Es t a b l is hed

T h e S t r a d ” Depo t , BR ISTOL.

‘

I'

Ite“STRAD STRINGS are unequal led In tone and

unriva l led In durablllty.

P R I C E L I ST S P O S T F R E E .

I wan t all FIDDLEMAKERS to NOTICETh a t my gen uin e I ta l ian V io l in Wood is n o h igher

priced th a n ma ny dea lers sel l SwissWood , a nd yet from

a l l pa r ts of the Globe m akers decla re th a t th ey neverfound an yth in g to equa l it for power a nd qua l i ty of

tone, as it h a s the true r in g of the o ld Crem on as .

Give it a tr ial , plea se. a n y o f you m a kers who a re

workin g the o ther clas ses , an d tes t i t for yourselves .

I have on h an d some fin e V iol in s m ade from it

by n o ted m akers (a l l bea r in g th e m akers '

label s ) . from£ 6 m s . to £ 1 5 . They a re ex cel len t— try on e .

I h avea l so some ra reo ldViol in s . cheap , b y R oger-in s ,

Stor ion i . Guadag n in i , Ton on i , Gragn a n i , a nd on e

specia l a t tr ibu ted to Ca r lo Bergon z i .

J IM TAIT, V lo l l n Dea ler ,

Our Sa le a n d Ex ch a n ge Ma rt (Con tinued.

Very fine old‘

Cel lo. o n a l fit t in g s , va lua b le s ilver m oun tedb ow. £ 5 os . Approva l . ar t icu lat e, Ar sen a l p le Cc. . St.

.W an ted, g ood old V iola,medium s ize : excha nge 0 . and S .

Th ompson V iol in , 1 758 , very fine tone. Fern le, Queen Street ,Maiden head .

V ioloncel lo . m ag n ificen t in s trumen t by Dcdd, fin e copy ofAm a t i ; splendid ton e. per fectl y equa l . ex per t

'

s gua ra n tee, per fect'

finalt ion . E. E H. Wyand , Esq. ,

7, St . Aug us t in e’

s Road,

W an ted. Sevci lt , Op. 1 . bound. A n um ber of Sara-awa an dother good works for dis posa l . Mus ic, 8 , Auckland Ter race,R am se Man .

For ale—N os (Moz a r t . Haydn , Pleyel . Campion i . R omm el .Beethoven ) . Qua r tet s (Moz ar t . Ha ydn ) . Qu in tets a n d Piano(Over tures . Symphon ies ) . R acher . Barn a rd Cas t le.

An excel len t old Mirecourt V iol in . b rown varn ish , good in toneand condi t ion ; price £ 6 (ex per t

'

s va lua tion ) . Dr . Steele, Gom or

sa l l . Leeds .

Six selected Solos for viol in an d pian o. a lso Pian o Solos .

'

seut

pos t free on recel t of 1 s . 3d. Money return ed if n ot a pr oved.

E. Houg h tou , F . .V . ,44, Queen Street , Grca t Harwood , s. 3

“ROLES"WOODfor VIOLIN IAKIIO. l ats rs lli'geasonsdRev. Mr . MORRIS as s —" I h aven ever seen

"3 th a t wil l

equa l it . ” Mr . OMON Orkney It is ful l g ro

and N a tura l ly Seasoned, and. 1a ter . It ha s turned"n

ou t V .G.

Complete Set . £ 1 . Free samples , wi th Tes timcn ia ls .

V iol in s m ade from abovewil l be accepted as paymen t for wood .

Ful l va lue a l lowed.

“VIOLIN STRINGS. direct from F actory —Gen n ine Rufl n i , E.

. or } bundle. 5 s A , 7d ; D. 8d. ; 0 ( rea l s i lver ) . l a . 4d.lidBes t Sax on y —Tes ted and warran ted True Fifth s— ln s in g le

l

l

en gtgs—B

f. 8d. , or i bundle, 8s . ; A , 3d. ; D, 4d. ; 0 ( rea l s ilver ) ,

os t res .

J . D. M IDI-"E , sunsUAREIIOIISE. Beeo h l n , N .B .

Sole Scotch Agen t for above Wood. Num ber of o ld V iol in s

an d V iol in s from aboveWood for sa le. Sen t on approva l .

1 52 THE STRAD

S TA N D A R D E N GL I S H ED I T I O N .

cri s es Ten n acs , CLERKENW ELL,

BEST ENGRAV ING BEST PRINTING.

R ses SEIFFERT, HENRI . Scene Iir ique In G, dedicatedto the Ki nD

‘rof Sweden Vn . R Pf. 34.

D and SEIFFER HENRI. Berceuse In E fla t sdo

BMsoy KALLIWODA , J . W . l

iar-

g het to V ioIa R Pf.”

jagag to

C s 09 P ,ETI-IER ICK A. M in uet Vn R PI. 3dR ea re I-IAIN , H. M . Noct urne In B fla t 3dD 9 Andan teRel ig ioso

'

In Dm

. 3dE on Ma z urka In D m inor 3d.

E or 3 Blumen lied In F . 3d

E s 1 4 Schlqmm er lied In Bfla t : 3d.

D a ss POZNANSK I, I. B. seren ade ( in C) .

D " 6 Dan se Ancien nfl ( in o 4d.

D s s7 Bs rca rol lc ( in G) «LD s r8 Doux Repos . Berceuse In D

(Played byMiss N et t ieC n ter with Immense

D s xg Feu IIIe‘

d-

l bum in AD s s o Ta ran tel la In Am in arR as : STRBLEZK I , A . Mélodie sur uneEtu

de

dcCh

"layed hig h ?"cu r YsaE as : STRELEZ elodie sur un e tude

deChopin'

Cel lo R PI. «1

(Pla yed b Mon s ieu r Joseph.

IIollIua n ) .E s ss ROTONDO , ENZO. Barca rol le

Sicilien e in Gl s s 3 M in uet to

'

In C. sANGSTER , E . J .

’

a a l of Sca les for V iola?F as s CULI

)IsaCHAS. Solo for

'

cello.

on Eng lish Airs6dac. )

B sod FIELDER , S. J . M in uet to ’

Cel lo R Pf. 4d.

D s z 7 ALBERT, B.

'

I'

ris tesse. melodic'

Cello with Pli ac 4d.

D ”8 Au ba l , M arcea u 4d.

F s ag BALFE, M . W. Son a ta . . Pf. R Cello rs .

F 9 30 Tr io In A major Pf: Vn . R'

Cel loc . 3 . BONAW1T2, J . H March Vn . with Pf. ac.

C 9 3 2 Al leg ret toc23 3 s o

'

rTI’

Nc. DR . II . Berceuse

4 BRETON'

Tn on As .

'

l'

rio pa. v. a Ecucn . 3 5 BURN ETT , A . Romance san s pa ro les Vmwt th r t“.

C s 36 CANTOR , OTTO Son g wit hou tWords 4d.

E s 3gDAVENPORT, F. W . Six duet s

'

Cel lo with Pa ac. as .

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