FOOTNOTES:
[1] M. Cartier, Musicien de la Chapelle du Roi, announced for publication, several years ago, an “Essai Historique sur le Violon, et sur les progrès de l’Art Musical, depuis le moyen age.” This announcement was accompanied by the following observations:—“An Historical Essay upon the Violin may, at first sight, appear to many to possess but little interest. They will not readily believe that it is capable of exciting their liveliest curiosity, and of presenting an object of real utility, inasmuch as an attempt will be made to lead the mind from the mere mechanism of the art to a moral and scientific view of the subject, and to a consideration how far the beau idéal of music is indebted to the violin. The author proves that this instrument was unknown to the ancients, and derives its origin from the Druids of Gaul, from whom it afterwards passed to the bards of Scotland—that, from this obscure beginning, it made its way through the dark ages, with slow but certain success, till the beginning of the 17th century, when it attained the first rank among instruments.”—(Harmonicon, 1827.) I have not been able to discover whether this promised treatise has yet seen the light. The idea of tracing the instrument to the Druids of Gaul seems more romantic than rational; but it would be something gained for la gloire de la France, could such a theory be substantiated.
[2] In England, during the time here referred to, the instruments of the viol class were so much in favour that every considerable family had, as a necessary part of its establishment, a complete chest of viols, that is to say, a treble, tenor and bass-viol, each played with a bow, and bearing such proportion to one another as do the modern violin, tenor and violoncello.
[3] “Memoirs of the Musical Drama.”
[4] M. Baillot makes a somewhat longer draft upon the past tense; for he states, that for nearly three hundred years back there has been no change in the structure of the violin.—Introduction to the “Méthode de Violon du Conservatoire.”
[5] They who enjoy the advantage of access to curious books may see a figure of a Provençal Fiddler in “Diez, Poesie der Troubadour.” Viol was the old Norman French name for the fiddle used by the minstrels of the middle ages, which was furnished variously with 3, 4, 5, or 6 strings. Viula was the Provençal term—and arson, or arçon, for the bow.
[6] “It is a kinde of disparagement to be a cunning fiddler.”—Feltham.
[7] The lute, of which hardly the shape, and still less the sound, are now known, was, during the 16th and 17th centuries, the favourite chamber instrument of every nation in Europe.
[8] According to Strutt, the name of fiddlers was applied to the minstrels as early, at least, as the 14th century. “It occurs (says that writer) in the Vision of Pierce the Ploughman, where we read, ‘not to fare as a fydeler, or a frier, to seke feastes.’ It is also used, but not sarcastically, in the poem of Launfel:—
They had menstrelles of moche honours, Fydelers, sytolyrs, and trompoters.
“I remember also (says Strutt) a story recorded in a manuscript, written about the reign of Edward III, of a young man of family, who came to a feast, where many of the nobility were present, in a vesture called a coat bardy, cut short in the German fashion, and resembling the dress of a minstrel. The oddity of his habit attracted the notice of the company, and especially of an elderly knight, to whom he was well known, who thus addressed him: “Where, my friend, is your fiddle, your ribible, or suchlike instrument belonging to a minstrel?” “Sir,” replied the young man, “I have no crafte nor science in using such instruments.” “Then,” returned the knight, “you are much to blame; for, if you choose to debase yourself and your family by appearing in the garb of a minstrel, it is fitting you should be able to perform his duty.”
[9] The miserable state of itinerant fiddlers, and other musicians, is described by Putenham, in his Arte of English Poesie, printed in 1589; and Bishop Hall, the satirist, adverting to their low condition, describes them as
Selling a laughter for a cold meale’s meat.
[10] The learned Wilhelm Grimm, who quotes this curious record from Storck, Darstellungen aus dem Rhein-und Mosellande, conceives that this armorial bearing fully explains the allusion to the fiddle of Volker, the accomplished musician and warrior in the old poem of the “Nibelungen Lied” (supposed of the 12th century), and forms a key to the enigma of his being exhibited in the joint capacity of champion and fiddler, and bearing his fiddle, that is, his arms, into the battle with him.
[11] The readiness of an apothecary to take up a viol does not seem, after all, a thing so much out of course. The singularity is, rather, that he should be able to make so little of it.
[12] The viol, less powerful and penetrating than its supplanter, the violin, was not without its recommendatory qualities. Hawkins speaks of “the sweet and delicate tone which distinguishes the viol species.” Old Thomas Mace, who wrote when the viol was declining in fashion, was emphatic in its praise. “Your best provision,” says he, “and most compleat, will be a good chest of viols; six in number, viz. 2 basses, 2 tenors, and 2 trebles; all truly and proportionally suited.”
[13] According to this loose diction of honest Anthony’s, it would appear as if Troylus and Achilles had exhibited a rivalry on the violin, like Lafont and Paganini!
[14] That the Italians (says M. Choron) have perfected every sort of vocal composition, is generally agreed; but a fact which is apt to be overlooked, is that they have been the instructors of all Europe in instrumental composition, and that to them we are indebted for the first and most esteemed models in that department of the art. It is the Italians who invented all the various kinds of instrumental music which we have called single pieces or solos, from the sonata to the concerto. In violin music, Corelli, Tartini, and their pupils, preceded the composers of all the other nations of Europe, to whom they have served as models. The same may be said with regard to the harpsichord, from Frescobaldi to Clementi. All other single pieces have been constructed on the model of the compositions for the two instruments just named.
[15] At the time of Corelli’s greatest reputation, Geminiani asked Scarlatti what he thought of him. The man of hard learning replied that “he found nothing greatly to admire in his composition, but was extremely struck with the manner in which he played his concertos, and his nice management of his band, the uncommon accuracy of whose performance gave the concertos an amazing effect, even to the eye, as well as to the ear; for (as Geminiani explained) Corelli regarded it as essential to a band that their bows should all move exactly together, all up, or all down; so that, at his rehearsal, which constantly preceded every public performance of his Concertos, he would immediately stop the band, if he saw an irregular bow.
We may smile a little at Scarlatti’s criticism; but the smile may extend at the same time to the quaint precision of the Corellian custom it notices:—a custom which suggests the idea of military mechanism, as well as military time; or rather, which reminds us, in a still more lively manner, of the old nursery pæan.
Here we go up, up, up, And here we go down, down, downy!
Scarlatti (it may be here observed) was the first who introduced into his airs, accompaniments for the violin, as well as bits of symphony;—thus both enriching the melody, and giving relief to the singer.
[16] The only English editions of the above-named works are those published by Messrs. Robert Cocks and Co.; one of which editions is printed from the original plates of copper, which formed part of the stock of Walsh, who printed for Handel.
[17] Burney has made the mistake of stating that the work dedicated to the Cardinal was the Opera Quinta; and, although this was obviously a mere slip of the pen, carrying with it its own contradiction, it is curious to observe with what easy acquiescence the successive English Compilers have reprinted the error.
[18] The overture is inserted in the printed collections of Handel’s Overtures; and it is conjectured that it was the first movement which appeared so difficult to Corelli.
[19] This must have happened about the year 1708; as it appears that Scarlatti was settled at Rome from 1709 to the time of his decease. Corelli’s Concertos therefore must have been composed many years before they were published.
[20] The coincidences suggested by this juxta-position are so inviting for an epigrammatic twist, that the indulgent reader will, perhaps, pardon the following attempt:
Each heading, in his art, the school of Rome, Painter and Fiddler here have found their tomb. Though dead in body, both in fame are quick— Fame wrought with hair appended to a stick! So Genius triumphs, and her sway extends, By means minute attaining greatest ends.
[21] Dr. Burney dates his birth 1666; but Sir John Hawkins, who assigns the date above given, is the more likely to be correct, as he was personally acquainted with Geminiani.
[22] According to Dr. Burney’s reckoning, his term of years would have been 96: the reason for supposing that authority erroneous has been already stated.
[23] It is a somewhat curious circumstance that the descendant of Carbonelli, with an i less than his progenitor, is at this day exercising that very liquid calling which finally prevailed with the man of music. Whether, besides selling superlative wine, he makes any pretension to support the ancestral honors on the violin, is a point I am unable to determine.
[24] There is another account of this love episode in Tartini’s life, which does not conduct it so far as matrimony, but represents that, when all the arguments of his friends against the match were found to be without effect, his father was compelled to confine him to his room; and that, in order to engage his attention, he furnished him with books and musical instruments, by means of which he soon overcame his passion! This statement, so opposed to the general experience of such matters, will easily be discredited by all youthful hearts. Cure a young gentleman’s passion, his first love, by locking him up in a study! Preposterous. Let us cling to the more current account, and confide in probability and Dr. Burney.
[25] Of several treatises which Tartini has written, the one most celebrated, his “Trattato di Musica, secondo in vera scienza dell’ Armonia,” is that in which he unfolds the nature of this discovery, and deduces many observations tending to explain the musical scale, and, in the opinion of some persons, to correct several of the intervals of which it is composed.
[26] For Tartini’s judicious letter of elementary hints, addressed to Madame Sirmen, see the chapter on Female Violinists.
[27] Query, Solo?—Printer’s Imp.
[28] See the reference to the old sacerdotal habit of fiddling, at page 55.
[29] In his “Sonate Accademiche,” opera seconda, published in London, 1744, we meet (observes Mr. G. F. Graham), on the page immediately preceding the music, with the first example we have noticed in Sonate of that time, of an explanation of marks of bowing and expression that occur in the course of the work. His marks for crescendo-diminuendo, and for diminuendo, and for crescendo, are of the same form as the modern ones—only black throughout.—His mark for an up-bow consists of a vertical line drawn from the interior of a semi-circle placed beneath it. His mark for a down-bow is the same figure reversed in position;—Mr. for mordente, &c. These are things worth noticing in old music. In pages 67-9, of the same work, Veracini gives the Scottish air of Tweedside, with variations; the first instance we know, of Scottish music being so honored by an old Italian violinist.
[30] “I cannot understand how Arts and Sciences should be subject unto any such fantastical, giddy, or inconsiderate toyish conceits, as ever to be said to be in fashion, or out of fashion.”—Mace’s Music’s Monument.
[31] It was remarked, while he was in England, that his execution was astonishing, but that he dealt occasionally in such tricks as tended to excite the risible faculty, rather than the admiration, of his auditors.
[32] Voltaire’s contempt for bad playing seems to have equalled his indifference towards good, as may be evidenced in the following lines from his caustic pen:—
toi, dont le violon Sous un archêt maudit par Apollon D’un ton si dur a ráclé, &c.
[33] Michael Kelly, who heard this artist at Vienna, on his return from Russia, makes the following mention of him:—
“Giornovick, who was on his way from Russia to Paris, had been many years first concerto-player at the court of Petersburgh. He was a man of a certain age, but in the full vigour of talent: his tone was very powerful, his execution most rapid, and his taste, above all, alluring. No performer, in my remembrance, played such pleasing music. He generally closed his concertos with a rondo, the subject of which was some popular Russian air, to which he composed variations, with enchanting taste.”
[34] Apropos of this deficiency of English, I find an anecdote in the book of Parke, the oboist. He is describing the return from a dinner-party.—“When we arrived at Tottenham-court Road, there being several coaches on the stand, one was called for Jarnovicki, to convey him home; but, on its coming up, although he had been in London several years, he could not muster up English enough to name the street in which he lived; and, none of the party knowing his residence, it produced a dilemma, in which he participated, till, suddenly recollecting himself, he broke out singing, Marlbrouk s’en va-t-en guerre, which enabled his English friends to direct the coachman to Marlborough Street.”
[35] Parke, also, mentions the occurrence of this dispute, and the challenge—stating, as the occasion, that Shaw had refused to leave his proper station in the orchestra, to accompany Giornovichi.
[36] Authentic editions of these charming productions will be found in the Catalogue of the Messrs. Robert Cocks and Co. who are the sole publishers of Viotti’s Duos and Trios.
[37] It has been asserted that the wire of his fourth string was particularly fine and close, to ensure greater smoothness of surface, and facilitate the sliding of the fingers.
[38] It is right to add here, that M. Guhr has subsequently reduced to a system the results of his investigation into the peculiarities of Paganini’s playing, and, illustrating the whole with copious examples, has published it in a special work, of which an English version, under the title of “Paganini’s Method of Playing the Violin,” has been put forth by Messrs. Cocks and Co. The work is a curiosity in its kind, and lays open, perhaps, as many of the great Artist’s labyrinthine recesses, as could well be traced upon paper, for the guidance of those who would toil in his track. Many of the difficulties thus exhibited to view, are truly astounding—difficulties that look as inexpugnable as the fortifications of Gibraltar! The simultaneous four A’s flat, do “puzzle the will,” while the artificial double harmonics, and other eagle-flights, cause an aching of “the mind’s eye,” in the attempt to follow them. Ordinary students, in beholding such things, may well experience a double shake of apprehension; but those of more energetic fibre, and devoted patience, should by no means despair of attaining, at least, a partial success in the undertaking.
Among the mechanical resources employed by Paganini, as essential for the production of his extraordinary effects, M. Guhr mentions the peculiar smallness or thinness of his strings—a quality the reverse of advantageous, as regards the usual course of playing,—and his frequent habit of screwing up his G string to B flat, through which device certain passages, otherwise unmanageable, were brought within the scope of possibility. Ordinary strings would resent this freedom of treatment by a snap; but those of Paganini were, it seems, expressly fitted and prepared for their higher duty, in a way which M. Guhr minutely explains.
[39] When Paganini was afterwards in England, it was observed by a rigid time-keeper, who happened to attend one of his Concerts (at Winchester), that his own portion of the performance, for which the requital was the sum of £200, occupied just twenty-eight minutes.
[40] Duranowski, the Pole.
[41] M. Fétis, in his Notice Biographique, enters into a defence of Paganini in this matter—explains the advantages of the contract system, as liberating the artist from the petty cares that pertain to concert-giving—and clears Paganini from the imputation of sordid motives.
[42] Some enlightenment on this point may be derived from a scrutiny of M. Guhr’s Work, already referred to.
[43] Dr. Bennati read, before the Royal Academy of Sciences, at Paris, a physiological notice of this extraordinary man, in which he gave it as his opinion, that his prodigious talent was mainly to be attributed to the peculiar conformation which enabled him to bring his elbows close together, and place them one over the other, to the elevation of his left shoulder, which was an inch higher than the right; to the slackening of the ligaments of the wrist, and the mobility of his phalanges, which he could move in a lateral direction at pleasure. Dr. Bennati also alluded to the excessive development of the cerebellum, as connected with the extraordinary acuteness of his organs of hearing, which enabled him to hear conversations carried on in a low tone, at considerable distance.—M. Geoffroy St. Hilaire remarked that he had been particularly struck with the prominence of the artist’s forehead, which hung over his deeply-seated eyes like a pent-house.
[44] “De l’Opéra en France.”
[45] Of harmony, or of fine melody, or of the higher relations between poetry and music, the ostentatious Louis appears to have had no conception. In a case of rivalry, wherein Battista, a scholar of Corelli’s, played against one of the French band who was an ordinary performer, he (the royal Auditor) preferred an air in “Cadmus” (an opera of Lully’s, and not one of his best), as given by the Frenchman, to a solo (probably of Corelli’s) by the Italian,—saying, “Voila mon gout, à moi; Voila mon gout!”
[46] “Jamais homme n’à porté si haut l’art de jouer du violon: et cet instrument était plus agréable entre ses mains qu’aucun autre de ceux qui plaisent le plus.”—Moreri, Dict. Historique.
[47] The above anecdote suggests another, of a somewhat similar cast, pertaining to the great Musical Commemoration at Westminster Abbey, in 1791. A person falling upon a double bass, as it lay on its side, immediately disappeared—nothing being seen of him, except his legs protruding out of the instrument; and for some time no one could assist him, owing to the laughter occasioned by his predicament!
[48] “Paris est le foyer musical de la France: les astres les plus brillans roulent dans cette région préférée; mais hélas! leurs rayons ne portent pas la lumière une grande distance. A peine sommes nous sortis des portes de cette capitale, que nous tombons soudain dans une obscurité profonde.”—(Castil-Blaze, de l’Opéra en France.)
[49] “Equisse de l’Histoire du Violon.”
[50] The universal diffusion of musical tendencies among the Germans has been often made the subject of remark. A late traveller, visiting the Theatre at Cassel, says that the orchestra there was half filled with officers, who fiddled in their regimental uniform, without considering the practice as at all derogatory from their dignity.
[51] Dr. Burney remarks that Geminiani used to claim the invention of the half-shift on the violin, and that he probably first brought it to England; but that the Italians ascribed it to Vivaldi, and others to the elder Matteis, who came hither in King William’s time.
[52] Of Tassenberg, a fine player, who came over to England with William Cramer, little can be said. As he fell speedily into obscurity, I place him here below in a note. With capacity for achieving a position, but with no prudence for its retention, he endured much misery through his own reckless follies. To some one who was once enquiring where he lived, the reply was, “In and about the brick-kilns at Tothill-Fields.”
[53] Apropos of the violoncello—let us here bestow a passing glance on the name of Merk, distinguished more recently than that of Bernard Romberg, in connection with the larger instrument. Merk seems to have made a closer approach to our eminent Robert Lindley, in quality of taste, than in firmness of hand, or brilliancy of tone. Mr. Novello, who has rated him higher than any of our players, except Lindley, adds a remark with reference to the double basses used in Germany—that they have frequently, instead of three strings, a complement of four, thinner than those in use with us, and descending to E below the usual scale—and that, when mixed with other instruments of the same class, the depth and richness they produce are very fine.
[54] Life of Anthony à Wood, Oxford, 1772, p. 88, &c.
[55] In process of time, these compositions likewise were supplanted by Martini’s Concertos and Sonatas, which, in their turn, were abandoned for the Symphonies of Van Malder, and the sonatas of the elder Stamitz. Afterwards, the trios of Campioni, Zanetti, and Abel came into play, and then the symphonies of Stamitz, Canabich, Holtzbauer, and other Germans, with those of Abel, Bach, and Giardini; which, having done their duty, “slept with their fathers,” and gave way to those of Vanhall, Pleyel, and Boccherini; and all have now gradually sunk into insignificance, eclipsed by the superior brightness and grandeur of Haydn, Mozart, Beethoven, Cherubini, and some others, whose symphonies are the delight and wonder of the existing generation. So runs the changeful course of musical success!
[56] As a grandson of the individual here recorded, the writer of these pages may perhaps find licence to mention that there is extant in his family a fine portrait of Dubourg, by the Dutch painter Vander Smissen, interesting for the qualities of intelligence and good-humour that are blended in its expression.
[57] Vide “Records of a Stage Veteran,” in the New Monthly Magazine.
[58] As to this asserted advantage of resorting to chemical agency, the joke is somewhat of the oldest—so we may as well turn its coat, and it will then wear the aspect of the following
hint to purchasers. To buy a fiddle when about, Your way unto a Chemist’s win, Where, if but twelve-pence you lay out, You’re sure to get a vial “in.”
[59] Should there be any to whom the foregoing estimate (which aims at being a candid one) may seem to render imperfect justice to the claims it deals with, I can only remind them that they have the same freedom as myself to indulge their opinion, and to assert it. Nay, I will even furnish them with four measured lines, by way of a text from which to expand their own more propitious adjudication; provided only, that they will accept them as conceived in any other spirit than that of ill-nature, which is hereby wholly disavowed:—
Ask not how long shall flourish yet his fame, Nor when shall cease the record of his glory! Oblivion dares not to efface his name, Since e’en the tomb cries out “Memento Mori!”
[60] “Diffuse the tuneful lenitives of pain.”—Johnson.
[61] It must be borne in mind, that the three Quartett Concerts had been given, with Mr. Dando as Leader, at the Horn Tavern; and the four “Concerti da Camera,” at the Hanover Square Rooms;—that both parties had advertised their forthcoming series;—and that it was pretty extensively rumoured that the Blagrove, Gattie, Dando, and Lucas party had combined to try their fortune in the new field.
[62] In the getting-up of Concertos for the annual Concours in Paris, the Violin students exercise a perseverance and length of labour truly surprising; and, in the result, such is the perfect manner in which the same Concerto is executed successively by sometimes a dozen candidates, that it would puzzle the most skilful judges to discriminate the individual to whom the prize should be awarded. In such cases, were it not for the subsequent resource—the safe and certain test of sight-playing, which brings into operation the intellect as well as the hand—it would perhaps be impossible to give a single decision that should not be open to dispute. Thus great is the power of execution which practice confers—and thus rigorous, the need of that practice!
[63] If an Amateur, who is capable of murdering time, should yet have the grace of a disposition to offer some apology for the act, I would suggest his quoting, for that purpose, the subjoined rhyming octave:—
“Cease, cease this fiddling,” cried Sir John, To Ned, his tune-perplexing son— “You lose your time, you idle lout.” “No, sir, my time I keep, throughout.” “Psha! keep time! no, kill time, you mean,” Mutter’d the father, full of spleen. “Kill him! well, sure, sir, I’m no zany, For killing him who has killed so many.”
[64] The injurious and disqualifying effect of musical vanity, complained of in France as well as here, is thus noticed by M. Castil-Blaze:—“Although music is every where taught to our youth, and is an art cultivated by a very considerable number of Amateurs, we find very few amongst them who are really useful with regard to playing in concert. And this proceeds, partly, from the fact of each individual desiring to occupy the first place. I have known violin-players renounce their instrument, because of finding themselves restricted to the second part. As for your tenor, it is a department not to be mentioned, and is left in the hands of those good elderly dullards who have already forgotten the half of what they never very well knew.”
[65] As it is neither hoped nor intended that this chapter should constitute a gradus, or complete code of instruction for the young student, I do but hint at a few of the streams of information that Footnote: are open to him. A more extended view of these would result to him from a reference to the printed catalogues of those very diligent purveyors of pabulum for auricular purposes, Messrs. Cocks and Co.; but, should he look upon a copious Catalogue as little better than a strange road without a guide, or a labyrinth without a clue—and should he have no live preceptor at hand, to consult—I would point his attention to an available help from the same quarter, namely, “Hamilton’s Catechism for the Violin,” small in compass as in cost, wherein he will find, briefly indicated, the various steps by which, with due regard to continuous advancement, he should make his way.
[66] It is noticeable, as among the advantages due to this enterprise, that the text of the great Master, whose name it borrows, has been rescued (so far as relates to his Quartetts) from the numerous errors wherewith all the editions were chargeable; and that a new edition, edited by Monsieur Rousselot (through whose labours that purification was mainly accomplished) has been submitted to the public by Messrs. Cocks & Co.
[67] Among the meritorious doings of provincial Amateurs (albeit not in the way of Quartetts), I would here take occasion to mention the Brighton “Choral Society,” commenced in 1835, under the zealous management of Mr. H. Woledge, whose funds, as well as his time and talent, were liberally contributed to the undertaking. That social combination, although not continued beyond its third season, has been followed by the Brighton “Amateur Symphony Society,” which, with Mr. B. Thom for its Leader, and Mr. Woledge as its Secretary, is at this time pursuing its career of recreative euphony. Such Societies as this last, though they do not form quartett-players, can qualify their members to supply, with creditable effect, some of the demands of an orchestra.
[68] When twenty-four bits, instead of twelve, are used for the purfling, and when the tail-piece is made of two bits, the total number of pieces extends to seventy-one!
[69] Anecdotes of Mozart, by Frederic Rochlitz.
the end
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| 1 | ||
| WORKS FOR VIOLINISTS. | ||
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| 2 | ||
| Otto on the Construction and Preservation ofthe Violin, enlarged Edition, by John Bishop. | ||
| From the Author’s Preface. | ||
| “I have been induced to draw up a minute description of theconstruction of the Violin and all other bow instruments, togetherwith a careful explanation of the forms of the genuineItalian instruments, by which they may be clearly distinguishedfrom the spurious imitations. I shall specify those makers who,next to the Cremonese, have produced the best instruments andworked on the most correct mathematical principles, and shalltreat at large of the rules which should be observed in repairing;because, through this, most of the good Italian violins, and thoseof other celebrated makers, have been spoiled.” | ||
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| “The appendix (only found in this edition) contains a valuablearticle on the proportions, &c. of the several parts of the violin,illustrated by elaborate diagrams; and also another upon thebow, which was a desideratum in the original work—thus completingthe necessary circle of information which every violinistshould possess respecting the mechanism of his instrument—andwhich will prove an effectual safeguard against the mischievouspractices of so-called restorers and repairers.” | ||
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| 4 | ||
| LOUIS SPOHR’S VIOLIN SCHOOL | ||
| From the Morning Chronicle. | ||
| “This edition is fully equal in value to the original German;or, indeed, superior to it, when we consider the useful notes addedby the Translator, and the correct and beautiful manner in whichthe Volume has been brought out by the Publishers.” | ||
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| From the Spectator. | ||
| “Any criticism on a work of such standing and repute asSpohr’s Violin School would now be superfluous, if not impertinent.Its reputation has long been established throughoutEurope; and the testimony of the best judges has stamped it asthe most perfect work of its kind.” | ||
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| Instruction Books for the Violin. | ||
| Campagnoli’s New and Progressive Method for the Violin,translated by John Bishop, and dedicated to His lateRoyal Highness the Duke of Cambridge—large musicfolio, whole cloth boards | £1 4 0 | |
| Paganini’s Method of Playing the Violin, by Charles Guhr,translated by James Clarke | 12 0 | |
| Rode, Baillot, and Kreutzer’s Method of Learning theViolin, as adopted by the Conservatoire de Musique,in Paris, translated by J. A. Hamilton | 10 6 | |
| Supplement to Rode, Baillot, and Kreutzer’s Method | 8 0 | |
| Hamilton’s Catechism of the Violin, with an Appendixby John Bishop, 6th Edition | 1 0 | |
| Pacini’s Easy Method, with 50 Airs, 13th Edition, revisedby Hamilton | 2 0 | |
| Abbé’s (fils) Treatise on Harmonics | 1 6 | |
| Guhr’s Treatise on Single and Double Harmonics | 4 0 | |
| Praeger’s Elementary and Practical School for the Violin,in Three Parts. | ||
| Easy Method, with 28 Airs, &c. | 5 0 | |
| Part 2. The Indispensable, containing Scales, &c. | 5 0 | |
| Part 3. Studies selected from Beethoven, Haydn, &c.&c. &c. fingered | 5 0 | |
| 5 | ||
| T. Goodban’s Violin Method | 10 6 | |
| Howell’s Instruction Book | 10 6 | |
| Howell’s Elementary Examples | 6 0 | |
| Muller’s Twenty Lessons for the acquirement of Time,for one or two Violins | 4 0 | |
| FOR THE VIOLA, OR TENOR VIOLIN. | ||
| INSTRUCTION BOOKS, SCALES, &c. | ||
| Brunt’s Method for the Tenor, followed by 12 Studies | 4 0 | |
| Praeger’s (H. A.) Scales and Chords in all the Keys, withtheir proper fingering, at one view | 1 0 | |
| Praeger’s (H. A.) 12 easy Preludes in different keys, fingeredfor the use of those who wish to play with feelingand expression | 2 0 | |
| Praeger’s (H. A.) 18 Easy Studies, fingered | 3 0 | |
| The Viola for Solo Performers.—“Why is the Violaso little cultivated among amateurs in comparison with the restof the Violin Family? It would seem, in my judgment, to beespecially adapted for them, as it does not embrace that widerange and execution that the violin does, but depends on thesweetness and volume of tone. For the performance of Notturnos,perhaps no instrument is more suitable, as any one, who has heardMr. Hill on it, will confess.”—Correspondent of Cocks’s MusicalMiscellany, July, 1851. | ||
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| FOR THE VIOLONCELLO. | ||
| Baillot, Levasseur, Catel, and Baudiot’s Method forthe Violoncello, adopted by the Conservatoire, translatedby A. Merrick—fingered by T. Binfield | 12 0 | |
| Supplement to ditto | 6 0 | |
| Hus-Desforges’ Instruction Book for the Violoncello | 10 6 | |
| Hamilton’s Catechism for the Violoncello | 1 0 | |
| Duport’s celebrated Essay for the Violoncello, translatedby John Bishop (in the press). | ||
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| FOR THE CONTRE-BASSO, OR DOUBLE BASS. | ||
| Mine and Frolich’s Method for the Double Bass (editedby Hamilton) | 8 0 | |
| 6 | ||
| STANDARD CLASSICAL WORKS | ||
| FOR VIOLIN, &c. | ||
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| CORELLI’S TRIOS AND SOLOS. | ||
| Corelli’s Forty-eight Trios for Two Violins and Violoncello,Four Books, each | 8 0 | |
| Or, complete in Three Volumes | £1 4 0 | |
| Corelli’s 12 celebrated Solos, newly arranged by Czerny | 10 6 | |
| Corelli’s 12 Solos, printed from the plates (copper) originallybelonging to Walsh | 10 6 | |
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| De Beriot’s Six Airs, varied for the Violin, with accompanimentfor the Pianoforte: | ||
| Nos. 1 to 5, each | 4 0 | |
| 8th Air | 5 0 | |
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| VIOTTI’S DUETTS AND TRIOS. | ||
| Viotti’s complete Collection of Duetts, Op. 1. 12 Duetts,2 books, each | 8 0 | |
| Viotti’s Six Duetts, Op. 5, 2 books, each | 8 0 | |
| Viotti’s Six Duetts, Op. 6, 2 books, each | 8 0 | |
| Viotti’s Three Duetts, Op. 18 | 8 0 | |
| Viotti’s Three Duetts, Op. 21 | 8 0 | |
| Viotti’s Three Duetts, Homage à l’Amitié | 8 0 | |
| Viotti’s complete Collection of Trios, | ||
| First Set, Six Trios, Op. 2 | 10 6 | |
| Second Set, Op. 16 | 8 0 | |
| Third Set, Op. 17 | 8 0 | |
| Fourth Set, Op. 20 | 8 0 | |
| Viotti’s Three Airs, with Variations (Violin & Piano), each | 2 0 | |
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| Beethoven’s Four Grand Trios, edited by Scipion Rousselot: | ||
| Nos. 1, 2, 3 (Op. 4) | 12 0 | |
| No. 4 (Op. 3) | 8 0 | |
| (The only complete Edition). | ||
| Mozart’s Original Trio for Violin, Tenor, and Bass | 6 0 | |
| Trios by Pleyel, Hummel, &c. for Violin, Tenor, andVioloncello, or Pianoforte. | ||
| 7 | ||
| QUARTETTS. | ||
| TWO VIOLINS, TENOR, AND VIOLONCELLO. | ||
| Beethoven’s 17 Quartetts for Two Violins, Tenor, andVioloncello, edited by M. Scipion Rousselot, as performedat the Beethoven Quartett Society in London,with a Portrait and Memoir of the Composer. Theentire set, engraved in the best style, on extra largeplates, and printed on fine stout paper | £6 6 0 | |
| Separately. | ||
| Nos. 1, 2, 3, 4, 5, 6, composed for, and dedicated to,Prince Lichnowsky (Op. 18), each | 9 0 | |
| Nos. 7, 8, 9, dedicated to Prince Rasumowsky(Op. 58), each | 10 6 | |
| Nos. 10, 11, 12, and 14 (Ops. 74, 95, 97, and 133), each | 10 6 | |
| Nos. 13, 15, 16, 17 (Ops. 130, 131, 132, and 135), each | 12 0 | |
| Haydn’s 83 Quartetts for Two Violins, Tenor, and Violoncello;a new edition, revised and corrected, withPortrait of the Author, and a Catalogue Thématique,4 vols. bound in cloth | £6 6 0 | |
| The Quartetts may be had singly, at 2s. 6d. 3s. and 4s. each;or in Operas, or Sets of Six, at from 12s. to 16s. each set. | ||
| N.B.—A Catalogue Thématique may be had, on application,gratis and postage free. | ||
| Mozart’s Ten Quartetts, 4 vols. boards | £2 2 0 | |
| First Set of Three | 15 0 | |
| Second Set of Three | 15 0 | |
| Third Set of Three, dedicated to the King of Prussia | 15 0 | |
| Single Quartett | 6 O | |
| The Ten Quartetts in Score, 8vo. 10 Nos. | 1£ 0 0 | |
| These unique and splendid Editions are | ||
| THE ONLY UNIFORM EDITIONS EXTANT | ||
| of the Quartetts of Haydn, Mozart, & Beethoven. | ||
| 8 | ||
| QUINTETTS. | ||
| TWO VIOLINS, TWO TENORS, AND VIOLONCELLO. | ||
| Beethoven’s Quintetts, complete edition, as performed bythe Beethoven Society; edited by Scipion Rousselot—engraved in the same style as the Quartetts, on largesized plates, and printed on extra paper: | ||
| Grand Quintett—No. 1, in E flat (Op. 4) | 10 6 | |
| No. 2, in C (Op. 29) | 10 6 | |
| No. 3, in E flat (Op. 20) | 10 6 | |
| No. 4, in B flat (Op. 20) | 10 6 | |
| (The only complete English Edition,) | ||
| Beethoven’s Grand Quintett, in E flat, for Piano, Violin,Tenor, Flute, and Violoncello | 6 0 | |
| Dussek’s Quintett for Piano, Violin, Tenor, Violoncello,and Double Bass (Op. 41) | 7 0 | |
| Haydn’s Twelve Grand Symphonies, arranged byDr. Hague for Flute, two Violins, Tenor, and Violoncello, 4 books, each | 15 0 | |
| Pianoforte parts, each | 4 0 | |
| Mozart’s Six Quintetts for two Violins, two Tenors, andVioloncellos—6 books, each | 8 6 | |
| Or, the Six complete in 5 volumes, boards | £2 2 0 | |
| The first Five Quintetts, in score | £1 2 6 | |
| The only correct editions of these Quintetts extant.. | ||
| A. Romberg’s Quintetts for Violin, Flute, two Tenors,and Violoncello | ||
| Six Quintetts, each | 5 0 | |
| Three Quintetts, each | 6 0 | |
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| SEPTETTS, &c. | ||
| All the Symphonies and Overtures of Auber, Beethoven, Haydn,Mozart, Romberg, Rossini, &c. | ||
| (Catalogues gratis and postage free.) | ||
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| SYMHONIES AND OVERTURES FOR AFULL ORCHESTRA. | ||
| Beethoven’s Grand Symphony. No. 1, in C (Op. 21) | 12 0 | |
| Haydn’s Grand Symphony, The Surprise | 7 6 | |
| Haydn’s Grand Military Symphony | 7 6 | |
| Mozart’s Grand Symphonies, each | 10 6 | |
| A. Romberg’s Grand Symphony in E flat (Op. 6) | 10 6 | |
| *** Duplicate Violin, Tenor, and Bass Parts, each | 1 0 | |
| 9 | ||
| OVERTURES FOR A FULL ORCHESTRA | ||
| Beethoven’s Overture to Prometheus (Op. 48) | 7 0 | |
| Cherubini’s Overtures to Anacreon and Lodoiska, each | 6 0 | |
| Mozart’s Overtures—viz. Le nozze di Figaro, Il FlautoMagico, Il Don Giovanni, Idomeneo, La Clemanzadi Tito, Cosi fan Tutti, La Vilanella Rapita, each | 7 0 | |
| B. Romberg’s Overture in D (Op. 11) | 7 6 | |
| C. M. von Weber’s Overture to Der Freyschütz | 10 6 | |
| Duplicate Violin, Tenor, and Bass parts, each | 1 6 | |
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| DANCE MUSIC | ||
| All Lanner, Strauss, Labitzky, and Musard’s Dances may behad for a Full Orchestra. | ||
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| VIOLIN AND PIANOFORTE | ||
| (with accompaniments.) | ||
| Haydn’s Twelve Grand Symphonies, arranged for the Pianoforteby Czerny, with Accompaniments for Violin, &c. Mozart’sSymphonies, arranged by Clementi, with similar Accompaniments.Brilliant Duetts for Pianoforte and ViolinConcertante, by Mozart, Beethoven, Rossini, Auber, Mayseder,Weber, Spohr, &c. with a large collection of Musicfor Violin, &c. and Pianoforte. | ||
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| Just Published | ||
| A Catalogue of Standard and New Music for the Violin, Tenor,and Violoncello. 11th Edition. | ||
| ☞ This catalogue is not equalled throughout Europe for thenumber, variety, and value of the Works it contains. It will befurnished on application, gratis and postage free. | ||
| Applicants may also have, free by post, a List of Violins,Tenors, Violoncellos, and other Instruments; including someundoubted originals by the Italian Makers, with the Pricesaffixed. | ||
| also | ||
| A Catalogue of the Original Works of Louis van Beethoven,with various arrangements. | ||
| 10 | ||
| CATALOGUES, &c. FREE BY POST. | ||
| General Catalogues of Music for all Instruments, embracing astock printed from no less than a quarter of a million ofplates, may be had, on application, gratis and postage free. | ||
| A Miscellaneous Catalogue of Standard and other MusicalWorks, ancient and modern, including Treatises on the Theoryof Music, Historical Treatises, &c. with rare and curiousworks, printed, and in manuscript, including a copious selectionfrom the Musical Library of His late R. H. the Duke ofCambridge (gratis and postage free). | ||
| Select Catalogue of Sacred Music, Vocal, and for the Organ,with tables of the contents of the several works (gratis andpostage free). | ||
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| In course of Publication. | ||
| Organ Works, by W. T. Best; viz. The Organ Student, inParts, at 2s. 6d. each; Six Adagios for the Organ, 5s.; PedalExercises, &c. 12s. | ||
| Several Copies of Handel’s Complete Works, £25 to £42. | ||
| Dr. Boyce’s Collection of Cathedral Music, with Portrait,and Memoirs of the Composers, by Joseph Warren, dedicatedto H. R. H. Prince Albert—3 vols. extra music folio, £6 6s. | ||
| A Large Collection of Portraits of Musical Men, at variousprices. Also Busts in bisque China of Haydn, Mozart, Beethoven,Handel, J. S. Bach, Mendelssohn, and Weber,each 2s. 6d. | ||
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| Just Published, | ||
| Vol. I. in Royal 8vo. Price £1 1s. of | ||
| (cocks’s edition of) | ||
| THE SCHOOL OF MUSICAL COMPOSITION, | ||
| By Dr. ADOLPH MARX. | ||
| This Edition, under the supervision of the Author himself (withadditions exclusively for the English translation), is publishedsimultaneously with the Fourth German Edition, now in courseof issue at Liepzig. | ||
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| VIOLINS, BOWS, &c. | ||
| Vuillaume’s Copies of Straduarius, Guarnerius, the Amatis,Magini, &c. price £14 each instrument. | ||
| Brazil Wood Violin, Tenor, and Violoncello Bows, by Vuillaume,at the uniform price of thirty shillings; Moveable Hair, bythe same, eighteen-pence each hank; and his Patent Rosin, oneshilling the box. | ||
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| ROBERT COCKS & Co. NEW BURLINGTON STREET, | ||
| Music Publishers, by Special Warrant, to the Queen. | ||