[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
PRINTED BY J. MALLETT, 59, WARDOUR STREET, LONDON.
| 1 | ||
| WORKS FOR VIOLINISTS. | ||
| ————— | ||
| Otto on the Structure and Preservation of the Violin, enlarged Edition, 8vo. Boards, by John Bishop, | ||
| (With Illustrations). | ||
| PRICE THREE SHILLINGS. | ||
| ~~~~~~~~~~~~~~ | ||
| A TREATISE | ||
| ON THE | ||
| STRUCTURE AND PRESERVATION | ||
| OF THE | ||
| VIOLIN, | ||
| AND | ||
| ALL OTHER BOW INSTRUMENTS; | ||
| TOGETHER WITH | ||
| An Account of the most celebrated Makers, and of the genuine Characteristics of their Instruments; | ||
| BY | ||
| JACOBUS AUGUSTUS OTTO, | ||
| Instrument Maker to the Court of the Grand Duke of Wiemar. Translated from the Original, with Additions and Illustrations, | ||
| BY | ||
| JOHN BISHOP, | ||
| OF CHELTENHAM. | ||
| ————— | ||
| ROBERT COCKS & CO. LONDON. | ||
| 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.” | ||
| “... many good Violinists are unacquainted with theconstruction and the various component parts of their instruments....”Chap. II, p. 4. | ||
| ————— | ||
| From the Morning Herald. | ||
| “The famous Treatise of Otto on the Violin has been ablytranslated by Mr. John Bishop, whose book will be welcome tothose who are curious in the history of the instrument, in thebiographies of its most renowned makers, and in its mechanismphilosophically considered.” | ||
| ————— | ||
| “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.” | ||
| ————— | ||
| “The study of this book will show any unfair dealing on thepart of dealers in old violins.”—Harmonicon. | ||
| ————— | ||
| See also Chap. IX, [p. 342], of “The Violin”. | ||
| —————3 | ||
| A LIST | ||
| OF | ||
| BOOKS OF INSTRUCTION | ||
| FOR THE | ||
| VIOLIN, | ||
| INCLUDING | ||
| THE METHODS OF THE MOST CELEBRATED MASTERS. | ||
| ————— | ||
| STANDARD EDITION OF DR. SPOHR’S GREAT WORK, | ||
| With the Author’s own Sanction. | ||
| LOUIS SPOHR’S CELEBRATED VIOLIN SCHOOL, | ||
| translated by John Bishop, with two portraits of the Author —large music folio, whole cloth boards, £1 11s. 6d. | ||
| TESTIMONIAL FROM THE AUTHOR. | ||
| “London, June, 1843. | ||
| “I have carefully looked over the English edition of myViolin School, published by Messrs. Cocks and Co. and have nohesitation in recommending it as a faithful translation of the originalwork. | ||
| “Louis Spohr.” | ||
| ————— | ||
| The following is the reply to the Inscription Letter of thePublishers, received by them from the Secretary to the | ||
| Royal Academy of Music: | ||
| “Royal Academy of Music, February 13th, 1843. | ||
| “Sir,—I am directed by the Committee of Management ofthis Institution, to state that they have much pleasure in grantingyour wish to publish their names as patronizing your edition ofSpohr’s Violin School. I am farther instructed to return youtheir best thanks for your donation of a copy of the above Work,and which they have felt much pleasure in directing to be placedin the Library of the Academy. | ||
| “I am, Sir, your obedient Servant, “J. Gimson, Secretary.” | ||
| 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.” | ||
| ————— | ||
| 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.” | ||
| ————— | ||
| 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. | ||
| ————— | ||
| 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). | ||
| ————— | ||
| 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. | ||
| ————— | ||
| 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 | |
| ————— | ||
| De Beriot’s Six Airs, varied for the Violin, with accompanimentfor the Pianoforte: | ||
| Nos. 1 to 5, each | 4 0 | |
| 8th Air | 5 0 | |
| ————— | ||
| 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 | |
| ————— | ||
| 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 | |
| ————— | ||
| SEPTETTS, &c. | ||
| All the Symphonies and Overtures of Auber, Beethoven, Haydn,Mozart, Romberg, Rossini, &c. | ||
| (Catalogues gratis and postage free.) | ||
| ————— | ||
| 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 | |
| ————— | ||
| DANCE MUSIC | ||
| All Lanner, Strauss, Labitzky, and Musard’s Dances may behad for a Full Orchestra. | ||
| ————— | ||
| 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. | ||
| ————— | ||
| 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). | ||
| ————— | ||
| 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. | ||
| ————— | ||
| 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. | ||
| ————— | ||
| 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. | ||
| ————— | ||
| ROBERT COCKS & Co. NEW BURLINGTON STREET, | ||
| Music Publishers, by Special Warrant, to the Queen. | ||