,transcriber's ,notes3 ,underscores 80 before and after a word or phrase indicate italics in the original text4 ,equal signs 80 before and after a word or phrase indicate bold in the original text4 ,small capitals have been converted to ,,solid capitals4 ,illustrations have been moved so they do not break up paragraphs4 ,old or antiquated spellings have been preserved4 ,typographical and punctuation errors have been silently corrected4 ,,augener',s ,,edition1 ,no4 #ibab4 ,,handbook ,,of ,,violin ,,playing ,,by ,prof4 ,,carl ,,schroeder ,,translated ,,and ,,edited ,,by ,j4 ,,matthews ,,with ,,an ,,appendix ,,consisting ,,of ,a ,,guide ,,through ,,violin ,,literature ,,and ,a ,,chapter ,,on ,,the ,,viola ,,fourth ,,edition ,illustration ,,augener ,,ltd4 ,,london ,printed in ,england4 ,,contents4 ,,part ,i4 ,the instrument4 page ,origin of the violin #a ,the oldest violins #a ,development and perfecting of the violin #b ,prominent makers of the present day #c ,attempts at improving the violin #d ,search for the discovery of the old ,italian makers' secrets #f ,distinguishing features of the old ,italian violins #g ,imitations of the old ,italian violins #aj ,constituent parts of the violin #aj ,function of the soundpost and bass bar #ab ,position of the bridge #ab ,amount of pressure on the upper table #ac ,dimensions of the violin #ac ,the wood #ac ,the varnish #ad ,the strings #ad ,strings pure in fifths #ae ,the string gauge #ae ,preservation of the strings #af ,the bow #af ,different parts of the bow #ag ,resin #ah ,violin cases #ah ,price of violins #ai ,price of violin cases #ai ,price of bows #ai ,preservation of the instrument #ai ,cleaning the hair of the bow #bj ,names of the strings1 and tuning #bj ,compass of the violin #ba ,,part ,,ii4 ,the technique of violin playing4 ,position of the player #bb ,holding the violin #bb ,position of left hand and arm #bc ,holding the bow #be ,position of right hand and arm #be ,examining the manner of holding #be ,bowing #be ,principal signs used for the left hand and for bowing #bg ,employment of up and down bows #bh ,the first exercises #bi ,placing the fingers #cj ,exercise in intervals #cc ,chords in arpeggio #ce ,stretching the #d finger #cf ,various styles of bowing and their signs #cg ,arpeggi #da ,the close shake 7vibrato7 #db ,the open shake #db ,the mordent #dd ,the double shake #dd ,scale playing #de ,fingering of scales #df ,chromatic scales #dg ,the positions #dh ,changing the position #di ,movement of the fingers in changing positions #di ,diagram showing the positions #ej ,double stops #ec ,chords in three parts #eh ,chords in four parts #fb ,harmonics #fd ,pizzicato #fi ,,part ,,iii4 ,the performance4 ,artistic rendering #gb ,taste #gb ,individuality #gc ,phrasing #gc ,,appendix4 ,pictorial representation of the bowing #hj ,the mute #ha ,the ,vibrator #hb ,alphabetical list of celebrated violinists of the #ag1 #ah and #ai centuries #hd ,violinists of the #bj century #ajf ,,translator',s ,,appendix4 ,the ,viola #ajg ,guide through ,violin literature #aji ,guide through ,viola literature #agi ,,part ,i4 ,the instrument4 ,origin of the violin4 ,the invention of stringed instruments is certainly of great antiquity1 but exact information with regard to the origin of the violin has not come down to us4 ,although stringed instruments were in use before ,christian times1 we know that these had nothing in common with the violin1 or that at any rate the bow was not then known4 ,it is therefore presumed that its invention and use in connection with stringed instruments occurred in the first century of the ,christian era4 ,many are1 notwithstanding1 of the opinion that the use of the bow was known in pre-,christian times1--in ,india and in ,persia4 ,pictures of ,indian and ,persian bowed instruments exist1 but the period when they were employed is not exactly known4 ,see ,fig4 a and b of page #b4 ,the oldest violins known are those of the ,tyrolese ,lute maker ,gaspard ,duiffopruggar 7,tieffenbrucker71 made in the #af century4 ,a few of these instruments remain to the present day1 and are noticeable on account of their fine1 clear tone1 as well as for the neatness and elegance of their workmanship4 ,development of the violin4 ,after ,duiffopruggar the following makers were those who chiefly laboured to perfect the violin3--,gaspard da ,salo 7middle of the #ag century71 ,giovanni ,paolo ,maggini 7#aeij-afdj71 ,andreas ,amati 7#aebj-aehj71 his sons ,antonius and ,hieronymus ,amati1 the son of the latter1 ,nicolas ,amati 7#aeif-afhd71 the pupils of the same3 ,jacob ,stainer 7#afba-afhc7 and ,antonius ,stradivarius 7#afdd-agcg74 ,of the ,amati violins1 those of ,nicolas ,amati are the best2 the most perfect specimens of violin making1 at present unsurpassed1 were made by ,stradivarius4 ,in his instruments everything is perfected1--tone1 model1 varnish1 etc4 ,illustration3 a4 ,rabab--,arabian bowed instrument 7of ,persian origin74 b4 ,raba--,indian violin4 ,after ,stradivarius the finest violins are those of his pupil ,joseph ,guarnerius del ,gesu 7#afhc-agde71 and there are many of them which rank with those of ,stradivarius4 ,to the ,guarnerius family of violin makers belong ,andreas ,guarnerius1 pupil of ,amati 7middle of the #ag century71 his son ,joseph ,guarnerius 7#afhj-agcj71 ,peter ,guarnerius and the son of the elder 7,andreas7 ,guarnerius 7#agbe-agdj74 ,the names ,stradivarius and ,joseph ,guarnerius mark the highest achievement of violin making1 and to the present day none have succeeded in surpassing them4 ,of other ,italian violin makers who have furnished us with good instruments may be mentioned ,alessandro ,gagliano 7#afie-agbe71 ,carlo ,bergonzi 7#agab-agej71 ,laurentius ,guadagnini 7close of the #ag and beginning of the #ah century71 ,joh4 ,bapt4 ,guadagnini 7#agee-aghe71 ,dominicus ,montagnana 7#agae-agej71 ,vincent ,ruggeri1 ,giov4 ,bapt4 ,ruggeri1 and ,peter ,jacob ,ruggeri 7beginning of the #ah century74 ,in ,france1 good violins were made by ,lupot 7#ah century71 ,gand1 ,bernardel 7#ai century7 and ,vuillaume 7#agih-ahge74 ,in ,germany1 besides ,stainer and his pupil ,albani of ,botzen1 ,klotz1 7father and son7 #ag and #ah century in ,mittenwalde2 ,witthalm 7#ah century1 ,nuremburg72 ,bausch 7father and son1 ,leipsic1 #ahje-ahga and #ahbi-ahga71 ,jacob ,diehl 7,hamburg74 ,in ,england1 ,b4 ,banks1 ,salisbury 7#agbg-agie72 ,r4 ,duke1 ,london 7#aged-aghj72 ,jacob ,fendt and ,c4 ,harris 7early part of the present century71 and ,matthew ,hardie 7,edinburgh71 have left many good violins4 ,prominent makers of the present day4 ,good violins are made in the present day by ,hammig in ,leipsic2 ,reichers1 ,berlin2 ,schunemann1 ,schwerin2 ,pfab1 ,hamburg2 ,lenk1 ,frankfort2 ,reuner1 ,berlin2 ,roth1 ,markneukirchen1 etc4 ,in ,england excellent instruments have been and are being made by ,hill1 ,hart1 ,chanot1 ,e4 ,withers1 and ,boullangier1 ,london2 ,w4 ,h4 ,mayson1 ,manchester2 ,f4 ,devoney1 ,blackpool2 ,j4 ,monk1 ,merton1 ,surrey2 and others4 ,in ,france1 by ,miquel1 ,foucher1 ,lotte2 and in ,america1 ,gemunder4 ,these have all produced serviceable instruments4 ,ability to judge properly the merits of a violin1--whether new or old1--comes only with experience2 beginners should therefore before purchasing consult a player or teacher possessing the necessary knowledge4 ,violins by the same maker1 to all appearance exactly alike1 yet frequently differ greatly in tone quality1 and an instrument of bad tone is a stumbling block in the path of progress1 disheartening the learner4 ,tr4 ,attempts at improving the violin4 ,many attempts have been made at improving the violin by altering its form and proportions1 and by using other kinds of wood3--metal1 glass1 and porcelain violins have also been constructed4 ,experiments have been made with the bass bar1 bridge1 soundpost1 etc41 in endeavours to make a further advance in violin making2 but all these attempts have yielded no results of importance4 ,the most remarkable attempted alteration of latter days proceeds from the piano maker ,hagspiel in ,dresden1 and consists in bending or arching the upper table of the violin instead of working it out1 the sound-holes appearing as round openings in the ribs instead of in the upper surface4 ,the tone of these violins is of surprising power and volume1 but they demand a peculiar1 and somewhat firm bowing2 a heavier bow is also needed4 ,the maker proceeds on the assumption that there exists1 in modern orchestras a tonal gap between the string and the brass instrument4 ,the tone of the stringed instruments is often quite overpowered by the predominating force of the wind instruments4 ,this is especially noticeable in opera orchestras1 where their space will seldom permit of more than #aj or #ab first violins1 and the same number of second violins2 for instance in the instrumentation of ,wagner's ,nibelungen ,ring4 ,in its production the wind instruments need so much space in the orchestra1 that instead of a corresponding increase in the number of the strings1 they must often be lessened1 naturally occasioning a want of balance4 ,a selection of the instruments made by ,herr ,hagspiel1--violins1 violas1 violoncelli and double basses1 would probably tend to lessen this disproportion1 as one of them yields at least as much tone as two of the ordinary instruments4 ,by sufficient familiarity with the method of using them1 the tone might be made to blend uniformly with that of the other instruments in passages of a light and soft character4 ,in any case the inventor has thrown out a suggestion1 and made a beginning towards preparing the way for a correct balance of tone in the orchestra1 and his idea therefore deserves consideration4 ,the author is not aware if practical experiment in the orchestra has been made with these instruments1 but it should certainly give some advantageous result4 ,another invention has been produced recently by ,herr ,christopher ,scheinert in ,berlin4 ,it consists of a vibrating hammer or tongue for stringed instruments4 ,this is a little instrument placed under the bridge of the violin1 so that1 7it being furnished with a slender hammer71 elastic metal tongues vibrate freely between the upper table and the strings4 ,the vibrating hammer is set in motion through the strings by the bow1 through which simultaneous movement the power of the instrument is increased1 and the tone colour elicited4 ,experts have tested the contrivance1 declaring it to be a happy idea4 ,professor ,h4 ,ritter's invention of the normal three-footed bridge must also be mentioned4 ,assuming that the bridge in use for centuries1 with its prescribed feet1 does not fully convey the vibrations of the strings to the upper table1--the two middle strings sounding feebler than the outer1--,prof4 ,ritter has made a middle point of contact between the bridge and the upper table4 ,this inner support is intended to make the middle strings sound with the same intensity as the outer ones4 ,illustration ,in his pamphlet on the subject 7,wurzburg1 ,g4 ,herz71 ,herr ,ritter demonstrates that his three-footed bridge has not only an aesthetic significance1 but claims consideration scientifically4#a #a ,with the same intention1 ,mr4 ,e4 ,j4 ,bonn1 of ,brading1 ,isle of ,wight1 has produced a four-footed bridge1 which1 upon the testimony of those who have tried it1 has in some cases effected an improvement4 ,testimonials from great artists concerning these and other attempts at improving the violin frequently appear2 meanwhile1 the artists themselves are well content with the bridge and the instrument generally as left by ,stradivarius4 ,one would not desire to deny the possibility of further improvements to the instrument1 yet nearly two centuries of ceaseless experimenting have yielded no result that has been considered worthy of universal adoption4 ,tr4 ,attempts to discover the secrets of measurement of the ,italian violin makers4 ,for a long period violin making was restricted 7deviations such as the experiments explained above1 notwithstanding7 to imitating the first ,italian masters of the art1 and endeavouring to equal them4 ,but so conscientious and true in all their parts and contents is the workmanship of the ,italian instruments that this has not been attained4 ,a very general opinion is1 that certain secrets in instrument making were known to the ,italian masters but have become lost1 and many have made the attempt to re-discover these secrets4 ,a maker in ,aix la ,chapelle1 named ,niederheitmann1 a violin amateur1 possessing a collection rich in valuable old violins1 believed the mystery to be discovered1 and that it consisted in impregnating the wood4 ,the substance used was a species of pine found in the vicinity of ,cremona1 or the instrument was mainly built of this wood4 ,this pine 7balsam pine7 became quite decayed by the drying up of its resin1 and thereby the key to the enigma why in spite of the closest imitation the old ,italian tone was not arrived at1 was found4 ,this pine exists no longer in ,italy1 and thus was to be explained the reason why notwithstanding the closest copying of existing instruments1 the old ,italian tone quality was not reproduced4 ,a friend of ,niederheitmann's1 ,concertmeister ,henry ,schradieck 7formerly of ,leipsic7 interested himself greatly in this discovery1 and having obtained through a chemist a similar resinous substance1 made1 with the aid of ,herr ,hammig in ,leipsic many trials with this impregnation1 from which a remarkable result was to be got1 but which was not of long duration4 ,herr ,schradieck1 who went later to ,america1 knowing that the balsam pine still grew there1 did not rest until he found this tree1 believing that instruments made from it would again approach the old ,italians4 ,several violins were found already made with balsam pine wood1 but the brilliant expectations that were cherished were not fulfilled4 ,points of note in the old ,italian violins4 ,maggini violins4 ,these instruments are of large outline4 ,the upper table is highly arched and the arching rises somewhat suddenly from the edges4 ,the wood of the upper table is thick and very good4 ,the back1 compared to the upper table is less thick4 ,the wood of the back is taken slab-wise 7the trunk of the tree being cut in layers across the whole breadth74#b ,the sides are shallow4 ,the varnish is thin1 transparent1 and of a clear brown colour4 ,the purfling is frequently doubled2 and spread over the back in arabesques4 ,the tone of the ,maggini violins is full and heavy1 resembling the viola quality4 ,the ticket is as follows3-- ,illustration3 ,gio4 ,paolo ,maggini1 ,bresci4 #b ,regarding these two figures as sections of a trunk of maple the first shows how the slab back is obtained1 7sur couche7 and the second the other method4 ,tr4 ,illustration ,andreas ,amati4 ,these are mostly of small model4 ,the upper table is of good1 fairly thick wood1 and very highly arched towards the middle4 ,the back is cut on the slab4 ,the varnish is brown and transparent4 ,the tone is delicate and not powerful4 ,antonius and ,hieronymus ,amati4 ,the violins issued as the work of the two brothers in partnership are much esteemed4 ,more instruments of small than of large size were1 however1 produced by them4 ,the upper table is highly curved1 and has towards the edges a groove or furrow4 ,the wood of the back and of the ribs cut slab-wise4 ,the varnish resembles that of ,andreas ,amati's violins4 ,the tone is also small4 ,the label runs3-- ,illustration3 ,antonius ,hieronimus ,amati ,cremonen4 ,andr filii #af ,nicolas ,amati4 ,these instruments are distinguished from those of the other ,amati violins by a grander appearance1 better and thicker varnish1 and a more brilliant and penetrating tone4 ,the scroll is somewhat small in proportion to the body4 ,label3-- ,illustration3 ,nicolaus ,amati ,cremonen4 ,hieronimi4 filii ,antonii nepos fecit ,anno #af ,stradivarius4 ,in the career of ,stradivarius three periods may be traced1 and the violins proceeding from each1 of these distinct periods themselves vary more or less4 ,the instruments of the first period differ but little from ,amati violins1 and are classified as being of the school of ,nicolas ,amati4 ,the instruments of the second period are already quite different from the first4 ,the whole model is larger1 the arching finer1 the wood of the upper table and also of the back is stronger1 and the varnish redder in colour4 ,from the third period proceeded the finest violins that are in existence4 ,the model is again somewhat larger1 the upper table is flatter1 the wood of the back and of the ribs instead of being cut on the layers in slab form 7sur couche71 is taken on the quarter 7sur maille74 ,the varnish is still more brilliant1 yet soft looking1 and so transparent that the beauty of the wood underneath it is fully brought out4 ,the f holes are wonderfully cut1 and the entire work is finely finished in every detail4 ,the tone fulfils every possible requirement1 it is of great power and body1 sparkling1 noble1 and yet sympathetic and sweet4 ,the violins made in the last years of ,stradivarius reveal the weakness pertaining to old age4 ,the tone is still fine1 but the workmanship is altogether inferior4 ,from this time forward1 when the arching is more prominent1 and the varnish darker1 the beauty of the tone is diminished4 ,label3-- ,illustration3 ,antonius ,straduarius ,cremonensis ,faciebat ,a4 #ag ,labels of various other ,italian makers3-- ,illustration3 ,francescus ,ruggeri detto il per in ,cremona dell' ,anno #af ,illustration3 ,hieronymus ,amatus ,cremonen4 ,nicolai ,figlius ,fecit #ag ,illustration3 ,joannes ,baptista ,guadagnini ,ple centinus fecit ,mediolani #ag ,illustration3 ,iosephus ,matth ,albanus fecit ,bulsani in ,ferole ,anno #ag ,illustration3 ,ianuarius ,gaglianus ,allimnus ,antonii ,straduarius fecit ,neapoli ,anno #ag ,illustration3 ,joseph ,guarnerius1 ,andr nepos4 ,cremon #ag ,imitations of old ,italian violins4 ,the old ,italian violins have been so closely copied by many makers1 with regard to model1 wood1 varnish and appearance of age1 that it is difficult to discriminate between the genuine and the spurious4 ,it is still more difficult when the copy possesses a fine quality of tone4 ,it needs a practised1 keen eye to determine the genuineness or spuriousness of an instrument1 and it may well be that many1 believing themselves to have bought a real old ,italian instrument1 have only obtained an imitation thereof4 ,the inside ticket has of itself been closely copied1 and may be purchased in sheets4 ,constituent parts of the violin4 ,illustration3 ,exterior4 ,the most important part is the upper table or belly 7a74 ,the other parts are the ribs or sides 7b71 the back 7c71 the neck 7d71 the head comprising the scroll and peg box 7e71 the pegs 7f71 the finger board 7g71 the bridge 7h71 the tailpiece 7i71 the button#c 7k71 the nut 7l71 and the f or sound-holes 7m74 ,the interior of the violin contains the soundpost and the bass bar4 ,illustration3 ,interior4 #c ,the semi-circular projection at the top of the back is also termed the button4 ,tr4 ,function of the ,soundpost and the bass bar4 ,the soundpost1 placed underneath the right foot of the bridge 7a little way behind it7 supports the upper table against the pressure of the strings upon the bridge1 and the bass bar serves a similar purpose under the left foot of the bridge4 ,the sound post1 by connecting the upper table with the back1 sets the entire instrument into vibration1 and by its help the sound waves radiate to all parts4 ,position of the ,bridge ,the bridge must stand on the middle of the upper table so that both feet are in line with the nicks of the f holes4 ,through the forward pull of the strings1--increased during playing1--the bridge has a tendency to bend forward4 ,to avoid this one must frequently watch1 and pull it backward1 yet keeping the feet in the same place4 ,the bridge may be fixed sloping somewhat backward rather than forward4#d #d ,illustration ,the quality of the wood in a bridge1--whether hard or soft--and its thickness 7according to ,otto1 its weight71 materially affect the tone of a violin4 ,bridges as supplied by dealers are usually almost twice the proper thickness1 to allow for rubbing down with sandpaper4 ,the best bridges are the genuine 8,aubert0 7with the name stamped inside an oval72 those with large and decided reddish markings showing hardness of grain1 and the less distinct markings a softer quality4 ,when fitting a violin1 a few of each should be tried1 first cutting the feet to the approximate slope with a sharp penknife1 then with a small piece of fine 7,no4 #j47 glass paper held steadily between the ff holes1 rub the bridge to and fro over the glass paper between the notches of the ff holes1 until1 on removing the glass paper it is seen to fit perfectly1 standing upright when the instrument is level4 ,the sketch shows the amount of slope to be made on the ,e side2 the distances for the notches to receive the strings1 and the amount to which the feet must be thinned in an ordinary full sized instrument4 ,the height of the bridge is dependent1 7for convenience of stopping71 upon the height of the fingerboard4 ,a high bridge gives more power1 but often the quality of tone is not so good4 ,the ,e string being harder to press down 7by reason of its greater tension7 is kept a little nearer the fingerboard than the others4 ,from the end of the fingerboard1 the ,e string should be about this distance ,illustration the ,g ,illustration ,on size and size instruments for children these distances must be reduced about one-third4 ,tr4 ,amount of pressure upon the upper table4 ,through the combined influence of the strain and pressure of the strings upon the upper table1 it supports a weight of about #ajj lbs4 ,against this burden1 this1 in other respects1 fragile instrument1 opposes a wonderful power of resistance1 an example of its ingenious yet simple construction4 ,size of the violin4 ,the violin measures in the length of its body #ad in41 in breadth in the upper part #f_/ in41 in the lower #h_/ in4 ,the top height of sides #a_/ in42 bottom height of sides #a in4 ,three sizes are distinguished1--8full01 8three-quarter01 and 8half0 size4 ,these last serve for children4 ,the wood of the violin4 ,the upper table is made of pine4 ,this must be very old1 dry1 compact1 straight in grain1 whereby the choice of suitable wood is rendered difficult4 ,for the back1 ribs1 neck and bridge1 maple is used4 ,the sound post and bass bar consist usually of pine4 ,for the fingerboard and pegs#e1 ebony is the most serviceable4 #e ,box wood and rosewood are also frequently used for the pegs4 ,the former gives a firm hold1 but makes a creaking noise when tuning4 ,rosewood answers its purpose well1 though it is not so strong as ebony1 which however is more apt to slip4 ,tr4 ,the old ,italian violin makers procured their pine wood from ,italian ,switzerland1 and from the ,south ,tyrol2 maple from ,croatia1 ,dalmatia1 and ,turkey4 ,the varnish4 ,this is of great importance for the instrument4 ,in the first place it preserves it from the influence of the weather1 and then it also has its influence upon the tone4 ,a fine varnish must be transparent1 so that the wood underneath may be fully shown up1 and it must also be of a fine1 but not glaring or staring1 colour4 ,the finest varnish is found on the violins of ,stradivarius4 ,two kinds of varnish are used1--spirit varnish1--a gum dissolved in alcohol2 and oil varnish1--a gum dissolved in oil of turpentine4 ,the strings4 ,violin strings are made from the intestines of sheep4 ,the lowest string has fine wire spun round it1 silver wire being the best4 ,copper wire is greatly used1 it being much cheaper4 ,the best strings are obtained from ,italy1 from ,rome1 ,padua1 and ,naples1 although very good strings are also manufactured in ,germany1 at ,markneukirchen4 ,the value of a string consists principally in its perfect equality of thickness throughout2 above all1 there must not be knots in it4 ,a string spun quite evenly yields accurate vibrations1 and is on this account pure in tone4 ,in order to test the purity of tone of each string1 it may be held as shown at both ends1 pulling it rather tight1 and then setting it into vibration with one of the fingers4 ,if it appears double1 thus3-- ,illustration it possesses a pure tone2 if1 however1 it appears threefold1--if only at one part of it1--it will be false4 ,illustration ,strings pure in fifths4 ,to obtain absolutely pure intonation1 the strings must be pure in fifths1 i4 e41 the notes in those higher positions which are pressed by one finger across two strings1 must sound perfectly true4 ,many strings are rather thicker at one end than at the other2 if this is not also the case with the adjacent string1 or if the thicker end of it be not stretched in the same direction as the other string1 then the two are not true in fifths with each other4 ,both strings must therefore lie from one end to the other regular in thickness1 or else their thin ends must be laid in one direction4#f ,in the latter case1 however1 all the harmonic notes are not true1 and one also notices that the intervals in double-stopping generally1 as well as in fifths1 are not regular upon all the strings4 ,a treatment is in vogue by makers of strings and instruments by means of which the strings are rendered quite pure in fifths4 ,these prepared strings are1 however1 not so durable1 nor so good in tone1 as the unprepared4 ,but it is of service to have always a few of these in readiness1 as the violinist has not always time enough to select those strings which are true4 ,weichhold1 ,dresden1 supplies strings pure in fifths1 which may be recommended4 ,the string guage4 ,in order always to have strings of the same thickness1 a string guage is used1 which may be procured at any instrument maker4#g #f ,it is best to compare the ends before putting the string on1 tying the knot at the end which appears thinnest4 ,the last inch or so at each end of even the best string is often rough1 and not so durable as the rest of it4 ,tr4 #g ,to ensure equality of tone it is very important that the strings should be correctly guaged with regard to their relative thicknesses4 ,if all the strings are too thick1 the instrument will speak with difficulty in delicate passages1 demanding a heavier pressure of the bow2 if too thin1 loss of power will be the result1 though with a corresponding gain in sweetness and clearness1 and if one string be much out of proportion to the others1 the first finger when placed properly on that string and the adjacent one will not yield a perfect fifth1 besides the inequality in power4 ,the following diagram shows a set of strings of medium thickness1 together with the distances apart near the bridge on a full sized violin1 as suitable for ordinary hands4 ,for fingers that taper much towards the tips1 or for those that are very broad1 the distances may be made a little narrower or wider accordingly4 ,first strings of silk1 known as 8,acribelles0 are in great demand by players with perspiring hands1 as they are less affected by moisture than gut1 but the tone is not so good4 ,they possess certain advantages in durability1 and standing well in tune1 but are more difficult to tune1 as a very slight movement of the peg will send them up half a tone4 ,when frayed1 they should be removed1 the quality of tone they then yield being very bad1 affecting the other strings4 ,if gut strings of good quality are bought1 and the strings carefully looked at before playing1 breakages at awkward moments will seldom occur1 as the strands generally give warning before breaking by showing symptoms of unravelling1 especially at the knot end1 or under the bow1--when they should at once be replaced4 ,tr4 ,illustration3 ,string guage4 ,care of the strings4 ,that the strings may be kept fresh1 it is advisable to wrap them in oil paper and then preserve them in a close1 air-tight tin box4 ,in this way they may be preserved in fit condition for a year or more4 ,the bow4 ,this received its name from its ancient form1 which has undergone many alterations before the present form was arrived at4 ,illustration ,illustration ,the greatest improvement in the bow was attained by the ,frenchman1 ,tourte1 at the end of the #ahth century4 ,his bows possess the greatest elasticity and firmness1 and are1 in consequence1 the most successful4 ,after ,tourte1 ,vuillaume in ,paris1 ,john ,dodd in ,england1 and ,l4 ,bausch in ,leipsic1 have made the best bows4 ,at present the most celebrated bow makers are ,tubbs in ,london1 ,knopf in ,dresden1 and ,voirin in ,paris4 ,french bows are most in request1 although many of them are made in ,germany1 sent en gros to ,paris1 stamped there as ,french1 and issued to the world as of ,parisian make4 ,constituent parts of the bow4 ,these are 7a7 the stick1 7b7 the hair1 7c7 the nut1 7d7 the screw1 7e7 the head or point1 7f7 the lapping4 ,illustration ,the stick is made of ,pernambuco or ,brazil wood2 the hair is white horse hair1 that taken from living horses being the best1 though less often obtained4 ,the screw serves to give the stick its proper curve4 ,the lapping helps to give the fingers a firmer hold1 avoiding contact with the smooth stick4 ,silk1 silver wire1 or leather is used for the lapping4#h #h ,kid of reasonable substance gives a pleasant hold for the fingers1 although wire is in greater favour with bow makers for appearance sake4 ,but it is apt to tarnish and unravel1 especially where the thumb comes in contact with it4 ,tr4 ,resin4 ,to set the strings in vibration1 the hair of the bow must be rubbed with resin4 ,its ,german name 8,kolophonium0 is derived from the ,grecian town ,kolophon1 from whence it was first procured4 ,the unprepared hair of a new bow requires a small quantity of powdered resin rubbed into it4 ,before the bow is used1 the hair should be tried upon some instrument not in use1 or upon a stretched string4 ,during the ordinary rubbing upon the hair1 care must be taken that the resin is not rubbed hard1 but allowed to glide lightly over the hair4 ,illustration ,it is very usual to hold the resin with the left and the bow with the right hand4 ,in this way the fingers of the left hand become sticky with resin dust1 which is detrimental to the stopping1 and also soils the strings and fingerboard4 ,it is better1 therefore1 to reverse this procedure4 ,good resin is supplied by ,gand and ,bernadel in ,paris1 ,hammig in ,leipsic1 ,pfab and ,diel in ,hamburg1 and others4 ,the most suitable holders are those which open on two sides1 and are also provided with a cover4#i #i ,a convenient form is that provided by many ,english dealers1 consisting simply of a round box1--preferably of tin1--with a hole in the bottom for the finger to push the resin up1 preserving the upper surface level4 ,tr4 ,violin cases4 ,a good violin is worthy of a good case1 to protect it against dust and damp4 ,it should be so filled that the violin lies in it securely1 and yet may be easily taken out4 ,a leather covering for the case is also convenient1 by means of which the effects of any sudden shock are minimised4 ,the best cases are mostly obtained from ,paris1 though some very good ones are made in ,markneukirchen4 ,prices of violins4 ,it is not easy to state the exact price of a violin1 especially of an old one1 and here particular fancy and habit come also into the question4 ,the best old ,italian violins1 such as those by ,stradivarius and ,guarnerius1 are in our own time excessively dear1 often #cjj to #ajjj1 and even more4 ,stradivarius received for his violins about #d ,louis d'or4 ,amati violins are considerably less1 costing from #aej to #cjj4 ,other old ,italian violins1 if in fine condition1 cost #cj and upwards4 ,new violins by celebrated makers may cost from #ae to #cj1 yet one can often get a very useful instrument for from #ej_/- upwards4 ,prices of ,violin cases4 ,cases cost from #e_/- to #c1 the latter price including a leather covering4 ,prices of bows4 ,the bows of ,tourte now cost #be and upward4 ,new silver mounted bows of best quality cost about #cj_/-1 mounted in ,german silver about #ah_/-4 ,inferior qualities may be had from #c_/- upward4 ,the worth of a bow to its possessor consists in its firmness and elasticity1 and in its proving fit to execute every kind of bowing with certainty4 ,care of the instrument4 ,the instrument must always be kept clean and in order2 every part should always be in proper condition4 ,the dust from the resin must1 every time after playing1 be wiped from the upper table1 fingerboard and bridge with a soft cloth4 ,the strings1 fingerboard and neck are then rubbed with an old silk handkerchief1 taking care not to rub the strings to and fro1 but always in one direction1 else small fibres may be loosened4 ,if the strings are dirty through perspiring fingers1 the upper three strings may be rubbed with a little neats' foot oil or almond oil1 or a notched almond may be used4 ,the ,g string may be cleaned with spirits or by rubbing with fine 7,no4 #a7 glass paper4 ,the encrustation of resin upon the surface of the strings may be removed with spirits1 observing that nothing drops upon the upper table1 to injure the varnish4 ,to keep the neck quite smooth it may be occasionally rubbed with pulverized pumice stone put into a little muslin bag4#aj ,the dust that accumulates inside the violin may be removed by warming some very fine gravel or grains of wheat1 and throwing them inside4 ,the instrument is then shaken about1 and on shaking the grains out again through the f holes1 the dust comes away also4 ,to make the pegs work easily and yet hold fast1 they must frequently be rubbed with dry soap and then with chalk1 where they come in contact with the peg box4 ,cleaning the hair of the bow4 ,if dirty1 unscrew the nut from the stick1 and wash the hair with warm water and soap4 ,then rinse in cold water1 and hang up the bow to dry4 ,when again screwed up1 powdered resin is rubbed into the hair with a little brush4 ,spots of grease are extracted by rubbing with salt in blotting paper1 or by a hot iron with blotting paper wrapped around it4 ,naming and tuning of the strings4 ,the four strings of the violin are tuned in perfect fifths4 ,the first is the ,e string 7#a71 the second the ,a 7#b71 the third the ,d 7#c71 and the fourth the ,g 7#d74 ,the usual practice1 when the pitch of the ,a is determined1 is to tune the ,d to it1 the ,g to that1 and lastly the ,e to the ,a4#aa #aj ,new work is first prepared with a staining mixture to the desired depth of colour1 smoothed and coated with hard spirit varnish1 and again polished4 ,tr4 #aa ,the ,a may be taken from a pitch pipe1 tuning fork1 or piano1 which should be maintained at concert pitch4 ,in old violins1 if the belly has yielded to pressure under the right foot of the bridge1 it is well after playing to let down the first string4 ,if a string is too flat1 pull it up about a tone above the proper pitch1 let it so remain for a few seconds and then lower it to the correct pitch4 ,if too sharp1 reverse the process4 ,only the ,a must be taken from a keyboard instrument1 the fifths on the keyboard being not quite perfect1 but 8tempered04 ,perfect fifths can only be obtained by a good deal of practice4 ,advanced students may test the tuning quietly by taking any two adjacent strings 7with the little finger equally on both7 in harmonics1 or by beating lightly with the stick on the string4 ,in the course of a piece1 if even this is not possible1 a slight pressure above the nut will sharpen a string1 tugging it between nut and bridge will flatten2 but this must only be regarded as a temporary expedient4 ,tr4 ,music3 #a #b #c #d e a d g ,compass of the violin4 ,the compass of the violin extends over about #d octaves4 ,in the orchestra to this extent at most3-- ,music ,,part ,,ii4 ,the technique of violin playing4 ,attitude of the player4 ,when playing from notes the player places himself opposite the desk a little to the left1 so that the violin does not hide the notes from view4 ,the body should be erect1 but not stiffly so4 ,the right foot is put outward1 the left straight1 so that the toes are in a line4 ,the weight of the body must rest chiefly on the left foot4 ,illustration ,holding the violin4 ,illustration3 ,chin-rest4 ,the violin is held with the left hand and rests on the left collar bone4 ,the instrument must be horizontal4 ,to give a firm grip1 a small pad is often placed between the violin and the left shoulder4 ,a chin-rest screwed to the ribs1 and covering a part of the upper table1 is also to be recommended4 ,the chin-rest serves also to protect the varnish4 ,to prove that the violin is held securely and well1 the left hand may be removed4 ,illustration ,position of the left hand and the left arm4 ,the left hand is placed so that the neck of the violin is held between the lower joint of the thumb and the third of the index finger4 ,the neck must not be gripped1 but lightly held#ab1 and care taken that between the neck and that part of the hand which connects the thumb and first finger1 there is an open space4 ,the inner part of the hand is kept away from the fingerboard1 so that the fingers may fall upon the strings from above4 ,the position of the left arm must be such as to bring the elbow far enough to the right to place it underneath the middle of the violin4 ,to attain a correct manner of holding1 place the first finger on ,music the second on the #b note of the ,a string1 ,music the third on the ,d string1 ,music and the fourth on the ,g string1 ,music so that the fingers lie as follows3 ,music3 #a #b #c #d ,illustration #ab ,the real 8holding0--as regards the weight of the instrument--is done at the other end by the chin pressing the violin against the collar bone4 ,what further steadying power is necessary1 the lower joint of the thumb must supply1 rather than the first finger4 ,players who have attained considerable freedom are able to play certain passages without any portion of the side of the index finger coming into contact with the neck4 ,chin-rests of various patterns should be tried1 and that which best suits the particular player selected1 as bodily proportions differ4 ,tr4 ,the fingers being lifted simultaneously1 and allowed to remain in position over the strings1 the position of the hand will be correct4 ,holding the bow4 ,illustration ,the thumb is placed with its fleshy part close to the projection from the curved part of the nut1 taking care that the middle knuckle is not bent inward1 but always in an outward direction4 ,the second joint of the index finger must rest against the stick4 ,the middle finger is placed opposite the thumb upon the stick1 whereupon the other two fingers follow1 close to these4 ,the little finger will then about rest with the lower part of its point on the stick4 ,position of the right hand and arm4 ,the right hand must project somewhat forward1 and above the bow1 and must be suitably arched4 ,the carriage of the arm must be light1 and the elbow not prominently lifted4 ,when playing on the lower strings1 the position of the hand and the lower part of the arm will naturally be higher4 ,testing the position4 ,having succeeded in acquiring a firm hold of the instrument and of the bow1 it is best to examine before a looking-glass the attitude of the whole body1 which must be natural and unconstrained4 ,the body and head should be held erect1 the shoulders somewhat back4 ,when beginning to draw the bow across the strings the manner of holding should be examined and corrected after every stroke before proceeding further4 ,bowing4 ,the bow is placed on the string at the nut1 or lower part of the bow1 the stick being tilted towards the fingerboard4 ,the bow must be drawn steadily to its point1 and exactly parallel with the bridge1 whereby the wrist is compelled to move1 and at the end of the stroke1 on reaching the point of the bow1 sinks so that the little finger only rests at its extreme tip upon the stick4 ,illustration ,the upper arm is so held that with down strokes the elbow remains below the shoulder1 until a third of the bow is left over4 ,if the production of a louder tone is desired1 the bowing is made closer to the bridge and in piano passages further away from it4 ,the necessary power for producing louder tone is obtained only from the thumb1 index finger1 and wrist and the fore-arm is held as independently as possible of the upper arm4 ,illustration ,principal signs used for the left hand and for the ,bowing4 open string down bow #a #ast finger up #b #bnd 0 ,sp4 7,spitze7 at the point of the bow4 #c #crd 0 ,m4 in the middle of the bow4 #d #dth 0 ,fr4 7,frosch7 at the heel 7nut end7 of the bow4 ,g4,b4 7,ganzer ,bogen7 whole bow4 ,h4,b4 half bow4 ,use of the down and up bows4 ,as a rule1 in every piece beginning with a full bar a down bow is used for the first note1 and in a piece beginning with a single stroke on the up-beat 7unaccented beat7 or an up-beat consisting of several notes bound together1 legato1 the up bow is used4 ,if the up-beat contains several notes1 it must be so arranged that the last of these is played with an up bow4 ,for example3-- ,music ,exceptions to the rule of beginning a full bar with a down bow often occur2 for instance1 if the first bar begins piano1 gradually to forte1 as in the opening of the ,freischtz overture3-- ,music ,here one begins with the up bow1 because afterwards at the nut end more power can be brought to bear1 thus bringing the forte into effect4 ,a further example of exceptional treatment is the beginning of the ,euryanthe overture3-- ,music ,equally there are exceptions to the rule of beginning up-beats with the up bow3-- ,music ,music ,the first bowing exercises4 ,the violin being properly held1 and the entire attitude being correct in every particular1 the fingers of the left hand are placed on the strings as follows3-- ,music ,upon lifting them1 let them remain over the strings in the same position4 ,the open strings are then bowed1 and preferably at first the ,d string4 ,after each bow1 let a pause be observed1 to examine every detail of the position1 and to revise it4 ,the bowing exercises on the open strings are to be continued until at last notes varying in value from semibreves to crotchets are played with ease and certainty1 and an even tone of good quality produced4 ,the first bowing exercises are usually as follows3-- ,music3 ,examine the holding4 ,examine the holding4 ,music ,each of these exercises should also be played upon the other strings4 ,the exercise in minims and crotchets in half strokes and in the middle4 ,placing the fingers4 ,the first exercise consists in setting the first finger on all the strings in succession1 then the second in conjunction with the first1 the third in conjunction with the other two1 and finally the fourth is added4 ,music ,in the same manner on the other strings4 ,if one desires to remain in the key of ,c#ac1 the first finger when on the ,e string must be drawn back a semitone to stop ,f1 and on the ,g string1 the #b finger must be put forward a semitone to play the note ,b4 ,the remaining notes are stopped alike on all the strings4 ,it is better at first not to adhere to the scale1 but to stop the notes of the other strings as shown above on the ,d string2 thus producing the following tones3-- #ac ,the easiest keys for beginners are ,g1 ,d and ,a major1 as in these keys the open strings may all be utilized2 the fingers fall more naturally into position1 and do not require to be 8set back0 a semitone1 as in ,c major 7,f on the ,e string7 and in the keys with flats4 ,the scales and easy melodies in ,g1 ,d and ,a might therefore1 be practised with the following exercises1 or if deemed advisable1 precede them4 ,tr4 ,music3 ,e string4 ,music3 ,a string4 ,g string4 ,next must be practised the putting back of the first1 and the advancing of the second fingers on all the strings1 then the advancing and withdrawal of all the fingers4 ,example3-- ,music ,the fingers must so descend upon the strings that the first joint stands perpendicularly upon them4 ,the pressure of the fingers upon the strings must always be in excess of the pressure of the bow4 ,according to one's playing1 whether forcible or light1 so the pressure of the finger is increased or decreased4 ,in slow movements and long notes only that finger is pressed down which has to play the note4 ,the others are lifted1 yet so that each one is suspended exactly over its proper place4 ,in ascending scale passages in quick time1 the fingers are allowed to remain2 in descending passages1 one finger is lifted at a time4 ,the observance of this rule greatly facilitates true intonation in descending scale passages1 as1 each finger being already in its place upon the note to be played1 these places have not again to be separately found4 ,there are1 however1 exceptions which will come under notice later4 ,after the setting back of the first finger and the putting forward of the second finger have been successfully practised1 the 8free0#ad setting of the #b1 #c1 and #d fingers follows4 #ad i4 e4 without the aid of the intervening fingers4 ,tr4 ,music ,all the notes in regular order from the open ,g on the ,g string to ,b on the ,e string must now be played4 ,music ,to attain certainty of fingering in the lower position1 one of these two methods must next be adopted4 ,either intervals--thirds1 fourths1 fifths1 sixths1 sevenths1 and octaves from each note on each string1 in ,c major1 must now be practised1 or all the major and minor scales may next be played1 with the practice of the intervals in all the keys4 ,choice must be made as to which method of study be next pursued1 according to the individuality and intelligence of the learner4 ,practice of intervals in ,c major3 ,music3 ,thirds4 ,music3 ,fourths4 ,music3 ,fifths4 ,music3 ,sixths4 ,music3 ,sevenths4 ,music3 ,octaves4 ,here great care must be taken to distinguish between the differences that exist in these intervals1 whether the #c is minor or major2 the fifth perfect or imperfect1 etc4 ,simultaneously with the practice of intervals for the left hand1 bowing exercises for the passing of the bow from one string to another must be taken1 also skipping over a string as in sevenths and octaves4 ,the scales1 and1 later1 intervals and chords1 must likewise be studied with various bowings and also legato4 ,first1 two notes should be taken to one bow1 then gradually more1 also with single notes and bound notes mixed4 ,the practice of intervals may now be extended to the following4 ,chord exercises in arpeggio form4 ,music ,music ,music ,stretching the little finger4 ,to reach the ,c in the second octave with the little finger1--whose natural position on the ,e string is on the note ,b1--it must be stretched1 care being taken to avoid moving the wrist and altering the whole position of the hand4 ,music ,the various kinds of bowing4 ,these are best classified into 8primary0 bowings 7,grund-,bogenstriche7 of which there are six different examples1 and 8secondary0 bowings 7,neben-,bogenstriche74 ,primary bowings4 #a4 ,the rapid detached stroke with the whole bow 7,grand detach74 ,this is executed in such a manner that the bow moves quickly from its nut to its point1 and back again in the same line1--parallel to the bridge4 ,between each stroke there must be a pause1 but during it the bow must not leave the string4 ,it must be so quickly executed that a crotchet is made to sound like a semiquaver4 ,music ,rendering3-- ,music ,the stick must be firmly held between the thumb and the first and second fingers4 ,the elbow1 at the commencement of the down stroke must rest close to the body1 and1 on reaching the point of the bow1 not be raised above the stick4 ,especial care is needed in order to make the up strokes equal in power to the down strokes4 #b4 ,the 8singing0 stroke4 ,also executed with the whole bow4 ,the first contact must be delicate1 and the single tones must follow each other without interruption4 ,the player1 drawing the bow quite parallel with the bridge1 must press more and more as the point is reached4 ,at the change of stroke1 the wrist makes a slight movement1 and the elbow assumes the same positions as in the previous grand detach bowing4 ,music #c4 ,the detached hammered 7martellato7 bowing4 ,this stroke is chiefly made at the point of the bow1 which must not leave the string4 ,with every note the stick is pressed or pushed by the thumb in the direction of the index finger1 so that each tone is sharply cut out1 but with a musical quality4 ,the up strokes must receive a stronger pressure4 ,this bowing can also be played at the nut end1 and of course entirely with the wrist1 which must be held lightly over the strings4 ,the elbow must be tolerably close to the body4 ,the martel bowing is an excellent preparatory study for staccato1 which is really only one out of a number of martel notes taken in one bow4 ,music ,rendering3-- ,music #d4 ,detached stroke with the fore-arm4 ,as indicated by its name1 is executed by the fore-arm and the wrist1 and from the middle to the point of the bow4 ,the upper arm must remain quite still4 ,in this bowing no pause must be made between the notes1 but they must be connected easily and agreeably together4 ,music #e4 ,the 8skipping0 stroke4 ,this stroke is made at the middle of the bow1 which must be lightly held between the fingers and controlled by the wrist4 ,the stick is made to vibrate strongly1 whereby the bow is caused to move up and down4 ,it is difficult to attain an agreement between the placing of the fingers and the skipping movement of the stick1 for which reason this bowing must first be practised on one note3-- ,music ,afterwards several notes may be taken on one string1 then on the different strings4 ,music #f4 ,the rebounding or springing 7sautill7 bow4 ,this bowing differs from the foregoing in that the bow rebounds from the string after each note1 and is then permitted to fall upon it again from above4 ,in order to avoid too great dryness or hardness in the tone1 the bow when falling on the string must be gently controlled4 ,music ,rendering3-- ,music ,secondary bowings4 #a4 ,the bound1 or legato bowing4 ,in this1 as many notes are played at one stroke as may be found connected by the curved legato sign1 or as necessitated by the phrasing4 ,in passing from one string to another the wrist will require special watchfulness4 ,music #b4 ,the staccato stroke4 ,this is1 as already stated1 a series of martel notes taken in one bow1 and must first be slowly practised with the up bow1 to the point1 and with a free wrist2 the thumb only exerting a slight pressure upon the stick4 ,the staccato is also executed with the down bow1 beginning near the nut4 ,music #c4 ,the springing staccato stroke4 ,this consists of a series of rebounding notes 78,primary bowing0 ,no4 #f7 taken in one bow1 and can be rendered both by the up and the down bows4#ae #ae ,also known as the elastic staccato1 ,ricochet or ,balzate4 ,tr4 ,music #d4 ,the ,tremolo is a succession of quick notes in very short strokes1 and is executed with a loose wrist1 the upper half of the bow lying upon the strings4 ,music ,another species of ,tremolo is the following3-- ,music ,here two notes are included in one bow1 thus causing it to resemble the skipping stroke4 ,only the upper half of the bow is used1 and it is held lightly with the thumb and first two fingers4 #e4 ,the ,ponticello4 ,this is executed with the bow lying quite close to the bridge1 whereby the tone becomes somewhat nasal4 ,when so produced by the whole string orchestra it often makes a fine effect4 #f4 ,flautando4 ,also with the bow resting on the string1 but1 unlike the foregoing bowing1 it is executed just over the fingerboard4 ,the notes so played yield a delicate flute-like quality of tone4 ,arpeggi4 ,by arpeggi is meant the intervals of a chord in quick succession4 ,these may be extended over three or four strings with the most varied bowings and rhythms4 ,particular care must be taken to keep the wrist flexible4#af ,music ,music #af ,in the above examples the lowest note is played with a firm accent1 beginning with the down bow1 the wrist remaining flexible4 ,in example e the bow should be turned over so as to bring the hair almost flat upon the string1 7the hair preferably being rather tighter than usual74 ,a slight 8jerk0 imparted to the down stroke sends the bow skipping over the strings of its own accord1 on repeating the same arpeggio a few times4 ,tr4 ,the ,vibrato or close shake is a trembling similar to the vibrato of a vocalist4 ,employed occasionally and with discretion it is of good effect4 ,on the violin it is produced by setting the finger in tremulous movement upon the string1 so that the pitch slightly rises and falls4 ,only the thumb and the finger in use must participate in the holding of the instrument4 ,there is no special sign for the close shake in general use1 its employment depending upon the player's taste4 ,sometimes it is indicated by the word vibrato4#ag #ag ,in ,spohr's method1 and in a few other works1 a wavy line over the note indicates its employment4 ,tr4 ,the ,trill4 ,music ,the trill is an even alternation1--usually quick1--of two adjacent notes and may be executed on all the notes of the violin4 ,the note played alternately with the principal note may be either a tone or a half tone distant4 ,the trill is made both with and without a turn at the end4 ,the turn is played in one bow with the shake1 and at the same speed4 ,exceptions exist in shakes ending with a full close4 ,in a series of shakes the turn is reserved for the last3-- ,music ,various kinds of turns3-- ,music ,music3 ,final shake4 ,usually the lower note of the two constituting the trill is taken first4 ,if it is intended that the upper note should begin the trill1 it will be indicated by a small note before the principal note3-- ,music ,the upper note of the trill is always understood to be in accordance with the key4 ,if it is meant to be raised or lowered a semitone1 a sharp or flat will be placed over the shake4 ,music ,to execute the trill evenly1 it must first be practised slowly4 ,the finger making the trill must be lifted high1 falling upon the string with firmness and elasticity1 so that it is again lifted high4 ,the bow meantime passes lightly over the string4 ,the trill is studied upon every note in both tones and semitones4 ,the ,mordent 7,pralltriller74 ,the mordent is a single alternation of two notes preceding the principal note1 and is generally indicated by the following sign3-- ,music3 a7 ,rendering4 or3 ,music3 b7 ,rendering4 or3 ,music ,the double trill4 ,to this species of shake1 difficult of execution1 applies all that has been said about the single trill4 ,the player's chief care will consist in making both fingers fall quite simultaneously upon the strings4 ,music ,scale practice4 ,scale practice demands diligent application4 ,by its means we attain certainty of intonation1 power and flexibility of tone1 as well as familiarity with the various kinds of bowing4 ,the beginner must now practise all the major and minor scales1 in the first position1 first in moderate tempo1 with whole bows3 ,music3 a7 b7 c7 ,then with short detached strokes in the middle of the bow1 at the point1 and also at the nut1 and with the foregoing 8primary0 bowings1-- ,music all with the utmost possible tone1 and afterwards with varying nuances3-- ,music3 a7 b7 c7 d7 e7 f7 g7 c4 ,the scales are then practised with varying bowings and rhythms1 legato and staccato1 for example3-- ,music3 a7 b7 c7 d7 e7 f7 g7 h7 c4 ,fingering of the scales4 ,to each note in the first position belongs its own finger1 whether the note is raised or lowered a semitone1 the same finger being used4 ,as a rule in ascending passages the open string is used2 downwards1 the #d finger is preferred in its stead4 ,if the notes of the open strings are raised a semitone1 usually the #d finger plays it on the string below4 ,music ,if the scale begins with such a note1 the first finger will be used twice in succession2 for example3-- ,music3 a7 b7 ,the chromatic scales4 ,in the chromatic scales1 the #a1 #b and #c fingers will each be used twice in succession1 and of course must be pushed forward 7or backward7 with firmness to the next note4 ,the #d has one note only on each string assigned to it4 ,the fingering will be the same1 whether the scale is expressed by sharps or flats3-- ,music ,another system of fingering1 utilizing the open strings1 is as follows3-- ,music ,the ,positions4 ,the various places for the left hand1 up and down the neck1 are known as the positions1 and each is determined by the place reached by the first finger4 ,if the hand is so placed that the first finger is ready to press down these notes ,music it will be termed the first position4 ,if the first finger is upon these ,music it will be the second position4 ,the ball of the thumb must not touch the neck4 ,as in the first position the first finger remains upon the strings as guide4 ,the thumb also1 lies opposite the first and second fingers4 ,music3 ,,iii4 ,position4 ,in this position the ball of the hand comes in contact with the ribs of the violin4 ,music3 ,,iv4 ,position4 ,from this position upward the thumb is withdrawn further and further underneath the neck of the instrument4 ,music3 ,v4 ,position4 ,music3 ,,vi4 ,position4 ,music3 ,,vii4 ,position4 ,besides these there is the half position 7nut-position1 or back-shift7 ,music which1 when enharmonically changed to ,music belongs to the first position4 ,the positions retain their names when the notes are sharpened or flattened a semitone1 only one must frequently change the finger in enharmonic passages1 or the position4 ,changing the position4 ,sliding from one position to another must be executed with ease and certainty1 and it is especially necessary to grip the violin between the chin and the collar bone1 in order to give the hand free play4 ,particular care must be bestowed upon ,sliding the fingers whilst changing positions4 ,if in passing to a higher or lower position1 the last note of the position just left1 and the first of the position aimed at1 have to be played by the same finger1 it must slide over the string firmly1 and without leaving it1 whether the notes in question are legato or not4 ,illustration3 ,table of the ,positions4 ,i4 ,position #j #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d 4 4 4 4 4 4 ,,ii4 ,position #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d 4 4 4 4 4 ,,iii4 ,position #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d 4 4 4 4 ,,iv4 ,position #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d 4 4 4 ,v4 ,position #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d 4 4 ,,vi4 ,position #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d 4 ,,vii4 ,position #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d ,music3 a7 b7 ,if the first note1 when ascending to a position1 is to be played by a finger following that used in the lower position1 the first must slide with it1 remaining until the position of the hand is again changed1 or until released by an advancing finger4 ,the first note must be played firmly by the finger assigned to it1 without causing the slide to be heard4 ,in the following examples1 the accompanying fingers are indicated by small notes4 ,music3 a7 b7 c7 ,if the notes of the different positions are to be taken upon two strings1 the finger goes with it to the higher position1 but without necessarily remaining on the string4 ,music ,in proceeding downward to another position1 the finger on the last note slides with that which is proceeding in advance so far as to find its place in the lower position1 but with the understanding that in case the note that follows is not to be played with the same finger1 it must not remain down4 ,music ,if the first note of higher position is to be played by a finger which is not the last used in the lower position1 it must slide with it until the proper place in the higher position is reached1 but must be lifted as soon as the finger which has to play the first note is put on the string4 ,music ,if the first note in a lower position is to be played with a finger that in the upper position is ultimately replaced by the finger following1 the finger in question must slide from the upper position to its place in the lower4 ,but ere it has reached it1 the first note in this position must be gripped4 ,music ,if the notes of the different positions are not bound together by means of legato signs1 this sliding of the finger must take place so quickly that no notes are heard between4 ,if the notes are bound together to be played in one bow1 then the portamento or slide will be audible4 ,the player must beware lest the portamento from one tone to another becomes exaggerated1 or perhaps the entire enharmonic scale lying between the notes will be produced4 ,all 8whining0 must be avoided1 and the note next that to which the finger is sliding should not be heard4 ,the violinist must know the major and minor scales in all the positions1 above all acquiring certainty in the various positions4 ,on this account stress must be laid on the study of the same with the greatest possible diligence4 ,double stops4 ,the violin is capable of producing a great variety of double notes or double stops4 ,in conjunction with an open string1 all the intervals may be given4 ,music3 ,unisons3 ,in unisons1 the note given by the open string is produced simultaneously on the next lower string4 ,the fingering adjusts itself according to the position in which one is playing1 and it may be practised in the first four positions4 ,music3 ,seconds3 a7 b7 ,at a1 the lower note will be played on the lower string1 but at b the upper note is produced on the lower string4 ,the fingering at a is conformable to the position employed--either the #c1 #b or #a finger may be on the lower note4 ,at b1 the upper note can be played either in the #b1 #c1 #d or #e position and either the #d1 #c1 #b or #a finger may be placed on the upper note4 ,music3 ,thirds3 a7 ,music3 b7 ,the thirds at a lie in the first two positions4 ,at b1 the upper note is taken on the lower string1 and either in the #c1 #d1 #e or #f position4 ,music3 ,fourths3 a7 b7 a lies in the first position1 at b the higher note is again produced on the lower string 7as a harmonic note7 in the #d position4 ,music3 ,fifths3 ,the perfect fifths in this example have each two open strings2 the imperfect fifths are played either in the first or half position4 ,music3 ,sixths3 in the first position4 ,music3 ,sevenths3 in the first and second positions4 ,music3 ,octaves3 in the first three positions4 ,music3 ,ninths3 ,the upper notes in the #a1 #b1 #c or #d positions4 ,music3 ,tenths3 ,the upper notes in the #b1 #c1 #d or #e positions4 ,double stops without open strings4 ,music3 ,unisons4 ,music3 ,seconds4 ,music3 ,major ,thirds4 ,music3 ,minor ,thirds4 ,thirds are fingered with the #a and #c1 or the #b and #d1 also with the #c and #d fingers in a series of thirds4 ,music3 ,fourths4 ,perfect #d4 ,music3 ,augmented #d4 ,fingering3 #a_/b1 #b_/c and #c_/d4 ,music3 ,fifths4 ,perfect #e4 ,music3 ,imperfect #e4 ,perfect fifths are fingered #a_/a1 #b_/b1 #c_/c or #d_/d4 ,imperfect fifths are fingered with the same fingers as fourths4 ,music3 ,major #f4 ,sixths4 ,music3 ,minor #f4 ,fingered #a_/b1 #b_/c and #c_/d4 ,music3 ,sevenths4 ,fingered #a_/c1 #b_/d4 ,music3 ,octaves4 c4 ,fingered #a_/d1 in the upper positions frequently #a_/c and #b_/d4 ,it is necessary to remark that the foregoing examples do not give the fingering of the scales in double stops1 only the fingerings which may be used in double stops as met with singly4 ,to these double stops without open strings1 those in conjunction with an open string 7pp4 #ec1 #ed7 can still be added by this means1 --that they are played on two lower strings2 e4 g4 ,music3 ,d ,g string4 ,the first stops on the ,d and ,g string are obviously excluded from this4 ,chords of three notes4 ,in triple stops the two upper notes have mostly the same duration1 the lower note being previously released by the bow4 ,three notes may1 however1 be made to sound simultaneously1 but special skilfulness is requisite1 and the sounds cannot be of long duration4 ,formerly ,paganini1 ,ole ,bull1 and other violin virtuosi1 used a very flat bridge in order to play in three and four parts4 ,such tricks may be produced even with the ordinary bridge1 by unscrewing the nut of the bow1 passing the stick underneath the fiddle1 letting the hair lie upon the strings1 and holding both hair and stick together with the right hand4 ,as a rule1 when several chords in three or four parts succeed each other1 they are played with down bows in order to obtain the necessary power and equality of tone4 ,here and also in the four part chords which follow1 the easiest are those which make use of the open strings3 ,triple stops with two open strings3 ,music ,with one open string3 ,music ,music ,music3 ,without open strings3 ,music3 c4 ,fingering #b_/a_/a #c_/b_/b and #d_/c_/c ,music3 c4 ,fingering #c_/b_/a and #d_/c_/b ,music3 c4 ,fingering #b_/c_/a and #c_/d_/b ,music3 c4 ,fingering #b_/b_/a #c_/c_/b #d_/d_/c ,music3 c4 ,fingering #d_/b_/a ,music3 c4 ,fingering #d_/b_/a #d_/c_/b and #c_/b_/a ,music3 c4 ,fingering #c_/a_/b and #d_/b_/c ,music3 c4 ,fingering #a_/a_/d ,music3 c4 ,fingering #a_/c_/b and #b_/d_/c ,music3 c4 ,fingering #d_/a_/b #d_/a_/c and #c_/a_/b ,music3 c4 ,fingering #b_/a_/d #b_/a_/c and #c_/b_/d ,music ,fingering #b_/d_/a ,music ,fingering #a_/b_/d ,music ,fingering #d_/a_/b ,chords in four parts 7quadruple stops74 ,with two open strings3 ,music ,music ,music ,with one open string3 ,music ,without open strings3 ,music3 c4 c4 c4 c4 c4 c4 c4 c4 c4 c4 c4 ,music3 c4 c4 ,harmonics4 ,natural and artificial ,harmonics1 or ,flageolet tones1 may be produced on the violin4 ,the natural harmonics are obtained by placing the finger quite lightly1 and without pressure1 upon the string1 and bowing with great care4 ,from the middle of the string upwards towards the bridge1 and also from the middle towards the nut1 lie natural harmonics at the nodes of the string4 ,the sign indicating that a note is to be played as a harmonic1 is either #j1 flageolet or son harmonique4 ,in the case of harmonics which yield a note differing from that stopped by the finger1 the actual sound produced is indicated by the sign 4 ,music3 ,g string4 ,music3 ,d string4 ,music3 ,a string4 ,music3 ,e string4 ,natural harmonics are also produced by placing two fingers lightly and simultaneously on one string3 ,music3 ,g string4 ,d string4 ,music3 ,a string4 ,e string4 ,artificial harmonics4 ,these are produced by playing two notes on one string1 the lower one being pressed down firmly1 the upper one lightly4 ,the distance of these two notes from each other may be either a third1 fourth1 fifth or octave4 ,the most usual artificial harmonics are those at a fourth4 ,at a fourth3 ,music3 ,g string4 ,d string4 ,music3 ,a string4 ,e string4 ,at a fifth3 ,music3 ,g string4 ,d string4 ,music3 ,a string4 ,at a third3 ,music3 ,g string4 ,d string4 ,music3 ,a string4 ,e string4 ,artificial harmonics may also be produced at the distance of a minor third1 but these speak with difficulty4 ,at an octave3 ,music3 ,g string4 ,in like manner on the higher strings4 ,in the lower positions those at the octave necessitate a wide stretch between the #a and #d fingers1 rendering them impossible for small hands4 ,double harmonics4 ,both natural and artificial harmonics may be played as double stops4 ,the former speak best1 the latter being more difficult4 ,they require very thin stringing4 a4 ,natural double harmonics3 ,music3 ,d ,a ,e ,d ,g string4 ,g string3 ,d-s4 ,a-s4 ,similarly on the upper strings4 b4 ,artificial double harmonics3 ,the large notes indicate the notes which are to be pressed down firmly1 the small notes those to be lightly touched1 and the sign the actual sounds produced4 a4 ,fifths1 produced at the distance of a fifth1 fourth and third3 ,music b4 ,thirds4 ,music3 7major7 7minor7 c4 ,fourths4 ,music d4 ,sixths4 ,music3 7major7 7minor7 e4 ,octaves4 ,music ,the pizzicato4 ,the most usual method of playing pizzicato is by means of the index finger of the right hand1 by which the string is gripped and plucked4 ,the thumb is placed against the fingerboard4 ,in pieces to be played pizzicato throughout1 the thumb may be employed4 ,in this case the violin is held down 7underneath the right arm71 as1 for instance1 in the ,serenade in ,don ,giovanni1 when the violin replaces the mandoline3 ,music3 ,allegretto4 ,the sign used is pizz41 its cessation1 arco4 ,the pizzicato is also possible with the left hand1 and is chiefly thus employed when notes played by the bow and pizzicato notes follow each other quickly4 ,left hand pizzicato is indicated by over the notes1 and is usually executed by the finger which has pressed down the preceding note1 or else with the fourth finger4 ,music3 arc4 pizz4 arc4 pizz4 ,music3 r4h4 l4h4 pizz4 arc4 pizz4 arc4 pizz4 arc4 pizz4 arco4 ,notes may be also played arco and pizzicato simultaneously1 for example1 ,music3 pizz4 ,chords also sound well pizzicato1 as for instance1 ,music ,if it is desired that the tones shall vibrate well1 the thumb is released from the fingerboard1 and the fingers of the left hand remain pressed down on their notes4 ,pizzicato stops in chords are also mixed with notes played by the bow1 and are then plucked with the second finger of the right hand4 ,music3 arc4 pizz4 arc4 pizz4 arc4 pizz4 arc4 pizz4 arc4 pizz4 ,the arco notes are played at the heel of the bow1 and with the up stroke4 ,,part ,,iii4 ,the rendering4 ,the rendering of a piece implies its artistic reproduction1 every necessary artistic resource being therein blended4 ,the violinist is capable of a perfect rendering only if1--in addition to a firm1 easy technique of the left hand1 adroitness in bowing and susceptibility to the modifications of tone1 and a technique equal to all demands made upon it1--he has under his control a higher spiritual musical development1 fine taste1 and a warm individual feeling4 ,only through the combination of all these qualities can one reinvest the dead signs of the composer with spirit and life1 and cause his work to pass before the hearer's soul as an ideal1 living picture4 ,intellectual culture4 ,under this head must be included a knowledge of the theory of music1 which renders possible the clear understanding of the sequence of ideas which the composer has expressed through time1 degrees of movement1 dynamic signs1 melodic periods1 and the harmonies upon which they are constructed1 the rhythmic combinations2 and through all these peculiarities the character of a piece as well as the individuality of the composer4 ,and where special directions for the rendering are not employed1 to perceive from the text of the work itself the correct rendering4 ,taste4 ,to render a piece of music with taste1 signifies the reproduction of the same so that the hearer perceives through the player a complete understanding of it1 and throughout its performance receives a correct impression of its character4 ,if an artist has given expression to all the composer's written dynamic gradations of tone colour with understanding and feeling1 it will be artistically refined2 if infused with his own individuality1 and if no awkwardness appear technically with respect to the manipulation of his instrument1 his performance will be regarded as tasteful4 ,it should be especially his concern to avoid the numerous faults common to many players2 for example1 8whining10 a mawkish drawling from one tone to another1 exaggeration of the close shake on the part of the left hand1 inartistic accentuation1 unmeaning throwing of the bow upon the strings1 c4 ,individuality4 ,if the artist has studied and learned how to give expression to the individual feeling of the composer1 his own individuality in the performance is also of great consequence4 ,it consists in this3 that the same piece in performance shall appear ever fresh and new4 ,individual feeling is subject to continuous change1 through influences from within and without1 consequently an artist who has acquired a full and active control over all his powers does not perform a piece the second time in precisely the same manner as the first time4 ,where however1 this is the case1 it may be regarded as a sign that the performer has not yet arrived at a complete artistic freedom4 ,phrasing4 ,upon this subject no exhaustive treatise will be given1 but only some observations upon intelligent phrasing as applied technically to violin playing4 ,as in singing1 and in wind instruments the breath1 so in the playing of stringed instruments the change of bowing1 is the potent medium through which phrases are divided1 distinguished from each other1 and rendered clear4 ,stringed instruments present considerably greater difficulty in this respect than singing1 on account of the manifold kinds of stroke in bowing1--often within the compass of a short phrase the most varied bowings occur2 moreover1 it cannot be laid down that with each phrase or period the stroke must be changed4 ,these phrases may1 however1 in many cases coincide with the change of bowing1 and the player must in general make it his aim to obtain correct phrasing by a suitable application and adjustment of the changes in the stroke4 ,the following examples from ,mendelssohn's violin concerto are often incorrectly phrased1 through changing the bow in the wrong places3-- ,music ,the above passage is thus rendered by many violinists3 ,music and in ,david's edition of the concerto it is even marked thus3-- ,music and a similar passage in this way3-- ,music ,a prolongation of this theme also shows incorrect changes of bow1 from which wrong phrasing ensues3-- ,music3 dim4 sempre pi tranquillo4 ,the bowings indicated underneath the notes show the correct phrasing1 and also the effect aimed at in connecting the idea with the previous example4 ,in passages where the phrasing is not plainly defined by the changes of bow1 the change occurring in the middle of a phrase1 the strokes must be made to follow each other as smoothly as possible 7i4 e4 without a break73 ,music3 a4 ,andante4 b4 ,allegretto ma non troppo4 ,music ,passages which1 owing to rapid time and bowing1 are not easily to be rendered clear by the player1 must at least have the real meaning of the phrase indicated with correct accentuation4 ,it will then become apparent in the rendering2 for example4 ,music3 a4 ,allegro molto vivace4 b4 c4 ,concerto by ,lipinski 7,bowing marks by ,david74 ,music3 ,adagio4 ,here the phrasing would become clearer and more intelligible if the legato signs were made to include the notes next to them in the following passages3 7#a7 the ,e in the second bar2 7#b7 as far as ,d in the fourth bar2 7#c7 ,e in the sixth bar1 7which would be better tied to the ,f72 then in the following bar the two d's could be played in one bow1 c4 ,it is still harder than in compositions by violinists or in pieces marked by them1 to make the right changes of bow in the sense of the phrasing in the works of composers who are not thoroughly familiar with the technical handling of the violin1 and whose indications of bowing are somewhat eccentric1 or merely mark the difference between staccato and legato4 ,even our classical composers have not always been sufficiently strict in this respect1 and the appropriate phrasing has been supplied by many violinists1 as for example in the ,quartets of ,mozart and ,beethoven4 ,the fingering is just as essential to correct phrasing as the bowing4 ,generally the changes of position are made so as to suit the requirements of the phrasing1 that it may be rendered smoothly4 ,this is particularly needful in long sequences of notes on one string4 ,music3 a4 ,in the first four bars the positions are not so well suited to the phrasing as compared to bars #e and #f4 ,music3 b4 ,in this passage from ,richard ,wagner's 8,siegfried01 most players change the position with the first note of the third bar1 whereas it should occur after this note1 on the ,c4 ,in order to render it so1 the #d finger may be taken three times in succession1 beginning with the highest ,c4 ,here also the changes of bowing should coincide with the phrasing marked4 ,it is essential to a correct rendering that1 even in the first pieces played by a beginner1 a perception of the phrasing as a whole should be acquired2 not1 as is usually the case1 regarding the bowing marks and the legato signs as exclusively determinative of it4 ,in this respect1 unfortunately1 there is nothing offered for the student's enlightenment and the improvement of his taste in the existing violin methods2 at least1 no method is known to me containing apposite suggestions and remarks on this head4 ,,appendix4 ,pictorial representation of the bow-strokes4 ,the signs in general use indicating the down and up strokes1 are these 4 ,the first sign indicates the lower end of the bow1 or nut 7,ger4 8,frosch071 the second1 the upper part or point 78,spitze074 ,hermann ,schroeder1 in his edition of ,kreutzer's #db ,studies 7dedicated to ,joachim71 has introduced a further development of these signs4 ,they are not placed in their usual position1 but sideways4 ,example3-- ,music ,the same in a simpler and more condensed style4 ,music3 ,bow ,down stroke4 ,up stroke4 ,read from the left1 the bowings in the first example are shown together with their notes1 and the signs of up and down strokes are then to be found in their ordinary positions4 ,the editor of the ,studies has1 however1 given the preference to the employment of the second manner of writing these1 on account of the simplified and easily produced representations of the bow1 and also because of the compressed form of the bowing strokes given below it4 ,the pictorial signs for the bowing are more particularly for use in such studies as exemplify different methods of playing1 or such as have groups of repeated phrasings and bowings2 in the remaining studies they are employed wherever the ordinary signs and terms do not suffice to show the relative extent of the distribution of the bow4 ,the mute4 ,illustration ,the mute is a clamp with three notches1 which1 to obtain a muffled tone1 is fastened on the bridge between the strings4 ,its use is indicated by 8con sordino10 its removal by 8senza sordino10 or by 8with0 and 8without mute04 ,there are also mutes which are fastened to the violin in order to avoid this noisy fixing and unfixing1 being brought into action by a slight push4 ,these mutes are not made as a clasp1 but consist of a small plate which presses against the bridge1 and not upon it4 ,the simultaneous sounding of subordinate and combination tones4 ,without entering into the province of musical acoustics1 the well-known experiment only can be mentioned here demonstrating that mingled with the notes one plays1 others are audible4 ,it is with this object that a snuffbox or a key is laid on the upper table of the violin4 ,if one plays double stops in slow tempo whilst one of these articles is thus placed1 not only two notes1 but three1 four1 or even more1 may be heard4 ,in order to obtain good and correct progressions in harmony1 the double notes played must follow in suitable sequence4 ,generally1 two intervals of the same kind should not follow each other4 ,in order to make the sympathetic tones more plainly audible1 and at the same time to obviate the whizzing noise produced during the bowing by the article placed on the upper table1 ,hermann ,schroeder has invented an apparatus called 8,vibrator for the production of harmonic overtones1 and for the reinforcement of the combination tones of stringed instruments0 7,germ4 ,r4 ,patent ,no4 #djbbd74 ,the inventor says in his specification 8,researches into the sympathetic tones of instruments of the violin species1 and a theory deduced therefrom as to the movement of the bow upon the strings01 7,leipsic1 ,c4 ,w4 ,fritzsch7 amongst other things the following3--,in order to produce upon stringed instruments--more especially the violin1--the harmonic overtones of the notes played1 as well as the combination tones1 a weight 7g7 is brought over the upper table of the violin fastened to it1 but allowed free play4 ,this weight1 when the instrument is being played1 vibrates with the vibrations of the upper table1 being kept in its place by the spring 7h1 f74 ,that the weight1 during its vibration1 may be firmly kept in one fixed position1 the holder 7f7 is fastened to the ribs of the violin4 ,on the other hand the shifting1 very elastic tail 7h7 above this holder1 with its fastened end 7h7 over a peg 7s71 grips the vibrating weight 7g7 controlling its movements up and down upon the instrument4 ,with the spring 7h7 in position1 one can then fix the screw and holder 7f7 over any part of the ribs1 bringing the weight 7g7 into action upon various parts of the body of the violin4 ,yet its application will best succeed if brought upon the upper table1 either in front of1 or behind1 the bridge1 under the two strings ,g and ,d1 because here the wood of the upper table is brought most into vibration1 and also because the most serviceable tones of these strings--particularly the notes of the middle part of the scale--cause these subordinate and combination tones most clearly to be heard4 ,the spring being quite flexible1 may be bent to any shape1 and in the circular form shown above helps the firm position of the weight with respect to the amount of pressure4 ,the under1 and somewhat concave1 disk of the weight is covered with paper1 which agreeably modifies the tone quality4 ,illustration3 ,vibrator4 ,the use of the vibrator permits the production of curious and often striking effects1 especially in light and flowing playing1 as1 perchance1 in chorales1 when three1 four or more parts become audible in regular harmonic sequence4 ,the tone of the violin is caused to resemble very much that of the harmonium1 and nuances from the lightest piano to at least mezzo forte are obtainable4 ,celebrated violin players of the #ag1 #ah and #ai ,centuries4 ,adelburg1 ,august von1 born #ahcc1 at ,constantinople1 originally intended for the ,diplomatic service1 was a distinguished violinist and composer4 ,he was taught by ,mayseder4 ,he died at ,vienna1 ,oct4 #bjth #ahgc1 after a long period of mental aberration4 ,alard1 ,delphin1 born ,march #hth #ahae1 at ,bayonne1 a noted virtuoso and teacher 7amongst others1 of ,sarasate72 after ,baillot's death became professor at ,paris ,conservatoire until his retirement in #ahge4 ,he produced concertos1 a violin school and studies4 ,died ,febr4 #bbnd1 #ahhh4 ,paris4 ,arditi1 ,luigi1 born #ahbb at ,crescentino 7,italy71 settled in ,london as conductor4 ,armingaud1 ,jules1 born #ahbd1 ,paris1 renowned there as a quartett player4 ,artot1 ,alex4 ,joseph ,montagney1 born ,feb4 #eth #ahae1 at ,brussels1 died ,july #bjth #ahde1 at ,ville d',avray near ,paris4 ,he studied at ,paris ,conservatoire under ,kreutzer1 became member of several orchestras1 then made extended concert tours through ,europe and ,america4 ,he wrote a violin concerto1 string quartetts1 c4 ,auer1 ,leopold1 born ,may #bhth #ahde1 at ,vesprin1 ,hungary4 ,pupil of ,dont in ,vienna1 also of ,joachim4 ,from #ahfc-ahfe he was leader at ,dusseldorf1 then at ,hamburg1 and from #ahfh in a similar capacity with the ,imperial orchestra1 ,st4 ,petersburg1 and professor at the ,conservatoire there4 ,baillot1 ,pierre ,marie ,franois de ,sales1 born ,oct4 #ast #agga1 at ,passy near ,paris1 pupil of ,viotti4 ,he taught at the ,paris ,conservatoire1 and wrote a great violin method1 studies1 concertos and quartetts4 ,he died ,sept4 #aeth #ahdb4 ,baltzar1 ,thomas1 born in the first half of the #agth century at ,lbeck2 was regarded in his time as a phenomenal player2 died in #affc4 ,barcewicz1 ,stanislaus1 born ,april #afth #aheh1 at ,warsaw1 pupil of ,laub in ,moscow2 mostly engaged in concert tours4 ,bargheer1 ,karl ,louis1 born ,dec4 #cast #ahcc1 at ,bckeburg1 pupil of ,spohr1 was from #ahfc-ahgf ,court ,capellmeister at ,detmold1 lived subsequently at ,hamburg4 ,died #aijb4 ,barth1 ,richard1 born ,june #eth #ahej1 at ,gross-,wanzleben1 ,saxony2 pupil of ,beck at ,magdeburg1 and of ,joachim4 ,became a left-handed player1 owing to an accident to one of his fingers4 ,since #ahhb leader at ,krefeld4 ,bazzini1 ,antonio1 born ,nov4 #bdth #ahah1 at ,brescia2 known also as a composer4 ,he lives in ,milan as teacher of composition at the ,conservatorio1 and since #ahhj as its ,director4 ,becker1 ,jean1 born #ahcf1 at ,mannheim2 pupil of ,kettenus there and of ,alard in ,paris2 was leader at ,mannheim and on resigning 7#aheh7 made concert tours4 ,at ,florence he founded the ,florentine ,quartett1 in #ahff1 with ,masi1 ,chiostri and ,hilpert 7subsequently ,spitzer-,hegyesi71 which was dissolved in #ahgj2 he then travelled with his children1 professionally1 and died in #ahhd4 ,benda1 ,franz1 born ,nov4 #beth #agji1 at ,alt-,benatky in ,bohemia1 was at first a choir boy in the ,nicolai ,church1 ,prague1 then in the choir of the ,dresden ,kapelle4 ,later he became a violinist 7pupil of ,konyczek and ,graun71 entered the ,berlin opera orchestra in #agcb1 and became leader in #agga4 ,he died at ,potsdam1 #aghf4 ,his brothers ,george1 ,johann1 and ,joseph1 and his sons ,friedrich ,wilhelm ,heinrich1 and ,karl ,hermann ,heinrich1 also a son of ,joseph ,benda's 7,ernst ,friedrich ,johann7 were all employed in the ,royal orchestra1 and1 with the exception of ,george and ,ernst1 were pupils of the elder ,benda4 ,bennewitz1 ,anton1 born ,march #bfth #ahcc1 at ,privret1 ,bohemia2 pupil of the ,prague ,conservatorium4 ,he was leader at ,salzburg and at ,stuttgart2 since #ahff professor in1 and since #ahhb ,director of1 the ,prague ,conservatorium4 ,briot1 ,charles de1 born ,feb4 #bjth #ahjb1 at ,louvain1 the chief exponent of the ,belgian school4 ,he taught amongst others ,vieuxtemps and ,prume4 ,his works are well known1 chiefly his concertos and ,thmes varis4 ,he resided in ,brussels1 became blind in #aheb1 and died in ,april #ahgj4 ,besekirsky1 ,basil ,basilewitzsch1 born #ahce1 at ,moscow2 pupil of ,leonard at ,brussels4 ,he appeared with success in ,germany1 ,france1 ,spain1 c41 as a virtuoso4 ,biber1 ,franz1 born #afch1 at ,wartenburg on the ,bohemian frontier1 died #afih at ,salzburg1 where he was ,capellmeister4 ,he was raised to the nobility by the ,emperor ,leopold #ast4 ,a few sonatas composed by him are to be found in ,david's advanced school of violin playing4 ,blagrove1 ,henry ,gamble1 born ,oct4 #ahaa1 at ,nottingham4 ,taught by his father1 he played in public at the age of five1 and on the opening of the ,royal ,academy of ,music1 ,london1 was one of the first pupils1 studying with ,f4 ,cramer4 ,in #ahcc-ahcd he studied under ,spohr4 ,he was for #cj years one of the most prominent ,english players1 and died ,dec4 #aeth #ahgb4 ,blankensee1 ,julius1 born ,april #ith #aheh1 at ,wartburg in ,westphalia2 pupil of ,joachim4 ,he was ,kammervirtuos at ,sondershausen1 and subsequently leader at ,nuremburg4 ,bhm1 ,joseph1 born ,april #dth #agie1 at ,pesth1 died ,march #bcrd #ahgf2 pupil of ,rode1 and teacher of ,joachim4 ,he was engaged chiefly in the ,viennese ,court orchestra1 and as teacher in the ,vienna ,conservatorium4 ,bohrer1 ,anton1 born #aghc 7#agia87 at ,munich2 pupil of ,rud4 ,kreutzer4 ,he was leader at ,berlin and ,hanover1 and died in #aheb4 ,bott1 ,jean ,joseph1 born ,march #ith #ahbf1 at ,cassel1 died #ahie1 in ,america2 pupil of ,spohr4 ,he was leader at ,cassel1 and subsequently at ,meiningen and ,hanover 7,court-,capellmeister71 where he was pensioned in #ahgh4 ,since then he lived in ,hamburg1 ,new ,york1 c4 ,boucher1 ,alexandre ,jean1 born #aggj1 ,paris1 died #ahfa4 ,he was a great charlatan in violin playing1 yet was received with much applause on his concert tours4 ,brassin1 ,gerhard1 born ,june #ajth #ahdd1 at ,aix2 pupil of ,david4 ,he was leader at ,berne and ,gothenburg1 then teacher in ,stern's ,conservatorium1 ,berlin2 from #ahge-ahhj conductor of the ,breslau ,musikverein2 since then living in ,st4 ,petersburg4 ,brodsky1 ,adolph1 born ,march #bast #ahea1 at ,taganrog 7,russia72 pupil of ,jos4 ,hellmesberger at ,vienna4 ,he was member of the ,court opera orchestra1 visited ,russia as virtuoso1 then became teacher in ,moscow ,conservatoire1 afterwards at the ,leipzig ,conservatorium4 ,in #ahib he went to ,america1 but in #ahie became principal of the ,manchester ,royal ,college of ,music4 ,burmester1 ,willy1 born at ,hamburg1 ,march #afth #ahfi1 studied under ,joachim at the ,high ,school1 ,berlin1 but elected to make a special study by himself of ,paganini difficulties1 in whose works he is probably unrivalled4 ,he appeared in ,london in #ahie4 ,cambini1 ,giov4 ,giuseppe1 born #agdf1 at ,livorno1 died #ahbe1 ,paris1 where he had settled in #aggj4 ,campagnoli1 ,bartolomeo1 born ,sept4 #ajth #agea1 at ,cento near ,bologna2 pupil of ,nardini4 ,he was from #agig leader at the ,leipsic ,gewandhaus concerts2 subsequently director at ,neu-,strelitz1 where he died ,nov4 #fth #ahbg4 ,wrote a good method1 and some studies4 ,cannabich1 ,christian1 born #agca1 at ,mannheim1 died #agig1 at ,munich 7or #agih at ,frankfort72 was leader at ,mannheim1 and in this capacity1 as also in that of teacher1 was quite remarkable4 ,carrodus1 ,john ,tiplady1 born at ,keighley1 ,yorkshire1 ,jan4 #bjth #ahcf1 died ,july #acth #ahie1 in ,london4 ,he studied with ,molique in ,stuttgart1 was leader of some of the chief ,english orchestras1 and was also a fine solo player4 ,coenen1 ,franz1 born ,dec4 #bfth #ahbf1 at ,rotterdam4 ,solo violinist to the late ,king of ,holland2 accomplished solo and quartett player2 living at ,amsterdam4 ,collins1 ,isaac1 born #agig1 died #ahga1 in ,london1 was a celebrated ,english performer4 ,his son ,collins1 ,viotti1 was also an excellent player4 ,colonne1 ,edouard1 born ,july #bcrd #ahch1 at ,bordeaux2 studied at the ,paris ,conservatoire under ,girard and ,sauzay1 but became a conductor1 and is1 as such1 very celebrated in ,paris4 ,colyns1 ,jean ,baptiste1 born ,nov4 #beth #ahcd1 at ,brussels4 ,he studied at the ,conservatoire there1 has been since #ahfc a teacher in that institution and since #ahhh also at the ,antwerp ,school of ,music4 ,corelli1 ,arcangelo1 born #afec1 at ,fusignano near ,imolo 7,bologna71 was the founder of the ,italian school1 which in its executive and creative aspects inaugurated a marked epoch in the art of violin playing4 ,violin composition and technique were brought by him into definite form1 serving as a sure foundation for later times4 ,like all the violinists of that period1 ,corelli was also a composer1 and in this capacity stood prominently forward4 ,his music has lasted to our own day1 the complete edition having been brought out by ,joachim and ,chrysander1 and separate sonatas arranged for violin and piano by ,g4 ,jensen1 and others4 ,living chiefly in ,rome1 ,corelli was held in extraordinary esteem as violinist and composer1 and a great number of pupils crowded round him4 ,his most celebrated pupils were ,geminiani and ,locatelli4 ,he died in #agac1 after a tour to ,naples4 ,clement1 ,franz1 born #aghj1 at ,vienna1 died there in #ahdb was first ,concertmeister at the theatre 8,an der ,wien04 ,courvoisier1 ,carl1 born ,nov4 #abth #ahdf1 at ,basle2 lived in ,dusseldorf and enjoyed much favour as teacher and player4 ,he went to ,england in #ahhe1 and is now living in ,liverpool4 ,author of a violin school and studies1 also sundry articles on the technique of violin playing4 ,cramer1 ,wilhelm1 born #agdc or #agde1 at ,mannheim1 died #agii1 in ,london1 where he was leader at the ,italian ,opera1 and in various concert societies4 ,he was regarded in ,england as the first violinist of his time4 ,crner1 ,ferdinand1 ,carl and ,johann 7brothers71 were all members of the ,munich ,court orchestra between #agcg and #aghf4 ,in #agdi they were raised to the rank of the nobility4 ,csillag1 ,hermann1 born #aheb1 at ,bakony-,telek 7,hungary72 pupil of ,hellmesberger at ,vienna1 became member of the ,court opera orchestra there1 and subsequently leader at ,baden-,baden1 ,dusseldorf1 ,hamburg and ,rotterdam4 ,from #ahhg-ahhh taught in the ,conservatorium at ,helsingfors4 ,damrosch1 ,leopold1 born #ahbb1 at ,posen2 pupil of ,hubert ,ries1 prepared for a medical career4 ,he was from #aheg ,capellmeister at ,breslau1 and since #ahga in ,new ,york1 where he died in #ahhe4 ,dancla1 ,jean ,bapt4 ,chas41 born ,dec4 #aith #ahah1 at ,bagnres-de-,bigorre4 ,he entered the ,paris ,conservatoire at the age of #aj2 founded in ,paris a fine quartett1 with his brothers ,leopold and ,arnaud as #bnd violin and ',cello4 ,he has composed many melodious educational works1 and enjoys great repute as a teacher in the ,paris ,conservatoire4 ,dando1 ,j4 ,h4 ,b41 born at ,somers ,town1 #ahjf2 pupil of ,mori2 died ,may1 #ahid4 ,he was one of the pioneers of quartett playing in ,england1 also for many years prominent as leader of the best orchestras in ,london1 in his day4 ,david1 ,ferd41 born ,jan4 #aith #ahaj1 at ,hamburg1 died ,july #ahth #ahgc1 at ,klosters in ,switzerland2 pupil of ,spohr2 leader in the ,leipsic ,gewandhaus and theatre orchestras from #ahcf until his death4 ,he was distinguished both as teacher and leader4 ,as composer1 he produced many violin works1--,concertos1 ,variations1 ,studies1 and also a ,school1 besides editing many previously unpublished pieces by the old masters4 ,de ,ahna1 ,heinrich ,karl ,hermann1 born ,june #bbnd #ahce1 at ,vienna2 pupil of ,mayseder and ,mildner1 until #ahea1 when he relinquished music for a military career1 entering the ,austrian army4 ,in #ahec he became ,lieutenant1 was in the war of #ahei1 but at its conclusion resumed the violin4 ,he made concert tours1 was engaged in #ahfb in the ,royal opera orchestra1 ,berlin1 and became first ,concertmeister2 he was second violin in ,joachim's quartett4 ,died ,nov4 #ast #ahib4 ,dengremont1 ,maurice1 born ,march #aith #ahff1 in ,rio de ,janeiro2 pupil of ,leonard4 ,during about ten years he made many appearances in ,germany1 played in ,london1 at the ,crystal ,palace1 with great success2 and died in ,buenos ,ayres1 ,nov4 #ahic4 ,dessau1 ,bernhard1 born ,march #ast #ahfa1 in ,hamburg2 studied at the ,berlin ,high ,school1 was leader at ,knigsberg and ,prague1 now in ,rotterdam and teacher in the ,conservatorium4 ,dittersdorf1 ,karl von1 born ,nov4 #bnd #agci1 at ,vienna1 died ,oct4 #cast #agii1 was violinist in the ,imperial orchestra1 and had much success in his tours4 ,he was subsequently ,capellmeister1 and composed a great deal3 operas1 symphonies1 quartetts1 c4 ,dont1 ,jacob1 born ,march #bnd #ahae1 at ,vienna1 died there ,nov4 #ahth #ahhh2 pupil of his father4 ,he was member of the ,imperial orchestra and teacher in the ,conservatorium2 produced excellent studies4 ,dreyschock1 ,raimund1 born ,aug4 #bjth #ahbd1 at ,zack in ,bohemia1 died ,feb4 #fth #ahfi2 was #bnd leader in the ,leipsic ,gewandhaus orchestra1 and teacher in the ,conservatorium4 ,dupont1 ,joseph1 born ,aug4 #bast #ahba1 ,lige1 died ,feb4 #acth #ahfa4 ,pupil of ,prume in the ,lige ,conservatoire1 subsequently teacher in the same4 ,dupuis1 ,jacques1 born ,oct4 #bast #ahcj1 at ,lige2 taught there in the ,conservatoire2 died #ahfj4 ,dupuy1 ,jean ,baptiste1 born #agge1 at ,courcelles near ,neuchtel1 died ,april #crd #ahbb1 at ,stockholm2 was leader there1 and also at ,copenhagen4 ,he composed concertos1 duets and operas4 ,durand1 ,frederic1 born at ,warsaw in #aggj1 died in the middle of the #aith century2 pupil of ,viotti1 in ,paris4 ,he made many concert tours2 entered the ,french army in #agif1 became adjutant to a ,general1 but must have taken his leave after several years1 for he travelled again as a virtuoso and became eventually violinist in ,strasburg theatre4 ,eberhardt1 ,gobi1 born ,march #bith #aheb1 at ,hattersheim near ,frankfort2 pupil of ,dietz1 ,heermann and ,wilhelmj4 ,he was leader at ,berne and ,bremen1 paid successful visits to ,germany1 ,switzerland1 ,austria and ,italy1 and since #ahhd has been active in ,hamburg as soloist1 professor and author4 ,he has composed studies1 violin solos1 piano pieces and songs4 ,eck1 ,joh4 ,friedrich1 born #agff1 at ,mannheim1 date of death not known2 one of the best #ahth century players2 lived in ,munich and ,paris4 ,his brother ,eck1 ,franz1 born #aggd1 at ,mannheim1 was ,spohr's instructor1 member of the ,munich orchestra1 and violinist at the ,imperial ,court in ,st4 ,petersburg2 he died insane at ,bamberg in #ahji4 ,eichhorn1 ,ernst and ,eduard 7brothers71 born ,april #cjth #ahbb1 and ,oct4 #agth #ahbc1 respectively1 appeared as prodigies from #ahbi to #ahce4 ,both found positions in the ,coburg orchestra4 ,ernst died ,june #afth #ahdd4 ,ernst1 ,heinr4 ,wilh41 born #ahad1 at ,brnn1 died ,oct4 #hth #ahfe1 at ,nice2 pupil of ,mayseder2 was mostly occupied in making concert tours1 everywhere causing a profound sensation4 ,composed1 amongst other pieces1 a concerto pathtique1 ,elegy1 8,otello0 fantasia1 and ,hungarian variations4 ,ferrari1 ,domenico1 born at the beginning of the #ahth century2 pupil of ,tartini4 ,he passed in ,vienna for a great violinist1 also exercising his profession in ,stuttgart and ,paris4 ,in #aghj he was murdered4 ,fiorillo1 ,federigo1 born #agec1 at ,brunswick1 date of death not known4 ,his #cf violin ,caprices are celebrated4 ,fischer1 ,johann1 born in the middle of the #agth century1 in ,swabia1 was one of the first ,german violinists who made a reputation4 ,he was1 at the beginning of the #ahth century1 ,capellmeister at ,schwerin1 and died in #agba as ,capellmeister to the ,margrave at ,schwedt4 ,fleischhauer1 ,f41 born ,july #bdth #ahcd1 at ,weimar1 pupil of ,joachim and ,laub1 since #ahfe ,court leader at ,meiningen4 ,fontaine1 ,antoine ,nicolas ,marie1 born #aghe1 at ,paris2 pupil of ,kreutzer2 travelled much1 and lived in ,paris since #ahbe4 ,frnzl1 ,ignaz1 born ,june #crd #agcf1 at ,mannheim1 died #ahjc2 was leader in the ,electoral orchestra2 an accomplished orchestral player4 ,his son and pupil ,frnzl1 ,ferdinand1 born ,may #bdth #aggj1 at ,schwetzingen1 died #ahcc1 at ,mannheim1 was more celebrated than his father4 ,ganz1 ,leopold1 born ,nov4 #bhth #ahaj1 at ,mayence1 died ,june #aeth #ahfi1 at ,berlin1 was leader in the ,berlin ,court orchestra4 ,gavinis1 ,pierre1 born ,may #aath #agbf or #agbh1 at ,bordeaux1 died ,sept4 #ith #ahjj1 at ,paris4 ,he wrote studies1 notably 8,les #bd matines04 7,his father1 ,franois ,gavinis1 was a violin maker1 and was1 in #agfb1 dean of the ,paris ,violin ,makers' ,guild4 ,tr47 ,geminiani1 ,francesco1 born towards the end of the #agth century1 at ,lucca1 died ,dec4 #agfb1 at ,dublin1 was one of ,corelli's most famous pupils4 ,g4 brought out the earliest ,italian violin method1 which became in great request1 and by which the essential features of ,corelli's style have been handed down to the present day4 ,the best of his violin sonatas have been published in ,g4 ,jensen's 8,classische ,violin ,musik04 ,giardini1 ,felice1 born ,april #abth #agaf1 at ,turin1 died ,dec4 #agth #agif1 at ,moscow4 ,he toured1 with brilliant success1 in ,germany and ,england1 became orchestral conductor1 and later theatre director1 in which capacity1 however1 he had no success4 ,gompertz1 ,richard1 born ,april #bgth #ahei1 at ,cologne2 pupil there of ,knigslow and ,joachim2 now professor in the ,royal ,college of ,music1 ,london4 ,graun1 ,j4 ,gottlieb1 born at the commencement of the #ahth century1 died ,oct4 #bgth #agga 7brother of ,heinrich ,graun1 the composer of 8,der ,tod ,jesu071 was leader in the ,court orchestra1 ,berlin4 ,grnberg1 ,max1 born ,dec4 #eth #ahej1 at ,berlin4 ,he was solo violinist at ,meiningen under ,blow1 leader and teacher in the ,sondershausen ,conservatorium1 then at ,prague1 and now lives in ,berlin1 where he has founded a ,conservatorium2 is a celebrated teacher4 ,habeneck1 ,franois ,antoine1 born ,june #ast #agha1 at ,mezieres1 died ,feb4 #hth #ahdi1 ,paris2 pupil of ,baillot in ,paris4 ,he was member of the orchestra1 and subsequently conductor1 at the ,grand ,opra1 then became concert conductor1 in which capacity he introduced ,beethoven's symphonies to the ,parisians4 ,founder of the celebrated ,conservatoire concerts4 ,haddock1 ,edgar1 born in ,leeds1 #ahfb1 taught by his father2 appeared in public at the age of six4 ,originator of the ,leeds ,musical ,evenings4 ,halir1 ,karl1 born ,feb4 #ast #ahei1 at ,hohenelbe in ,bohemia2 pupil of ,prague ,conservatorium and of ,joachim4 ,he was soloist in ,bilse's orchestra1 leader at ,mannheim and now at ,weimar4 ,hnflein1 ,georg1 born ,march #agth #ahdh1 at ,breslau2 pupil of ,david and ,joachim2 leader at the ,royal theatre1 ,hanover4 ,hann1 ,w4 ,h41 born ,may #cjth #ahca2 musician in ordinary to the ,queen4 ,his five sons received their education first as choir boys at the ,chapel ,royal1 afterwards all studying the violin or 'cello at the ,royal ,academy of ,music4 ,brahms' ,sestett for strings was performed in ,london1 #ahhh1 entirely by this musical family4 ,hauser1 ,miska1 born #ahbb1 at ,pressburg1 died ,dec4 #hth #ahhg1 ,vienna2 pupil of ,bhm and ,mayseder in ,vienna2 travelled nearly all over the world4 ,a few of his compositions are in vogue1--e4 g41 ,the ,bird in the ,tree1 and ,lieder ohne ,worte4 ,heckmann1 ,robert1 born ,nov4 #crd #ahdh1 at ,mannheim1 died ,nov4 #bith #ahia1 ,glasgow2 pupil of ,becker and ,david4 ,he was leader at the ,euterpe1 ,leipsic1 and at the town theatre in ,cologne2 then travelled as quartett player1 winning universal recognition4 ,heermann1 ,hugo1 born ,march #crd #ahdd1 at ,heilbronn2 pupil of de ,briot2 was leader at ,frankfort1 and since #ahgh principal violin teacher at ,hoch's ,conservatorium4 ,hegar1 ,friedr41 born ,oct4 #aath #ahda1 at ,basle1 pupil of ,david2 ,concertmeister with ,bilse1 and at ,zurich2 now director of the ,music ,school there4 ,hellmesberger1 ,georg1 born ,april #bdth #ahjj1 at ,vienna1 died ,aug4 #afth #ahgc1 pupil of ,bhm2 was member of the ,imperial orchestra and teacher in the ,conservatorium4 ,his eldest son1 ,georg1 born #ahbh1 was leader at ,hanover1 where he died in #ahec4 ,his younger brother ,hellmesberger1 ,joseph1 born ,nov4 #crd #ahbi1 lived at ,vienna as ,director of the ,conservatorium and ,court-,capellmeister4 ,he became very noted as a quartett player4 ,his son ,joseph1 born #ahee1 was from #ahgh solo violinist in the ,court orchestra2 died ,oct4 #bdth #ahic4 ,hermann1 ,friedr41 born #ahbh1 at ,frankfort2 studied at the ,leipsic ,conservatorium2 for many years professor in the same1 and also1 up to #ahgf1 first viola player in the ,gewandhaus concerts4 ,he has written chamber music1 violin solos1 c41 besides arranging many classical works for various combinations of stringed instruments4 ,hess1 ,willy1 pupil of ,joachim1 was leader at ,frankfort and at ,rotterdam2 then settled in ,manchester as solo violinist in ,sir ,charles ,hall's orchestra2 in #ahie called to ,cologne as leader in the ,town ,orchestra and teacher at the ,conservatorium4 ,hilf1 ,arno1 born ,march #adth #aheh1 student of the ,conservatorium1 ,leipsic1 until his #agth year4 ,he was leader at ,moscow1 and in #ahhh at ,sondershausen2 then joined the ,gewandhaus orchestra1 ,leipsic4 ,himmelsstoss1 ,richard1 born ,june #agth #ahdc1 at ,sondershausen2 pupil of ,ulrich and ,joachim2 leader at ,breslau4 ,hollnder1 ,gustav1 born ,feb4 #aeth #ahee1 at ,leobschtz1 ,silesia2 pupil of ,david and ,joachim2 was leader and teacher in ,cologne ,conservatorium4 ,composer of the 8,spinnerlied01 and other pleasing violin pieces4 ,jacobsen1 ,heinr41 born ,jan4 #ajth #ahea1 at ,hadersleben2 pupil of ,david and ,joachim4 ,he was first violinist in the ,leipsic ,gewandhaus orchestra1 solo and chamber music player to the ,duchess of ,anhalt-,bernburg at ,ballenstedt1 and since #ahgf teacher at the ,berlin ,high ,school4 ,died #aija4 ,jacobson1 ,simon1 born ,dec4 #bdth #ahci1 at ,mitau2 pupil of ,david2 leader at ,bremen and ,new ,york2 was afterwards teacher at ,cincinnati1 and now lives at ,chicago4 ,janitsch1 ,anton1 born #agec1 in ,switzerland1 died #ahab1 as ,capellmeister to ,count ,burg-,steinfurth2 pupil of ,pugnani at ,turin4 ,he was leader at ,trves with ,prince ,wallerstein-ttingen1 and conductor at the theatre1 ,hanover4 ,jansa1 ,leopold1 born #agif1 at ,wildenschwert in ,bohemia1 died ,jan4 #beth #ahge1 at ,vienna4 ,his compositions formerly enjoyed much favour4 ,he lived in ,brunswick1 ,vienna1 and ,london4 ,japha1 ,george1 born ,aug4 #bgth #ahce1 at ,knigsberg1 died ,feb4 #beth #ahib1 ,cologne2 pupil of ,singer1 ,david and ,alard2 leader and teacher in ,cologne ,conservatorium4 ,jensen1 ,gustav1 born ,christmas ,day1 #ahdc1 at ,knigsberg2 pupil of ,laub and ,joachim2 died ,nov4 #bfth1 #ahie1 as professor at the ,conservatorium1 ,cologne4 ,he wrote orchestral works1 a violin sonata1 chamber music1 c41 besides ably editing and arranging many compositions of the old masters for violin and piano 78,classische ,violin ,musik01 8,vortragsstudien01 c474 ,joachim1 ,joseph1 ,prof41 ,dr41 born ,june #bhth #ahca1 at ,kitse near ,pressburg2 pupil of ,bhm in ,vienna4 ,he was leader at ,leipsic1 ,weimar1 and ,hanover2 subsequently director of the ,high ,school1 ,berlin4 ,he is the first among living violinists1 and has formed a large number of prominent players4 ,kalliwoda1 ,johann ,wenzeslaus1 born ,feb4 #bast #ahja1 at ,prague1 died ,dec4 #crd #ahff1 at ,karlsruhe2 conductor of ,prince ,frstenberg's orchestra at ,donaueschingen4 ,in addition to violin pieces1 he wrote symphonies and overtures4 ,kes1 ,willem1 born ,feb4 #afth #ahef1 at ,dordrecht2 pupil of ,david and ,joachim4 ,he was leader at ,amsterdam1 and ,capellmeister at ,dordrecht1 and since #ahhc conductor at ,amsterdam4 ,kiesewetter1 ,chr4 ,gottfried1 born ,dec4 #bdth #aggg1 at ,ansbach1 died ,sept4 #bgth #ahbg1 ,london2 lived successively in ,amsterdam1 ,oldenburg1 ,hamburg1 ,hanover and ,london4 ,kmpel1 ,august1 born ,aug4 #ahth #ahca1 at ,brckenau2 pupil of ,spohr1 ,david and ,joachim2 leader at ,weimar1 retired on a pension in #ahhd1 died ,april #gth #ahia1 ,weimar4 ,knigslow1 ,otto von1 born ,nov4 #adth #ahbd1 at ,hamburg2 pupil of ,pacius and ,hafner1 afterwards of ,david4 ,from #aheh-ahha1 he was leader at ,cologne and teacher at the ,conservatorium1 but resigned the former post on account of a bad arm2 received the title of ,professor1 and removed to ,bonn4 ,died #ahih4 ,kopecky1 ,ottokar1 born ,april #bhth #ahej1 at ,chotebor in ,bohemia2 pupil of ,bennewitz in the ,prague ,conservatorium4 ,he was leader at the town theatre1 ,brnn1 at the ,mozarteum1 ,salzburg1 and in the ,sondershausen ,court orchestra1 where he received in #ahha the title of 8,kammervirtuos04 ,he now lives in ,hamburg as soloist and teacher4 ,kotek1 ,joseph1 born ,oct4 #beth #ahee1 at ,kamenez-,podolsk in ,russia1 died ,jan4 #dth #ahhe1 ,davos2 pupil of ,laub and ,joachim2 teacher at the ,berlin ,high ,school4 ,kreutzer1 ,rudolph1 born at ,versailles1 ,nov4 #afth #agff1 died ,june #fth #ahca1 ,geneva4 ,he was a famous virtuoso1 professor in the ,paris ,conservatoire1 and composed much4 ,his #db ,studies still remain at the head of all studies1 and have passed through many editions4 7,beethoven's grandest violin sonata1 ,op4 #dg1 is dedicated to him1 although it is said he never played it4 ,tr47 ,kruse1 ,j4 ,s41 born ,march #bcrd #ahei1 at ,melbourne2 pupil of ,joachim in ,berlin1 leader in the ,philharmonic there1 and since #ahib at ,bremen4 ,kudelski1 ,carl ,matthias1 born ,nov4 #agth #ahjh1 ,berlin1 died ,oct4 #crd #ahgg1 ,baden-,baden2 pupil of ,ed4 ,rietz and ,lafont2 lived in ,berlin1 ,russia1 ,hamburg and ,baden-,baden4 ,lacroix1 born #agef1 at ,remberville1 died #ahab1 as music director at ,lbeck4 ,lafont1 ,chas4 ,philippe1 born ,dec4 #agha1 at ,paris1 died ,aug4 #adth #ahci2 pupil of ,kreutzer and ,rode2 he made many concert tours1 and composed much4 ,held appointments in ,st4 ,petersburg and ,paris4 ,lalo1 ,ed41 born #ahbc1 at ,lille1 died ,april #bbnd #ahib1 ,paris2 student at the ,conservatoire4 ,he was quartett player in ,paris1 and then busied himself chiefly in composition4 ,lamotte1 ,franz1 born #agea1 ,vienna or in the ,netherlands1 died #agha1 in ,holland4 ,he was a great virtuoso and sight-reader1 but in consequence of his looseness of conduct could make no position4 ,lamoureux1 ,chas41 born ,sept4 #bhth #ahcd1 at ,bordeaux2 studied in the ,paris ,conservatoire1 he was violinist in various ,parisian theatres1 afterwards conductor1 and has rendered great service by introducing ,german compositions into ,france4 ,laub1 ,ferd41 born ,jan4 #aith #ahcb1 at ,prague1 died ,march #agth #ahge1 at ,gries near ,botzen2 pupil of ,mildner at ,prague2 was leader at ,weimar1 ,berlin and ,moscow4 ,his ,polonaise for the violin is well known4 ,lauterbach1 ,joh4 ,chr41 born ,july #bdth #ahcb1 at ,culmbach2 pupil of ,frhlich at ,wurzburg1 and de ,briot at ,brussels4 ,he was leader at ,munich1 afterwards at ,dresden 7pensioned #ahhi71 and taught in the ,dresden ,royal ,conservatorium until #ahgg4 ,leclair1 born #afig1 at ,lyons1 was murdered in ,paris1 ,oct4 #bbnd #agfd2 laboured chiefly as teacher and composer for his instrument4 ,his compositions have appeared in various editions1 some of his best sonatas in ,g4 ,jensen's 8,classische ,violin ,musik04 ,leonard1 ,hubert1 born ,april #gth #ahai1 at ,bellaire1 ,belgium1 died ,may #fth #ahij1 ,paris2 pupil of ,habeneck in ,paris4 ,he was for a long period a teacher in ,brussels ,conservatoire1 then resided in ,paris4 ,he produced a violin school1 besides studies4 ,lipinski1 ,carl ,joseph1 born #agij1 at ,radzyn in ,poland1 died ,dec4 #afth #ahfa1 in ,galicia4 ,he travelled much as a virtuoso1 was from #ahch-ahei leader in the ,royal orchestra1 ,dresden4 ,his ,military ,concerto is the best known among his writings4 ,locatelli1 ,pietro1 born #afic1 at ,bergamo1 died #agfd1 ,amsterdam2 pupil of ,corelli2 was regarded in his day as a great virtuoso4 ,he produced 8,l',arte del ,violino01 concertos and sonatas4 ,lolli1 ,antonio1 born about #agcj1 ,bergamo1 died #ahjb1 ,naples1 was1 next to ,locatelli1 the chief founder of pure virtuosity1 and owed his success to his technique alone4 ,of his artistic development there is little to be said4 ,lotto1 ,isidor1 born ,dec4 #bbnd #ahdj1 at ,warsaw2 pupil of ,massart in ,paris4 ,he was teacher in ,strasburg ,conservatorium1 then in that of his native town4 ,his 8,fileuse0 is well known4 ,lubin1 ,leon de ,st41 born ,july #hth #ahje1 at ,turin1 died ,feb4 #ahth #ahej2 pupil of ,spohr2 was leader at the ,knigstdter theatre1 ,berlin4 ,marsick1 ,martin ,pierre ,joseph1 born ,march #ith #ahdi1 at ,lige2 pupil of ,leonard1 ,massart and ,joachim4 ,he made himself known through several concert tours in ,france1 ,england1 ,germany1 c41 then settled in ,paris since #ahib as violin professor at the ,conservatoire4 ,massart1 ,joseph ,lambert1 born ,july #aith #ahaa1 at ,lige3 died ,feb4 #acth #ahib1 ,paris2 pupil of ,kreutzer4 ,since #ahdc1 he was teacher in ,paris ,conservatoire2 taught ,wieniawski and ,lotto4 ,matthi1 ,heinr4 ,aug41 born ,oct4 #crd #agha1 ,dresden1 died #ahce1 at ,leipsic1 where he was leader at the ,gewandhaus2 pupil of ,kreutzer4 ,maurer1 ,ludwig ,wilh41 born ,feb4 #hth #aghi1 at ,potsdam1 died ,oct4 #beth #ahgh1 at ,st4 ,petersburg1 where he had lived since #ahcb1 having been previously leader in ,hanover4 ,his concerto for #d violins is well known4 ,mayseder1 ,joseph1 born ,oct4 #bfth #aghi1 at ,vienna1 died there ,nov4 #bast #ahfc2 pupil of ,schuppanzigh2 was leader in the ,imperial orchestra4 ,he composed many violin pieces1 quartetts1 c4 ,mazas1 ,jacques ,frol1 born ,sept4 #bcrd #aghb1 at ,bezires1 died #ahdi2 pupil of ,baillot2 was teacher in ,paris ,conservatoire4 ,meerts1 ,lambert ,joseph1 born #ahjb1 ,brussels1 died there ,may #abth #ahfc2 pupil of ,habeneck1 ,lafont and ,baillot2 taught in the ,brussels ,conservatoire4 ,he published a violin school1 and studies4 ,mestrino1 ,nicolo1 born #agdh1 at ,naples1 died #agij1 ,paris1 as leader of the orchestra at the ,opra ,italien4 ,he began as a street player1 underwent imprisonment on account of some foolish prank1 and during his confinement advanced his technique4 ,meyer1 ,waldemar1 born ,feb4 #dth #ahec1 at ,berlin2 pupil of ,joachim1 was from #ahgc-ahha first violinist in the ,court orchestra1 ,berlin1 then went on tour4 ,his brother ,felix is ,royal ,kammervirtuos1 and an accomplished violinist4 ,milanollo1 the sisters ,therese and ,maria1 born ,aug4 #bhth #ahbg1 and ,june #aith #ahcb1 respectively1 at ,savigliano near ,turin4 ,they were regarded as juvenile prodigies during the years #ahci-ahdf4 ,the younger died in #ahdh in ,paris1 the elder retired into private life in #aheg4 ,mildner1 ,moritz1 born #ahac1 at ,turnitz1 ,bohemia1 died ,dec4 #dth #ahfe2 was teacher in ,prague ,conservatorium1 and leader at the theatre4 ,molique1 ,wilhelm ,bernhard1 born ,oct4 #gth #ahjb1 at ,nuremberg1 died ,may #ajth #ahfi1 at ,cannstadt2 pupil of his father and of ,spohr4 ,he was leader at ,munich and ,stuttgart1 made many concert tours1 and composed many violin pieces1 c4 7,his #eth concerto has been frequently played by ,mr4 ,carrodus1 and his oratorio 8,abraham0 was1 for a time1 in favour4 ,tr47 ,mori1 ,nicolas1 born in ,london1 #agic1 died ,june #ahth #ahci2 of ,italian origin2 he occupied1 for nearly #cj years1 a prominent position in ,england as a violinist4 ,he was also a music publisher4 ,mser1 ,carl1 born ,jan4 #bdth #aggd1 at ,berlin1 died there ,jan4 #bgth #ahea4 ,he was employed at intervals in the ,berlin ,court orchestra1 being appointed ,royal ,capellmeister in #ahdj4 ,his son ,mser1 ,august1 born ,dec4 #bjth #ahbe1 ,berlin1 pupil of his father and of de ,briot1 lived for many years in ,south ,america1 and died on a concert tour there1 #ahei4 ,mozart1 ,leopold1 born ,nov4 #adth #agai1 at ,augsburg1 died ,may #bhth #aghg1 at ,salzburg1 where he was ,vice-,capellmeister4 ,published one of the earliest violin methods4 ,mhlmann1 ,ernst ,r41 born ,june #eth #ahef1 at ,klingenthal1 ,saxony2 pupil of ,david and ,rntgen at ,leipsic ,conservatorium4 ,in #ahge appointed soloist to the ,duchess of ,anhalt-,bernburg1 at ,ballenstedt2 #ahgf-ahgh at the town theatre1 ,leipsic3 until #ahhb1 leader in ,laub's orchestra at ,hamburg2 until #ahhd1 leader in ,neumann's ,wagner ,tour2 since then1 leader ,hamburg town theatre4 ,mller1 ,carl ,friedr41 born ,nov4 #aath #agig1 at ,brunswick1 died ,april #dth #ahgc2 pupil of ,mser at ,berlin4 ,he was leader in the celebrated quartett formed by the brothers ,mller1 and in the ducal orchestra4 ,nachz1 ,tivadar1 born ,may #ast #ahei1 at ,pesth2 studied at the ,prague ,conservatorium and under ,joachim4 ,he has made many tours as virtuoso1 but lives chiefly in ,london4 ,nardini1 ,pietro1 born #agbb1 at ,fibiana1 died #agic1 at ,florence1 pupil of ,tartini4 ,from #agec-agfg he was member of the ,wrtemberg ,court orchestra1 ,stuttgart2 then solo player at the ,florentine ,court4 ,a few of his sonatas are still performed4 ,naret-,koning1 ,joh4 ,jos4 ,david1 born ,feb4 #beth #ahch1 at ,amsterdam2 pupil of ,david1 #ahei-ahgj leader at ,mannheim1 then at ,frankfort4 ,neruda1 ,wilma ,maria ,franziska 7,lady ,hall71 born ,march #bast #ahdj1 at ,brnn2 pupil of her father and of ,jansa2 found her vocation in concert tours1 now lives in ,london4 7,lady ,hall has been for many years associated with the ,monday ,popular ,concerts1 and her excellent example has undoubtedly given a great stimulus to the study of the violin in ,england by ladies4 ,tr47 ,ole ,bull1 born ,feb4 #eth #ahaj1 at ,bergen2 a self taught violinist1 who made many concert tours1 amongst others three times to ,america4 ,from a musical point of view his compositions are unimportant1 corresponding to his playing1 and only calculated for the production of virtuoso effects4 7,ole ,bull died ,aug4 #agth #ahhj1 in ,norway4 ,his first appearance in ,london was in #ahcf4 ,tr47 ,ondricek1 ,franz1 born #ahfc1 at ,prague2 pupil of ,bennewitz and ,massart2 in #ahhb visited ,germany during his concert tours4 ,played in ,london #ahie4 ,paganini1 ,nicolo1 baptized ,oct4 #bgth #aghb1 ,genoa1 died ,may #bgth #ahdj1 ,nice4 ,the most talented and gifted violinist that ever lived2 in every respect an original1 a speciality4 ,about his career the most romantic stories of adventure were circulated1 to which his fantastic1 almost ghostly1 appearance gave rise4 ,of his compositions1 the concertos and #bd ,caprices are best known4 ,papini1 ,guido1 born at ,camagiore near ,florence1 ,aug4 #ast #ahdg2 pupil of ,giorgetti4 ,for several years he was director of the ,florentine ,societ del ,quartetto2 now principal professor at the ,royal ,irish ,academy4 ,writer of a method and many effective pieces for his instrument4 ,petri1 ,henri ,wilh41 born ,april #eth #ahef1 at ,leyst near ,utrecht2 pupil of ,joachim2 was leader at ,sondershausen1 ,hanover and ,leipsic1 then in the ,dresden ,royal orchestra4 ,pichl1 ,wenselaus1 born #agda1 at ,bechin in ,bohemia1 died #ahje 78 #ahjd71 at ,vienna2 pupil of ,dittersdorf and ,nardini2 lived in ,vienna and ,italy4 ,pisendel1 ,joh4 ,georg1 born ,dec4 #bfth #afhg1 at ,carlsburg1 died ,nov4 #beth #agee1 at ,dresden2 pupil of ,torelli and ,vivaldi4 ,he was useful in promoting violin playing at ,dresden1 where he was leader2 in particular1 he obtained from the violins in the orchestra great equality in playing4 ,pixis1 ,fried4 ,wilh41 born #aghf1 at ,mannheim1 died #ahdb1 at ,prague1 where he taught in the ,conservatorium4 ,pollitzer1 ,adolphe1 born at ,buda-,pesth1 in #ahcb2 studied under ,bhm in ,vienna ,conservatorium4 ,was awarded ,first ,prize in #ahdf1 and went on tour through ,germany4 ,he settled in ,london in #ahej1 became principal violin at ,covent ,garden1 the ,wagner and ,gounod ,concerts1 and the ,albert ,hall ,choral ,society4 ,he has been for many years principal violin teacher1 and since #ahij co-director1 of the ,london ,academy of ,music4 ,died #aijj4 ,pott1 ,aug41 born ,nov4 #gth #ahjf1 at ,nordheim1 died ,aug4 #bgth #ahhc1 at ,gratz2 pupil of ,spohr2 was ,court ,capellmeister at ,oldenburg until #ahfa1 then lived at ,gratz4 ,prill1 ,carl1 born ,oct4 #bbnd #ahfd1 at ,berlin2 pupil of ,joachim4 ,he was solo violinist under ,bilse1 leader at ,pawlowsk1 then at ,magdeburg2 since #ahia1 in the ,gewandhaus orchestra1 ,leipsic4 ,prume1 ,franois1 born ,june #eth #ahaf1 at ,stavelot 7,belgium71 died there ,july #adth #ahdi2 pupil of ,habeneck4 ,was teacher in ,lige ,conservatoire1 and travelled much4 ,of his compositions1 8,mlancolie0 was formerly a great favourite4 ,pugnani1 ,gaetano1 born #agbg1 died #ahjc1 at ,turin2 pupil of ,tartini4 ,he travelled a great deal1 and was from #aggj until his demise leader at the ,turin ,court theatre4 ,he trained ,viotti1 amongst others4 ,rab1 ,aug41 ,vice-,concertmeister at the ,leipsic theatre and ,gewandhaus orchestra2 also leader at the ,euterpe4 ,ralph1 ,francis1 born #ahdg1 died ,sept4 #hth #ahhg2 educated at the ,r4 ,a4 ,m41 ,london1 where he became one of the most valued teachers4 ,rappoldi1 ,eduard1 born ,feb4 #bast #ahci1 at ,vienna2 pupil of ,jansa and ,bhm4 ,he was leader at ,rotterdam1 then ,capellmeister at ,lbeck1 ,stettin1 and ,prague1 next teacher at the ,berlin ,high ,school2 then leader in the ,court orchestra1 ,dresden1 and since #ahic teacher at the ,conservatorium there4 ,died #aijc4 ,rehfeldt1 ,fabian1 born ,jan4 #bcrd #ahdb1 ,tuchel2 leader in the ,royal orchestra1 ,berlin1 since #ahgc2 industrious composer4 ,remenyi1 ,eduard1 born #ahcj1 at ,heves in ,hungary2 studied at the ,vienna ,conservatorium4 ,he interrupted his artistic career in order to take part in the ,hungarian revolution and thus came to be an ,adjutant of ,grgey's4 ,he then fled to ,america1 living subsequently in ,weimar1 ,london1 ,st4 ,petersburg and ,paris1 also in ,south ,africa1 returning to ,europe in #ahib4 ,died ,san ,francisco1 #ahih4 ,ries1 ,hubert1 born ,april #ast #ahjb1 at ,bonn1 died ,sept4 #adth #ahhf1 ,berlin2 pupil of ,spohr2 was leader in the ,royal orchestra1 ,berlin1 and produced many works for violin4 ,his son ,ries1 ,franz1 born #ahdf1 ,berlin2 pupil of his father1 and of ,massart 7,paris7 was engaged at the ,italian ,opera1 ,london1 as violinist1 but gave up performing in #ahgc on account of a nervous affection of the arm1 and founded a music business in ,dresden4 ,he composed many violin pieces and songs4 ,ries1 ,louis1 brother of ,franz1 was born in ,berlin in #ahcj4 ,he has occupied the post of #bnd violin at the ,monday ,popular ,concerts since #aheg4 ,rietz1 ,eduard1 born #ahja1 in ,berlin1 died #ahcb1 brother of a former ,dresden ,capellmeister1 ,julius ,rietz2 was member of the ,royal orchestra1 ,berlin4 ,rode1 ,pierre1 born ,feb4 #bfth #aggd1 at ,bordeaux1 died there ,nov4 #beth #ahcj2 pupil of ,viotti2 taught in the ,conservatoire1 ,paris1 then became solo player in ,st4 ,petersburg4 ,his compositions and his violin school enjoyed great favour4 ,romberg1 ,andreas1 born ,april #bgth #agfg1 at ,vechte1 died ,nov4 #ajth #ahba1 as ,court-,capellmeister at ,gotha2 was previously member of the orchestras in ,bonn and ,hamburg4 ,rntgen1 ,engelbert1 born ,sept4 #cjth #ahbi1 at ,deventer2 pupil of ,david1 and afterwards his successor as leader in the ,gewandhaus orchestra1 ,leipsic1 in which capacity he rendered great service 7he had been a member of the same orchestra for about half a century74 ,died #ahig4 ,rosa1 ,carl1 born ,march #bast #ahdb1 in ,hamburg1 was leader there from #ahfc to #ahfe2 then made concert tours1 afterwards becoming opera impresario4 ,he died in ,paris1 #ahhi4 ,sainton1 ,prosper ,phil4 ,catherine1 born ,june #eth #ahac ,toulouse1 died ,oct4 #agth #ahij1 ,london2 pupil of ,habeneck at the ,paris ,conservatoire4 ,he made concert tours throughout ,europe1 then was appointed teacher of his instrument at the ,toulouse school of music4 ,he visited ,london in #ahdd1 settling there in #ahde as professor at the ,royal ,academy of ,music1 a post which he held until his death4 ,he was also leader in the orchestras of ,covent ,garden ,theatre 7#ahdf-ahga7 and of ,her ,majesty's 7#ahga-ahhj71 c4 ,he wrote two violin concertos1 besides solos4 ,salomon1 ,joh4 ,peter1 born #agde1 at ,bonn1 died #ahae1 in ,london2 made himself useful in producing ,haydn's works2 was leader in ,berlin1 then lived in ,london4 ,sarasate1 ,pablo ,martin ,meliton1 y ,navascues1 born ,march #ajth #ahdd1 at ,pampeluna in ,spain2 pupil of ,alard at ,paris ,conservatoire2 gained world-wide celebrity through his concert tours4 ,sauret1 ,emile1 born ,may #bbnd #aheb1 at ,dun-le-,roi 7,cher72 pupil of de ,briot4 ,he toured with much success1 settled in ,berlin1 but was subsequently called to ,london to succeed ,m4 ,sainton as professor at the ,royal ,academy of ,music4 ,schnitzler1 ,isidor1 born ,june #bnd #ahei1 ,rotterdam2 studied at ,cologne ,conservatorium1 also under ,wirth1 ,wieniawski1 and ,joachim2 toured successfully in ,roumania1 ,germany1 ,america and ,australia4 ,schradieck1 ,henry1 born ,april #bith #ahdf1 at ,hamburg2 pupil of ,leonard and ,david4 ,he was leader in ,bremen and ,hamburg2 then teacher in ,moscow ,conservatoire2 in a similar capacity at ,leipsic 7#ahgd72 from #ahhc in ,cincinnati1 but returned to ,germany in ,june #ahhi4 ,schroeder1 ,hermann1 born ,july #bhth #ahdb1 at ,quedlinburg2 was soloist with ,bilse in #ahff1 then with the ,duchess of ,anhalt-,bernburg4 ,he founded in #ahgj a music school at ,berlin1 is also teacher in the ,royal ,high ,school 7,church music department71 and received the title of professor in #ahhh4 ,wrote a prize method1 studies1 theoretical works1 c4 ,schubert1 ,franz1 born ,july #bbnd #ahjh1 in ,dresden1 died there #ahgh2 pupil of ,rolla and ,lafont2 was leader in the ,dresden ,court orchestra4 ,schuppanzigh1 ,ignaz1 born #aggf1 in ,vienna1 died there #ahcj2 pupil of ,wranitzky4 ,he was the first to introduce quartetts into public performances systematically1 these renderings being held in high regard4 ,seifriz1 ,max1 born ,oct4 #ith #ahbg1 at ,rottweil1 died ,dec4 #bjth #ahhe1 ,stuttgart4 ,he was ,capellmeister in the ,hohenzollern-,hecking ,court orchestra2 lived since #ahfi at ,stuttgart1 and was appointed ,court-,capellmeister there in #ahga4 ,issued1 jointly with ,singer1 a violin method4 ,seitz1 ,fritz1 born ,june #abth #ahdh1 at ,gnthersleben near ,gotha2 pupil of ,ulrich at ,sondershausen1 and of ,lauterbach in ,dresden2 was leader at ,sondershausen1 at ,magdeburg1 and then at ,dessau in the ,court orchestra4 ,singer1 ,edmund1 born ,oct4 #adth #ahca1 at ,totis in ,hungary2 pupil of ,bhm2 was leader at ,pesth1 ,weimar1 and subsequently ,stuttgart2 ,professor also in the ,conservatorium there4 ,sivori1 ,ernesto ,camillo1 born ,oct4 #beth #ahae1 at ,genoa2 pupil of ,paganini2 travelled much as virtuoso1 and died in #ahid4 ,skalitzky1 ,ernst1 born ,may #cjth #ahec1 at ,prague2 pupil of ,mildner and ,joachim4 ,he was from #ahgc-ahgi leader in the ,park orchestra1 ,amsterdam1 then in a similar capacity at ,bremen4 ,soldat1 ,marie1 born ,march #beth #ahfd1 at ,gratz2 pupil of ,pott and of ,joachim2 made successful concert tours4 ,spohr1 ,louis1 born ,april #eth #aghd1 at ,brunswick1 died ,oct4 #bbnd #ahei1 at ,cassel2 pupil of ,franz ,eck4 ,he was leader at ,gotha and ,vienna2 visited ,italy1 ,england and ,france2 became ,court-,capellmeister at ,cassel in #ahbb1 receiving a pension in #aheg4 ,spohr was equally celebrated as a violinist and as a composer4 ,his most distinguished pupils were ,leon de ,st4 ,lubin1 ,ries1 ,david1 ,bott1 ,kmpel1 and ,pott4 ,stamitz1 ,joh4 ,carl1 born #agai1 at ,deutschbrod in ,bohemia1 died #agfa1 at ,mannheim2 is regarded as the founder of the ,german school of violin playing4 ,he was leader at ,mannheim4 ,his son ,stamitz1 ,carl1 born ,may #gth #agdf1 at ,mannheim1 died #ahja1 at ,jena2 was leader at ,mannheim1 finally music director at ,jena4 ,straus1 ,ludwig1 born ,march #bhth #ahce1 ,pressburg2 pupil of ,hellmesberger and ,bhm in ,vienna2 was leader at ,frankfort2 settled in #ahfd in ,london4 ,died #ahii4 ,struss1 ,fritz1 born ,nov4 #bhth #ahdg1 at ,hamburg1 pupil of ,auer and ,joachim2 was ,kammermusikus in ,schwerin and in ,berlin1 subsequently leader in the ,royal orchestra4 ,tartini1 ,giuseppe1 born ,april #abth #afib1 ,pirano1 died ,feb4 #bfth #aggj1 ,padua1 the greatest executant and most prolific composer of his time4 ,he wrote hundreds of concertos and sonatas1 of which the 8,trillo del ,diavolo0 is the most celebrated4 ,his best sonatas are published in ,g4 ,jensen's 8,classische ,violin ,musik04 ,telemann1 ,georg ,philipp1 born ,march #adth #afha1 at ,magdeburg1 died ,june #beth #agfg1 at ,hamburg2 was leader at ,eisenach and subsequently ,capellmeister there2 then conductor at ,hamburg4 ,thomson1 ,csar1 born at ,lige1 ,march #ahth #aheg2 studied under ,jacques ,dupuis and ,leonard4 ,having acquired an exceptional technique1 he has toured with great success4 ,he was leader of ,bilse's orchestra1 ,berlin2 since #ahhc1 teacher at the ,liege ,conservatoire4 ,tua1 ,teresina1 born ,may #bgth #ahfg1 at ,turin2 pupil of ,massart in ,paris2 one of the most popular lady players of the present time4 ,ulrich1 ,ed41 born ,april #abth #ahae1 at ,leipsic1 died ,nov4 #bfth #ahgd1 at ,stendal2 pupil of ,matthi2 was leader at ,magdeburg and ,sondershausen4 ,unthan1 a violinist of the present day deserving mention as a curiosity1 in that having no arms he plays with his toes4 ,veracini1 ,francesco ,maria1 born #afhd1 died #agei2 in his time a noted player and composer2 lived in ,italy1 ,england1 and ,dresden2 greatly influenced ,tartini's development4 ,some of his sonatas are published in ,g4 ,jensen's 8,classische ,violin ,musik04 ,vieuxtemps1 ,henri1 born ,feb4 #bjth #ahbj1 at ,vienna1 died ,june #fth #ahha1 at ,algiers2 pupil of de ,briot4 ,he visited ,germany1 ,england1 ,france and ,russia2 was named virtuoso in chamber music to the ,russian ,court in #ahdf1 resided in ,st4 ,petersburg until #aheb1 then travelled and visited ,america1 living subsequently in ,frankfort1 ,paris and ,brussels4 ,viotti1 ,giov4 ,battista1 born ,may #bcrd #agec1 at ,fontanelle1 died ,march #acth #ahbd1 in ,london2 pupil of ,pugnani2 after ,corelli and ,torelli1 the greatest ,italian violinist of the last century4 ,he made extended concert tours1 as teacher practising chiefly in ,paris1 where he also conducted the ,grand ,opra for a brief period4 ,walter1 ,benno1 born ,june #agth #ahdg1 at ,munich2 leader in the ,court orchestra there1 and teacher at the ,music ,school4 ,wasielewski1 ,joseph ,w4 von1 born #ahbb1 at ,gross-,leesen1 near ,dantzic4 ,he was educated at the ,leipsic ,conservatorium1 where he entered the ,gewandhaus orchestra2 then1 after becoming leader at ,dusseldorf1 and conductor at ,bonn1 settled at ,sondershausen4 ,he has made himself known also as a writer on musical subjects1 through his biography of ,schumann1 8,the violin and its masters01 8,the violoncello and its history01 c4 ,died #ahif4 ,weber1 ,miroslaw1 born ,nov4 #ith #ahed1 at ,prague2 was member of the ,sondershausen ,court orchestra1 leader and opera conductor at ,darmstadt1 and afterwards in the like capacity at ,wiesbaden ,court theatre4 ,wieniawski1 ,henry1 born ,july #ajth #ahce1 at ,lublin1 died ,april #bnd #ahhj1 at ,moscow2 pupil of ,massart4 ,in #ahfj he was entitled ,imperial ,russian ,kammervirtuoso1 taught for five years in ,st4 ,petersburg ,conservatoire1 travelled a few years in ,america1 then succeeded to ,vieuxtemps' duties at ,brussels1 went again on tour1 dying in ,moscow of heart disease4 ,wilhelmj1 ,aug4 ,emil ,dan4 ,ferd41 born ,sept4 #bast #ahde1 at ,usingen 7,nassau72 pupil of ,david2 undertook his first concert tour in #ahfe1 in ,switzerland4 ,in the following years he visited ,holland1 ,england1 c41 afterwards living near ,wiesbaden1 ,blasewitz1 and 7#ahid7 ,london4 ,wipplinger1 ,paul ,carl1 born ,july #gth #ahbd1 at ,halle2 was leader at ,aix1 and since #ahfj at ,cassel4 ,wolff1 ,heinr41 born ,jan4 #ast #ahac1 at ,frankfort2 since #ahch leader there4 ,was also a talented composer4 ,wolff1 ,johannes1 born ,may #ahfb1 at the ,hague2 studied with ,wirth in ,rotterdam1 and ,rappoldi in ,dresden1 subsequently gaining the premier prix in ,paris2 made his dbut at one of ,m4 ,pasdeloup's concerts2 toured through the continent and settled in ,london4 ,ysaye1 ,eugne1 born at ,lige1 in #aheh2 studied the violin from the age of five1 chiefly with his father4 ,he made the acquaintance of ,wieniawski in #ahgc1 and was invited by him to ,brussels4 ,toured successfully through ,europe1 and is also in the front rank as teacher2 lives in ,brussels4 ,zajic1 ,florian1 born ,may #dth #ahec1 at ,unhoscht 7,bohemia72 pupil of ,mildner and ,bennewitz in the ,conservatorium1 ,prague4 ,in #ahgj he became leader at ,augsburg1 was from #ahga-ahha in the ,mannheim orchestra1 then1 until #ahhj1 principal violin teacher in the ,conservatorium of ,strasburg4 ,from #ahhi he was first teacher at ,stern's ,conservatorium1 ,berlin4 ,he has toured with success in ,germany1 ,england1 ,france1 ,austria and ,switzerland4 ,some ,violinists of the #bj ,century4 ,hall1 ,marie1 born at ,newcastle-on-,tyne1 #ahhd1 studied with ,mossel1 ,kruse ,sevik2 made a successful dbut in ,london1 ,feb4 #afth1 #aijc4 ,hegeds1 ,ferenez1 born at ,buda-,pesth1 #ahha1 studied with ,hubay2 appeared in ,london1 ,june #aija4 ,kocian1 ,jaroslav1 born in ,bohemia1 #ahhd1 in #ahif became a pupil of ,sevik's1 visited ,london #aijb1 with great success4 ,kreisler1 ,fritz1 born at ,vienna1 ,feb4 #bnd1 #ahge1 studied there1 later with ,massart in ,paris1 where at the age of #ab he won the 8,premier ,prix0 of the ,conservatoire4 ,introduced by ,richter1 he made a highly successful appearance in ,london in #aijb4 ,kubelik1 ,johann1 born ,july #eth1 #ahhj1 at ,michle near ,prague1 pupil of ,sevik1 introduced to ,england by ,richter he became extremely popular as a ,paganini player of exceptional technique4 ,pecskai1 ,louis1 born ,july #bj1 #ahhj1 at ,buda-,pesth1 admitted to the ,academy there by the ,minister of ,public ,instruction at the age of #g1 visited ,london #ahif4 ,rivarde1 ,serge ,achille1 of ,french parentage1 in #ahgi shared with ,ondricek the first prize of the ,paris ,conservatoire4 ,appeared with success in ,london in #ahid4 ,sevik1 ,ottokar1 born #aheb in ,bohemia1 entered the ,prague ,conservatorium1 where he subsequently became very famous as professor of the violin4 ,author of some important studies4 ,zacharewitch1 ,michael1 born at ,ostrow1 ,russia1 in #ahgg2 studied #e years with ,sevik1 appeared with success in ,london in #aijc4 ,translator's ,appendix4 ,the ,viola4 ,the terms 8,viola01 8,tenor01 8,bratsche01 8,alto01 and 8,quinte01 are all used in different countries to designate that member of the violin family which is tuned a fifth lower than the violin4 ,in ,england it is commonly known as the ,tenor1 from the fact of its playing a part in the string quartet analogous to that of the tenor voice in relation to the other voices in part-singing4 ,in ,italy it was termed the 8,viola di braccio0 to distinguish it from the larger viols which rested on the ground or were supported by being placed between the performer's knees4 8,viola0 or 8,alto0 the ,italians now term it1 the music written for it being in the alto clef 7middle ,c on the #c line73-- ,illustration ,the ,german term 8,bratsche0 is simply a corruption of 8,braccio04 8,quinte0 is the name by which it is usually called in ,france1 indicating that it is tuned a fifth lower than the violin4 ,the tuning is as follows3-- ,music3 #a #b #c #d ,a string ,d string ,g string ,c string ,the ,g and ,c are both covered strings4 ,occasional high passages necessitate the employment of the treble or 8violin0 clef4 ,although its three upper strings are identical in pitch with the three lowest of the violin1 the quality is quite different1 the viola being more reedy and penetrating4 ,this is due to the disproportion between the deeper tuning of the instrument and its dimensions1 which are only about one-seventh greater than those of the violin4 ,tenors were formerly made in several sizes4 ,the ponderous instruments of ,gaspar da ,salo and other ,italian makers are of greater interest to collectors than of practical utility1 requiring arms of exceptional length to play them4 ,the large sized ,violas were known as the 8,viola tenore01 and the ordinary sized instrument as the 8,viola alto01 and the two had often separate parts assigned to them in the same composition1 down to the time of ,handel4 ,hence the survival of the two names ,alto and ,tenor1 applied in our own day to the same instrument4 ,the rich and sympathetic quality of tone of the viola renders it eminently suited for the performance of ,nocturnes1 ,elegies1 and melodies of a pathetic or tragic character4 ,some beautiful compositions have been specially written for it1 and it is to be regretted that these are so very seldom heard in public4 ,from the penetrating character of the tone1 new violas are invariably harsher than new violins or violoncellos1 but fortunately several good makers of the last century have left a number of instruments which have now become matured1 and the demand being so much less than for violins1 a good medium sized viola may often be obtained at about half the cost of a violin of the same quality4 ,mr4 ,hermann ,ritter of ,heidelberg has in recent years endeavoured to revive the large tenor under the name of ,ritter's ,viola ,alta4 ,several of these instruments have been made1 and they have been used with good effect at the ,bayreuth ,wagner ,festivals4 ,vidal's measurements of a ,stradivarius ,viola dated #agbc1 are as follows3-- in4 ,length of body 7from base of button to tail pin7 #af_/ ,breadth 7upper bouts7 #g_/ 0 7lower 0 7 #i_/ 0 7inner 0 7 #e_/ ,height of ribs 7upper bouts7 #a_/ 0 0 0 7lower 0 7 #a_/ ,,nb4 ,for ,guide through ,viola ,literature see page #agi4 ,,guide ,,through ,,violin ,,literature4 ,the ,roman ,figures 7,i1 ,ia1 ,ib1 ,,ii1 etc47 indicate the ,steps to which the respective works belong4 ,violin ,methods4 ,courvoisier1 ,c4 ,violin ,school4 7#gfjj a-c74 ,an elaborate method in three parts1 with five supplementary parts constituting a 8,school of ,velocity0 7#gfjc a-e71 with copious explanations given in ,english1 ,german and ,french4 ,david1 ,f4 ,violin ,school4 ,hofmann1 ,r4 ,the ,first ,instruction in ,violin ,playing1 complete 7#effh7 or in #b ,bks4 7#effh a1 b74 7,der erste ,unterricht im ,violinspiel47 ,op4 #ib4 ,the first elements are explained in a very thorough and systematic manner4 ,for young amateurs it has moreover the advantage of engaging their interest by the frequent use of well known melodies in the places of dry meaningless figures4 ,kayser1 ,h4 ,e4 ,popular ,violin ,tutor 7,elementary74 ,op4 #fe4 7#gfjf47 ,a clear and systematic primer which leads the pupil on by the aid of favourite melodies will be always attractive for young beginners4 ,mazas4 ,petite ,mthode4 ,popular ,instructor in ,violin ,playing 7#b ,bks474 7#gfbc a1 b74 ,simple and progressive1 making much use of operatic airs and national melodies4 ,ritter1 ,e4 ,w4 ,practical ,school 7#aj ,bks474 7#gfaj a-k74 ,the explanatory text is clear and to the point4 ,scholz1 ,richard4 ,school of ,artistic ,violin ,playing4 ,a theoretical and practical ,instruction ,book1 in all matters relating to style1 for moderately advanced players4 ,op4 #i4 7#efha74 ,excellent work for style and phrasing4 ,clear and exhaustive explanations of every chapter make the work particularly useful1 especially for those who have not the opportunity for individual teaching4 ,schoen1 ,m4 ,practical ,course of ,instruction 7#ab ,bks474 7#gfaa-bb74 ,spohr1 ,l4 ,violin ,school4 ,this monumental work is of great utility to advanced students1 but is seldom used for beginners by experienced teachers1 the exercises being not sufficiently graduated as to difficulty4 ,schrder1 ,prof4 ,c4 ,catechism of ,violin and ,viola ,playing4 #c ,edition 7#ibab74 ,technical ,exercises4 ,casorti4 ,technique of the ,bow4 ,courvoisier4 ,l'cole de la ,vlocit4 7#gfjc a1 b74 ,the ,school of ,velocity4 ,book #a1 ,systematic ,finger ,exercises4 ,book #b1 ,studies of ,scales and ,chords in systematic order4 ,dancla4 ,op4 #gd4 cole du ,mcanisme4 ,kreuz1 ,e4 ,scales and ,arpeggios 7#c ,bks474 7#effd a-c74 ,ltgen1 ,h4 ,scales and ,exercises4 7#hffc74 ,ritter4 ,scale and ,chord ,exercises4 7#efgf74 ,wohlfahrt1 ,f4 ,daily ,exercises4 7#gfbd74 ,studies4 ,step ,i4 ,first position only1 and in easy keys4 ,bhmer1 ,c4 #ge ,exercises in ,intonation1 through all keys4 ,op4 #ed4 7,e4 ,heim47 #b ,books4 7#efdc a1 b74 ,an excellent work greatly facilitating the knowledge of extreme keys4 ,book #b belongs to the next step4 ,courvoisier1 ,c4 ,the ,school of ,velocity4 ,book ,i4 ,systematic finger exercises4 7#gfjc a74 ,exercises in all possible fingerings of the first position4 ,book ,,ii4 ,studies of ,scales and chords in systematic order4 7#gfjc b74 ,book ,,iii4 ,melodic ,studies in ,major ,keys4 7#gfjc c74 ,books ,,iv and ,v belong to following steps4 ,gradus ad ,parnassum4 ,a ,collection of ,studies in progressive order1 selected1 carefully revised1 fingered1 and edited1 with annotations and remarks by ,e4 ,heim3-- ,book ,i4 ,first ,position4 #cj ,elementary ,studies in the most practicable major keys4 ,by ,alard1 ,bach1 ,corelli1 ,dont1 ,heim1 ,hermann1 ,hofmann1 ,kayser1 ,kreuz1 ,ritter1 ,spohr1 and ,steffani4 7#edga74 ,book ,,ii4 ,first ,position4 #ah ,more advanced ,studies in major and minor keys4 ,easy double-stopping4 ,enharmonic change4 ,by ,bach1 ,corelli1 ,handel1 ,hermann1 ,kreuz1 ,spohr1 and ,steffani4--,half ,position4 #af ,studies1 changing from ,first to ,half ,position4 ,by ,alard1 ,dont1 ,hermann1 ,kreuz1 and ,wichtl4 7#edgb74 #aj books of ,graduated ,studies revised by ,ernst ,heim1 containing all the material for a serious study of the ,violin1 each book corresponding in difficulty with the same book of his ,violin ,duets 7,arena71 see page #abj and his ,violin and ,piano pieces 7,palaestra71 see pages #abh1 #abi4 ,hering1 ,c4 ,op4 #af4 #be ,studies for #b ,violins in all major and minor keys2 revised1 phrased1 and fingered by ,e4 ,heim4 ,the ,scales as contained in #b ,violin part to be played by the student4 7#efah74 ,hermann1 ,f4 ,le ,commencement de l',etude4 7#efab a1 b74 ,in two books1 containing familiar airs interspersed with easy studies1 with a #b violin part4 ,hofmann1 ,r4 ,the ,first ,instruction in ,violin ,playing4 7,der erste ,unterricht im ,violinspiel47 ,op4 #ib4 #b ,books4 7#effh a1 b74 ,a thorough elementary course leading on to the following work of the same author4 ,op4 #ij1 ,book ,i4 #hj ,melodic ,studies4 7#efff a74 ,a well graduated course4 ,book #b belongs to the next grade1 and would prove an excellent preparation for ,kayser's #cf ,studies4 7#hffb a74 ,kreuz1 ,e4 ,progressive ,studies4 ,op4 #cd1 ,bk4 #a4 7#effc a74 ,contains #dj progressive exercises gradually introducing the notes of ,c major in the #a position4 ,scale and ,arpeggio ,manual for the ,violin1 arranged with a special view to the requirements of candidates at the various ,local ,examinations1 by ,a4 ,laubach4 7#efgb74 ,this ,manual is written for ,students of all ,grades4 ,popular ,instructor in ,violin ,playing3-- ,part ,i4 ,elementary and ,first ,position4 7#gfbc a74 ,schn1 ,m4 ,practical ,course of ,instruction3-- ,part ,i4 ,,abc of ,violin ,playing4 ,introductory ,school4 7#gfaa74 0 ,,ii4 ,first ,steps in practical ,violin ,playing4 0 ,,iii4 ,progressive exercises in the first position 0 ,,iv4 and in all ,scales4 ,in #c ,books4 7#gfab-ad74 ,parts ,v to ,,xii belong to the following ,grades4 ,steffani1 ,r4 #ab ,progressive ,studies1 in the first position4 7#efhc74 ,step ,,ii4 ,first four ,positions4 ,alard1 ,d4 ,op4 #aj4 tudes mlodiques et progressives4 7#efdj74 also with #b ,violin in #b ,books4 7#efjj a1 b74 ,bhmer1 ,c4 #ge ,exercises in ,intonation1 through all keys4 ,op4 #ed4 7,e4 ,heim47 ,book #b4 7#efdc b74 ,courvoisier1 ,c4 ,the ,school of ,velocity4 ,book ,,iv 7#ab ,melodic ,studies in the first position1 ,minor74 7#gfjc d74 ,dont1 ,j4 #bd ,exercices prparatoires aux tudes de ,r4 ,kreutzer et ,p4 ,rode4 ,op4 #cg4 7#gfjd74 except ,nos4 #f1 #h1 #i and #ae which belong to ,step ,,iii4 ,gradus ad ,parnassum4 ,a ,collection of ,studies in progressive order1 selected1 carefully revised1 fingered1 and edited1 with annotations and remarks by ,e4 ,heim3-- ,book ,,iii4 ,first ,position4 ,chords and easy ,arpeggios4 ,chromatic ,passages4 ,second ,position4 ,changing from ,first to ,second ,position1 7,alard1 ,dont1 ,heim1 ,hermann1 ,hofmann1 ,hohmann1 ,kayser1 ,ritter1 ,spohr1 ,steffani1 etc47 7#edgc74 ,book ,,iv4 ,third ,position4 ,changing between ,first and ,third ,positions4 ,portamento and ,tremolo4 7,bach1 de ,briot1 ,corelli1 ,dont1 ,fiorillo1 ,haydn1 ,hofmann1 ,kayser1 ,kreutzer1 ,mazas1 ,wenzel ,pichl1 ,righini1 ,scarlatti1 ,spohr1 and ,wichtl47 7#edgd74 ,graduated ,studies revised by ,ernst ,heim2 each book corresponds in difficulty with the same book of his ,violin ,duets 8,arena01 see page #aba and his ,violin and pianoforte pieces 8,palaestra01 see page #acc4 ,hermann1 ,f4 ,op4 #bd1 ,bk4 #a4 #cj ,studies in the #ast position4 7#efei74 also with #b ,violin4 7#efac74 ,hofmann1 ,r4 ,melodic ,studies4 ,op4 #ij1 ,book #b4 7#efff b74 ,kayser1 ,h4 ,e4 ,violin ,studies1 carefully revised and fingered1 with instructive annotations by ,ernst ,heim3-- #cf elementary and progressive ,studies 7introductory to those of ,kreutzer74 ,op4 #bj4 ,complete 7#hffb7 or in #c ,books4 7#hffb a-c74 ,minute instructions are given by ,mr4 ,heim at the end of each study as to the manner of execution1 the part of the bow to be used1 and various fingerings4 ,each #aj bars are also numbered to simplify the repetition of single portions of a study4 ,an edition is published with a separate part for a #b violin 7#efaj a-c71 also one with pianoforte accompaniment 7#gcig a-c74 ,kreuz1 ,e4 ,progressive ,studies4 ,op4 #cd1 ,bks4 #b and #c4 7#effc b1 c74 ,book #b contains #bj progressive studies in the sharp major and minor keys1 ,book #c1 #bj in the flat major and minor keys4 ,mazas1 ,f4 #ge ,melodic and ,progressive ,studies for the ,violin4 ,op4 #cf4 ,revised and fingered by ,c4 ,courvoisier3-- ,bk4 ,i4 #cj ,special ,studies4 7#gfjg a74 ,bk4 ,,ii4 #bg ,brilliant ,studies4 7#gfjg b74 ,popular ,instructor in ,violin ,playing3-- ,part ,i4 ,elementary and ,first ,position4 ,part ,,ii4 ,higher ,positions4 7#gfbc b74 ,schn1 ,m4 ,practical ,course of ,instruction3-- ,book ,v4 #df short ,exercises for the ,violin with a second violin4 7#gfae74 ,step ,,iii4 ,first five ,positions4 ,corelli1 ,arcangelo4 uvres revues par ,joachim et ,f4 ,chrysander4 7,in score47 #hvo3-- ,livre ,i41 ,op4 #a4 ,sonate da ,chiesa a tre 7,due ,violini1 e ,violone1 o ,arcileuto col ,basso per l',organo74 ,in ,roma1 #afhc4 ,op4 #b4 ,sonate da ,camera a tre 7,due ,violini1 e ,violone1 o ,cembalo74 ,in ,roma1 #afhe4 7#dicf a74 ,livre ,,ii41 ,op4 #c4 ,sonate da ,chiesa a tre 7,due ,violini1 e ,violone1 o ,arcileuto1 col ,basso per l',organo74 ,in ,modena1 #afhi4 ,op4 #d4 ,sonate da ,camera a tre 7,due ,violini1 e ,violone1 o ,cembalo74 ,in ,bologna1 #afid4 7#dicf b74 ,livre ,,iii41 ,op4 #e4 ,parte ,prima4 #f ,sonate a ,violino ,solo e ,violone1 o ,cimbalo4 ,parte ,seconda4 ,preludii1 ,allemande1 ,correnti1 ,gighe1 ,sarabande1 ,gavotte1 e ,follia a ,violino ,solo e ,violone o ,cimbalo4 7#dicf c74 ,livre ,,iv41 ,v41 ,op4 #f4 ,concerti ,grossi con duoi ,violini1 e ,violoncello di ,concertino obligati1 e duoi altri ,violini1 ,viola e ,basso di ,concerto ,grosso ad arbitrio che si potranno radoppiare4 ,in ,roma4 #agab4 #b ,livres4 7#dicf d1 e74 ,dont1 ,jacques4 #bj ,exercices progressives1 pour le ,violon 7avec accompagnement d'un second ,violon71 ,op4 #ch4 7#gfje74 ,the last of these exercises belong to ,step ,,iv4 ,gradus ad ,parnassum4 ,a ,collection of ,studies in progressive order1 selected1 carefully revised1 fingered1 and edited1 with annotations and remarks by ,e4 ,heim3-- ,book ,v4 ,fourth ,position4 #ae ,studies1 changing between the #ast and #dth ,positions4 ,by de ,briot1 ,cramer1 ,dont1 ,hofmann1 ,kayser1 ,kreutzer1 ,mazas1 and ,rode4--,fifth ,position4 #be ,studies1 changing between the #ast and #eth ,positions4 ,by de ,beriot1 ,dont1 ,hofmann1 ,kayser1 ,kreutzer1 ,maurer1 ,mazas1 and ,rode4 7#edge74 ,graduated ,studies revised by ,ernst ,heim1 each book corresponds in difficulty with the same book of his ,violin ,duets 8,arena01 see page #abd1 and his ,violin and ,piano pieces1 8,palaestra01 see page #adb4 ,hermann1 ,f4 ,op4 #bd1 ,bk4 #b4 #be ,studies in the #ast1 #bnd and #crd positions4 7#effj a1 b74 ,hofmann1 ,r4 ,op4 #ia4 #dj ,studies in all positions1 for practice in shifting4 #b ,bks4 7#effg a1 b74 ,kayser1 ,h4 ,e4 #cf elementary and progressive ,studies 7introductory to those of ,kreutzer7 carefully revised1 fingered1 and with instructive annotations by ,ernst ,heim4 ,op4 #bj1 ,bk4 ,,iii4 7#hffb c74 also with ,second ,violin 7#efaj c71 or with ,pianoforte ,accompaniment 7#gcig c74 ,kreuz1 ,e4 ,progressive ,studies4 ,op4 #cd1 ,bks4 #d and #e4 7#effc d1 e74 ,book #d contains 8,introduction of the #bnd and #crd positions4 #ae studies and major and minor scales through all keys in the first three positions40 ,book #d contains #ab short technical exercises and #ae studies in the first three positions1 introducing various technical difficulties and arpeggios through all keys4 ,schn1 ,m4 ,practical ,course of ,instruction3-- ,bk4 ,,viii4 ,fundamental ,instructions in the study of the positions1 with examples and easy melodious ,duettinos for two ,violins in various major and minor keys 7,third ,position74 7#gfah74 ,book ,,ix4 ,the same 7,second ,position74 7#gfai74 ,step ,,iv4 ,all ,positions4 ,blagrove1 ,h4 #ab ,studies4 7#idae74 ,courvoisier1 ,c4 ,the ,school of ,velocity4 ,book ,v4 ,special ,studies in ,shifting4 7#gfjc ,e74 ,dancla4 ,op4 #b4 #f ,studies1 7#efdd74 ,fiorillo1 ,f4 #cf tudes en forme de ,caprices 7,ernst ,heim7 7#efed74 ,these studies impart great flexibility to the bowing1 together with much practice in the higher positions4 ,a careful revision of fingering and bowing with the addition of expression marks and part of bow to be used distinguish ,e4 ,heim's ,edition from all others4 ,the same1 revised by ,carl ,courvoisier4 7#efee74 ,the fingering and phrasing has been carefully marked on the basis of the ,joachim ,school4 ,he avoids slurs of too great length which impair the power of tone4 ,gradus ad ,parnassum4 ,a ,collection of ,studies in progressive order1 selected1 carefully revised1 fingered1 and edited1 with annotations and remarks by ,e4 ,heim3-- ,book ,,vi4 ,sixth ,position4 #aj ,studies1 changing between the #ast and #fth ,positions4 ,by ,fiorillo1 ,hofmann1 ,kreutzer1 ,mazas1 and ,rode4 ,seventh ,position4 #bj ,studies1 changing between the #ast and #gth ,positions4 ,by ,alard1 de ,briot1 ,fiorillo1 ,hofmann1 ,kayser1 ,kreutzer1 ,maurer1 ,mazas1 ,rode1 and ,wichtl4 7#edgf74 ,book ,,vii4 ,eighth to twelfth ,positions4 #cj ,studies arranged according to their ,musico-,technical object1 independent of ,position4 ,a4 ,studies on the ,shake and ,passing ,shake4 ,by ,alard1 ,bruni1 ,cramer1 ,david1 ,dont1 ,fiorillo1 ,heim1 ,kayser1 ,kreutzer1 ,mazas1 ,rode1 ,rolla1 ,schubert1 and ,spohr4 7#edgg74 ,graduated ,studies revised by ,ernst ,heim1 each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena01 see page #abe1 and his ,violin and piano pieces1 8,palaestra01 see page #aea4 ,hermann1 ,f4 ,op4 #bd1 ,bk4 #c4 #be ,studies1 #crd to #gth positions4 7#effa74 also with #b ,violin accompaniment4 7#efae74 ,kayser1 ,h4 ,e4 ,violin ,studies1 carefully revised1 fingered1 and with instructive annotations by ,ernst ,heim3-- #af ,studies 7comprising studies in the half1 #ast1 #bnd1 #crd1 #dth1 #eth1 #fth1 and #gth ,positions74 ,op4 #bh4 7#hffj74 #af ,studies 7to follow the #cf ,studies1 ,op4 #bj74 ,op4 #cj4 7#hffa74 ,this carefully revised edition is particularly useful by frequently giving two or more different fingerings for one and the same study or single passage4 ,the numbering of every tenth bar is also useful in studying sub-sections4 ,kreutzer1 ,r4 #db ,studies4 ,new ,edition1 revised and fingered by ,ernst ,heim4 7#efga74 ,the original text has been carefully adhered to4 ,the revision 7fingerings1 bowing and marks of expression7 show the same care which distinguishes all ,heim's editions1 while the explanatory remarks make this ,edition particularly valuable4 ,the same1 revised and phrased by ,carl ,courvoisier 7#effe74 ,courvoisier's ,edition gives very good advice on the choice of position4 ,while ,heim has kept closely to the original text giving advice to the manner of rendering it1 ,courvoisier preferred to give his own phrasing etc4 in the text1 e4 g4 the cadencial figures in the first study4 ,kreuz1 ,e4 ,progressive ,studies4 ,op4 #cd1 ,bks4 #f and #g4 7#effc f1 g74 ,book #f4 #f studies in the #dth and #eth positions1 and #f studies in the first six positions in flat keys1 major and minor4 ,book #g4 #ab studies in the first six positions in sharp keys1 major and minor4 ,mazas1 ,f4 ,op4 #cf1 ,bk4 ,,iii4 #ah ,studies for ,artists4 7#gfjg c74 ,schn1 ,m4 ,practical ,course of ,instruction3-- ,book ,,xi4 ,fundamental ,instructions1 examples and pieces in the form of exercises for the study of the positions 7,fourth1 ,fifth1 ,sixth1 and ,seventh ,positions4 7#gfba74 ,book ,,xii4 #ab ,exercises for the ,violin4 7#gfbb74 ,scholz1 ,richard4 ,school of ,artistic ,violin ,playing4 ,a theoretical and practical ,instruction ,book1 in all matters relating to style1 for moderately advanced players4 ,op4 #i4 7#efha74 ,excellent work for style and phrasing4 ,clear and exhaustive explanations of every chapter make the work particularly useful especially for those1 who have not the opportunity for individual teaching4 ,wessely1 ,hans4 ,comprehensive ,scale ,manual4 7#efhf74 ,step ,v4 ,difficult4 7,octaves1 ,springing ,bow1 ,staccato etc474 ,briot1 ,c4 de4 #f tudes brillantes4 7#efdf74 ,also1 published with pianoforte accompaniment 7#gcci a1 b74 ,campagnoli4 #g ,divertissements4 ,edited by ,g4 ,jensen4 #gfja4 ,gradus ad ,parnassum4 ,a ,collection of ,studies in progressive order1 selected1 carefully revised1 fingered1 and edited1 with annotations and remarks by ,e4 ,heim3-- ,book ,,viii4 ,studies arranged according to their ,musico-,technical object1 independent of ,position3-- #g ,studies on ,staccato4 ,by ,fiorillo1 ,kreutzer1 ,mazas1 ,rode1 and ,schubert4 #g ,studies on ,springing ,bow1 ,spiccato1 ,saltato4 ,by ,benda1 ,bruni1 ,david1 ,kayser1 ,mazas1 and ,wieniawski4 #g ,studies on ,octave passages4 ,by ,fiorillo1 ,kayser1 ,kreutzer1 and ,mazas4 #h ,studies on ,double ,stops and ,chords4 ,by ,dont1 ,fiorillo1 ,kayser1 ,kreutzer1 ,st4 ,lubin1 and ,wichtl4 7#edgh74 ,book ,,ix4 ,studies arranged according to their ,musico-,technical object1 independent of ,position3-- #h ,studies on ,double ,stops and ,chords4 ,by de ,briot1 ,david1 ,dont1 ,fiorillo1 ,kalliwoda1 ,kreutzer4 #d ,studies on the ,double ,shake4 ,by ,cramer1 ,fiorillo1 ,gavinis1 and ,rode4 #c ,studies on 8,flying ,staccato10 thrown stroke4 ,by ,alard and ,mazas4 #e ,studies on ,arpeggios 7difficult74 ,by ,david1 ,dont1 ,mazas1 and ,meerts4 #aj ,studies on tenths and other large intervals4 ,by ,dont1 ,fiorillo1 ,gavinis1 ,mazas1 ,h4 ,ries1 and ,rovelli4 7#edgi74 ,graduated ,studies revised by ,ernst ,heim1 each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena10 see page #abf1 and his ,violin and piano pieces1 8,palaestra10 see page #aef4 ,rode1 ,p4 #bd ,caprices in the form of ,studies for the ,violin4 ,revised and fingered by ,ernst ,heim4 7#efgi74 ,the original text has been adhered to1 with very clear indications of positions1 fingerings1 bowing and marks of expression by ,ernst ,heim4 ,rode1 ,p4 ,caprices1 revised by ,carl ,courvoisier #efgh4 ,courvoisier does not adhere altogether to the original text1 but uses his own discretion1 here as elsewhere he is careful to avoid very long bows which would counteract the production of a broad and powerful tone4 ,vieuxtemps1 ,h4 ,op4 #af4 #f ,concert ,studies4 ,step ,,vi4 ,very difficult4 ,gavinis1 ,p4 #bd tudes #bd ,matinees4 ,gradus ad ,parnassum4 ,a ,collection of ,studies in progressive order1 selected1 carefully revised1 fingered1 and edited1 with annotations and remarks by ,k4 ,heim3-- ,book ,x4 ,a4 #ag ,studies in the ,polyphonic ,style4--,prelude4 ,fugue4 ,fughetta4 ,by ,bach1 ,campagnoli1 and ,pichl4--,b4 #ac ,concert ,studies1 ,harmonics and ,pizzicato with the left hand4 ,by ,alard1 ,dancla1 ,leonard1 ,lipinsky1 ,mazas1 ,paganini1 ,prume1 and ,wieniawski4 7#edhj74 ,graduated ,studies revised by ,ernst ,heim4 ,each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena01 see page #abg1 and his ,violin and piano piece1 8,palaestra01 see page #aeh4 ,wieniawski1 ,h4 ,l'cole moderne4 tudes-,caprices4 ,op4 #aj4 ,e4 ,heim4 7#efhg74 ,pieces for ,violin ,solo4 ,step ,i4 ,in the first position4 ,hermann1 ,fr4 #ej favourite ,melodies4 #edfe a4 ,hofmann1 ,r4 ,potpourris on ,popular ,melodies from ,classical and ,modern ,operas and ,oratorios4 ,arranged by ,r4 ,hofmann4 #de ,books in the first position3-- ,le ,postillon4 7#edja;a74 ,la ,sonnambula4 7#edjb;a74 ,norma4 7#edjc;a74 ,le ,calife de ,bagdad 7#edjd;a74 ,la ,dame ,blanche4 7#edje;a74 ,la ,fille du ,rgiment4 7#edjf;a74 ,lucia di ,lammermoor4 7#edjg;a74 ,orpheus4 7#edjh;a74 ,the ,messiah4 7#edji;a74 ,the ,creation4 7#edaj;a74 ,zampa4 7#edaa;a74 ,wildschtz4 7#edab;a74 ,czar und ,zimmermann4 7#edac;a74 ,joseph4 7#edad;a74 ,st4 ,paul4 7#edae;a74 ,il ,seraglio4 7#edaf;a74 ,il ,flauto ,magico4 7#edag;a74 ,don ,giovanni4 7#edah;a74 ,der ,freischtz4 7#edai;a74 ,step ,,ii4 ,in various positions4 ,gurlitt4 ,our ,favourite ,tunes4 7#gfjh74 ,hofmann1 ,richard4 ,potpourris on ,popular ,melodies from ,classical and ,modern ,operas and ,oratorios4 ,arranged by ,r4 ,hofmann4 #de ,books4 ,the ,bohemian ,girl4 7#edbj;a74 ,egmont4 7#edba;a74 ,fidelio4 7#edbb;a74 ,l',elisire d',amore4 7#edbc;a74 ,lucrezia ,borgia4 7#edbd;a74 ,iphignie en ,aulide4 7#edbe;a74 ,judas ,maccabaeus4 7#edbf;a74 ,das ,nachtlager in ,granada4 7#edbg;a74 ,hans ,heiling4 7#edbh;a74 ,a ,midsummer ,night's ,dream4 7#edbi;a74 ,elijah4 7#edcj;a74 ,les ,huguenots4 7#edca;a74 ,le ,prophte4 7#edcb;a74 ,le ,nozze di ,figaro4 7#edcc;a74 ,die lustigen ,weiber von ,windsor4 7#edcd;a74 ,maritana4 7#edce;a74 ,oberon4 7#edcf;a74 ,preciosa4 7#edcg;a74 ,der fliegende ,hollnder4 7#edch;a74 ,lohengrin4 7#edci;a74 ,rienzi4 7#eddj;a74 ,tannhuser4 7#edda;a74 ,il ,barbiere4 7#eddb;a74 ,guillaume ,tell4 7#eddc;a74 ,masaniello4 7#eddd;a74 ,faust4 7,gounod7 7#edde;a74 ,duets for #b ,violins4 ,step ,i4 ,first ,position4 ,alard1 ,d4 ,progressive ,duets1 revised and fingered by ,e4 ,heim3-- ,book ,i41 ,op4 #bb4 ,elementary4 #ast position4 7#eeii a74 ,book ,,ii41 ,op4 #bb4 ,elementary4 #ast position4 7#eeii b74 ,this excellent work should form every student's companion from the first beginning until a degree of considerable technical skill has been reached4 ,it gains much by ,e4 ,heim's careful revision as to the fingering1 bowing and all marks of expression4 ,arena4 ,a collection of ,duets for two violins1 arranged in progressive order1 carefully marked and annotated by ,e4 ,heim3-- ,book ,i4 ,first position4 #h ,easy ,duets in the most frequently used keys1 by ,wichtl1 ,dancla1 ,alard1 and de ,briot4 7#aahja s74 ,book ,,ia4 ,first position4 #f ,easy ,duets in the most frequently used keys1 by ,blumenthal1 ,kalliwoda1 and ,mazas4 7#aahja a74 ,book ,,ii4 ,first position4 #e ,easy ,duets in major and minor occurrence of easy double-stopping and chords1 by ,pleyel1 ,bruni1 ,mazas1 ,thomas1 and ,ries4 7#aahjb s74 ,book ,i,ia4 ,first position4 #e ,easy ,duets in major and minor 7occurrence of easy double-stopping and chords71 by ,c4 ,gurlitt1 ,kalliwoda1 ,pleyel1 and ,mazas4 7#aahjb a74 #bj ,books of graduated ,duets revised by ,ernst ,heim1 each book corresponding in difficulty with the same book of his ,violin ,studies 7,gradus ad ,parnassum71 see page #aaa1 and his ,violin and ,piano pieces 7,palaestra71 see pages #abh1 #abi4 ,dancla1 ,c4 ,op4 #be4 #c ,duos faciles4 7#efja74 ,gurlitt4 ,op4 #aej4 ,duos faciles et progressifs4 7#efje74 ,except one or two more suited to ,step ,,ii4 ,our ,favourite ,tunes4 ,arranged4 7#gfji74 ,some of these belong to ,step ,,ii4 ,heim1 ,ernst4 ,abecedarian in ,violin ,playing4 #de ,elementary ,pieces for ,violin with accompaniment of a second ,violin4 #b ,books4 7#eeih a1 b74 ,also published with ,piano ,accompaniment4 7#aadfa a1 b74 ,hermann1 ,fr4 #ej ,favourite ,melodies4 7#edfe b74 ,hofmann1 ,richard4 #cj short1 instructive ,melodic ,pieces4 ,op4 #aac4 7#efbd74 ,potpourris on ,popular ,melodies from classical and modern ,operas and ,oratorios1 arranged by ,richard ,hofmann4 #de ,books4 ,step #a4 7in the first position73-- ,le ,postilion4 7#edja;b74 ,sonnambula4 7#edjb;b74 ,norma4 7#edjc;b74 ,calife de ,bagdad4 7#edjd;b74 ,dame ,blanche4 7#edje;b74 ,fille du ,rgiment4 7#edjf;b74 ,lucia di ,lammermoor4 7#edjg;b74 ,orpheus4 7#edjh;b74 ,messiah4 7#edji;b74 ,creation4 7#edaj;b74 ,zampa4 7#edaa;b74 ,wildschtz4 7#edab;b74 ,czar und ,zimmermann4 7#edac;b74 ,joseph4 7#edad;b74 ,st4 ,paul4 7#edae;b74 ,il ,seraglio4 7#edaf;b74 ,il ,flauto ,magico4 7#edag;b74 ,don ,giovanni4 7#edah;b74 ,freischtz4 7#edai;b74 ,mazas1 ,f4 ,duos faciles et progressifs4 #b ,bks4 7#efjh a1 b74 ,pleyel4 ,op4 #h4 #f ,duos4 7#geig74 ,reinecke4 ,op4 #abb;a4 #aj ,petits ,morceaux4 7#efcj74 ,delightful little 8bits01 short and very easy4 ,ritter1 ,e4 ,w4 #cj ,exercices faciles4 ,bk4 ,i4 7#efca a74 ,schn1 ,m4 #ah short modern ,duets for two ,violins4 ,in various major and minor keys 7,first ,position74 7#gfaf74 #f easy and melodious ,duettinos for two violins4 ,in various major and minor keys 7,first ,position74 7#gfag74 ,step ,,ii4 ,first four ,positions4 ,alard1 ,d4 ,progressive ,duets1 revised and fingered by ,e4 ,heim3-- ,book ,,iii1 ,op4 #bb4 ,elementary4 #ast and #bnd positions4 7#eeii c74 ,this excellent work should form every student's companion from the first beginning until a degree of considerable technical skill has been reached4 ,it gains much by ,e4 ,heim's careful revision as to the fingering1 bowing and all marks of expression4 ,album opratique4 7#efci74 ,arena4 ,a collection of ,duets for two violins1 arranged in progressive order1 carefully marked and annotated by ,e4 ,heim3-- ,book ,,iii4 ,easy ,duets1 with change between first and second positions1 by ,mazas1 ,geminiani1 ,hering1 and ,ries4 7#aahjc s74 ,book ,,iiia4 ,easy ,duets1 with change between first and second positions1 by ,geminiani1 ,mazas1 ,c4 ,g4 ,mller1 and ,blumenthal4 7#aahjc a74 ,book ,,iv4 ,duets up to the third position1 by ,ignaz ,lachner1 ,alard1 and ,hering4 7#aahjd s74 ,book ,,iva4 ,duets up to the third position1 by ,c4 ,gurlitt4 ,ignaz ,lachner1 and ,viotti4 7#aahjd a74 ,book ,v4 ,duets up to the fourth and fifth positions1 by ,hering1 ,mozart1 ,kreutzer1 and ,h4 ,ries4 7#aahje s74 ,graduated ,duets revised by ,ernst ,heim2 each book corresponds in difficulty with the same book of his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aab1 and his ,violin and piano pieces1 8,palaestra01 see page #acc4 ,dancla1 ,c4 ,op4 #bd and #be4 ,duos faciles4 #b ,bks4 7#efjb-c74 ,gurlitt4 ,our ,favourite ,tunes4 ,arranged by ,f4 ,hermann4 7#gfji74 ,hering1 ,carl4 #b ,duos1 both in the first1 and occasionally the half and second positions4 ,op4 #ae4 ,revised1 phrased1 and fingered by ,ernst ,heim4 7#efag74 ,hofmann1 ,richard4 #ad instructive ,melodic ,pieces4 ,op4 #aad4 7#efbe74 -- ,potpourris on ,popular ,melodies from classical and modern ,operas and ,oratorios1 arranged by ,richard ,hofmann4 #de ,books4 ,bohemian ,girl4 7#edbj;b74 ,egmont4 7#edba;b74 ,fidelio4 7#edbb;b74 ,l',elisire d'amore4 7#edbc;b74 ,lucrezia ,borgia4 7#edbd;b74 ,iphignie en ,aulide4 7#edbe;b74 ,judas ,maccabaeus4 7#edbf;b74 ,nachtlager4 7#edbg;b74 ,hans ,heiling4 7#edbh;b74 ,a ,midsummer ,night's ,dream4 7#edbi;b74 ,elijah4 7#edcj;b74 ,huguenots4 7#edca;b74 ,le ,prophte4 7#edcb;b74 ,figaro4 7#edcc;b74 ,merry ,wives of ,windsor4 7#edcd;b74 ,maritana4 7#edce;b74 ,oberon4 7#edcf;b74 ,preciosa4 7#edcg;b74 ,der fliegende ,hollnder4 7#edch;b74 ,lohengrin4 7#edci;b74 ,rienzi4 7#eddj;b74 ,tannhuser4 7#edda;b74 ,il ,barbiere4 7#eddb;b74 ,guillaume ,tell4 7#eddc;b74 ,masaniello4 7#eddd;b74 ,faust4 7,gounod47 7#edde;b74 ,kalliwoda4 ,op4 #bdc4 ,duos faciles et brillants4 #c ,bks4 7#efjf a-c74 ,kayser1 ,h4 ,e4 ,violin ,studies1 carefully revised1 fingered1 and with instructive annotations by ,ernst ,heim3-- #cf elementary and progressive ,studies 7introductory to those of ,kreutzer74 ,op4 #bj4 ,bks4 #a and #b4 7#efaj a1 b74 #af ,studies 7comprising studies in the half1 #ast1 #bnd1 #crd1 #dth1 #eth1 and #gth ,positions74 ,op4 #bh4 7#efai74 ,nos4 #aj and #aa ,step ,,iii1 and #ab to #af ,step ,,iv4 #af ,studies 7to follow the #cf ,studies1 ,op4 #bj74 ,op4 #cj4 7#efbj74 ,nos4 #f and #h ,step ,,iii2 ,nos4 #d1 #e1 #i1 #aa1 #ab1 #ac and #af ,step ,,iv4 ,lachner1 ,i4 ,op4 #if1 #ig and #ih4 ,sonatinas in ,a1 ,d and ,b4 7#efba-b-c74 ,there is an air of brightness and humour in these sonatinas which reminds one of ,haydn and ,mozart4 ,without making great demands upon the technique of the player1 the sonatinas are brilliant and diversified1 and although they chiefly appeal to the young they are never childish4 ,op4 #ih with its charming 8,rococo0 colouring is sure to make friends upon acquaintance4 ,mazas1 ,f4 ,duos faciles et progressifs2 ,letters ,c1 ,d ,e4 #c ,bks4 7#efjh;c-e74 ,pleyel1 ,i4 ,op4 #dh4 #f ,sonatinas4 7#geih74 ,ries1 ,h4 ,progressive ,duets4 7,ernst ,heim7 #i ,books3-- ,book ,i4 ,first position4 ,easy double-stopping4 7#efbi;a74 ,book ,,ii4 ,first and second positions4 7#efbi;b74 ,these melodious and graceful compositions are rendered more valuable by the careful revision of fingering1 bowing and marks of expression4 ,they contain a wealth of technical devices4 ,ritter1 ,e4 ,w4 #cj ,exercices faciles4 ,bk4 #b4 7#efca;b74 ,thomas1 ,e4 #d ,duos4 7#efcd;a1 b74 ,step ,,iii4 ,five ,positions4 ,alard1 ,d4 ,progressive ,duets1 revised and fingered by ,e4 ,heim3-- ,book ,,iv41 ,op4 #bb4 ,elementary4 #crd position4 7#eeii;d74 ,book ,v41 ,op4 #bc4 ,easy4 #crd position4 7#eeii;e74 ,book ,,vi41 ,op4 #bc4 ,easy4 #crd position4 7#eeii;f74 ,book ,,vii41 ,op4 #bc4 ,easy4 #crd position4 7#eeii;g74 ,this excellent work should form every student's companion from the first beginning until a degree of considerable technical skill has been reached4 ,it gains much by ,e4 ,heim's careful revision as to the fingering1 bowing1 and all marks of expression4 ,arena4 ,a collection of ,duets for two violins1 arranged in progressive order1 carefully marked and annotated by ,e4 ,heim3-- ,book ,v4 ,duets up to the fourth and fifth positions1 by ,hering1 ,mozart4 ,kreutzer1 and ,h4 ,ries4 7#aahje s74 ,book ,,va4 ,duets up to the fifth position1 by ,j4 ,s4 ,bach1 ,mozart1 and ,polledro4 7#aahje a74 ,graduated ,duets revised by ,ernst ,heim4 ,each book corresponds in difficulty with the same book of his ,violin ,studies 8,gradus ad ,parnassum01 see page #aad1 and his ,violin and ,piano pieces1 8,palaestra01 see page #adb4 ,dont4 #bj ,exercices progressifs4 ,op4 #ch4 7#gfje74 ,gurlitt4 ,op4 #aje4 ,ouverture des ,marionettes4 7#geif74 ,op4 #acg4 8,commedietta0 ,ouverture4 7#geii74 ,hermann4 ,op4 #bf4 ,morceaux mlodiques2 ,bks4 #a1 #b1 #c4 7,piano ad lib74 7#ecbh a-c74 ,kayser1 ,h4 ,e4 ,violin ,studies1 carefully revised1 fingered1 and with instructive annotations by ,ernst ,heim3-- #cf elementary and progressive ,studies 7introductory to those of ,kreutzer74 ,op4 #bj4 ,book #c4 7#efaj c74 ,molique1 ,b4 #c ,duets4 ,op4 #c4 #c ,books4 7#ajjjh a-c74 ,mozart1 ,w4 ,a4 ,op4 #gj4 #ab ,duets4 #d ,bks4 ,pleyel1 ,i4 ,op4 #bc4 ,duos4 7#ajhe d74 -- ,op4 #bd4 ,duos4 7#ajhe e74 -- ,op4 #dd4 ,duos4 7#efbh74 ,ries1 ,h4 ,progressive ,duets1 7,ernst ,heim74 ,book ,,iii4 ,up to third position4 7#efbi c74 ,these melodious and graceful compositions are rendered more valuable by the careful revision of fingering1 bowing and marks of expression4 ,they contain a wealth of technical devices4 ,rode1 ,p4 ,op4 #a4 #f ,duos4 #b ,bks4 ,viotti4 ,concert duets4 #ac ,bks4 ,step ,,iv4 ,all ,positions4 ,alard1 ,d4 ,progressive ,duets1 revised and fingered by ,e4 ,heim3-- ,book ,,viii4 ,op4 #bc4 ,easy4 #eth position4 7#eeii h74 ,book ,,ix4 ,op4 #bg4 ,brilliant4 #gth position4 7#eeii i74 ,book ,x4 ,op4 #bg4 ,brilliant4 ,all positions4 7#eeii k74 ,book ,,xi4 ,op4 #bg4 ,brilliant4 ,all positions4 7#eeii l74 ,book ,,xii4 ,op4 #bg4 ,brilliant4 ,all positions4 7#eeii m74 ,this excellent work should form every student's companion from the first beginning until a degree of considerable technical skill has been reached4 ,it gains much by ,e4 ,heim's careful revision as to the fingering1 bowing and all marks of expression4 ,arena4 ,a collection of ,duets for two violins1 arranged in progressive order1 carefully marked and annotated by ,e4 ,heim3-- ,book ,,vi4 ,duets up to the sixth and seventh positions1 by ,h4 ,ries1 ,haydn1 and ,alard4 7#aahjf s74 ,book ,,via4 ,duets up to the sixth position1 by ,hauptmann and ,blumenthal4 7#aahjf a74 ,an excellent collection of graduated ,duets revised by ,ernst ,heim2 each book corresponds in difficulty with the same book of his ,violin ,studies 8,gradus ad ,parnassum01 see page #aae1 and his ,violin and ,piano pieces1 8,palaestra01 see page #aea4 ,hauptmann1 ,m4 ,op4 #b4 #b ,duets4 7#ajhb74 -- ,op4 #af4 #c ,duos4 7#efaa74 ,hermann4 ,op4 #bf4 ,morceaux mlodiques4 ,bks4 #d1 #e4 7#ecbh d1 e74 ,kayser1 ,h4 ,e4 ,violin ,studies1 carefully revised1 fingered1 and with instructive annotations by ,ernst ,heim3-- #af ,studies 7comprising studies in the half1 #ast1 #bnd1 #crd1 #dth1 #eth1 #fth1 and #gth ,positions74 ,op4 #bh4 7#efai74 ,nos4 #a-i belong to ,,ii2 #aj and #aa to ,,iii4 #af ,studies 7to follow the #cf ,studies1 ,op4 #bj74 ,op4 #cj4 7#efbj74 ,nos4 #a-c1 #g1 #aj1 #ad1 #ae belong to ,,ii2 ,nos4 #f and #h to ,,iii4 ,mayseder4 #c celebrated ,duets4 ,op4 #cj1 #ca1 and #cb4 7#ajjjg a-c74 ,ries1 ,h4 ,progressive ,duets4 7,ernst ,heim74 ,book ,,iv4 ,up to sixth position4 7#efbi d74 ,book ,v4 ,up to seventh position4 7#efbi e74 ,book ,,vi--,,ix4 ,in all positions4 #d ,books4 7#efbi f-i74 ,these melodious and graceful compositions are rendered more valuable by the careful revision of fingering1 bowing and marks of expression4 ,they contain a wealth of technical devices4 ,step ,v4 ,difficult4 ,arena4 ,a ,collection of ,duets for ,two ,violins1 arranged in progressive order1 carefully marked and annotated3-- ,book ,,vii4 #b ,duets in all positions 7difficult71 by ,hauptmann and ,de ,briot4 7#aahjg s74 ,book ,,viia4 #c ,duets in all positions 7difficult71 by ,haydn1 ,j4 ,b4 ,viotti1 and ,campagnoli4 7#aahjg a74 ,book ,,viii4 #b ,duets in all positions 7very difficult71 by ,f4 ,ries1 and ,hauptmann4 7#aahjh s74 ,book ,,viiia4 ,duets in all positions4 7,very difficult71 by ,c4 de ,briot1 and ,m4 ,hauptmann4 7#aahjh a74 ,graduated ,duets revised by ,ernst ,heim2 each book corresponds in difficulty with the same book of his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aag1 and his ,violin and piano pieces1 8,palaestra01 see page #aef4 ,hermann4 ,op4 #bd4 tudes spciales4 ,on double stops1 shifting c4 7#efae a74 -- ,op4 #bf4 ,morceaux mlodiques4 ,bk4 #f4 7#ecbh f74 ,kalliwoda4 ,op4 #bcd4 ,grand ,duo brillant4 7#efjg74 ,rode4 #bd ,caprices in the form of ,studies1 with #bnd ,violin by ,ludwig ,abel2 revised by ,e4 ,heim4 7#efcb74 ,the addition of an excellent second violin part by ,ludwig ,abel combined with the careful revision which characterises ,heim's work1 and the numbering of every fifth bar1 will make this edition welcome to all students4 ,step ,,vi4 ,concert ,duets4 ,heim1 ,ernst4 ,arena4 ,a ,collection of ,duets for #b ,violins1 arranged in progressive order1 carefully marked and annotated3-- ,book ,,ix4 #b ,concert ,duets1 by ,spohr and ,h4 ,ries4 7#aahji s74 ,book ,,ixa4 ,concert ,duets4 ,nos4 #cc and #cd by ,spohr1 ,no4 #ce by ,mazas4 7#aahji a74 ,book ,x4 #c ,concert ,duets by ,spohr4 7#aahaj s74 ,book ,,xa4 ,concert ,duets1 by ,m4 ,hauptmann ,l4 ,spohr4 7#aahaj a74 ,spohr1 ,l4 ,op4 #c1 #ci1 #fg1 #adh1 #aej and #aec4 #ad ,grand ,duets4 7#g ,bks474 ,these are the finest and most difficult duets for two violins4 ,duets for ,violin and ,violoncello4 ,kreutzer4 ,sonatas4 ,op4 #af and #ag4 #b ,bks4 ,,ii4 ,beethoven4 #c ,duets4 ,,iii4 ,haydn1 ,j4 ,duet in ,d4 ,,iii4 ,hoffmann1 ,h4 ,a4 #f ,duos4 ,op4 #e4 ,,iii4 ,leonard ,servais4 ,grand ,duo de ,concert 7,airs ,anglais74 ,,vi4 ,duets for ,violin and ,organ4 ,album4 #aj ,pieces4 7#bdej74 ,nos4 #a1 #b1 #c and #f4 ,,ii4 ,nos4 #e1 #f1 #g1 #h4 ,,iii4 ,nos4 #d1 #i and #aj4 ,,iv4 ,becker1 ,a4 ,op4 #bj4 ,adagio4 7#bjgh74 ,,iv4 ,henkel1 ,h4 #c ,tonstze von ,j4 ,s4 ,bach1 arr4 ,no4 #a1 ,berceuse2 #b1 ,sarabande2 #c1 ,toccata4 7#gcbf74 ,,ii4 ,jensen1 ,gustav4 ,arioso e ,rondo patetico4 ,op4 #dj4 7#echj74 ,,iv4 ,lachner1 ,i4 #b ,pieces4 ,op4 #ff4 ,no4 #a1 ,andantino2 #b1 ,nocturno4 ,,iv4 ,mozart4 ,andante ,cantabile from ,violin ,concerto4 ,op4 #aba4 ,arr4 by ,i4 ,lachner4 ,,iv4 ,rheinberger1 ,j4 ,op4 #aej4 #f ,pieces4 ,no4 #a1 ,theme with variations2 #b1 ,abendlied2 #c1 ,gigue2 #d1 ,pastorale2 #e1 ,elegie2 #f1 ,overture4 ,spohr4 ,adagio from #ith ,violin ,concerto1 arr4 by ,i4 ,lachner4 ,,iv4 ,pieces for ,violin with piano accompaniment4 ,step ,i ,a4 ,first ,position1 ,elementary4 ,the simplest pieces only 7rhythmically1 as well as technically7 are included under this head1 the melodies being almost entirely either in minims and crotchets1 or in crotchets and quavers4 ,palaestra4 ,a ,collection of ,pieces1 ,sonatas1 ,suites1 and ,concert ,pieces for ,violin ,solo with ,pianoforte ,accompaniment3 arranged in progressive order1 carefully marked and annotated by ,ernst ,heim3-- ,an excellent collection of graduated pieces revised by ,ernst ,heim1 each book corresponds in difficulty with the same book of his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aaa1 and his ,violin ,duets1 8,arena01 see page #abj4 ,book ,,ia4 ,contents4--#d ,pieces on the open strings by ,ritter1 ,reinecke1 etc41 and #g easy ,pieces in the easiest keys1 first position1 by ,ritter1 ,moffat1 ,aprile1 ,saint-,george1 etc4 7#aadga a74 ,book ,,ib4 #i easy ,pieces in the easiest keys1 first position by ,moffat1 ,heim1 ,reinecke1 and ,gurlitt4 7#aadga b74 ,book ,,ic4 ,supplement to ,books a and b4 ,piece on the open strings by ,bordogni1 and #i easy ,pieces in the easiest keys by ,moffat1 ,ritter1 ,concone1 ,stephen ,heller1 ,volkmann1 ,laubach1 etc4 7#aadga c74 ,fitzenhagen1 ,w4 ,petits ,morceaux4 7,violin part within the compass of a ,fourth73-- ,op4 #ch4 ,no4 #a4 ,ave ,maria4 ,heim1 ,ernst4 ,abecedarian in ,violin ,playing4 ,elementary ,pieces in progressive order4 ,nos4 #a-be4 ,bk4 #a4 7#aadfa a74 ,most useful and attractive collection for young beginners4 ,hering1 ,carl4 #af ,pieces in progressive order4 ,op4 #ad4 ,revised and marked for teaching purposes by ,ernst ,heim4 7#aadic74 ,nos4 #a-aj4 ,nos4 #aa-af belong to the following grade4 --,short ,drawing ,room ,pieces4 ,a very attractive set beginning with a little prelude for the open strings only4 ,book #a contains #g melodious little pieces1 books #b and #c belong to the next division4 ,kreuz1 ,e4 ,op4 #be4 #cj ,melodies4 #c ,bks4 7#geae a-c74 ,laubach1 ,a4 #c ,pieces 7,menuetto1 ,nocturne ,ib1 ,marche militaire74 ,moffat1 ,a4 #f ,easy ,pieces for young ,violinists4 7#gebe74 ,rieding1 ,o4 #f ,easy ,pieces4 ,nocturne1 ,impromptu1 ,romance1 ,nos4 #d1 #e and #f belong to ,ib4 ,ritter1 ,e4 ,w4 #ab ,short ,pieces4 ,book #a contains three little pieces for the open strings only4 ,book #b utilizes only the #ast and #bnd fingers4 ,book #c introduces the #crd1 and ,book #d the #dth finger4 ,wurm1 ,marie4 ,lullaby4 ,step ,ib4 ,first ,position1 ,easy and progressive4 ,in the easiest keys only1 but containing a little more movement and rhythmic variety4 ,palaestra4 ,a ,collection of ,pieces1 ,sonatas1 ,suites1 and ,concert ,pieces for ,violin ,solo with ,pianoforte ,accompaniment2 arranged in progressive order1 carefully marked and annotated by ,ernst ,heim3-- ,book ,,iia4 ,easy ,pieces in major and minor keys1 and in the first position1 by ,mendelssohn1 ,ritter1 ,laubach1 and ,r4 ,hofmann4 7#aadgb a74 ,book ,,iib4 ,easy ,pieces in major and minor keys1 and in the first position1 by ,r4 ,hofmann1 ,handel1 and ,l4 ,nicole4 ,occurrence of easy double-stopping1 chords1 and easy ornaments1 by ,laubach1 ,meo1 and ,haydn4 7#aadgb b74 ,book ,,iic4 ,supplement to ,books a and b4 ,pieces by ,wolfermann1 ,stephen ,heller1 ,tschakowsky1 ,kreuz1 and ,kullak4 7#aadgb c74 ,an excellent ,collection of ,graduated ,violin and ,piano pieces revised by ,ernst ,heim2 each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena01 see page #abj1 and his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aaa4 ,beazley1 ,j4 ,c4 #f ,little ,pieces4 ,book #a1 8,a stray thought10 8,on the lake01 and 8,a happy moment02 ,book #b1 8,eventide04 8,meditation0 and 8,march04 ,clark1 ,scotson4 ,melody in ,a4 ,danb1 ,j4 #f ,petits ,morceaux4 ,cantabile ,allegro1 ,petite ,valse1 ,caprice1 ,adagio and ,rondo1 ,minuet1 ,petite ,barcarolle4 ,melodious and attractive to young pupils4 ,fitzenhagen1 ,w4 ,petits ,morceaux4 7,violin part within the compass of a fourth73-- #c ,morceaux4 ,op4 #ch4 ,no4 #b1 ,barcarolle2 ,no4 #c4 ,mazurka4 ,morceaux4 ,op4 #ci4 ,no4 #a1 ,cavatine2 ,no4 #b1 ,lndler2 ,no4 #c1 ,tarantelle4 ,very effective little pieces within the compass of a fourth2 with very attractive piano accompaniments4 ,gurlitt1 ,c4 ,our ,favorite ,tunes4 ,melodies1 ,ancient and ,modern4 7#gcge74 --,morceaux de ,salon 7faciles74 ,op4 #adf3-- ,lndler1 ,neues ,leben1 ,nocturno1 ,impromptu4 7#hfgg a74 --,two miniature ,sonatas 7in first position74 ,op4 #ahj in ,f and ,d4 7#gejj74 ,an excellent introduction to concerted playing for musically intelligent young beginners4 --,the ,chase4 7,die ,jagd47 ,op4 #aij1 ,no4 #f4 ,hauptmann1 ,m4 #c ,sonatinas4 7#gchd74 ,the rudimentary features of the sonata form are here packed into a very small compass indeed2 all three movements of ,no4 #a occupying only one page in the violin part4 ,heim1 ,e4 ,abecedarian in ,violin ,playing4 ,elementary ,pieces1 transcribed and arranged in progressive order4 ,book ,,ii4 ,nos4 #bf-de4 7#aadfa b74 ,hering1 ,carl4 #af ,pieces in progressive order4 ,nos4 #aa-af4 ,op4 #ad4 ,revised and marked for teaching purposes by ,ernst ,heim4 7#aadic74 -- #h pieces4 ,op4 #ba4 7,ernst ,heim47 7#aadid74 -- #aj ,petits ,morceaux4 ,op4 #ff4 7#gcib74 -- ,short ,drawing ,room ,pieces4 ,bks4 #b and #c4 ,hermann1 ,f4 #ej favourite ,melodies2 the ,violin ,part in the first position4 7#edfe c74 ,the same are also arranged for violin solo1 7#edfe a72 #b violins and piano1 7#edfe d72 ,violin1 violoncello and piano4 7#edfe f74 ,hill1 ,claud ,h4 ,three ,pieces4 ,no4 #a1 ,prelude2 ,no4 #b1 ,allegretto2 ,no4 #c1 ,gavotte4 ,hoby1 ,c4 ,album of ,duets4 ,romance1 ,bourre1 ,fairy ,tale1 ,alla ,mazurka4 ,especially pleasing is ,no4 #c4 ,no4 #a contains a few bars only playable to those prepared to enter on ,,ii4 ,hofmann1 ,richard4 ,op4 #aja4 ,no4 #a1 ,animation4 --,potpourris on popular ,melodies from classical and modern operas and oratorios4 ,adam4 ,der ,postilion4 7#edja c74 ,bellini4 ,nachtwandlerin4 7,sonnambula74 7#edjb c74 ,bellini4 ,norma4 7#edjc c74 ,boieldieu4 ,le ,calife de ,bagdad4 7#edjd c74 ,boieldieu4 ,la ,dame ,blanche4 7#edje c74 ,donizetti4 ,la ,fille du ,rgiment4 7#edjf c74 ,donizetti4 ,lucia di ,lammermoor4 7#edjg c74 ,gluck4 ,orpheus4 7#edjh c74 ,handel4 ,the ,messiah4 7#edji c74 ,haydn4 ,the ,creation4 7#edaj c74 ,hrold4 ,zampa4 7#edaa c74 ,lortzing4 ,wildschtz4 7#edab c74 ,lortzing4 ,czar und ,zimmermann4 7#edac c74 ,mhul4 ,joseph4 7#edad c74 ,mendelssohn4 ,st4 ,paul4 7#edae c74 ,mozart4 ,il ,seraglio4 7#edaf c74 ,mozart4 ,il ,flauto ,magico4 7#edag c74 ,mozart4 ,don ,giovanni4 7#edah c74 ,weber4 ,der ,freischtz4 7#edai c74 ,horrocks1 ,a4 ,e4 ,rigaudon4 ,kayser4 ,op4 #fe4 ,exercises and ,popular ,melodies4 7#gcih74 ,kirchner1 ,th4 #d ,albumbltter4 7,f4 ,hermann47 7#gdjj74 ,koch1 ,f4 ,petite ,suite4 7,allegretto1 ,arietta1 ,scherzo1 ,romanzetta1 ,alla ,marcia47 ,op4 #ab4 7#gejh74 ,kreuz1 ,e4 ,op4 #cj4 #f easy ,pieces4 7#geah74 -- ,op4 #cf4 #f easy ,pieces4 #b ,bks4 7#geai a1 b74 ,march ,album1 ,book #a4 ,edited by ,hermann4 7#hfhf a74 ,contains #ad ,marches by ,lully1 ,couperin1 ,rameau1 ,handel1 ,haydn1 c4 ,meo1 ,alfonso4 ,the ,dolly's ,dance4 ,moffat1 ,a4 ,album4 #ab pieces 7in the easier positions74 7#gebd74 --,english ,classical ,album4 #ab ,pieces for ,violin1 with figured ,bass1 by ,english ,masters of the #agth and #ahth centuries4 7#gebc74 -- #ab ,classical ,pieces 7in the first position74 #b ,books4 7#gebf a1 b74 -- #ab ,pieces by ,english ,masters of the #agth and #ahth ,centuries4 7#gecg74 ,these pieces are well written for the violin4 ,they are1 moreover1 melodious and have interesting accompaniments4 ,nicole1 ,l4 ,minuet and ,gavotte4 ,our ,favourite ,tunes4 ,from a collection of ancient and modern ,melodies by ,c4 ,gurlitt4 ,arranged by ,fr4 ,hermann4 7#gchh74 ,pleyel4 ,op4 #h4 #f ,duos4 7,hermann74 7#gede74 ,reinecke4 ,op4 #abb a4 #aj ,petits ,morceaux4 7#geda74 ,no4 #i belongs to ,,ii4 -- ,op4 #bac4 #aj ,petits ,morceaux4 7#gedb74 ,characteristic little pieces with interesting piano part4 ,rieding1 ,oskar4 #f ,easy ,pieces4 ,nos4 #d1 #e and #f1 8,tempo di ,valse01 8,polonaise0 and 8,air vari04 ,ritter1 ,e4 ,w4 ,brilliant ,duets4 7,the ,violin part in the first position73-- ,no4 #a4 ,variations on 8,the ,carnival of ,venice04 7#geej a74 ,no4 #b4 ,stradella1 by ,flotow4 7#geej b74 ,no4 #c4 ,variations4 8,rule1 ,britannia04 7#geej c74 ,no4 #d4 ,rondo1 8,the ,bay of ,biscay0 and 8,hearts of ,oak04 7#geej d74 ,no4 #e4 8,logie ,o',buchan04 ,fantasia4 7#geej e74 -- #ab ,short ,pieces3--,book ,,iv4 7,for all four fingers47 ,no4 #h4 ,march2 ,no4 #i1 ,gavotte2 ,no4 #aj4 ,intermezzo2 ,no4 #aa4 ,romance2 ,no4 #ab1 ,tarantella4 ,schmitt1 ,j4 #b ,sonatinas4 ,edited and fingered by ,emile ,thomas4 7#gegb74 ,taubert1 ,w4 ,serenade4 7,m4,f4 #ag7 ,terschak1 ,a4 ,popular ,melodies3-- ,vol4 ,i4 ,england4 #ah ,popular ,melodies4 7#hfih a74 ,vol4 ,,ii4 ,scotland4 #bj ,popular ,melodies4 7#hfih b74 ,vol4 ,,iii4 ,ireland4 #ah ,popular ,melodies4 7#hfih c74 ,tschakowsky4 ,favourite airs from the opera 8,eugne ,ongin04 ,arranged by ,v4 ,sorreno4 7#edfi a74 ,volkmann4 8,in the ,mill04 7,no4 #a of 8,musical ,picture ,book074 7,m4,f4 #ei74 ,wurm1 ,marie4 ,march in ,d4 ,step ,,ii4 ,first four ,positions4 ,palaestra4 ,a ,collection of ,pieces1 ,sonatas1 ,suites1 and ,concert ,pieces for ,violin ,solo with ,pianoforte ,accompaniment2 arranged in progressive order1 carefully marked and annotated by ,ernst ,heim3-- ,book ,,iiia4 ,rather more difficult pieces in the first position2 ,occurrence of chords1 double-stopping1 and ornaments3 #c ,pieces by ,saint-,george and ,j4 ,s4 ,bach4 ,employment of the half position3 #c ,pieces by ,gurlitt1 ,reinecke1 and ,scotson ,clark4 7#aadgc a74 ,book ,,iiib4 ,employment of the half position3 #b ,pieces by ,dolmetsch and ,schubert4 ,second position2 changing from first to second position3 #d ,pieces by ,crescentini1 ,boccherini1 ,scotson ,clark1 and ,senaill4 7#aadgc b74 ,book ,,iiic4 ,supplement to ,books ,a and ,b4 ,pieces by ,wolfermann1 ,scotson ,clark1 ,nicole1 ,kullak1 ,loeschhorn1 and ,a4 ,krug4 7#aadgc c74 ,book ,,iva4 ,pieces up to the third position2 change between the first and third position without ,portamento3 ,pieces by ,j4 ,s4 ,bach and ,veracini4 ,change between first and third positions with ,portamento3 ,pieces by ,mathilde ,heim-,brem1 ,strelezki1 and ,ignaz ,lachner4 7#aadgd a74 ,book ,,ivb4 ,pieces up to the third position3 change between the first1 second1 and third positions3 ,pieces by ,gurlitt1 ,haydn1 and ,ignaz ,lachner4 ,change between the half1 first1 second1 and third positions3 ,pieces by ,handel and ,mendelssohn4 7#aadgd b74 ,book ,,ivc4 ,supplement to ,books ,a and ,b4 ,pieces by ,f4 ,david1 ,a4 ,jensen1 ,de ,briot1 ,h4 ,ries1 and ,n4 ,w4 ,gade4 7#aadgd c74 ,an excellent ,collection of ,graduated ,violin and piano pieces revised by ,ernst ,heim2 each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena01 see page #aba and his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aab4 ,adam1 ,a4 ,christmas4 7,m4,f4 #ajh74 ,agrell1 ,j4 ,sonata1 edited by ,w4 ,abert4 7#aacje74 ,albums4 ,arranged by ,f4 ,hermann1 containing pieces by modern composers3-- ,vol4 ,,xv4 ,strelezki1 ,minuet l',antique2 ,arensky1 ,serenade2 ,dobrzynsky1 ,les ,larmes2 ,gautier1 ,le ,secret2 ,raff1 ,chanson ,suisse1 ,rubinstein1 ,barcarole2 ,squire1 ,gavotte ,humoristique2 ,field1 ,notturno2 ,weber1 ,maienblmchen ,walzer4 #gcbb p74 ,album ,opratique4 ,vol4 #a4 #ab ,melodies2 ,vol4 #b4 #ae ,melodies4 7#hfhi a1 b74 ,ariosti1 ,attilio4 #f ,sonatas ,lezioni for ,viola d'amore1 transcribed by ,g4 ,saint-,george4 7#aacaa a-f74 ,atkinson1 ,j4 ,a4 ,petite ,valse4 ,op4 #a4 ,bach1 ,emanuel4 ,solfegietto4 ,arr4 by ,oscar ,wagner4 ,bach1 ,j4 ,s4 ,gavotte in ,d4 7,hermann1 ,c4 ,v4 ,m4 #i74 -- ,gavotte from #fth ,sonata4 7#idja c74 -- ,fifth ,prelude from 8,das ,wohltemperirte ,klavier04 ,f4 ,hermann4 7,m4,f4 #ie74 -- ,my heart ever faithful4 ,f4 ,hermann4 7,m4,f4 #aae7 ,beazley1 ,j4 ,c4 ,sonatina in ,f4 -- ,sonatina in ,d minor4 7#gcbg74 ,beethoven4 ,andante ,cantabile from ,trio4 ,op4 #ig4 7,m4 ,f4 #ih74 ,bennett1 ,w4 ,sterndale4 ,the ,lake4 7,m4,f4 #gh74 ,boccherini1 ,l4 ,minuet in ,a4 ,brooks1 ,w4 ,op4 #dh4 ,album ,lyrique4 #d ,pieces4 7#gccc74 ,burgmller4 #c ,nocturnes4 7#hfgc74 ,busoni4 ,op4 #bh4 ,bagatellen4 ,no4 #c4 7#bddi74 ,christmas-,album4 #aj ,pieces suitable for ,christmastide1 arranged by ,f4 ,hermann4 ,albums1 ,vol4 ,,xiv4 7#gcbb o74 ,adam1 ,christmas2 ,gruber1 ,tyrolese ,christmas ,hymn2 ,bach1 ,aria from the ,christmas ,oratorio2 ,gurlitt1 ,andante religioso2 ,reinecke1 ,chorus of ,angels2 ,goltermann1 ,berceuse2 ,grieg1 ,christmas ,song2 ,bortnianski1 ,adoration2 ,mendelssohn1 ,christmas ,piece2 ,gounod1 ,l',angelus4 ,clark1 ,s4 ,marche aux ,flambeaux4 7#idjc a74 -- ,marche indienne4 7#idjc b74 -- ,marche militaire4 7#idjc c74 -- ,procession ,march4 7#idjc d74 -- ,pilgrims' ,march4 7#idjc e74 -- ,meditation4 -- ,melody in ,d4 -- #ab ,morceaux 7,original pieces74 7#gcej74 ,one or two are for those entering ,step ,,iii1 but all are easy4 ,clementi1 ,c4 #f ,sonatinas4 ,op4 #cf4 ,violin part by ,m4 ,reger4 7#gcea74 ,courvoisier1 ,c4 ,bagatelles4 #f petites ,pices4 ,op4 #ce4 7#idjd74 -- ,recreations4 ,easy ,pieces4 ,op4 #dh4 7,pastorale1 ,gavotte and ,musette1 ,romance1 ,scherzo1 ,barcarolle1 ,waltz47 7#gcee74 ,czibulka4 ,gavotte de la ,princesse4 ,arr4 par ,fr4 ,hermann1 7#idjf g74 ,d',alquen1 ,f4 ,nocturne in ,g4 ,dancla1 ,j4 ,c4 #ab ,mlodies4 ,arr4 by ,c4 ,gurlitt4 7#gcfa74 ,david1 ,ferd4 ,gondellied4 7,hermann47 7,m4,f4 #fi74 ,kinderlied4 7,hermann74 7,m4,f4 #ab74 ,remembrance 7,souvenir47 ,de-,angelis1 ,g4 ,due ,pezzi facili4 ,op4#i4 7,berceuse1 ,gavotta47 7#gcbe74 ,diabelli4 ,sonata in ,f4 7,w4 ,abert47 7#aacgc74 -- ,sonata in ,g4 7,e4 ,thomas47 7#gcdg74 ,dolmetsch1 ,a4 ,romance4 ,dorn1 ,ed4 ,grande ,marche impriale4 7#idjf a74 ,d',ourville1 ,leon4 ,gondolina4 ,arranged by ,e4 ,thomas4 -- ,soires ,musicales4 ,arranged by ,r4 ,hofmann3--,the ,mill4 ,the ,smithy4 ,spinning ,song4 ,swing ,song4 ,dussek4 ,op4 #bj4 #f ,sonatinas4 7#bejg74 ,gade1 ,n4 ,w4 ,elegie4 7,m4,f4 #ac74 ,spring-flower4 7,m4,f4 #cb7 ,gautier1 ,l4 ,le ,secret4 7,m4,f4 #aad74 ,gavotte ,album4 #ad of the most celebrated ,italian1 ,french1 and ,german ,gavottes by ,corelli1 ,couperin1 ,rameau1 ,bach1 ,handel1 ,martini1 ,gluck1 c4 ,f4 ,hermann74 7#hfhg74 ,gluck1 ,c4 ,w4 ,andantino affettuoso 7,jensen1 ,v4 #bb74 ,gounod1 ,c4 ,l',angelus1 arranged by ,f4 ,hermann4 7,m4,f4 #aac74 -- ,minuet1 arranged by ,cornelius ,gurlitt4 ,goltermann1 ,g4 ,op4 #aad4 ,sonatine in ,f4 7#gcha74 ,gungl1 ,j4 ,oberlndler4 7,m4,f4 #ai74 ,gurlitt1 ,c4 ,morceaux de ,salon 7faciles74 ,op4 #adf3-- ,bk4 ,,ii4 ,lndlicher ,tanz1 ,elegie1 ,aufschwung1 ,romanze4 7#hfgg b74 ,bk4 ,,iii4 ,barcarolle1 ,andante religioso1 ,fantasie1 ,capriccio4 7#hfgg c74 ,pleasing and useful teaching pieces1 ,book ,,iii containing the most difficult of the set1 leading into next ,step4 ,also published folio size in separate ,nos4 -- ,snow-flakes 7,schneeflocken74 ,short ,pieces4 ,op4 #afd3-- ,book ,i4 ,humoreske1 ,notturno1 ,stndchen1 ,bauerntanz4 7#gchb a74 ,book ,,ii4 ,elegie1 ,canzonetta1 ,impromptu1 ,lndler4 7#gchb b74 ,book ,,iii4 ,rverie1 ,intermezzo1 ,adagio4 ,valse noble4 7#gchb c74 ,twelve pleasing and graceful teaching pieces1 also in separate ,nos4 -- ,idylle in ,d4 -- ,op4 #aij1 ,no4 #g4 8,under the ,village ,lime-,tree04 -- ,andantino in ,b flat1 from the ,sonatina1 ,op4 #acd1 ,no4 #b4 ,handel1 ,g4 ,f4 #b ,suites1 arranged by ,g4 ,jensen3-- ,no4 #a in ,d4 7#gcgh a7 ,no4 #b in ,e minor4 7#gcgh b74 ,jensen has been particularly happy in the selection of the pieces which form these ,suites and his thorough knowledge of the great master's style has enabled him to provide accompaniments which breathe ,handelian spirit1 and are in themselves full of interest4 -- ,adagio religioso ed ,allegro 7,jensen1 ,v4 #ai74 -- ,sonata ,,iii4 7,a maj474 ,arr4 by ,f4 ,hermann4 7#gcgf74 -- ,sonata ,,xii4 7,f4 maj474 7,dr4 ,riemann47 7#gejb74 -- ,sonatas for ,flute with ,basso continuo1 arranged2 with marks of expression by ,gustav ,jensen4 7#gche74 -- ,sarabande4 7,m4,f4 #if74 ,hartog1 ,henri4 ,les ,cloches4 #eme ,morceau de ,salon4 ,haydn1 ,j4 ,serenade4 7,jensen4 ,v4 #b74 -- ,adagio recitativo4 7,jensen4 ,v4 #c74 -- ,ox ,minuet4 7,m4,f4 #dc74 ,hauptmann4 ,sonata4 ,op4 #f4 7,f4 ,hermann47 7#gchc74 ,hauser4 ,die ,plume 7,preghiera74 7,m4,f4 #ee74 -- ,dorflied4 7,m4,f4 #ef74 ,heim1 ,ernst4 ,abendlied 7,evening ,song74 ,hennessy1 ,swan4 ,op4 #g4 8,in the ,mountains04 ,two poetical little pieces entitled 8,mittagsstille0 7,noon71 and 8,zwiegesprch0 7,duet in ,canon74 ,henkel1 ,h4 ,sicilienne4 ,henselt1 ,a4 ,la ,fontaine4 7,m4,f4 #ce74 ,hermann1 ,f4 ,sonatina in ,g4 7#gchi a74 -- ,op4 #bh1 ,no4 #b4 ,sonatina in ,d4 7#gcij a74 -- ,dance ,movements from the works of ,great ,masters4 ,the following are suitable for this ,step3-- ,bach1 ,sarabande4 7#gchg a74 ,cherubini4 ,ballet music4 7#gchg h74 ,handel1 ,scherzo4 7#gchg b74 ,gluck1 ,musette4 7#gchg l74 ,hoffmann1 ,j4 ,cantilena in ,a4 ,hofmann1 ,richard4 ,op4 #gh4 #d ,pieces3--,scherzino1 ,romance1 ,gavotte4 ,minuet4 -- #h ,vortragsstcke4 ,op4 #ajc3--,no4 #a4 ,intermezzo4 #e4 ,berceuse4 -- ,three ,short ,pieces1 ,op4 #aaj2 ,no4 #c4 ,scherzo4 -- ,wiegenlied 7,e4 ,heim74 ,hofmann4 ,potpourris on popular ,melodies from classical and modern operas and oratorios4 ,balfe4 ,the ,bohemian ,girl4 7#edbj c74 ,beethoven4 ,egmont4 7#edba c74 ,beethoven4 ,fidelio4 7#edbb c74 ,donizetti4 ,l',elisire d'amore4 7#edbc c74 ,donizetti4 ,lucrezia ,borgia4 7#edbd c74 ,gluck4 ,iphignie en ,aulide4 7#edbe c74 ,handel4 ,judas ,maccabaeus4 7#edbf c74 ,kreutzer4 ,das ,nachtlager in ,granada4 7#edbg c74 ,marschner4 ,hans ,heiling4 7#edbh c74 ,mendelssohn4 ,a ,midsummer ,night's ,dream4 7#edbi c74 ,mendelssohn4 ,elijah4 7#edcj c74 ,meyerbeer4 ,les ,huguenots4 7#edca c74 ,meyerbeer4 ,le ,prophte4 7#edcb c74 ,mozart4 ,le ,nozze di ,figaro4 7#edcc c74 ,nicolai4 ,die lustigen ,weiber von ,windsor4 7#edcd c74 ,wallace4 ,maritana4 7#edce c74 ,weber4 ,oberon4 7#edcf c74 ,weber4 ,preciosa4 7#edcg c74 ,hollnder1 ,g4 ,op4 #c4 ,spinnerlied4 ,jansa1 ,l4 ,op4 #ed4 ,concertino4 7#gcia74 -- 8,les ,fleurs des ,opras01 edited and fingered by ,courvoisier4 #bj ,bks4 7#gdda-gdfj74 -- ,second ,series4 #g ,books4 7#gdfc-gdfi74 ,jensen1 ,a4 ,lndler4 7,m4,f4 #h74 ,jensen4 ,wanderbilder4 #b ,bks4 7#babi a1 b74 ,nos4 #g1 #aj1 #aa of these charming pieces belong to ,,iii4 ,kayser4 #cf ,elementary and ,progressive ,studies1 ,op4 #bj 7introductory to those of ,kreutzer71 revised by ,e4 ,heim4 ,books ,i and ,,ii4 7#gcig a1 b74 ,book ,,iii belongs to the following step4 ,kearne1 ,l4 ,canzonetta4 ,kirchner1 ,f4 ,op4 #ahd a4 ,slumber ,song4 -- ,hunting ,sketch1 ,no4 #c4 ,op4 #fjh4 ,kirchner1 ,th4 ,feuillet d',album4 7,m4,f4 #ae74 ,kreuz1 ,emil4 ,chant d'amour4 ,op4 #dd1 ,no4 #b4 ,kuhlau1 ,f4 ,sonatines4 ,op4 #hh4 7,emile ,thomas73--,no4 #a1 en ,ut 7in ,c74 #c4 en ,la bmol 7in ,a minor74 ,lachner1 ,i4 ,op4 #ic4 #c ,morceaux de ,salon3 ,no4 #b4 ,tarantelle2 #c4 ,danse des ,matelots4 7#geaa b1 c74 ,no4 #a1 ,nocturne belongs to ,,iii4 -- ,op4 #ajh4 #d ,duos4 ,nocturne1 ,grande ,polonaise1 ,lndliche ,idylle 7,country ,idyll71 ,bhmischer ,original-,bauerntanz 7,bohemian ,peasants' ,dance74 -- ,op4 #id4 ,no4 #a1 ,siesta2 ,no4 #b1 ,grande ,polonaise4 -- ,op4 #ii4 ,sonatina in ,a4 7#gejc74 -- ,op4 #ajj4 ,sonatina in ,b4 7#gejd74 -- ,op4 #aja4 ,sonatina in ,g4 7#geje74 ,three excellent sonatinas for young pupils4 ,lachner's music recalls much of the spirit of ,haydn1--it is straightforward1 healthy and genial in character4 ,the influence of ,schumann and the somewhat complicated rhythmical feeling introduced by many modern ,german composers into their otherwise technically easy pieces 7rendering them difficult to be understood by young beginners who are not specially gifted7 are here conspicuous by their absence4 ,langer4 ,g4 ,op4 #bj4 8,grossmtterchen40 ,lndler4 ,laubach1 ,f4 #bd ,scottish ,songs1 arranged4 7#geac74 ,lee1 ,maurice4 ,cantilena4--,gavotte de ,louis ,,xv4--,rve cleste1 ,morceau de ,salon4 -- ,gavotte du ,duc de ,richelieu4 7#idjf f74 -- ,sylvana4 ,menuet4 7#idjf c74 ,liszt4 ,f4 ,consolation4 7,m4,f4 #af74 ,lully4 ,j4 ,b4 ,entre de l',opra1 8,les ,songes funestes d',atys04 7,hermann1 ,c4,v4,m4 #e74 -- ,gavotte et ,rondeau d',alceste4 7,a minor74 7,hermann1 ,c4,v4,m4 #f74 ,march ,album4 ,bk4 #b4 ,edited by ,hermann4 7#hfhf b74 ,contains #e ,marches by ,beethoven1 #c by ,cherubini1 and #a by ,lesueur4 ,martini1 ,g4 ,b4 ,gavotta4 7,jensen1 ,v4 #af74 ,mendelssohn4 #d ,marches 7,wedding ,march1 ,war ,march1 ,march from ,italian ,symphony1 ,lied ohne ,worte in ,e minor74 ,bk4 #e of ,march ,albums4 7#hfhf e74 -- ,christmas ,piece4 ,op4 #gb4 ,no4 #b4 7,m4,f4 #aab74 ,meo1 ,alfonzo4 ,the ,cubanese ,dance4 ,moffat1 ,a4 ,bourre et ,musette4 ,gigue anglaise4 ,hebridean ,jorram 7,hebriden ,schifferlied74 ,mlodie lgiaque4 ,pierrette4 ,danse ,gracieuse4 ,fantasia on ,english ,airs4 ,fantasia on ,irish ,melodies4 ,mozart1 ,w4 ,a4 ,allegretto 7,sonata in ,g74 7#gcbd c74 -- ,rondo 7,sonata in ,f74 7#gcbd c74 -- ,sonata in ,d arranged from the ,pianoforte ,duet ,sonata1 ,op4 #c1 ,no4 #a1 by ,w4 ,abert4 7#aaeff74 -- ,romanze aus der 8,nacht-,musik0 7,jensen1 ,v4 #ag74 ,nlck1 ,a4 ,berceuse4 ,op4 #ib4 ,our ,favorite ,tunes4 7,hermann47 7#gchh74 ,nos4 #a1 #b1 #e and #ad belong to ,i b74 ,papini1 ,g4 ,deux ,airs ,napolitains4 ,no4 #a in ,d2 ,no4 #b in ,d4 ,pergolese1 ,g4 ,b4 ,air4 7,m4,f4 #aaf74 ,pleyel4 ,op4 #dh4 ,six ,sonatinas4 7,f4 ,hermann47 7#gedf74 ,porpora1 ,niccolo4 ,la ,chasse4 ,pianoforte ,accompaniment1 arranged from the original figured ,bass by ,a4 ,moffat4 ,poznanski1 ,j4 ,b4 ,la ,paresse4 ,rameau1 ,j4 ,p4 ,menuet et ,passepieds de 8,castor et ,pollux04 7,hermann1 ,c4,v4,m4 ,no4 #g74 -- ,rigodon 7,dardanus74 7,m4,f4 #ii74 -- ,rigodon en ,rondeau 7,dardanus74 7,m4,f4 #ajj74 ,reber1 ,h4 ,berceuse in ,g4 ,reinecke1 ,c4 ,miniature ,sonatina in ,c4 ,op4 #abb1 ,no4 #i4 -- ,sonate miniature1 in ,b minor4 -- #b ,miniature ,sonatas 7in first position74 ,op4 #bac4 ,nos4 #aa #ab4 7#gedc74 ,these four sonatinas would suitably follow those of ,gurlitt under ,i4 -- ,abendgebet4 7,m4,f4 #ah74 -- ,tears 7,thrnen74 7,m4,f4 #dj74 -- ,chant d'amour4 7,m4,f4 #ea74 -- ,farandole4 7,m4,f4 #hf74 ,rheinberger1 ,j4 ,masurek4 7,m4,f4 #bj74 ,ries1 ,f4 ,sonatinas in ,f1 in ,a minor1 and in ,c4 7,thomas74 7#gedg74 ,roeckel1 ,j4 ,l4 ,croquis musicaux4 #f ,morceaux4 #b ,books4 7#gefc a1 b74 ,no4 #a4 l'antique4 ,no4 #b4 ,mazourka-,caprice4 ,no4 #c4 ,simple ,mlodie4 ,no4 #f4 ,sous la lune4 ,nos4 #d and #e belong to ,,iii4 -- ,air du ,dauphin4 7#idjf d74 -- ,la ,kermesse de ,st4 ,cloud4 7#idjf e74 ,rubinstein1 ,a4 ,romance 7,f74 7,m4,f4 #bd74 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj;a74 -- ,entre nous4 ,morceau de ,salon4--,tristesse4--,vieille ,histoire4 ,schmitt1 ,j4 ,sonatina in ,c4 7,e4 ,thomas74 ,schubert4 ,three ,sonatinas4 7,e4 ,thomas74 7#gega74 ,no4 #a in ,d1 ,no4 #c in ,g2 ,no4 #b belongs to ,,iii4 -- ,moment musical4 7,m4,f4 #e74 -- ,ballet de ,rosamonde4 7,m4,f4 #bh74 -- ,menuet favori4 7,m4,f4 #eb74 -- ,divertissement la hongroise4 7,m4,f4 #ic74 -- ,am ,meer4 ,arr4 by ,emile ,thomas4 -- ,romance from 8,rosamonde40 ,arr4 by ,emile ,thomas4 -- ,serenade4 ,arr4 by ,emile ,thomas4 ,schubert1 ,f4 7,dresden74 ,cantabile4 7,m4,f4 #hd74 -- ,romanza espressiva4 7,m4,f4 #aja74 ,schumann1 ,r4 ,schlummerlied4 7,m4,f4 #bf74 -- 8,revery0 and 8,at the ,fireside0 7,hermann74 -- ,album4 #ef ,pieces arr4 by ,f4 ,hermann4 7#gegd74 -- ,scenes of ,childhood 7,kinderscenen74 ,easy ,pieces4 ,op4 #ae4 ,arranged by ,f4 ,hermann4 7#gege74 ,nos4 #ab and #ac belong to ,,iv4 -- ,album for the ,young 7,jugend-,album74 ,op4 #fh4 ,arranged by ,f4 ,hermann4 7#gegf74 ,no4 #d belongs to ,ia4 ,nos4 #b1 #bc and #db to ,ib4 ,no4 #bb to ,,iii1 and #cc to ,,iv4 ,schytte1 ,l4 ,berceuse4 7,m4,f4 #hb74 ,senaill1 ,j4 ,b4 ,aria in ,g minor4 7,jensen1 ,v4 #g74 -- ,sonate4 7,jensen74 7#gdje74 ,simon1 ,a4 ,berceuse4 ,edited and fingered by ,ernst ,heim4 ,smith1 ,sydney4 ,the ,lily of the ,valley1 op4 #ad4 ,arranged4 ,spohr1 ,l4 ,romanze in ,a4 7,m4,f4 #bb74 -- ,barcarolle from #c ,duettinos op4 #ace4 7#hfie74 -- ,larghetto in ,g4 7,m4,f4 #ib74 ,squire1 ,w4 ,h4 ,gavotte sentimentale4 -- ,reverie4 -- ,serenade in ,a4 -- ,bourre4 ,op4 #bd4 -- ,meditation4 ,op4 #be4 ,strelezki1 ,a4 8,l',absence01 ,mlodie4 -- ,mlodie rligieuse4 -- #d;ime ,menuet l',antique4 7,m4,f4 #ajc74 ,struss1 ,fritz4 #b ,characteristic ,pieces4 ,op4 #ab4 ,no4 #a4 ,gondoliera4 ,sutcliffe1 ,w4 ,andante in ,e4 ,tartini1 ,g4 ,larghetto 7,g minor74 7,jensen1 ,v4 #f74 ,thomas1 ,emile4 ,air de ,ballet4 -- ,danse ,lente4 -- ,sanssouci ,valse4 -- ,polka4 -- ,danse rustique4 ,light salon pieces in simple rhythms4 -- ,sonatine en ,ut 7,c74 ,tschakowsky1 ,p4 ,album of ,favourite ,pieces3-- #a4 ,mazurka2 #b4 ,sweet ,dream2 #c4 ,neapolitan ,song2 #d4 ,autumn ,song2 #e4 ,barcarolle2 #f4 ,andante cantabile2 #g4 ,chant sans paroles2 #h4 ,troka2 #i4 ,christmas4 ,edited and partly arranged by ,fr4 ,hermann4 7#geij74 ,nos4 #a1 #f1 #g1 #h and #i belong to ,,ii4 -- ,chanson triste4 7,m4,f4 #he74 -- ,chant sans ,paroles4 7,m4,f4 #bg74 ,valle de ,paz1 ,e4 del4 ,op4 #bi1 ,no4 #b4 ,minuet4 ,veracini1 ,a4 ,sonata in ,a minor4 7,g4 ,jensen47 7#gdaf74 ,veracini1 ,f4 ,m4 ,minuet4 7,jensen1 ,v4 #e74 -- ,sarabanda e ,danza rustica4 7,moffat47 7#gehi74 ,volkmann1 ,r4 ,musical ,picture ,book4 ,arranged by ,f4 ,hermann3-- ,no4 #d4 ,on the ,lake4 7,m4,f4 #fb74 ,no4 #f4 ,the ,shepherd4 7,m4,f4 #fd74 ,weber1 ,c4 ,m4 von4 ,lonely4 7,krug47 -- ,maienblmchen4 7,f4 ,hermann74 7,m4,f4 #aje74 -- ,sonatina in ,c for #d hands1 arranged4 7,abert47 7#aagfe74 ,witting1 ,c4 ,andante alla ,siciliana4 ,wolfermann1 ,a4 ,fantasia ,no4 #a in ,g1 ,no4 #b in ,g4 ,melodious pieces1 containing excellent practice4 -- ,romance4 ,no4 #a of #c pieces4 ,step ,,iii4 ,first five ,positions4 ,palaestra4 ,a ,collection of ,pieces1 ,sonatas1 ,suites1 and ,concert ,pieces1 for ,violin ,solo with ,pianoforte ,accompaniment3 arranged in progressive order1 carefully marked and annotated by ,ernst ,heim3-- ,book ,,va4 ,pieces with change from first to fourth position1 by ,lachner1 ,gurlitt1 ,hofmann1 and ,moffat4 ,piece with change from first to fifth position1 by ,lully4 7#aadge;a74 ,book ,,vb4 ,pieces up to the fifth position1 by ,spohr1 ,geminiani1 ,mozart1 and ,handel4 7#aadge;b74 ,book ,,vc4 ,supplement to ,books ,a and ,b4 ,pieces by ,liszt1 ,jensen1 ,heller1 ,gade1 and ,david4 7#aadge;c74 ,palaestra1 a collection of graduated pieces1 revised by ,ernst ,heim1 offers the most suitable material for the study of style and phrasing2 each book corresponds in difficulty with the same book of his ,violin ,duets4 8,arena01 see page #abd1 and his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aad4 ,album de ,danses4 ,vols4 #a and #b1 containing some of the most celebrated dances by ,johann and ,josef ,strauss4 7#gcai;a1 b74 ,album pour ,violon et ,piano4 #ae ,vols4 ,arranged by ,f4 ,hermann4 7#gcbb a-n74 ,a number of favourite pieces1 such as ,rubinstein's 8,melody in ,f01 ,raff's 8,cavatina01 etc41 are contained in these books1 the majority being suited to ,,iii1 but a few to the next ,step4 ,arensky1 ,a4 ,serenade in ,g4 7,m4,f4 #ajb74 ,bach1 ,j4 ,s4 ,air and ,gavotte 7from the ,orchestral ,suite in ,d74 7,jensen1 ,v4 #a74 -- ,andante4 7,sonata in ,a minor1 ,no4 #c47 7,jensen1 ,v4 #ac74 -- ,concertos in ,a minor and ,e minor4 -- ,largo from a flute ,sonata4 7,jensen1 ,v4 #bj74 -- ,siciliano from a flute ,sonata4 7,jensen1 ,v4 #ba74 -- ,sonata in ,g minor4 7#gdcd74 -- #c ,tonstze1 arr4 von ,h4 ,henkel4 7#a4 ,berceuse2 #b4 ,sarabande2 #c4 ,toccata47 7#gcbf74 ,barthlemon1 ,e4 ,h4 ,sonata in ,e minor4 7#gdba74 ,batiste1 ,e4 ,voix cleste4 7,m4,f4 #gj74 ,becker1 ,j4 ,romance4 7,m4,f4 #db74 ,beethoven-,album4 7,arranged by ,f4 ,hermann74 7#gcbi74 ,beethoven4 #b ,romances in ,g and ,f4 7,jensen1 ,v4 #aj1 #aa74 7#gcca74 ,two of the choicest gems of violin literature4 ,one of the best and clearest editions is that fingered and edited by ,g4 ,jensen4 ,benda1 ,franz4 #hth ,sonata in ,a minor4 7#gdcc74 ,bennet1 ,w4 ,sterndale4 ,overture1 8,parisina04 7#hfga;a74 -- ,overture1 8,the ,naades04 7#hfga;b74 -- ,overture1 8,the ,wood ,nymphs04 7#hfga;c74 ,briot1 ,c4 de4 #fme ,air vari4 7#gcce74 -- #gme ,air vari4 7#gcch74 -- #ab ,mlodies ,italiennes4 #b ,bks4 7#gccd;a1 b74 -- ,la ,verginella4 7,m4,f4 #hg74 ,blagrove1 ,stanley4 ,rverie4 ,borch1 ,gaston4 ,berceuse in ,g4 ,op4 #ej4 -- ,romance in ,g4 ,op4 #eg4 7#aacbf74 ,borders1 ,w4 ,morceau l',irlandaise4 ,op4 #hg4 -- ,romance and ,bolero4 ,op4 #hh4 ,duo ,concertante4 ,borghi1 ,l4 ,sonata ,no4 #b1 in ,a major4 7#gdac74 -- ,sonata ,no4 #d1 in ,g minor4 7#gdad74 ,brahms1 ,j4 ,op4 #ci4 ,walzer4 7#idjb74 -- ,ungarische ,tnze4 #d ,bks474 ,simplified arrangement by ,f4 ,hermann4 ,brauer1 ,max4 ,meditation on 8,little ,study01 by ,schumann 7,ernst ,heim74 ,burgmller4 ,nocturne4 7,m4,f4 #ia74 ,campagnoli4 ,etude4 7,hermann1 ,c4,v4,m4 #c74 ,chamber ,music4 ,edited by ,h4 ,holmes4 ,a selection from the ,solo ,sonatas of ,corelli1 ,tartini1 ,bach and ,handel4 7#hfgi74 ,chopin1 ,f4 ,mazurka4 7,m4,f4 #cd74 -- ,marche funbre4 7,m4,f4 #hi74 ,corelli1 ,a4 #ab ,sonatas4 ,op4 #e 7,gustav ,jensen74 ,bound1 with ,portrait4 7#gced9974 ,part ,i4 7,sonatas #a to #f74 7#gced;a74 ,part ,,ii4 7,sonatas #g to #ab74 7#gced;b74 ,the accompaniments to these beautiful ,sonatas are the work of a true artist1 who1 with all the technical resources at his command1 worked in reverential spirit with regard to the style and character of the old ,master4 ,the accompaniments are varied and very interesting in their wealth of contrapuntal device and figuration4 ,the careful way in which all the ornaments are written out1 and the bowing and fingering add still further to the value of this fine edition4 ,the same work in ,score by ,joachim and ,chrysander3-- ,livre ,,iii4 ,op4 #e1 ,parte ,prima3 #f ,sonate a ,violino ,solo e ,violone1 o ,cembalo4 ,parte ,seconda3 ,preludii1 ,allemande1 ,correnti1 ,gighe1 ,sarabande1 ,gavotte e ,follia a ,violino ,solo e ,violone1 o ,cembalo4 7#dicf;c74 -- ,follia con variazioni4 7,g4 ,jensen74 7#gdai74 ,after a lapse of two centuries the study of ,corelli is still indispensable4 ,the above new edition has been admirably done by ,g4 ,jensen1 who has availed himself of the ornaments as played by ,corelli4 ,danb1 ,j4 ,mazurka de ,salon4 ,david1 ,ferd4 #f ,salonstcke4 ,op4 #bd4 ,revised by ,fr4 ,hermann4 7#gcdi74 -- ,op4 #cj4 8,bunte ,reihe04 7,f4 ,hermann74 7#gcfc;a1 b74 #bd pieces in two books4 ,no4 #a is an attractive ,scherzo4 ,no4 #e1 a graceful ,gondellied4 ,no4 #af1 a good wrist study1 ,no4 #bd1 an equally good staccato leggiero study4 ,in others1 the keys of #e and #f sharps and flats are freely used4 -- ,romance in ,f sharp major 7original key74 -- ,romance in ,f major 7transposed74 -- ,scherzo4 7,m4,f4 #b74 -- ,ungarisch4 ,op4 #cj1 ,no4 #ai4 7,fr4 ,hermann74 ,de-,angelis1 ,g4 ,andante religioso4 ,op4 #g4 -- ,biondina4 ,mlodie4 ,op4 #aj4 -- ,petite ,lgende4 ,del ,valle de ,paz1 ,e4 #c ,capricci4 ,op4 #ae4 7#gcfb74 -- ,op4 #bh1 ,no4 #a4 ,srnade ,italienne4 -- ,op4 #cb1 ,album4 7,improvisation1 ,tarantelle1 ,melodie1 ,adieu1 ,serenatella1 ,canzonetta amorosa1 ,bourre1 ,mazurka47 7#gcfd74 ,delibes1 ,l4 8,sylvia04 ,introduction and ,valse ,lente4 -- 8,sylvia04 ,barcarolle and ,pizzicati4 ,arranged by ,m4 ,marsick4 ,dobrzynski1 ,i4 ,f4 ,les ,larmes4 7,m4,f4 #ajd74 ,dunkler1 ,e4 ,morceau de ,salon1 revised by ,hermann4 7,m4,f4 #dh74 ,dussek4 ,op4 #fi1 ,no4 #a4 ,sonata in ,b4 7,e4 ,thomas47 7#gcfj74 ,a very favourite work4 ,dvorak4 ,op4 #ae4 ,ballade4 7#gcfe74 ,ellerton4 ,duo in ,d minor4 ,op4 #ef4 7#hfge74 ,ersfeld1 ,c4 ,op4 #ae4 ,romance in ,b4 7#gcgc74 ,gabriel-,marie4 ,srnade ,badine4 ,gade1 ,n4 ,w4 ,op4 #f4 ,sonata in ,a4 7#gcfi74 -- ,op4 #ba4 ,sonata in ,d minor4 7#gcgd74 ,geminiani1 ,f4 ,sonatas ,no4 #a in ,a major 7#gdja71 ,no4 #b in ,b minor 7#gdjb71 ,no4 #h in ,d minor 7#gdaa74 -- ,selected ,sonata movements4 7#gdab74 ,german1 ,edward4 ,song without ,words4 7#aadda74 -- ,saltarelle4 7#gcgj74 -- ,three ,dances from 8,henry ,,viii04 ,godard1 ,b4 ,berceuse de 8,jocelyn04 ,goltermann4 ,op4 #ac4 #b ,salon ,pieces4 7,les ,adieux and ,le ,rve47 7#aiif74 -- ,berceuse4 ,gounod1 ,c4 ,serenade4 7,m4,f4 #gb74 -- ,meditation on ,bach's #ast ,prelude4 7,m4,f4 #aah74 ,grieg1 ,e4 ,christmas ,song1 arr4 by ,f4 ,hermann4 7,m4,f4 #aaj74 ,guillaume4 ,op4 #d4 ,mlancolie2 ,romance4 ,gurlitt1 ,c4 ,op4 #acd4 ,sonatinas3-- ,no4 #a1 in ,a major 7#gcgb;a72 ,no4 #b1 in ,f 7#gcgb;b74 ,true and unsophisticated melody distinguish these two ,sonatinas4 ,the ,andante of the first is particularly fine4 ,handel4 ,largo4 ,aria1 8,ombra mai fu01 arr4 by ,r4 ,hofmann4 -- ,sonatas in ,a 7#gdbb71 in ,g minor 7#gdbf71 in ,d 7#gdbg71 in ,e 7#gcgg74 -- ,suites ,nos4 #a and #b4 7,jensen74 7#gcgh;a1 b74 ,these ,suites belong to ,,ii except for a bar in each4 ,hartog4 8,home1 sweet home04 ,variations4 7#gchj74 -- ,berceuse1 ,ier ,morceau de ,salon4 ,hauser1 ,m4 ,le ,dsir4 7,m4,f4 #d74 -- ,le ,rve4 7,m4,f4 #aa74 -- ,barcarolle4 7,m4,f4 #ed74 -- ,hungarian ,dance4 -- #f ,songs without ,words4 7#gejf74 ,melodious and characteristic salon pieces4 ,haydn4 ,variations 8,gott erhalte ,franz den ,kaiser04 7,thomas74 ,heller ,ernst4 ,penses fugitives4 7,fr4 ,hermann73-- ,bk4 ,i4 7,pass1 ,souvenir1 ,romance1 ,lied1 ,agitato1 c474 7#gchf;a74 ,bk4 ,,ii4 7,rverie1 ,un ,caprice1 ,inquitude1 ,prire pendant l'orage1 ,intermezzo1 and ,thme original et variations74 7#gchf;b74 ,brilliant and fanciful4 ,very grateful drawing room pieces4 ,heller1 ,stephen4 ,rondeau4 7,m4,f4 #hh74 ,henkel1 ,h4 ,gavotte moderne4 ,op4 #ha4 ,hermann4 ,dance ,movements from the works of ,great ,masters4 ,the following may be taken in this ,step3-- ,beethoven4 ,allegretto1 7#gchg f73 ,haydn4 ,nachtwchter ,menuett4 7#gchg c73 ,marschner4 ,tanzmusik4 7#gchg;i73 ,monsigny1 ,chaconne4 7#gchg m73 ,mozart4 ,all',ongarese4 7#gchg g73 ,mozart4 ,minuet4 7#gchg e73 ,rameau4 ,chaconne and ,musette4 7#gchg k74 ,herrmann1 ,e4 ,op4 #ab4 ,barcarolle4 7#hfgh74 ,hoffmann1 ,j4 ,bolero4--,danse des sorcires4--,zingaresca1 ,morceau caractristique4--,robin ,adair4 ,fantaisie brillante4 ,hofmann1 ,richard4 ,short ,study 7,kleine ,studie74 ,op4 #aaj1 ,no4 #b4 ,hollnder1 ,v4 ,polonaise4 7#aaeja74 ,hurlstone4 ,w4 ,sonata in ,d minor4 7#gejg74 ,ireland1 ,john4 ,berceuse4 ,jensen1 ,a4 ,trumerei4 ,as arranged by ,wilhelm2 this makes a fine solo for the fourth string4 -- ,serenade 7,stndchen74 ,arranged by ,hermann4 7,m4,f4 #eh74 -- ,wanderbilder4 ,nos4 #g1 #aj and #aa4 7#babi a1 b74 ,jensen1 ,g4 ,op4 #be4 ,suite in ,a minor4 7#hfhj74 ,prlude from the same4 ,barcarolle from the same4 -- ,op4 #bh4 ,three ,pieces4 -- ,op4 #ca4 #c ,morceaux ,caractristiques4 7#gcid74 -- ,op4 #cf4 #bnd ,romance in ,b4 -- ,op4 #ch4 ,berceuse4 ,kayser4 #cf ,elementary and ,progressive ,studies4 ,op4 #bj 7introductory to those of ,kreutzer71 revised by ,e4 ,heim4 ,book ,,iii4 7#gcig c74 ,kjerulf1 ,h4 ,frhlingslied4 7,m4,f4 #ge74 ,kreuz4 ,e4 8,frhlingsgedanken40 ,op4 #i4 7#geaj74 -- ,four ,pieces4 ,op4 #bh4 7#geag74 -- ,cavatina in ,e4 ,op4 #dd4 ,no4 #a4 -- ,srnade napolitaine4 ,op4 #dd1 ,no4 #c4 -- ,le rve4 ,morceau4 ,op4 #de4 ,no4 #c4 ,kcken1 ,f4 #f ,duos4 7#hfha a-f74 ,kuhlau4 ,op4 #hh4 #d ,sonatinas4 ,nos4 #b1 #c and #d4 7#gcii74 ,lachner1 ,ignaz4 ,morceaux de ,salon4 ,op4 #ic3-- ,no4 #a4 ,nocturne4 ,leclair1 ,j4 ,m4 ,andante1 ,gavotta e ,minuetto4 7,jensen1 ,v4 #ah74 -- ,sarabanda and ,tambourino4 7,jensen1 ,v4 #d74 -- ,tambourin4 7,hermann1 ,c4,v4,m4 #h74 -- ,sonate ,,iv4 7,g4 ,jensen74 7#gbde74 ,le ,jeune1 ,a4 ,coronation ,march4 ,loeschhorn1 ,a4 ,a ,child's ,dream 7,des ,kindes ,traum74 ,characteristic piece1 arranged by ,ernst ,heim4 ,loew1 ,j4 ,albumblatt4 7,m4,f4 #f74 ,lully1 ,j4 ,b4 ,gavotte in ,d minor4 7,hermann1 ,c4,v4,m4 #aj74 ,mac ,cunn1 ,hamish4 ,op4 #cj4 8,highland ,memories01 ,suite of #c ,scottish ,scenes3 8,by the ,burnside01 8,on the ,loch0 and 8,harvest ,dance04 7#gebj74 ,three interesting and quite uncommon pieces4 -- ,three ,romantic ,pieces4 ,op4 #bg4 ,no4 #a4 ,l',esprance4 ,no4 #b4 ,srnade4 ,no4 #c4 ,rve d'amour4 ,mackenzie1 ,a4 ,c4 ,op4 #cg1 ,nos4 #c and #d 8,benedictus0 and 8,zingaresca04 ,mallard1 ,c4 8,sehnsucht und ,hoffnung04 ,march ,album4 ,bks4 #c and #d4 ,edited by ,hermann4 7#hfhf;c1 d74 ,martini1 ,g4 ,b4 ,siciliana4 7,jensen1 ,v4 #ae74 ,matras1 ,maud4 ,ballade4 ,op4 #h4 7#gecd74 ,mendelssohn4 ,op4 #d4 ,adieu ,berlin4 7#hfhc74 ,moffat1 ,alfred4 ,la ,gracieuse4 ,mazurka4 -- ,lgende4 -- ,mazurka hongroise4 -- ,fantasia on ,scottish ,melodies4 ,molique1 ,b4 #f ,morceaux ,caractristiques4 ,op4 #da4 7,ernst ,heim74 7#aaefb74 -- ,op4 #dg4 #f ,mlodies4 #b ,books4 7#idje;a1 b74 ,no4 #f is especially piquant4 ,monsigny4 ,rigaudon4 7#gchg;d74 ,moszkowski1 ,m4 ,op4 #h4 #e ,valses4 7#gebg7 -- ,op4 #ba4 ,album ,espagnol4 7#gebi74 ,arranged by ,e4 ,thomas from the piano duets4 -- ,op4 #bc4 8,from ,foreign ,parts04 7,e4 ,thomas74 7#geca7 -- ,mlodie4 7,m4,f4 #a74 ,mozart1 ,w4 ,a4 #ah ,sonatas4 ,mozart's sonatas1 although presenting no special technical difficulties1 require great delicacy and refinement in rendering4 ,nos4 #h1 in ,c1 #aa1 in ,g1 and #ah1 in ,f1 might be first studied4 -- ,andante1 ,minuet and ,rondo 7,haffner ,serenade74 7#gdah74 -- ,larghetto1 from clarionet ,quintet4 7,jensen4 ,v4 #ad74 -- ,andante in ,e 7,sonata in ,b74 7#gcbd;b74 -- ,adagio1 edited by ,e4 ,heim4 7#aaefg74 -- ,adagio4 7,m4,f4 #id74 ,nicod1 ,j4 ,l4 ,barcarolle4 7,m4,f4 #ca74 ,noskowski1 ,s4 ,op4 #bc4 ,cracovienne ,mlancolique4 7,m4,f4 #gg74 -- ,op4 #bg4 ,cracovienne in ,a4 7,m4,f4 #gd74 ,papini1 ,guido4 ,trois ,morceaux de ,salon4 7#hfhe73-- ,no4 #a4 ,gavotte4 ,no4 #b4 ,romance sans ,paroles4 ,no4 #c4 ,scherzettino4 ,papini's compositions belong to the better class of salon music1 being especially melodious and attractive4 ,pfeiffer1 ,g4 ,op4 #gg4 ,gigue dans le genre ancien4 7,thomas74 7#aafcj74 ,pitt1 ,percy4 ,canzonetta4 ,op4 #h1 ,no4 #a4 ,pleyel4 ,op4 #dd4 7,hermann74 7#gedd74 ,pugnani1 ,g4 ,sonata in ,e4 7#gdjd74 ,raff1 ,joachim4 ,pastorale4 ,op4 #he4 ,no4 #b4 -- ,chanson suisse4 7,m4,f4 #ajf74 ,renard1 ,f4 ,berceuse4 7,m4,f4 #dd74 ,ries4 ,romance4 7,m4,f4 #i74 ,ritter4 ,operatic ,duets4 ,the following can be taken in this ,step3--,sonnambula1 7#idjg;c72 ,la ,favorite1 7#idjg;d72 ,lucia di ,lammermoor1 7#idjg;e72 ,zampa1 7#idjg;f72 ,zauberflte1 7#idjg;g72 ,lohengrin1 7#idjg;h72 ,tannhuser1 7#idjg;i72 ,oberon1 7#idjgk72 ,taming of the ,shrew1 7#idjgl72 ,flying ,dutchman1 7#idjgm72 ,fra ,diavolo 7#idjg;a74 ,rode1 ,p4 ,op4 #aj4 ,air ,vari4 7,jensen ,v4 #ab74 7#hfia74 ,roeckel1 ,j4 ,l4 ,croquis musicaux4 ,no4 #d4 ,thme dansant4 ,no4 #e4 ,dans la barque4 ,rubinstein1 ,a4 #c ,salon ,pieces1 ,op4 #aa1 edited by ,e4 ,heim3 ,allegro appassionato4 7#gefb;a74 ,andante4 7#gefb;b74 ,allegro4 7#gefb;c74 -- ,romance 7,e flat74 7,m4,f4 #cg74 -- ,mlodie4 7,m4,f4 #da74 -- ,russian ,songs4 7,m4,f4 #fg74 -- ,barcarolle4 7,m4,f4 #ajg74 ,saint-,george1 ,g4 ,dsir4 -- ,canzonetta4 ,scharwenka1 ,x4 ,op4 #bj4 ,tone ,pictures4 7#idjh74 -- ,danse ,polonaise4 7,m4,f4 #bc74 ,scholtz1 ,h4 #c ,albumbltter4 7,m4,f4 #dg74 ,schubert1 ,f4 ,sonatine1 ,op4 #acg1 ,no4 #b1 in ,a minor4 ,revue et doigte par ,emile ,thomas4 -- ,ave ,maria4 ,arr4 by ,emile ,thomas4 ,schubert1 ,f4 7of ,dresden74 ,l',abeille 7,the ,bee74 -- ,allegretto grazioso4 7,m4,f4 #hc74 ,schumann4 ,op4 #id4 #c ,romances4 7#geha74 -- ,abendlied4 7,m4,f4 #c74 -- ,op4 #ajb4 #e ,stcke im ,volkston4 7#gehc74 -- ,op4 #aac4 ,mrchenbilder4 7#gehd74 -- ,warum4 7,m4,f4 #ij74 ,simonetti1 ,a4 ,rverie4 ,somervell1 ,arthur4 ,whims4 7,no4 #c of #c ,original ,pieces74 ,somis1 ,g4 ,b4 ,adagio and ,allegro4 7#gdjc74 ,spohr1 ,l4 ,barcarole4 7,m4,f4 #cj74 -- ,alla ,tedesca4 7,m4,f4 #ci74 ,squire1 ,w4 ,h4 ,serenade4 ,op4 #ae4 7#gabb b74 -- ,op4 #bf4 ,humoresque4 -- ,gavotte humoristique4 7#gehf74 ,strelezki1 ,a4 ,appassionata4 -- 8,asphodel01 ,chant sans paroles4 -- ,cavatina en ,r majeur4 -- ,romanza in ,e flat4 -- ,en ,valsant4 ,struss1 ,fritz4 #b ,characteristic ,pieces4 ,op4 #ab3-- ,no4 #b4 ,idylle4 ,sutcliffe1 ,w4 ,romance4 ,svendsen1 ,j4 ,s4 ,op4 #bf4 ,romance in ,g4 7#gehg74 ,tartini4 ,andante ,cantabile 7#hth ,sonata74 7,jensen4 ,v4 #h74 -- ,giga in ,d4 7,jensen4 ,v4 #i74 -- ,sonatas ,nos4 #d and #aj of ,op4 #a4 7#gdjg74 -- ,sonata ,no4 #h in ,c minor4 7#gdjh74 -- ,sonata in ,c major1 and ,giga in ,d4 7#gdji74 -- ,pastorale4 ,hermann1 ,c4,v4,m4#b74 ,thirlwall4 ,favourite ,airs1 with ,variations3-- ,no1 #f4 ,old ,english ,song 7,malibran's ,favourite74 7#idab f74 ,good study for the bow4 ,thomas1 ,emile4 #are ,fantasie sur les ,airs cossais4 -- #b;de ,fantasie sur les ,airs cossais4 -- ,danse ,sicilienne4 -- ,danse des ,fes4 -- ,lgende4 -- ,mditation rligieuse4 ,thom1 ,f4 ,op4 #be4 ,simple ,aveu4 ,tschakowsky4 ,andante ,cantabile4 7,m4,f4 #de74 -- ,romance1 7,m4,f4 #ha74 -- ,troika4 7,m4,f4 #gf74 -- ,album of ,favourite ,pieces3-- #a4 ,mazurka4 #b4 ,sweet ,dream4 #c4 ,neapolitan ,song4 #d4 ,autumn ,song4 #e4 ,barcarolle4 #f4 ,andante cantabile4 #g4 ,chant sans paroles4 #h4 ,troka4 #i4 ,christmas4 ,edited and partly arranged by ,fr4 ,hermann4 7#geij74 ,nos4 #b4 #c4 #d4 and #e ,,iii4 ,veracini1 ,f4 ,m4 ,concert ,sonata in ,e minor4 7#gdbd74 ,vivaldi1 ,a4 ,sonata in ,a4 7#gdbc74 ,vieuxtemps1 ,h4 ,op4 #dj4 ,no4 #a4 ,romance in ,f4 ,volkmann1 ,r4 ,hungarian ,sketch4 7,m4,f4 #ch74 -- ,the ,knights4 7,m4,f4 #df74 -- ,musical ,picture ,book 7arranged by ,hermann74 ,nos4 #b1 8,the ,postillion03 #c4 ,the ,russians are coming3 #e4 8,the ,cuckoo and the ,wanderer04 ,wagner1 ,r4 ,album-,leaf4 7#hfii74 -- ,rienzi's ,prayer4 7,m4,f4 #fe74 -- ,spinning ,song 7from ,flying ,dutchman74 7,m4,f4 #fh74 ,walger1 ,carl4 ,serenade4 ,weber1 ,c4 ,m4 von4 ,invitation la ,valse4 7,thomas74 ,wieniawski4 ,op4 #ab4 ,no4 #b4 ,chanson polonaise4 7#gdid74 -- 8,kuyawiak01 #b;de ,mazurka4 7#gdic74 -- ,gigue4 7#gdib74 ,effective and brilliant pieces4 ,no4 #a of ,op4 #ab belongs to ,,iv4 ,wilhelmj1 ,a4 ,walter's ,preislied 7from the 8,meistersinger074 ,werst1 ,r4 ,op4 #be4 ,two ,romances4 ,wurm1 ,marie4 ,estera ,gavotte4 7,m4,f4 #gi74 ,step ,,iv4 ,all ,positions4 ,palaestra4 ,a ,collection of ,pieces1 ,sonatas1 ,suites1 and ,concert ,pieces for ,violin solo with ,pianoforte accompaniment2 arranged in progressive order1 carefully marked and annotated by ,e4 ,heim3-- ,book ,,via4 ,pieces up to the sixth position1 by ,max ,brauer1 ,c4 ,gurlitt1 and ,j4 ,s4 ,bach4 7#aadgf;a74 ,book ,,vib4 ,pieces up to the seventh position1 by ,e4 ,thomas1 ,r4 ,orlando ,morgan1 and ,j4 ,hoffmann4 7#aadgf;b74 ,book ,,vic4 ,supplement to ,books ,a and ,b4 ,pieces by ,c4 ,ersfeld1 ,c4 ,gurlitt1 ,b4 ,molique1 ,m4 ,hauser1 and ,a4 ,strelezki4 7#aadgf;c74 ,book ,,viia4 ,pieces up to the thirteenth position by ,a4 ,strelezki1 ,p4 ,rode1 de ,angelis1 and ,a4 ,moffat4 7#aadgg;a74 ,book ,,viib4 ,pieces up to the thirteenth position by ,beethoven1 ,baillot1 de ,angelis1 and ,g4 ,papini4 7#aadgg;b74 ,book ,,viic4 ,supplement to ,books ,a and ,b4 ,pieces by ,molique1 ,mazas1 and de ,briot4 7#aadgg;c74 ,palaestra1 a collection of graduated pieces1 revised by ,ernst ,heim1 offers the most suitable material for the study of style and phrasing2 each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena01 see page #abe and his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aae4 ,bach1 ,j4 ,s4 ,aria from the ,suite for ,orchestra1 arranged as a ,concert ,piece on the fourth string by ,ernst ,heim4 ,bache1 ,f4 ,e4 ,romance4 ,op4 #ba4 7#gffd74 ,baillot1 ,p4 ,rondo sur un ,air ,moldavien4 7,hermann1 ,c4,v4,m4#d74 ,becker1 ,a4 ,op4 #bj4 ,adagio4 7#bjgh74 ,beer-,walbrunn4 ,op4 #c4 ,short ,fantasia in ,g min4 7#bicj74 ,beethoven4 #f ,quartets4 ,op4 #ah4 ,f1 ,g1 ,d1 ,c minor4 ,a and ,b flat4 ,arranged by ,f4 ,hermann4 7#gcda-f74 ,beethoveniana4 #c ,bks4 ,extracts from the pianoforte ,sonatas1 arranged for violin and piano by ,f4 ,hermann4 7#gccj;a-c74 ,briot1 ,c4 de4 ,op4 #cb4 #bnd ,concerto in ,b minor4 -- ,op4 #ajj4 ,scne de ,ballet 7,e4 ,heim74 ,bortniansky4 ,adoration4 7,m4,f4 #aaa74 ,coleridge-,taylor1 ,s4 ,op4 #i4 ,two ,romantic ,pieces1 8,lament0 and 8,merry-making04 7#gceb74 -- ,op4 #ad4 ,legend 7from the ,concertstck71 7#gcec74 ,of decided originality2 for musically gifted students only4 -- ,valse-,caprice4 ,op4 #bc4 7#gceh74 -- ,danse ngre1 from 8,african ,suite40 ,op4 #ce4 7#fajj;d74 -- ,a ,negro ,love-,song4 ,op4 #ce1 ,no4 #b4 7#gcei;b74 ,corelli4 ,adagio and ,allegro4 7,hermann1 ,c4,v4,m4 #a74 ,cui1 ,csar4 ,berceuse4 ,danb1 ,j4 ,berceuse4 ,david1 ,ferd4 ,etude4 7,m4,f4 #cf74 ,de-,angelis1 ,g4 ,pense mlancolique4 ,op4 #h4 ,ernst4 ,elegy4 7#gcff74 ,field4 ,nocturnes 7,hermann74 7#babh74 ,fleurs des ,opras4 ,tannhuser4 7,courvoisier74 7#gdgj74 ,goltermann1 ,g4 ,berceuse4 7,m4,f4 #aji74 ,gounod4 ,faust4 ,potpourri by ,r4 ,hofmann4 7#edde c74 ,gurlitt1 ,c4 ,op4 #aje4 ,ouverture des ,marionettes4 7#gcga74 -- ,op4 #acg4 8,commedietta0 ,ouverture4 7#hfgf74 ,grieg1 ,e4 ,op4 #h4 ,sonata in ,f4 -- ,op4 #ac4 ,sonata in ,g minor 7#gebb74 -- ,op4 #de4 ,sonata in ,c minor4 ,three of the freshest and most poetical of modern sonatas4 ,hartog1 ,henri4 ,prire1 #cme ,morceau de ,salon4 -- ,rverie1 #b;d ,morceau de ,salon4 ,hauser1 ,m4 ,chanson de ,berceau4 7,m4,f4 #ec74 -- ,ungarisch4 7,m4,f4 #ga74 ,haydn4 ,andante4 7,m4,f4 #ig74 ,heller1 ,stephen4 ,feuillet d',album4 ,transcrit par h4 ,w4 ,ernst4 7,e4 ,heim74 ,henselt1 ,a4 ,chant d'amour4 7,m4,f4 #bi74 ,hiller1 ,f4 ,zur ,guitarre4 7,m4,f4 #di74 ,hoffmann1 ,j4 ,bourre2 ,gavotte4 ,hofmann1 ,richard4 ,potpourris on ,popular ,melodies from classical and modern ,operas and ,oratorios1 arranged by ,r4 ,hofmann3-- ,wagner4 ,der fliegende ,hollnder4 7#edch c74 ,wagner4 ,lohengrin4 7#edci c74 ,wagner4 ,rienzi4 7#eddj c74 ,wagner4 ,tannhuser4 7#edda c74 ,rossini4 ,il ,barbiere di ,seviglia4 7#eddb c74 ,rossini4 ,guillaume ,tell4 7#eddc c74 ,auber4 ,masaniello4 7#eddd c74 ,gounod4 ,faust4 7#edde c74 -- #h ,vortragsstcke4 ,op4 #ajc3-- ,no4 #b4 ,barcarola4 #c4 ,aria4 #d4 ,bolero4 #f4 ,zigeunertanz4 #g4 ,cavatina4 #h4 ,perpetuum mobile4 ,hollnder1 ,g4 ,op4 #ej4 ,waldmrchen4 ,jensen1 ,gustav4 ,op4 #ci4 ,capriccio4 ,jensen1 ,g4 ,bolero in ,d minor4 ,kalliwoda1 ,j4 ,w4 ,op4 #bcg4 ,lndler4 7,m4,f4 #eg74 ,kreuz1 ,e4 ,op4 #bj4 ,barcarolle1 from ,concerto4 ,lassen1 ,e4 ,liederstrauss4 7,m4,f4 #ej74 ,belongs to ,,iii1 except the opening on the ,g string4 ,leclair4 8,le ,tombeau04 ,sonata4 7#gdbh74 ,molique1 ,b4 #f ,melodies4 ,op4 #cf4 7,ernst ,heim74 7#aaefa74 ,moffat1 ,a4 ,mlodie amoureuse4 -- ,punchinello4 ,gavotte4 ,morgan1 ,r4 ,orlando4 ,ballade4 ,op4 #bh4 ,moszkowski1 ,m4 ,op4 #ag1 ,no4 #b4 ,minuet 7,e4 ,thomas74 -- ,op4 #bc4 8,les ,nations0 7arranged by ,nachz74 7#gecj74 ,a less difficult arrangement by ,e4 ,thomas is also published4 7#geca74 -- ,valse brillante4 ,arranged by ,emile ,thomas4 7#gecb74 ,mozart1 ,w4 ,a4 ,adagio and ,rondo4 7#gdbj74 ,noskowski1 ,s4 ,dumka4 ,op4 #bi4 7,emile ,thomas47 -- ,zingaresca4 ,op4 #bg4 7,m4,f4 #hj74 -- ,les ,larmes4 ,op4 #cf1 ,no4 #a4 ,palmer1 ,g4 ,a ,dream4 ,nocturne4 ,papini1 ,g4 ,deux ,airs ,sudois4 7#aafbb74 ,parkyns1 ,beatrice4 ,berceuse4 ,popper1 ,d4 ,romance4 7#gedh74 ,rachmaninoff1 ,s4 ,romance in ,d minor4 -- ,hungarian ,dance4 ,raff1 ,joachim4 ,six ,morceaux4 ,op4 #he3--,no4 #a1 ,marcia2 ,no4 #c1 ,cavatina2 ,no4 #d1 ,scherzino2 ,no4 #e1 ,canzona2 ,no4 #f1 ,tarantella4 ,these pieces dedicated to the late ,ludwig ,straus are gems of violin literature4 ,the ,cavatina is one of the most popular violin pieces4 -- ,mditation4 7,m4,f4 #be74 -- ,op4 #gc1 #gh1 #abh1 #abi1 #ade4 #e ,sonatas4 7#befh a-e74 ,some movements of these fine ,sonatas belong to ,v4 ,reger1 ,max4 ,op4 #a4 ,sonata in ,d minor4 7#gece74 -- ,op4 #c4 ,sonata in ,d major4 7#gecf74 ,rode4 ,concerto ,no4 #g4 ,rubinstein1 ,a4 ,op4 #ac4 ,sonata in ,g4 ,one of the composer's most genial works4 -- ,sonata in ,d4 ,op4 #ah4 7#gefd74 ,saint-,george1 ,g4 ,chant sans ,paroles4 ,sauret1 ,e4 ,souvenir d',orient4 #f ,morceaux1 ,op4 #fc3-- ,book #a4 ,souvenir de ,constantinople4 ,danse et ,ronde4 7#aafid a74 ,book #b4 ,la ,revue1 ,gondoliera et ,a ,pra4 7#aafid b74 ,interesting pieces1 full of oriental colouring4 -- ,morceaux caractristiques4 ,op4 #dg3-- ,no4 #a1 ,canzona2 ,no4 #b1 ,impromptu4 -- ,scnes ,villageoises4 ,op4 #ej4 #e ,morceaux de ,salon3-- ,no4 #a1 ,le ,matin2 ,no4 #b1 ,pastorale2 ,no4 #c1 ,vieille chanson2 ,no4 #d1 ,danse2 ,no4 #e1 ,idylle4 ,scharwenka1 ,xaver4 ,op4 #c4 ,cinq ,danses polonaises4 ,arranged by ,g4 ,hollnder3-- ,no4 #b 7,f sharp minor72 ,no4 #c 7,d major74 ,nos4 #a1 #d and #e belong to ,v4 -- ,phantasiestck4 7,m4,f4 #cc74 ,schubert4 ,op4 #gj1 #aei1 #afj and #afb4 ,schumann4 ,op4 #aje and #aba1 ,sonatas in ,a minor and ,d minor4 7#gegi1 #gehj74 -- ,op4 #gc4 ,fantasiestck4 ,simonetti1 ,a4 ,mazurka4 ,sinding4 ,op4 #aj4 ,suite4 7#bdgg74 -- ,op4 #bg4 ,sonata in ,e major4 7#bhbf74 -- ,op4 #cj4 ,romance4 7#bhbg74 -- ,op4 #fa4 #d ,pieces4 #c ,bks4 7#cjej a-c74 ,sinding's compositions rank among the finest works by modern ,scandinavian composers4 ,the ,suite ,op4 #aj1 resembles in style the 8,holberg0 ,suite by ,grieg4 ,sitt1 ,hans4 ,op4 #ga4 ,no4 #a4 ,romance4 -- ,op4 #ga4 ,no4 #b4 ,nocturne4 -- ,op4 #ga1 ,no4 #c4 ,scherzo-,tarantelle4 ,sjgren4 ,op4 #ai4 ,sonata in ,g minor4 7#bbae74 ,this composer is a highly talented member of the modern ,scandinavian ,school4 ,smetana4 #b ,salon-,pieces4 7#bfcd a-b74 ,fine and characteristic pieces of the famous ,czechian master4 ,somervell1 ,arthur4 #c ,original ,pieces3-- ,no4 #a1 ,romance2 ,no4 #b1 ,barcarolle4 ,spohr1 ,l4 ,op4 #b4 ,concerto in ,d minor4 -- ,op4 #ace4 ,three ,duettinos4 7,no4 #b1 ,scherzo2 #c4 ,sarabande74 7#hfie74 ,the ,barcarolle1 ,no4 #a1 belongs to ,,ii4 -- ,op4 #ie4 ,duet in ,g minor4 7#idji74 -- ,op4 #aab4 ,duet in ,e4 7#idaj74 -- ,op4 #aac4 ,hamburg ,sonata4 7#idaa74 -- #c ,adagios from the ,violin ,concertos 7,fr4 ,hermann74 7#aagje74 ,stanford1 ,villiers4 ,lgende4 ,strelezki1 ,a4 ,romanza in ,f4 -- ,serenade4 ,op4 #aia1 ,no4 #d4 7,thomas74 ,sutcliffe1 ,w4 ,gavotte ,romantique4 ,thirlwall4 ,favourite ,airs1 with ,variations3-- ,no4 #a4 ,english ,air4 7#idab a74 ,no4 #b4 ,scotch ,air 7,annie ,laurie74 7#idab b74 ,no4 #c4 ,irish ,air 7,sprig of ,shillelagh74 7#idab c74 ,no4 #d4 ,welsh ,air 7,poor ,mary ,ann74 7#idab d74 ,no4 #e4 ,northumbrian ,air 7,weel may the ,keel row74 7#idab e74 ,no4 #g4 ,ye ,banks and ,braes4 7#idab g74 ,no4 #h4 ,carnaval de ,venise4 7#idab h74 ,these pieces are excellent bowing exercises4 ,thom1 ,f4 #a;er ,andante ,religioso4 ,op4 #gj4 ,tschakowsky4 ,christmas4 7,nol74 7,m4,f4 #aag74 -- ,srnade mlancolique4 ,op4 #bf4 ,vieuxtemps1 ,h4 ,rverie4 ,adagio4 ,op4 #bb1 ,no4 #c4 7#geid c74 -- ,elgie4 ,op4 #cj4 ,revised by ,k4 ,scholz4 7#geie74 -- ,souvenir de ,beauchamps4 ,op4 #cb1 ,no4 #a4 7,fr4 ,hermann47 7#aagea74 -- ,suite4 ,op4 #dc4 7#behb a74 ,volkmann1 ,r4 ,chant du ,troubadour1 ,morceau de ,salon1 ,op4 #aj4 ,revu par ,r4 ,scholz4 ,wagner1 ,r4 ,march 7from ,tannhuser74 7,m4,f4 #gc74 ,weber4 #f ,sonatas4 ,complete 7,david74 7#aia74 ,wichtl4 ,fantasias on ,national ,songs4 ,op4 #aai3-- ,no4 #a4 ,home1 sweet ,home4 7#idac a74 ,no4 #b4 ,long1 long ago4 7#idac b74 ,no4 #c4 ,the ,red ,sarafan4 7#idac c74 ,no4 #d4 ,santa ,lucia4 7#idac d74 ,no4 #e4 ,robin ,adair4 7#idac e74 ,no4 #f4 ,die drei ,rosen4 7#idac f74 ,wieniawski1 ,h4 ,lgende4 ,op4 #ag4 7#gdie74 ,werst1 ,r4 ,russian ,suite4 ,f4 ,hermann4 7#geja74 ,step ,v4 ,difficult4 7,octaves1 ,springing ,bow1 ,staccato etc47 ,palaestra4 ,a ,collection of ,pieces1 ,sonatas1 ,suites1 and ,concert ,pieces for ,violin ,solo with ,pianoforte ,accompaniment2 arranged in progressive order1 carefully marked and annotated by ,ernst ,heim3-- ,book ,,viiia4 ,concert ,piece with employment of staccato1 by ,spohr4 ,concert pieces with employment of springing bow by ,bach and ,paganini4 7#aadgh a74 ,book ,,viiib4 ,concert pieces with octave passages by ,noskowski and ,coleridge-,taylor4 ,concert ,pieces with double-stop and chord passages by ,beethoven and ,j4 ,hoffmann4 7#aadgh b74 ,book ,,viiic4 ,supplement to ,books ,a and ,b4 ,concert ,pieces by ,david1 ,vieuxtemps1 ,sauret and ,wieniawski4 7#aadgh c74 ,book ,,ixa4 ,concert ,sonatas in classical style by ,leclair and ,tartini4 7#aadgi a74 ,book ,,ixb4 ,concert ,pieces in modern style by ,ernst and ,spohr4 7#aadgi b74 ,book ,,ixc4 ,supplement to ,books ,a and ,b4 ,concert ,pieces in modern style by ,wieniawski1 ,nicod1 and ,vieuxtemps4 7#aadgi c74 ,palaestra1 a collection of graduated pieces1 revised by ,ernst ,heim1 offers the most suitable material for the study of style and phrasing2 each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena01 see page #abf and his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aag4 ,beethoven4 ,ten ,sonatas4 ,joachim4 7#cjca74 ,op4 #dg 7known as the 8,kreutzer071 the grandest of all violin sonatas1 and ,op4 #cj1 ,no4 #b in ,c minor1 belong to this ,step1 the other sonatas being less difficult4 ,op4 #ab1 ,no4 #a1 and ,op4 #bd1 should first be taken by students passing from ,mozart's ,sonatas to those of ,beethoven4 -- ,op4 #fa4 ,concerto4 7,wilhelmj74 7#ahi a74 ,briot1 ,c4 de4 ,op4 #cj4 ,le ,tremolo4 ,caprice4 7#idai74 -- ,op4 #ee4 #eth ,concerto in ,d4 ,briot and ,osborne4 ,fantasia on 8,william ,tell04 ,berlioz1 ,hector4 ,rverie et ,caprice4 ,romance1 ,op4 #h4 7,e4 ,heim47 7#aacba74 ,bhm1 ,c4 ,op4 #cad1 ,no4 #b4 ,cavatina4 ,bruch1 ,m4 ,op4 #db4 ,romanza in ,a minor4 ,coleridge-,taylor1 ,s4 ,hiawathan ,sketches4 ,op4 #af4 ,no4 #a1 ,a ,tale2 ,no4 #b4 ,a ,song2 ,no4 #c1 ,a ,dance4 7#gcef74 --,two ,gipsy ,movements4 ,op4 #bj4 7,no4 #a1 ,a ,gipsy ,song2 ,no4 #b1 ,a ,gipsy ,dance74 7#gceg74 ,david1 ,ferd4 ,introd4 and ,variations on ,air by ,mozart4 ,op4 #aa4 7#hfgd74 ,eller1 ,l4 ,op4 #c4 ,concert ,fantasia on ,styrian ,melodies4 ,hauser4 ,op4 #dc4 ,hungarian ,rhapsody4 7#befg a74 ,hollnder1 ,g4 ,op4 #aj4 ,romance4 ,kreutzer4 ,concertos1 ,nos4 #ac1 #ad1 #ah1 #ai4 7#ajia a-d74 ,laub4 ,op4 #g4 ,romance ,impromptu4 7#ajib74 --,op4 #h4 ,polonaise4 7#ajic a74 ,lauterbach4 ,tarantelle4 7#bbjc74 ,leonard1 ,h4 ,op4 #b4 ,souvenir de ,haydn4 ,lipinsky4 ,op4 #ba4 ,concert militaire4 7#bfdb74 ,mackenzie1 ,a4 ,c4 ,op4 #dg1 ,no4 #a1 ,highland ,ballad4 ,mendelssohn4 ,op4 #fd4 ,concerto4 ,moszkowski4 ,op4 #af4 ,no4 #a4 ,ballade2 ,no4 #b1 ,bolero4 7#gebh a1 b74 ,nicod1 ,j4 ,l4 ,romance4 ,op4 #ad4 ,nicod is one of the most talented and interesting among modern composers4 ,paganini1 ,n4 ,moto ,perpetuo4 ,revised and the original ,orchestral accompaniment arranged for the ,pianoforte by ,ernst ,heim4 ,a most useful wrist study4 -- ,variations de bravoure sur ,mose4 ,a fine study for the ,g string4 ,ragghianti1 ,j4 ,aria di ,danza 78,la ,monferina074 ,an excellent study for saltato bowing4 ,rust1 ,f4 ,w4 ,sonata in ,d minor4 ,sauret1 ,e4 ,op4 #dg1 ,no4 #c4 ,scne ,polonaise4 7#aafic74 ,scharwenka1 ,xaver4 ,danses polonaises 7,five ,polish ,dances47 ,op4 #c4 ,arranges par ,g4 ,hollnder4 ,nos4 #a1 #d and #e4 7#gefe74 ,sinding4 ,op4 #fj4 ,concerto ,no4 #b in ,d major4 7#bigf74 ,sitt1 ,hans4 ,op4 #ba4 #bnd ,concerto in ,a minor4 ,tartini4 ,trille du ,diable4 ,sonata4 ,vieuxtemps1 ,h4 ,fantaisie-,caprice4 ,op4 #aa4 7,hermann47 7#geib74 -- ,fantaisie4 ,op4 #ba4 7,fr4 ,hermann74 7#aagej74 -- ,andante ,rondo4 ,op4 #bi4 7#begf74 -- ,rondino 7,hermann74 ,op4 #cb1 ,no4 #b4 7#aageb74 -- ,fantasia appassionata4 ,op4 #ce4 7#behj74 ,wieniawski1 ,h4 ,adagio lgique4 ,op4 #e4 7,r4 ,scholz74 7#gdih74 ,step ,,vi4 ,very difficult4 7,concertos etc47 ,palaestra4 ,a ,collection of ,pieces1 ,sonatas1 ,suites1 and ,concert ,pieces for ,violin solo with ,pianoforte accompaniment2 arranged in progressive order1 carefully marked and annotated by ,ernst ,heim3-- ,book ,,xa4 ,concert ,pieces in the ,polyphonic style by ,bach and ,ernst4 7#aadhj a74 ,book ,,xb4 ,concert ,pieces in the virtuoso style by ,ernst and ,paganini4 7#aadhj b74 ,book ,,xc4 ,supplement to ,rooks ,a and ,b4 ,concert ,pieces in the virtuoso style by ,moszkowski and ,vieuxtemps4 7#aadhj c74 ,palaestra1 a collection of graduated pieces1 revised by ,ernst ,heim1 offers the most suitable material for the study of style and phrasing2 each book corresponds in difficulty with the same book of his ,violin ,duets1 8,arena01 see page #abg1 and his ,violin ,studies1 8,gradus ad ,parnassum01 see page #aah4 ,bach4 ,chaconne4 7#bdgd74 ,this edition of ,bach's great work is of special interest and value1 as in it the accompaniments provided by ,mendelssohn and ,schumann may be compared4 -- ,adagio and ,fugue from #eth ,violin ,sonata4 7,b4 ,molique47 7#idja a74 ,brahms1 ,j4 ,op4 #gg4 ,concerto4 ,bruch1 ,m4 ,op4 #bf4 ,concerto in ,g minor4 ,dancla1 ,c4 ,op4 #ej4 ,romance and ,bolero4 ,a favorite and brilliant piece4 -- ,op4 #ec4 lgie et ,barcarolle4 ,david1 ,ferd4 ,andante et ,scherzo capriccioso4 ,op4 #af4 7,e4 ,heim47 7#gcdh74 ,ernst1 ,h4 ,w4 ,fantaisie brillante sur la ,marche et la ,romance d',otello de ,rossini4 ,op4 #aa4 7,ernst ,heim47 7#aadja74 -- ,op4 #bb4 ,hungarian ,melodies4 7#bhdi74 -- ,op4 #bc4 ,concerto in ,f minor4 7#bhej74 ,hauser4 ,op4 #cd4 ,bird on the tree4 7#befe74 ,joachim1 ,j4 ,op4 #aa4 ,hungarian ,concerto4 ,laub4 ,op4 #h4 ,polonaise4 7,wilhelmj74 7#ajic b74 ,paganini4 ,first ,concerto in ,e flat4 7#aiia74 -- ,le ,streghe 7,witches' ,dance74 -- ,le ,carnaval de ,venise4 -- ,i ,palpiti4 -- ,celebrated ,compositions4 7#aiij74 ,rubinstein4 ,op4 #df4 ,concerto in ,g major4 7#acci74 ,sarasate1 ,m4 ,airs ,espagnols4 ,spohr1 ,l4 #gth ,concerto in ,e minor4 -- #hth ,concerto in ,a minor 7,gesangscene74 -- #ith ,concerto in ,d minor4 ,vieuxtemps4 ,fantaisie sur ,norma4 ,op4 #ah4 7#begc74 -- ,second ,concerto in ,f min4 ,op4 #ai4 7#begd74 -- #f ,morceaux de ,salon4 ,op4 #bb3-- ,no4 #a4 ,morceau brillant4 7#geid a74 ,no4 #b4 ,air vari4 7#geid b74 ,no4 #d4 ,souvenir du ,bosphore4 7#geid d74 ,no4 #e4 ,tarentelle4 7#geid e74 ,no4 #f4 ,l',orage4 7#geid f74 -- ,concerto in ,d min4 ,op4 #ca4 -- ,la ,chasse4 ,op4 #cb1 ,no4 #c 7,hermann74 7#aagec74 -- ,st4 ,patrick's ,day4 ,popular ,melody4 ,op4 #cc1 ,no4 #b4 7#gdig74 -- ,ballade et ,polonaise4 ,op4 #ch4 7#geic74 ,wieniawski1 ,h4 ,polonaise de ,concert4 ,op4 #d4 7,r4 ,scholz74 7#gdia74 -- ,souvenir de ,moscou4 ,airs ,russes4 ,op4 #f4 7,r4 ,scholz74 7#gdii74 -- ,capriccio-,valse4 ,op4 #g4 7,fr4 ,hermann74 7#aagga74 -- ,romance sans ,paroles4 ,op4 #i4 7,fr4 ,hermann74 7#aaggb74 -- ,carnaval ,russe4 ,op4 #aa4 7,fr4 ,hermann74 7#aaggc74 -- ,scherzo-,tarantelle4 ,op4 #af4 7,fr4 ,hermann74 7#aaggd74 ,string ,trios4 ,three ,violins4 ,hermann1 ,fr4 ,the ,first ,practice in ,ensemble ,playing4 #cb ,short ,pieces1 arranged4 #b ,books4 7#ebia a1 b74 ,ib4 ,hofmann1 ,richard4 #d ,pieces in an easy style for the use of ,music-schools1 ,academies1 etc4 ,op4 #ajd4 7#ebib74 ,,iii4 ,lachner1 ,ignaz4 #c ,sonatinas4 ,op4 #ib3--;,,ii4 ,no4 #a1 in ,b flat major4 7#ebic a74 #b1 in ,g major4 7#ebic b74 #c1 in ,a4 7#ebic c74 ,wohlfahrt1 ,f4 ,op4 #hh4 ,melodic pieces4 #b ,bks4 ,i4 ,wichtl4 #c ,trios4 ,op4 #gi4 ,,ii4 ,two ,violins and ,violoncello4 ,corelli1 ,arcangelo4 uvres revues par ,j4 ,joachim et ,f4 ,chrysander4 7,in ,score47 #hvo43-- ,livre ,i4 ,op4 #a4 #ab ,sonate da ,chiesa a tre 7,du ,violini1 e ,violone1 o ,arcileuto col ,basso per l',organo74 ,in ,roma1 #afhc4 ,op4 #b3--ab ,sonate da ,camera a tre 7,due ,violini1 e ,violone1 o ,cembalo74 ,in ,roma1 #afhe4 7#dicf a74 ,,ii4 ,livre ,,ii4 ,op4 #c4 #ab ,sonate da ,chiesa a tre 7,due ,violini1 e ,violone1 o ,arcileuto col ,basso per l',organo74 ,in ,modena1 #afhi4 ,op4 #d4 #ab ,sonate da ,camera a tre 7,due ,violini1 e ,violone1 o ,cembalo74 ,in ,bologna1 #afid4 7#dicf b74 ,,ii4 -- #f ,sonate da ,camera a tre 7due ,violini1 e ,violone1 o ,cembalo74 ,opera ,,iv4 ,arranged for #b ,violins and ,violoncello 7in parts71 with all necessary indications for the mode of executing1 for bowing and fingering by ,gustav ,jensen4 7#ecjc74 ,i and ,,ii4 ,gurlitt1 ,cornelius4 ,op4 #aje4 ,ouverture des ,marionettes4 7#gcab74 ,,ii4 -- ,op4 #acg4 8,commedietta0 ,ouverture4 7#ecaj74 ,,ii4 -- ,our ,favourite ,tunes4 7#ecde74 ,i4 ,handel4 ,zwei ,suiten nach ,hndel'schen ,original-,compositionen herausgegeben von ,gustav ,jensen4 7#ecab74 ,,ii4 ,herrmann1 ,e4 ,petites ,variations faciles4 ,op4 #ac4 7#eccb74 ,ib4 ,pleyel1 ,i4 ,j4 uvres4 ,arranges par ,f4 ,hermann3-- -- ,op4 #h4 ,six ,trios4 7#gcje74 ,i4 -- ,op4 #dd4 #c ,trios4 7#ecec74 ,,iii4 -- ,op4 #dh4 ,six ,sonatinas4 7#eced74 ,,ii and ,,iii4 ,reinecke1 ,c4 ,toy symphony 7with #i toy instruments74 7#gaae74 ,,ii4 ,wanhal4 #ae ,trios ,faciles4 7#ecfj74 ,i4 ,two ,violins and ,viola4 ,hofmann1 ,richard4 ,op4 #aab4 ,trio4 7#ecbc74 ,,ii and ,,iii4 ,violin1 ,viola1 and ,violoncello4 ,pleyel1 ,i4 ,j4 ,op4 #dd4 #c ,trios4 7#ecfe74 ,,ii and ,,iii4 ,haydn4 ,op4 #ec4 #c ,trios4 ,,iii4 ,mozart4 ,divertimento4 ,op4 #ai4 ,,iii and ,,iv4 ,beethoven4 ,op4 #h1 #be4 ,serenade and ,trios4 ,,iv4 ,pianoforte ,trios4 ,piano1 ,violin1 and ,violoncello4 ,barnett1 ,john ,francis4 ,trio4 ,op4 #di1 in ,c minor4 7#ibii74 ,,iv4 ,beethoven4 #f ,quartets4 ,op4 #ah4 ,arranged by ,f4 ,hermann4 #f ,books4 7#ibia-if74 ,,iv4 ,beethoveniana4 ,extraits des ,sonates pour ,piano de ,beethoven arrangs par ,fr4 ,hermann3-- ,livre ,a4 ,op4 #g2 ,op4 #aj1 ,no4 #b2 ,op4 #bf2 ,op4 #bg1 ,no4 #b4 7#gbdb a74 ,,iii4 ,livre ,b4 ,op4 #aj1 ,no4 #c4 ,complete4 7#gbdb b74 ,,iii4 ,livre ,c4 ,op4 #b4 ,no4 #c2 ,op4 #ac2 ,op4 #ad4 ,no4 #b2 ,op4 #ca4 ,no4 #c4 7#gbdb c74 ,,iii4 ,bennett1 ,w4 ,sterndale4 ,chamber ,trio4 ,op4 #bf4 7#ifei74 ,,iii4 ,brahms1 ,johannes4 ,trio4 ,op4 #h4 7#gbdf74 ,v4 ,dancla1 ,j4 ,c4 #ab ,mlodies4 ,arr4 by ,cornelius ,gurlitt4 7#gbdh74 ,ib4 ,dussek4 ,j4 ,l4 ,favourite ,sonata4 ,op4 #cg4 7#gbdi74 ,,ii4 ,ellerton4 ,trio1 in ,a4 ,op4 #bg4 7#icjd74 ,,iii4 -- ,trio1 in ,g4 ,op4 #de4 7#icje74 ,,ii4 -- ,trio1 in ,e minor4 ,op4 #df4 7#icjf74 ,,ii4 -- ,trio1 in ,c minor4 ,op4 #dg4 7#icjg74 ,,ii4 -- ,trio1 in ,f4 ,op4 #dh4 7#icjh74 ,,ii4 ,gade1 ,niels4 ,novelletten4 ,op4 #bi4 7#gbeg74 ,,iv4 -- ,trio4 ,op4 #db4 7#gbef74 ,,iv4 ,gurlitt4 ,c4 ,op4 #aje4 ,ouverture des ,marionettes4 7#gbeh7 ,,ii4 -- ,op4 #acg4 8,commedietta0 ,ouverture4 7#gbfa74 ,,ii4 -- ,our ,favourite ,tunes4 ,arranged by ,f4 ,hermann4 7#icaj74 ,ia and b4 -- ,op4 #aha4 ,miniature ,trio4 7#gbei74 ,,ii4 ,the same refinement of conception which characterises all ,gurlitt's compositions pervades also this work which on account of its simplicity is very suitable for beginners4 -- ,op4 #abi4 ,trio im leichten ,style4 7#gbfj74 ,,ii4 ,happily conceived for youthful minds4 ,the composer has been wise in giving as much importance and melodic interest as possible to every instrument4 -- ,op4 #aga4 ,third ,trio 7im leichteren ,style74 7#gbee74 ,,iii4 ,the technique of this ,trio makes greater demands than ,op4 #abi1 but the brilliant spirit pervading this work which appeals to slightly more advanced pupils1 will amply repay its study4 ,hennessy1 ,swan4 ,lieder an den ,mond3 #a4 ,um ,mitternacht2 #b4 ,in der ,frhe2 #c4 ,am ,abend4 ,op4 #aj4 7#icji74 ,ib4 ,hermann1 ,f4 ,sonatine en sol majeur4 7#gchi b74 ,ib4 -- ,sonatine en r majeur4 7#gcij b74 ,,ii4 ,horsley4 ,trio in ,a4 ,op4 #g4 7#iffj74 ,,iv4 ,hudson1 ,j4 ,w4 ,trio in ,d4 7#gbfc74 ,,ii4 ,ivimey1 ,j4 ,w4 ,trio4 ,op4 #a1 in ,d4 7#gbfb74 ,,iv4 ,an excellent ,op4 #a4 ,interesting subjects well developed4 ,kalliwoda4 #ast ,grand ,trio in ,f minor4 ,op4 #aba4 7#iffa74 ,,iv4 ,kreuz1 ,emil4 ,trio facile4 ,op4 #ca4 7#gbfd74 ,i4 ,mayseder4 #dth ,grand ,trio1 in ,g4 ,op4 #ei4 7#iffb74 ,v4 ,meyer1 ,l4 ,trios faciles 7,kinder-,trios73-- ,no4 #a1 in ,g4 7#icag a74 ,ib4 #b1 in ,g4 7#icag b74 ,ib4 #c1 in ,f4 7#icag c74 ,ib4 ,these are not only easy and excellent in form1 but their contents appeal to youthful minds1 and they are invaluable to awaken the love for chamber music in children4 ,molique4 #ast ,trio1 in ,b flat4 ,op4 #bg4 7#iffc74 ,,iv4 ,pleyel1 ,i4 ,j4 uvres arrangs par ,f4 ,hermann3-- -- ,op #h4 ,six ,trios4 7#gbgb74 ,i4 -- ,op4 #dh4 ,six ,sonatinas4 7#ebfa74 ,,ii and ,,iii4 ,potpourris on ,popular ,melodies from classical and modern ,operas and ,oratorios4 ,arranged by ,r4 ,hofmann4 #de ,books4 ,series ,i4 7in the first position74 ,i and ,,ii4 ,le ,postillon4 7#edja e74 ,la ,sonnambula4 7#edjb e74 ,norma4 7#edjc e74 ,le ,calife de ,bagdad4 7#edjd e74 ,la ,dame ,blanche4 7#edje e74 ,la ,fille du ,rgiment4 7#edjf e74 ,lucia di ,lammermoor4 7#edjg e74 ,orpheus4 7#edjh e74 ,the ,messiah4 7#edji e74 ,the ,creation4 7#edaj e74 ,zampa4 7#edaa e74 ,wildschtz4 7#edab e74 ,czar und ,zimmermann4 7#edac e74 ,joseph4 7#edad e74 ,st4 ,paul4 7#edae e74 ,il ,seraglio4 7#edaf e74 ,il ,flauto ,magico4 7#edag e74 ,don ,giovanni4 7#edah e74 ,der ,freischtz4 7#edai e74 ,series ,,ii4 7in various positions74 ,,ii and ,,iii4 ,the ,bohemian ,girl4 7#edbj e74 ,egmont4 7#edba e74 ,fidelio4 7#edbb e74 ,l',elisire d',amore4 7#edbc e74 ,lucrezia ,borgia4 7#edbd e74 ,iphignie en ,aulide4 7#edbe e74 ,judas ,maccabaeus4 7#edbf e74 ,das ,nachtlager in ,granada4 7#edbg e74 ,hans ,heiling4 7#edbh e74 ,a ,midsummer ,night's ,dream4 7#edbi e74 ,elijah4 7#edcj e74 ,les ,huguenots4 7#edca e74 ,le ,prophte4 7#edcb e74 ,le ,nozze di ,figaro4 7#edcc e74 ,die lustigen ,weiber von ,windsor4 7#edcd e74 ,maritana4 7#edce e74 ,oberon4 7#edcf e74 ,preciosa4 7#edcg e74 ,,iii and ,,iv4 ,der fliegende ,hollnder4 7#edch e74 ,lohengrin4 7#edci e74 ,rienzi4 7#eddj e74 ,tannhuser4 7#edda e74 ,il ,barbiere di ,seviglia4 7#eddb e74 ,guillaume ,tell4 7#eddc e74 ,masaniello4 7#eddd e74 ,faust4 7#edde e74 ,saint-,george1 ,g4 ,l'ancien rgime4 ,petite ,suite4 7#gegj c74 ,ib4 ,schumann1 ,r4 ,trio4 ,op4 #fc4 ,in ,d minor4 7#gbgd74 ,v4 -- ,trio4 ,op4 #hj4 ,in ,f4 7#gbgc74 ,v4 -- ,phantasiestcke4 ,op4 #hh4 7#gbge74 ,v4 -- #crd ,trio1 in ,g4 ,op4 #aaj4 7#gbgf74 ,v4 ,silas1 ,e4 ,trios4 ,no4 #a1 in ,c minor4 7#ajjea74 ,,iv4 #b1 in ,a 7,op4 #bg74 7#ajjeb74 ,,iii and ,,iv4 #c1 in ,c 7,op4 #df74 7#ajjec74 ,,iii4 ,sinding4 ,op4 #fd4 ,trio in ,a min4 7#cjea74 ,,vi4 ,sitt4 ,op4 #fc1 ,nos4 #a #b4 ,trios4 7#bhce a and b74 ,,ii4 ,spohr4 ,trio1 in ,e minor4 ,op4 #aai 7,w4 ,s4 ,b4 ,woolhouse74 7#iffd a74 ,,iv4 -- ,trio1 in ,f4 ,op4 #abc4 7,w4 ,s4 ,b4 ,woolhouse74 7#iffd b74 ,v4 -- ,trio1 in ,a4 ,op4 #abd4 7,w4 ,s4 ,b4 ,woolhouse74 7#iffd c74 ,v4 -- ,trio1 in ,b flat4 ,op4 #acc4 7,w4 ,s4 ,b4 ,woolhouse74 7#iffd d74 ,v4 -- ,trio1 in ,g minor4 ,op4 #adb4 7,w4 ,s4 ,b4 ,woolhouse74 7#iffd c74 ,v4 ,turner1 ,bradbury4 ,trio in ,c minor4 7#icbi74 ,,ii4 ,volkmann1 ,r4 ,trio in ,b flat minor4 ,op4 #e4 7#gbhf74 ,,iii4 ,pianoforte and ,two ,violins4 ,boyce1 ,william4 ,sonata in ,a major4 7,g4 ,jensen74 7#gdcb74 ,,ii4 ,corelli1 ,arcangelo4 #f ,sonate da ,camera a tre 7due ,violini1 e ,violone1 o ,cembalo74 ,opera ,,iv4 ,with ,pianoforte ,accompaniment worked out from the ,figured ,bass of the ,author1 and with all necessary indications for the mode of executing1 for bowing and fingering by ,gustav ,jensen4 7#ecjb74 ,i and ,,ii4 ,gurlitt1 ,cornelius4 ,op4 #aje4 ,ouverture des ,marionettes4 7#gcjg74 ,,ii4 -- ,op4 #acg4 8,commedietta0 ,ouverture4 7#ecjf74 ,,ii4 -- ,our ,favourite ,tunes4 #dj ,melodies1 ancient and modern4 7#eccc74 ,,ii4 ,hermann1 ,f4 #ej ,favourite ,melodies4 7#edfe;d74 ,i4 -- ,morceaux mlodiques4 ,op4 #bf4 #f ,books4 7#ecbh;a-f74 ,bks4 #a-c ,,iii4 ,bks4 #d-f ,,iv and ,v4 ,herrmann1 ,e4 ,petites ,variations faciles4 ,op4 #ac4 7#eccb74 ,ia4 ,langer1 ,gustav4 ,grossmtterchen4 7,granny47 ,lndler4 ,op4 #bj4 ,,ii4 ,pleyel1 ,i4 ,j4 7uvres1 arranges par ,f4 ,hermann3-- -- ,op4 #h4 ,six ,trios4 7#gcjh74 ,i4 -- ,op4 #dd4 #c ,trios4 7#eccd74 ,,iii4 -- ,op4 #dh4 ,six ,sonatinas4 7#eccf74 ,i4 ,potpourris4 ,popular ,melodies from classical and modern ,operas and ,oratorios4 ,arranged by ,r4 ,hofmann4 #de ,books4 ,series ,i4 7in the first position74 ,i and ,,ii4 ,le ,postilion4 7#edja;d74 ,la ,sonnambula4 7#edjb;d74 ,norma4 7#edjc;d74 ,le ,calife de ,bagdad4 7#edjd;d74 ,la ,dame ,blanche4 7#edje;d74 ,la ,fille du ,rgiment4 7#edjf;d74 ,lucia di ,lammermoor4 7#edjg;d74 ,orpheus4 7#edjh;d74 ,the ,messiah4 7#edji;d74 ,the ,creation4 7#edaj;d74 ,zampa4 7#edaa;d74 ,wildschtz4 7#edab;d74 ,czar und ,zimmermann4 7#edac;d74 ,joseph4 7#edad;d74 ,st4 ,paul4 7#edae;d74 ,il ,seraglio4 7#edaf;d74 ,il ,flauto ,magico4 7#edag;d74 ,don ,giovanni4 7#edah;d74 ,der ,freischtz4 7#edai;d74 ,series ,,ii4 7in various positions74 ,,ii-,,iv4 ,the ,bohemian ,girl4 7#edbj;d74 ,egmont4 7#edba;d74 ,fidelio4 7#edbb;d74 ,l',elisire d',amore4 7#edbc;d74 ,lucrezia ,borgia4 7#edbd;d74 ,iphignie en ,aulide4 7#edbe;d74 ,judas ,maccabaeus4 7#edbf;d74 ,das ,nachtlager in ,granada4 7#edbg;d74 ,hans ,heiling4 7#edbh;d74 ,a ,midsummer ,night's ,dream4 7#edbi;d74 ,elijah4 7#edcj;d74 ,les ,huguenots4 7#edca;d74 ,le ,prophte4 7#edcb;d74 ,le ,nozze di ,figaro4 7#edcc;d74 ,die lustigen ,weiber von ,winsdor4 7#edcd;d74 ,maritana4 7#edce;d74 ,oberon4 7#edcf;d74 ,preciosa4 7#edcg;d74 ,der fliegende ,hollnder4 7#edch;d74 ,lohengrin4 7#edci;d74 ,rienzi4 7#eddj;d74 ,tannhuser4 7#edda;d74 ,il ,barbiere di ,seviglia4 7#eddb;d74 ,guillaume ,tell4 7#eddc;d74 ,masaniello4 7#eddd;d74 ,faust4 7#edde;d74 ,purcell1 ,henry4 ,sonatas4 ,arranged by ,g4 ,jensen3-- ,the ,golden ,sonata4 7#gdaj74 ,,ii4 ,sonata in ,b minor4 7#gdbi74 ,,ii4 ,sonata in ,a minor4 7#gdcj74 ,,ii4 ,sonata in ,c major4 7#gdca74 ,,ii4 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj;b74 ,ib4 ,torelli1 ,giuseppe4 ,concerto4 ,op4 #h4 7,g4 ,jensen74 7#gdag74 ,,ii4 ,veracini1 ,a4 ,sonate4 ,c min4 7,g4 ,jensen74 7#gdae74 ,,ii4 ,weidig1 ,adolf4 ,kleines ,trio4 ,op4 #i4 7#ebhf74 ,,ii4 ,morceaux d',ensemble4 7,f4 ,hermann73-- ,chopin4 ,marche funbre4 7#eccj;a74 ,schubert4 ,moment musical4 7#eccj;b74 ,mendelssohn4 ,duo4 ,op4 #ch4 7#eccj;c74 ,fr4 ,hermann4 ,petite ,marche4 7#eccj;d74 ,nicolai4 ,merry ,wives of ,windsor4 7#eccj;e74 ,beethoven4 ,marche turque des ,ruines d',athnes4 7#eccj;f74 ,mozart4 ,andante du #hme ,quatuor4 7#eccj;g74 ,fr4 ,hermann4 ,barcarolle4 7#eccj;h74 ,weber4 ,finale d',euryanthe4 7#eccj;i74 ,schumann4 ,chur de ,paradis et ,pri4 7#eccjk74 ,schubert4 ,entr'acte de ,rosamonde4 7#eccjl74 ,beethoven4 8,an die ,freude10 ,hymn from #ith ,symphony4 7#eccjm74 ,pianoforte1 ,violin1 and ,viola4 ,gade1 ,niels ,w4 ,novelletten4 ,op4 #bi4 ,arranged by ,ernst ,heim4 7#ebfh74 ,,iv4 ,very fine work1 not over-difficult1 worthy of being better known4 ,jensen1 ,g4 ,phantasiestcke4 ,op4 #bg4 7#ebge74 ,,iv4 ,kreuz1 ,e4 ,trio in ,c4 ,op4 #ba4 7#ebga74 ,,iv4 -- ,trio facile1 in ,c4 ,op4 #cb4 7#ebgb74 ,,ii4 ,lachner1 ,ignaz4 ,grand ,trio4 ,op4 #ajb4 7#ebgg74 ,,ii4 -- ,trio in ,c4 ,op4 #ajc4 7#ebgh74 ,,ii4 ,pleyel4 #c ,trios4 ,op4 #dd4 7,hermann74 7#ebhj74 ,,iii4 ,potpourris on ,popular ,melodies from classical and modern ,operas and ,oratorios4 ,arranged by ,r4 ,hofmann3--,,iii and ,,iv4 ,wagner4 ,der fliegende ,hollnder4 7#edchs74 ,wagner4 ,lohengrin4 7#edcis74 ,wagner4 ,rienzi4 7#eddjs74 ,wagner4 ,tannhuser4 7#eddas74 ,rossini4 ,il ,barbiere4 7#eddbs74 ,rossini4 ,guillaume ,tell4 7#eddcs74 ,auber4 ,masaniello4 7#eddds74 ,gounod4 ,faust4 7#eddes74 ,reger1 ,max4 ,trio4 ,op4 #b4 7#ebhc74 ,v4 ,weidig1 ,adolf4 ,kleines ,trio4 ,op4 #i4 7#ebhf74 ,,ii4 ,violin1 ,pianoforte1 and ,organ 7or ,harmonium74 ,audibert4 ,andante rligieuse4 7#ieea74 ,,iii4 ,bach1 ,e4 ,solfeggietto1 arr4 by ,oscar ,wagner4 7#ighe;b74 ,,ii4 ,also for ,flute1 ,violin1 and ,harmonium4 7#ighe;a74 ,,ii4 ,bach1 ,j4 ,s4 ,adoration1 ,meditation on the #gth short ,prelude1 composed by ,oscar ,wagner4 7#ieej74 ,,ii4 ,also with #bnd ,violin1 and #bnd ,violoncello4 ,clark1 ,scotson4 ,marche aux ,flambeaux for ,piano1 ,harmonium1 ,violin1 and ,violoncello4 7#hgha74 ,,ii4 -- ,a te o cara 7,puritani74 7#ieeb74 ,,ii4 -- ,meditation in ,b flat4 7#ieec74 ,,ii4 ,field1 ,j4 ,nocturne in ,b flat 7,scotson ,clark74 7#ieed74 ,,ii4 ,gounod1 ,c4 ,meditation on the #ast ,prelude of ,j4 ,s4 ,bach1 for ,violin 7or ,violoncello71 ,harmonium and ,piano4 7#aadej;b74 ,,iii4 ,music with ,toy ,instruments4 7,the ,toy ,instruments may be had of the ,publishers7 ,gurlitt1 ,c4 ,kindersymphonie4 ,toy ,symphony for ,pianoforte 7,violin and ,violoncello ad lib474 ,cuckoo1 ,quail1 ,nightingale1 ,trumpet1 ,triangle1 and ,drum4 ,op4 #afi4 7#gajh74 ,,ii4 ,haydn1 ,j4 ,toy ,symphony for ,pianoforte or #b ,violins and ,bass1 and #g ,toy ,instruments4 ,score and ,parts4 7#gaji74 ,,ii4 ,reinecke1 ,c4 ,kinder-,symphonie4 ,toy ,symphony for ,pianoforte1 #b ,violins1 ,violoncello1 and #i ,toy instruments 7,nightingale1 ,cuckoo1 #b ,trumpets1 ,drum1 ,rattle1 ,bells1 ,glass-bell1 and ,tea-tray74 ,score and parts4 7#gaae74 ,,ii4 ,romberg1 ,b4 ,toy ,symphony 7,kinder-,sinfonie7 for ,piano 7or #b ,violins and ,bass7 with #g ,toy ,instruments4 7#gaaf74 ,,ii4 ,string ,quartets4 ,quartets for #d ,violins4 ,clark1 ,scotson4 ,gavotte4 7#gbca74 ,,iv4 ,lachner1 ,i4 ,op4 #ajg4 ,quartet in ,g4 7#gbbj74 ,,iv4 ,leo1 ,leonardo4 ,concerto a quattro ,violini obbligati1 arr4 for #d ,violins with ,piano accomp4 by ,gustav ,jensen4 7#ejja74 ,,ii and ,,iii4 ,shaw1 ,sydney4 ,reverie4 7#gbci74 ,,ii4 #c ,violins and ,viola4 ,herrmann1 ,e4 ,serenade4 ,op4 #ad4 7#gbbh74 ,,iii4 ,lachner1 ,ignaz4 ,quartet in ,c4 ,op4 #ajf4 7#gbai74 ,,iii4 #c ,violins and ,violoncello4 ,henkel1 ,h4 ,introduction and ,polacca4 ,piano accompaniment ad lib4 7#gbac74 ,,iii4 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite 7#gegjm74 ,,ii4 #b ,violins1 ,viola and ,violoncello4 ,barnett1 ,j4 ,f4 ,op4 #h4 ,quartet in ,d minor4 7#ibee74 ,,iv4 ,beethoven4 #f ,quartets4 ,op4 #ah4 ,no4 #a1 in ,f2 ,no4 #b1 in ,g2 ,no4 #c1 in ,d2 ,no4 #d1 in ,c minor2 ,no4 #e1 in ,a2 ,no4 #f1 in ,b flat4 ,revised by ,fr4 ,hermann4 #f ,books4 7#gbja-f74 ,,iv4 -- ,op4 #abg4 ,quartet in ,e flat4 7,woolhouse47 7#ifcc74 ,v4 -- ,op4 #ei1 #gd1 #ie4 ,quartets4 7#aie b74 -- ,op4 #abg4 #acj-acc1 #ace4 ,quartets4 7#aie c74 ,beethoveniana4 ,extraits des ,sonates pour ,piano de ,beethoven1 arrangs par ,fr4 ,hermann3-- ,livre ,a4 ,op4 #g2 ,op4 #aj1 ,no4 #b2 ,op4 #bf2 ,op4 #bg1 ,no4 #b4 7#gaig;a74 ,v4 ,livre ,b4 ,op4 #aj1 ,no4 #c4 ,complete4 7#gaig b74 ,v4 ,livre ,c4 ,op4 #b1 ,no4 #c2 ,op #ac2 ,op4 #ad1 ,no4 #b2 ,op4 #ca1 ,no4 #c4 7#gaig c74 ,v4 ,brahms4 ,op4 #ea4 #b ,quartets1 ,c minor and ,a minor4 -- ,op4 #fg4 ,quartet in ,b flat4 ,cherubini4 #c ,quartets4 7#acdf74 ,coleridge-,taylor1 ,s4 ,fantasiestcke4 ,op4 #e4 7#gbjg74 ,v4 ,deane1 ,c4 ,quartet in ,b flat4 7#ifcd74 ,,iv4 ,ellerton4 ,op4 #fb4 ,quartet4 ,no4 #aj4 7#ibei a74 ,v4 ,score4 #h vo4 7#ibei b74 -- ,op4 #aja4 ,quartet4 ,no4 #ci4 7#ibfj a74 ,v4 ,score4 #h vo4 7#ibfj b74 -- ,op4 #ajb4 ,quartet4 ,no4 #db4 7#ibfa a74 ,v4 ,score4 #h vo4 7#ibfa b74 ,grieg4 ,op4 #bg4 ,quartet4 7#bdhi74 ,v4 ,gurlitt1 ,cornelius3-- -- ,op4 #aje4 ,ouverture des ,marionettes4 7#gbaj74 ,,iii4 -- ,op4 #acg4 8,commedietta0 ,ouverture4 7#gbaa74 ,,iii4 ,haydn4 #hc ,quartets1 complete4 7#ae74 -- #ae celebrated ,quartets4 7#bhi74 ,hermann1 ,fr4 ,leichte ,streichquartettstze4 #f easy movements 7,mendelssohn1 #b ,lieder ohne ,worte2 ,beethoven1 ,scherzo2 ,schumann1 ,nachtstck2 ,tschakowsky1 ,romance2 ,bach1 ,gavotte74 7#gbad74 ,,ii and ,,iii4 ,kreuz1 ,e4 ,quartet4 ,op4 #db1 in ,d minor4 7#ibfb74 ,v4 -- ,capriccio4 ,op4 #dc4 7#gbaf74 ,,iii4 ,lachner1 ,ignaz4 ,quartet in ,g4 ,op4 #ajd4 7#gbag74 ,,ii and ,,iii4 -- ,quartet in ,a minor4 ,op4 #aje4 7#gbah74 ,,ii and ,,iii4 -- ,quartet in ,b flat 7uv4 ,posth47 7#gbba74 ,,ii and ,,iii4 ,mendelssohn4 #g ,quartets4 7#agdb74 ,mozart4 #aj celebrated ,quartets4 7#af74 ,ouseley1 ,sir ,f4 ,a4 ,g4 ,quartet in ,c4 7#ibff a74 ,,iv4 ,score4 #h vo4 7#ibff b74 -- ,quartet in ,d minor4 7#ibfg a74 ,,iii4 ,score4 #h vo4 7#ibfg b74 ,perry1 ,e4 ,prize ,quartet4 7#ifce74 ,,iv4 ,pleyel1 ,i4 ,j4 vres arrangs par ,f4 ,hermann3-- -- ,op4 #h4 ,six ,quartets4 7#gbbb74 ,i and ,,ii4 -- ,op4 #dh4 ,six ,sonatinas4 7#gbbc74 ,,ii and ,,iii4 ,prout1 ,e4 ,op4 #a4 ,prize ,quartet4 7#ifcf74 ,,iv4 -- ,op4 #ae4 ,second ,quartet1 in ,b flat4 7#ibgj74 ,,iv4 ,ries1 ,h4 #b ,quatuors faciles4 ,op4 #bj4 ,,ii4 ,rode1 ,p4 ,air vari4 ,op4 #aj4 7,gustav ,jensen47 7#hfia74 ,v4 ,arranged by ,jensen for ,solo ,violin with easy string accompaniment4 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj d74 ,,ii4 ,an excellent and melodious quartet for beginners4 ,schubert4 ,quartets4 #b vols4 7#afh a-b74 ,schumann4 ,op4 #da4 #c ,quartets4 7#bcgi74 ,spohr4 ,op4 #d1 ,no4 #a #b4 ,quartets4 7#bdhc a-b74 -- ,op4 #de1 ,no4 #b4 ,quartet4 7#bdhc c74 ,stanford1 ,c4 ,villiers4 ,quartet4 ,no4 #c1 in ,d minor4 ,op4 #fd4 ,v4 ,score4 7#ab mo47 7#ibgb a74 ,parts4 7#d to47 7#ibgb b74 ,piano ,quartets4 ,violin1 ,viola1 ,violoncello1 and ,piano4 ,beethoven4 ,op4 #af4 ,quartet in ,e4 7#bid74 ,beethoveniana4 ,extraits des ,sonates pour ,piano de ,beethoven1 arrangs par ,fr4 ,hermann3-- ,livre ,a4 ,op4 #g2 ,op4 #aj1 ,no4 #b2 ,op4 #bf2 ,op4 #bg1 ,no4 #b4 7#gage a74 ,,iv4 ,livre ,b4 ,op4 #aj1 ,no4 #c4 ,complete4 7#gage b74 ,,iv4 ,livre ,c4 ,op4 #b4 ,no4 #c2 ,op4 #ac2 ,op4 #ad1 ,no4 #b2 ,op4 #ca1 ,no4 #c4 7#gage c74 ,,iv4 ,brahms4 ,op4 #be1 ,nos4 #a and #b4 ,quartets in ,g minor and ,a major4 ,,vi4 -- ,op4 #fj1 ,no4 #c4 ,quartet in ,c minor4 ,,vi4 ,mendelssohn4 ,complete ,quartets4 7#agda74 ,mozart4 #b ,quartets in ,g minor ,e4 7#bgb74 ,pfeiffer1 ,g4 ,quatuor en ,f a mineur4 ,op4 #aai4 7#gahc74 ,,iv4 ,pleyel1 ,i4 ,j4 vres4 ,arrangs par ,f4 ,hermann3-- ,op4 #h4 ,six ,quartets4 7#gahb74 ,i4 ,op4 #dd4 #c ,quartets4 7#gahj74 ,,iii4 ,op4 #dh4 ,six ,sonatinas4 7#gaha74 ,i4 ,prout1 ,e4 ,op4 #b1 in ,c4 ,prize ,quartet4 7#ifcg74 ,,iv4 -- ,op4 #ah1 in ,f4 7#ibec74 ,,iv4 ,rheinberger1 ,j4 ,quartet in ,e flat4 ,op4 #ch4 7#gahe74 ,,iv4 ,schubert4 ,adagio ,rondo4 7#acdg74 ,schumann4 ,op4 #dg4 ,piano ,quartet4 7#bchj74 ,weber4 ,op4 #h4 ,piano ,quartet4 7#bagg74 ,westrop1 ,h4 ,op4 #b4 ,quartet in ,a flat4 7#ifch74 ,,iv4 #b ,violins1 ,violoncello1 and ,piano4 ,abaco1 ,evaristo ,felice ,dall'4 ,suite 7,sonata da ,camera7 in ,g minor4 ,arranged by ,dr4 ,h4 ,riemann4 ,score and ,parts4 7#ecij7 ,,ii4 ,boyce1 ,w4 ,sonata in ,a major4 7,g4 ,jensen74 7#gdcb74 ,,ii4 ,corelli1 ,arcangelo4 #f ,sonate da ,camera a tre 7due ,violini1 e ,violone1 o ,cembalo74 ,opera ,,iv4 ,with ,pianoforte ,accompaniment worked out from the ,figured ,bass of the author1 and with all necessary indications for the mode of executing1 for bowing and fingering by ,gustav ,jensen4 7#gaga74 ,i and ,,ii4 ,hofmann1 ,r4 ,potpourris on melodies from ,operas and ,oratorios4 #ai ,bks4 7#edja f-#edai f47 7,violin ,parts in #ast ,position only74 ,i4 -- ,potpourris on melodies from ,operas and ,oratorios4 ,second ,series1 with use of the higher positions4 #bf ,bks4 7#edbj f-#edde f47 ,,ii-,,iv4 ,pleyel4 #c ,quartets4 ,op4 #dd4 7,hermann47 7#gagh74 ,,iii4 ,purcell1 ,henry4 ,sonatas4 ,arranged by ,g4 ,jensen3-- ,the ,golden ,sonata4 7#gdaj a74 ,,ii4 ,sonata in ,b minor4 7#gdbi74 ,,ii4 ,sonata in ,a minor4 7#gdcj74 ,,ii4 ,sonata in ,c major4 7#gdca74 ,,ii4 ,squire1 ,w4 ,h4 ,serenade4 ,op4 #ae4 7#gabb c47 ,,iv4 ,veracini1 ,antonio4 ,sonata in ,c minor4 ,arranged by ,g4 ,jensen4 7#gdae47 ,,ii4 #c ,violins and ,piano4 ,gurlitt1 ,c4 ,ouverture des ,marionettes4 ,op4 #aje4 7#gbji74 ,,ii4 -- 8,commedietta0 ,ouverture4 ,op4 #acg4 7#gbab74 ,,ii4 ,morceaux d'ensemble4 7,f4 ,hermann74 ,,ii-,,iv43-- ,chopin4 ,marche funbre4 7#gbae a74 ,schubert4 ,moment musical4 7#gbae b74 ,mendelssohn4 ,duo4 ,op4 #ch4 7#gbae c74 ,fr4 ,hermann4 ,petite ,marche4 7#gbae d74 ,nicolai4 ,merry ,wives of ,windsor4 7#gbae e74 ,beethoven4 ,marche turque des ,ruines d',athnes4 7#gbae f74 ,mozart4 ,andante du #h me ,quatuor4 7#gbae g74 ,fr4 ,hermann4 ,barcarolle4 7#gbae h74 ,weber4 ,finale d',euryanthe4 7#gbae i74 ,schumann4 ,chur de ,paradis et ,pri4 7#gbae k74 ,schubert4 ,entr'acte de ,rosamonde4 7#gbae l74 ,beethoven4 8,an die ,freude04 ,hymn from #ith ,symphony4 7#gbae m74 ,papini1 ,g4 8,hope0 ,march4 ,i4 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj n74 ,,ii4 ,string ,quintets4 #c ,violins1 ,violoncello1 and ,bass4 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj k74 ,,ii4 #b ,violins1 ,viola 7,tenor71 ,violoncello1 and ,bass4 ,beethoveniana4 ,extraits des ,sonates pour ,piano de ,beethoven1 arrangs par ,fr4 ,hermann3-- ,livre ,a4 ,op4 #g2 ,op4 #aj1 ,no4 #b2 ,op4 #bf1 ,op4 #bg1 ,no4 #b4 7#gadc a74 ,v4 ,livre ,b4 ,op4 #aj1 ,no4 #c4 ,complete4 7#gadc b74 ,v4 ,livre ,c4 ,op4 #b1 ,no4 #c2 ,op4 #ac2 ,op4 #ad1 ,no4 #b2 ,op4 #ca1 ,no4 #c4 7#gadc c74 ,v4 ,boccherini4 ,quintet for #b ,violins1 ,alto1 and #b ,celli4 7#bbca74 ,borch1 ,gaston4 ,elgie4 ,op4 #ef1 ,no4 #a4 7#gjac74 ,,iv4 ,dance ,movements from the ,works of ,great ,masters4 7,f4 ,hermann73-- ,j4 ,s4 ,bach4 ,sarabande from the #bnd ,violin ,sonata 7#gaea a74 ,,ii4 ,g4 ,f4 ,handel4 ,scherzo from the ,concerto in ,g minor4 7#gaea b74 ,,ii4 ,joseph ,haydn4 ,nachtwchter-,menuett4 7#gaea c74 ,,iii4 ,monsigny4 ,rigaudon from 8,la ,reine de ,golconde04 7#gaea d74 ,,iii4 ,mozart4 ,minuet from the ,divertimento in ,d4 7#gaea e74 ,,iii4 ,beethoven4 ,allegretto from 8,die ,geschpfe des ,prometheus40 7#gaea f74 ,,iii4 ,mozart4 ,all' ongarese from ,violin ,concerto in ,a4 7#gaea g74 ,,iii4 ,cherubini4 ,ballet music from 8,ali ,baba40 7#gaea h74 ,,ii4 ,h4 ,marschner4 ,tanzmusik from 8,des ,falkners ,braut40 7#gaea i74 ,,iii4 ,rameau4 ,chaconne and ,musette4 7#gaea k74 ,,iii4 ,gluck4 ,musette from 8,armida40 7#gaea l74 ,,ii4 ,monsigny4 ,chaconne from 8,la ,reine de ,golconde40 7#gaea m74 ,,iii4 ,smyth4 ,quintet for #b ,violins1 ,alto and #b ,celli4 7#baga74 ,v4 #b ,violins1 #b ,violas1 and ,violoncello4 ,beethoven4 #d ,string ,quintets4 7#eii74 ,gade1 ,niels ,w4 ,quintet4 ,op4 #h4 7#gach74 ,,iv4 ,haydn4 ,quintet concertant4 ,op4 #hh4 ,kreuz1 ,e4 ,prize ,quintet4 ,op4 #di4 7#gafe74 ,v4 ,mendelssohn4 ,op4 #ah1 #hg4 #b ,quintets4 7#agdc74 ,mozart4 #aj ,string ,quintets4 7#ah-ai74 ,schubert4 ,op4 #afc4 ,string ,quintet4 7#gge74 ,solos with ,quartet ,accompaniment4 ,mozart1 ,w4 ,a4 ,adagio3-- ,for ,violin1 with ,quartet4 7#gaec74 ,,iii4 ,for ,viola1 with ,quartet4 7#gaed74 ,,iii4 ,for ,violoncello1 with ,quartet4 7#gaee74 ,,iii4 ,pianoforte ,quintets4 ,piano1 #b ,violins1 ,viola1 and ',cello4 ,beethoveniana4 ,extraits des ,sonates pour ,piano de ,beethoven1 arrangs par ,fr4 ,hermann3-- ,livre ,a4 ,op4 #g2 ,op4 #aj1 ,no4 #b2 ,op4 #bf2 ,op4 #bg1 ,no4 #b4 7#gade a74 ,v4 ,livre ,b4 ,op4 #aj1 ,no4 #c4 ,complete4 7#gade b74 ,v4 ,livre ,c4 ,op4 #b1 ,no4 #c2 ,op4 #ac2 ,op4 #ad1 ,no4 #b2 ,op4 #ca1 ,no4 #c4 7#gade c74 ,v4 ,brahms1 ,j4 ,op4 #cd4 ,quintet in ,f minor4 ,,iv4 ,gurlitt1 ,cornelius3-- -- ,op4 #aje4 ,ouverture des ,marionettes4 7#gadi74 ,,ii4 -- ,op4 #acg4 8,commedietta0 ,ouverture4 7#gada74 ,,ii4 ,pleyel1 ,i4 ,j4 uvres arranges par ,fr4 ,hermann3-- -- ,op4 #h4 ,six ,quintets4 7#gafj74 ,i4 -- ,op4 #dh4 ,six ,sonatinas4 7#ejba74 ,i4 ,potpourris on ,popular ,melodies from classical and modern operas and oratorios4 ,arranged by ,r4 ,hofmann4 ,,iii to ,,iv3-- ,wagner4 ,der fliegende ,hollnder4 7#edch q74 -- ,lohengrin4 7#edci q74 -- ,rienzi4 7#eddj q74 -- ,tannhuser4 7#edda q74 ,rossini4 ,il ,barbiere4 7#eddb q74 -- ,guillaume ,tell4 7#eddc q74 ,auber4 ,masaniello4 7#eddd q74 ,gounod4 ,faust4 7#edde q74 ,prout1 ,e4 ,op4 #c4 ,quintet in ,g4 7#ibde74 ,,iv4 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj f74 ,,ii4 ,saint-,sans1 ,c4 ,op4 #ad4 ,quintet in ,a4 ,v4 ,schumann4 ,op4 #dd4 ,piano ,quintet4 7#bcha74 ,v4 ,spohr4 ,op4 #acj4 ,quintet4 7,w4 ,s4 ,b4 ,woolhouse47 7#ifcb74 ,,iv4 ,piano1 #c ,violins1 and ,violoncello4 ,henkel1 ,h4 ,introduction and ,polacca4 7#gbac74 ,,iii4 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj l74 ,,ii4 ,piano and #d ,violins4 ,leo1 ,leonardo4 ,concerto a quattro ,violini obbligati1 arranged by ,gustav ,jensen4 7#ejja74 ,,ii and ,,iii4 ,maurer4 ,op4 #ee4 ,concertante4 7#bijh74 ,,iii4 ,piano1 ,violin1 ,viola1 ,violoncello1 and ,bass4 ,hummel4 ,grand ,quintet in ,e flat minor4 ,op4 #hg4 7,w4 ,s4 ,b4 ,woolhouse47 7#ifbb74 ,,iv4 ,schubert4 ,op4 #aad4 ,trout ,quintet4 7#afi74 ,sextets4 ,bennett1 ,w4 ,s4 ,op4 #h4 ,sextetto4 ,for ,piano1 #b ,violins1 ,viola1 ,violoncello1 and ,double ,bass4 7#ifba74 ,,iii4 ,jensen1 ,g4 ,symphonies arranges pour ,flte 7ou ,violon71 deux ,violons1 ,viola1 ,violoncelle et ,basse3-- ,jos4 ,haydn4 ,en ,r major 7,d major74 7#gaca74 ,,iii4 -- ,en ,,ut mineur 7,c minor74 7#gacb74 ,,iii4 ,w4 ,a4 ,mozart4 ,en ,,ut majeur 7,c major74 7#gacc74 ,,iii4 -- ,en ,,la majeur 7,a major74 7#gacd74 ,,iii4 ,jos4 ,haydn4 ,en ,,si bmol majeur 7,b flat major74 7#gace74 ,,iii4 ,potpourris on ,popular ,melodies from classical and modern operas and oratorios4 7,flute1 #b ,violins1 ,tenor1 ,violoncello1 and ,pianoforte47 ,arranged by ,r4 ,hofmann4 ,,iii to ,,iv3-- ,wagner4 ,der fliegende ,hollnder4 7#edch n74 -- ,lohengrin4 7#edci n74 -- ,rienzi4 7#eddj n74 -- ,tannhuser4 7#edda n74 ,rossini4 ,il ,barbiere4 7#eddb n74 -- ,guillaume ,tell4 7#eddc n74 ,auber4 ,masaniello4 7#eddd n74 ,gounod4 ,faust4 7#edde n74 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite3--,,ii4 #b ,violons1 ,alto1 ,violoncelle1 ,contrebasse et ,piano4 7#gegj h74 #c ,violons1 ,violoncelle1 ,contrebasse et ,piano4 7#gegj i74 ,septets4 ,beethoven4 ,op4 #bj4 ,septet4 7#bdff74 ,corelli1 ,arcangelo4 vres revues par ,j4 ,joachim et ,f4 ,chrysander4 #hvo3-- ,livres ,,iv41 ,v4 ,op4 #f4 ,concerti ,grossi con duoi ,violini1 e ,violoncello di ,concertino obligati1 e duoi altri ,violini1 ,viola e ,basso di ,concerto ,grosso ad arbitrio che si potranno radoppiare4 ,in ,roma1 #agab4 7,in ,score47 #b ,books4 7#dicf d1 e74 ,,ii4 ,morceaux d'ensemble1 for #c ,violins1 ,viola1 ',cello1 ,c4 ,bass1 and ,piano4 7,f4 ,hermann73--,,ii4 ,chopin4 ,marche funbre4 7#gaaj a74 ,schubert4 ,moment musical4 7#gaaj b74 ,mendelssohn4 ,duo4 ,op4 #ch4 7#gaaj c74 ,fr4 ,hermann4 ,petite ,marche4 7#gaaj d74 ,nicolai4 ,merry ,wives of ,windsor4 7#gaaj e74 ,beethoven4 ,marche turque des ,ruines d',athnes4 7#gaaj f74 ,mozart4 ,andante du #hme ,quatuor4 7#gaaj g74 ,fr4 ,hermann4 ,barcarolle4 7#gaaj h74 ,weber4 ,finale d',euryanthe4 7#gaaj i74 ,schumann4 ,chur de ,paradis et ,pri4 7#gaaj k74 ,schubert4 ,entr'acte de ,rosamonde4 7#gaaj l74 ,beethoven4 8,an die ,freude10 ,hymn from #ith ,symphony4 7#gaaj m74 ,squire1 ,w4 ,h4 ,serenade4 ,op4 #ae4 ,piano1 #b ,violins and ,violoncello1 with ,flute1 ,clarinet1 and ,double ,bass ad lib4 7#gabb c74 ,,iv4 ,octets4 ,gade1 ,n4 ,w4 ,octet1 ,op4 #ag1 for #d ,violins1 #b ,violas1 and #b ,violoncellos4 7#gajg74 ,v4 ,mendelssohn4 ,op4 #bj4 ,octet4 7#aghb74 ,schubert4 ,op4 #aff4 ,octet4 7#ahdi74 ,old ,chamber ,music4 ,riemann1 ,dr4 ,hugo4 ,old ,chamber ,music 7,alte ,kammermusik74 ,a selection of ,canzones1 ,sonatas1 etc4 7da chiesa and da camera71 for strings alone1 or with a thorough-bass1 by composers of the #agth and #ahth centuries2 edited and arranged4 ,in score4 #c ,bks4 7#ecia-ic74 ,violin and ,orchestra4 ,nardini1 ,pietro4 ,adagio for ,violin1 arranged for ,violin and small ,orchestra 7#b ,flutes1 #b ,bassoons1 ,violins1 ,violoncellos1 and ,contrabass7 by ,gustav ,jensen4 ,score and parts4 7#gjgb74 ,,iii4 ,string ,orchestra4 ,beethoveniana4 ,extraits des ,sonates pour ,piano de ,beethoven1 arrangs par ,fr4 ,hermann3-- ,livre ,a4 ,op4 #g2 ,op4 #aj1 ,no4 #b3 ,op4 #bf2 ,op4 #bg1 ,no4 #b4 7#gadc a74 ,v4 ,livre ,b4 ,op4 #aj1 ,no4 #c4 ,complete4 7#gadc b74 ,v4 ,livre ,c4 ,op4 #b1 ,no4 #c2 ,op4 #ac2 ,op4 #ad1 ,no4 #b2 ,op4 #ca1 ,no4 #c4 7#gadc c74 ,v4 ,borch1 ,gaston4 ,elgie4 ,op4 #ef1 ,no4 #a4 7,parts47 7#gjac74 ,,iv4 ,corelli1 ,arcangelo4 uvres revues par ,j4 ,joachim et ,f4 ,chrysander4 #h vo3-- ,livres ,,iv41 ,v4 ,op4 #f4 ,concerti ,grossi con duoi ,violini1 e ,violoncello di ,concertino obligati1 e duoi altri ,violini1 ,viola e ,basso di ,concerto ,grosso ad abitrio che si potranno radoppiare4 ,in ,roma1 #agab4 7,in ,score47 #b ,books4 7#dicf d1 e74 ,,ii4 ,del ,valle de ,paz1 ,e4 ,prlude4 ,op4 #i1 ,no4 #c4 7#gjde74 ,,ii4 -- ,minuet from 8,ondina04 ,op4 #ba4 ,,iv4 ,score4 7#gjdd a74 ,parts4 7#gjdd b74 -- ,arioso4 ,op4 #bf1 ,no4 #a4 7#gjdf74 ,,iv4 ,haydn1 ,j4 ,symphonies arranged by ,gustav ,jensen3-- ,in ,d major4 7#gaca74 ,,iii4 ,in ,c minor4 7#gacb74 ,,iii4 ,in ,b flat major4 7#gace74 ,,iii4 ,iliffe1 ,f4 ,pizzicato ,serenade4 ,score and ,parts4 7#gjeg74 ,,ii4 ,kreuz1 ,emil4 ,suite in ,g 7,prelude1 ,allemande1 ,gigue1 ,intermezzo1 ,scherzo1 and ,finale74 ,op4 #ch4 7#gjae74 ,,iv4 ,lee1 ,maurice4 ,gavotte du ,palais-,royal4 7#gjff74 ,,ii4 ,mozart1 ,w4 ,a4 ,symphonies1 arranged by ,gustav ,jensen3-- ,in ,c major4 7#gacc74 ,,iii4 ,in ,a major4 7#gacd74 ,,iii4 ,roeckel4 ,air du ,dauphin4 ,ancienne ,danse de la ,cour4 7#gjhc74 ,saint-,george4 ,l'ancien rgime4 ,petite ,suite4 7#gegj g74 ,,ii4 ,scharwenka1 ,x4 ,andante religioso1 for ,string ,orchestra1 ,harp1 and ,organ4 ,op4 #df ,b4 ,,iv4 ,score4 7#gjhh a74 ,parts4 7#gjhh b74 ,schtt1 ,e4 ,serenade in ,d4 ,op4 #f4 ,score and ,parts4 ,,iii4 ,werst1 ,r4 ,sous le ,balcon4 ,serenade for ,string ,orchestra with ,violoncello ,obbligato4 ,op4 #gh4 ,v4 ,full ,score4 7#gjih a74 ,orchestral ,parts4 7#gjih b74 -- ,russian ,suite for ,string ,orchestra with ,violin ,obbligato4 ,,iv4 ,full ,score4 7#gjig a74 ,,iv4 ,orchestral ,parts4 7#gjig b74 ,wurm1 ,m4 ,estera ,gavotte4 ,score and ,parts4 7#gjii74 ,,iii4 ,dance ,movements from the ,works of ,great ,masters4 7,f4 ,hermann74 ,,ii and ,,iii3-- ,j4 ,s4 ,bach4 ,sarabande from the #bnd ,violin ,sonata4 7#gaea a74 ,g4 ,f4 ,handel4 ,scherzo from the ,concerto in ,g minor4 7#gaea b74 ,joseph ,haydn4 ,nachtwchter-,menuett4 7#gaea c74 ,monsigny4 ,rigaudon from 8,la ,reine de ,golconde40 7#gaea d74 ,w4 ,a4 ,mozart4 ,minuet from the ,divertimento in ,d4 7#gaea e74 ,beethoven4 ,allegretto from 8,die ,geschpfe des ,prometheus40 7#gaea f74 ,mozart4 ,all' ongarese from ,violin-,concerto in ,a4 7#gaea g74 ,cherubini4 ,ballet music from 8,ali ,baba40 7#gaea h74 ,marschner4 ,tanzmusik from 8,des ,falkners ,braut40 7#gaea i74 ,rameau4 ,chaconne and ,musette4 7#gaea k74 ,gluck4 ,musette from 8,armida40 7#gaea l74 ,monsigny4 ,chaconne from 8,la ,reine de ,golconde40 7#gaea m74 ,,nb4 ,any of the pieces mentioned in the 8,guide0 can be procured from ,messrs4 ,augener ,co4 ,it will be sufficient to give the ,edition ,no4 where marked2 where there is no ,no41 name of author and title should be given4 ,,guide ,,through ,,viola ,,literature4 ,methods for the ,viola4 ,bruni1 ,a4 ,b4 ,tenor ,method4 ,edited1 with fingering1 bowings1 and marks of expression by ,emil ,kreuz4 7#gfei74 ,hermann1 ,fr4 ,the ,study of the ,viola 7,das ,studium der ,viola--,l'tude de l',alto73-- ,part ,i4 ,instruction in ,viola ,playing3 #bj ,introductory ,exercises with explanatory remarks4 7#gfeb a74 ,part ,,ii4 #bd ,easy ,exercises 7#ast position71 after the ,author's 8tudes spciales1 ,op4 #bd1 ,book ,i10 with #b ,viola ad lib4 7#gfeb b74 ,part ,,iii4 #ab ,easy ,exercises and ,pieces 7#ast to #crd ,positions71 after ,op4 #bd1 ,book #b1 with ,pianoforte accompaniment ad lib4 7#gfeb c74 ,laubach1 ,a4 ,a ,practical ,school for the ,viola 7,mthode pratique pour ,alto71 comprising the rudiments of music1 scales1 arpeggi1 progressive exercises1 and pieces in all major and minor keys4 7#gfed74 ,ltgen1 ,h4 ,practical and ,progressive ,method1 intended both for beginners and for more advanced players4 ,containing ,exercises by the greatest ,masters and some passages from the ,works of ,haydn1 ,mozart1 ,beethoven1 ,schumann1 etc4 ,ltgen's method consists largely of extracts from the great masters2 ,hermann's is the simplest course for young beginners4 ,in ,laubach's method the exercises are specially well graduated as to difficulty4 ,schroeder1 ,c4 ,handbook of ,violin ,playing1 has a chapter on ,viola ,music4 7#ibab74 ,viola ,studies4 ,steps ,i--,,ii4 ,hofmann1 ,r4 ,op4 #hf4 ,the first ,studies4 7#bgcb74 ,kreuz1 ,e4 ,progressive ,studies for the ,viola1 with accompaniment of a second ,viola4 ,op4 #dj3-- ,book ,i4 ,commencing with exercises on the open strings1 and gradually introducing the notes of ,c major in the first position4 7#gfec;a74 -- ,select ,studies1 taken from the works of ,campagnoli1 ,mazas1 ,corelli4 ,kreutzer1 ,spohr1 ,fiorillo1 ,wenzel ,pichl1 ,rode1 and ,gavinis2 in progressive order1 phrased1 fingered1 and arranged3-- ,book ,i4 #cj ,elementary ,studies in the first position1 with accompaniment of a second ,viola1 by ,campagnoli and ,mazas4 7#gfeg;a74 -- ,scales and ,appeggios for the ,viola1 through all major and minor keys2 systematically arranged1 bowed1 and fingered3-- ,book ,i4 ,through one and two octaves4 7#gfeh;a74 ,step ,,iii4 ,if ,laubach's method be adopted1 ,book #c of ,hermann 7#gfeb;c7 might suitably follow1 to be succeeded by3-- ,bruni4 #be ,studies from his ,method 7,e4 ,kreuz74 7#gfei;a74 ,kreuz1 ,e4 ,progressive ,studies for the ,viola1 with accompaniment of a second ,viola4 ,op4 #dj3-- ,book ,,ii4 ,studies in the first position in the flat keys1 major and minor4 7#gfec;b74 ,book ,,iii4 ,studies in the first position in the sharp keys1 major and minor4 7#gfec;c74 -- ,select ,studies for the ,viola1 taken from the works of ,campagnoli1 ,mazas1 ,corelli1 ,kreutzer1 ,spohr1 ,fiorillo1 ,wenzel ,pichl1 ,rode1 and ,gavinis2 in progressive order1 phrased1 fingered1 and arranged3-- ,book ,,ii4 #cj ,studies in the first position by ,corelli1 ,campagnoli1 ,kreutzer1 and ,spohr4 7#gfeg;b74 ,book ,,iii4 #bj ,studies in the first three positions1 by ,corelli1 ,campagnoli1 ,kreutzer1 ,fiorillo1 ,spohr1 ,wenzel ,pichl1 and ,mazas4 7#gfeg;c74 -- ,scales and ,appeggios for the ,viola1 through all major and minor keys2 systematically arranged1 bowed1 fingered3-- ,book ,,ii4 ,through two and three octaves4 7#gfeh;b74 ,step ,,iv4 ,campagnoli1 ,b4 #da ,caprices pour le ,viola1 revus et doigtes par ,e4 ,kreuz4 7#gfea74 ,kreuz1 ,e4 ,progressive ,studies for the ,viola1 with accompaniment of a second ,viola4 ,op4 #dj3-- ,book ,,iv4 ,introduction of the #bnd and #crd positions1 and studies in the first three positions4 7#gfec d74 -- ,select ,studies for the ,viola1 taken from the works of ,campagnoli1 ,mazas1 ,corelli1 ,kreutzer1 ,spohr1 ,fiorillo1 ,wenzel ,pichl1 ,rode1 and ,gavinis2 in progressive order1 phrased1 fingered1 and arranged3-- ,book ,,iv4 #bj ,studies in the higher ,positions4 7#gfeg d74 ,book ,v4 #bj ,studies in the higher ,positions4 7#gfeg c74 ,pieces for ,viola and ,piano4 ,step ,i4 ,kreuz1 ,e4 ,the ,violist4 ,a ,series of progressive pieces4 ,op4 #ac3-- ,book ,i4 #ab very easy pieces1 commencing with the open strings1 and gradually introducing the notes of ,c major in the first position 7#gfcf a74 -- #be ,pieces in progressive order4 ,in the #ast position3-- #a4 ,kreuz4 ,no4 #a ,prelude2 ,no4 #b ,melody4 #b4 ,schumann4 ,op4 #fh1 ,nos4 #a1 #b4 ,melodie2 ,soldatenmarsch4 #c4 ,gurlitt4 ,berceuse1 and 8,heiterer ,morgen40 #d4 ,schumann4 8,trllerliedchen0 and 8,jgerliedchen40 ,op4 #fh4 #e4 ,fitzenhagen4 ,cavatine4 #f4 ,reinecke4 ,air1 8,unbekmmert10 from ,op4 #bac4 #g4 ,kreuz4 ,melody4 #h4 ,schumann4 8,kleine ,romanze0 and 8,frhlicher ,landmann40 #i4 ,gluck4 ,air from 8,orfeo40 #aj4 ,gurlitt4 8,stndchen0 and 8,jagdstck40 #aa4 ,mendelssohn4 ,lied ohne ,worte1 ,op4 #cj1 ,no4 #i4 #ab4 ,haydn4 ,aria from 8,die ,jahreszeiten40 ,step ,,ii4 ,kreuz1 ,e4 ,the ,violist1 ,bk4 #b4 ,easy ,pieces in ,c4 7#gfcf b74 -- ,the ,violist1 ,bks4 #c1 #d4 #bj progressive melodies in the #ast position4 7#gfcf c1 d74 -- #be ,pieces in progressive order4 7,in the #ast position73-- #ac4 ,schumann4 8,canonisches ,liedchen0 and 8,schnitterliedchen40 #ad4 ,kreuz4 ,gavotte1 from 8,the ,violist40 #ae4 ,mozart4 8,gib mir die ,hand0 from 8,don ,giovanni40 #af4 ,schubert4 8,das ,fischermdchen40 #ag4 ,mendelssohn4 ,venetian ,gondola ,song4 #ah4 ,schumann4 ,siciliano4 #ai4 ,kreuz4 8,pense fugitive10 from 8,the ,violist40 #bj4 ,reinecke4 ,farandole1 ,op4 #bac1 ,no4 #aj4 #ba4 ,weber4 ,air from 8,der ,freischtz40 #bb4 ,beethoven4 ,sonatina4 #bc4 ,handel4 ,aria from ,ouverture to 8,ariadne40 #bd4 ,kreuz4 ,romance1 from 8,the ,violist40 #be4 ,bach4 ,gavotte1 from ,french ,suite4 ,mac,cunn1 ,hamish4 #c ,romantic ,pieces4 ,op4 #bg3-- ,no4 #a4 ,l',esprance4 ,mendelssohn4 ,op4 #gb4 #f ,pieces4 ,arranged4 7#gfca74 ,reinecke4 ,op4 #abb a4 #aj ,petits morceaux4 7#gfdb74 -- ,op4 #bac4 #aj ,petits morceaux4 7#gfdc74 ,albums4 ,vols4 #a and #b4 7#gfbe a1 b74 ,album ,classique4 7,moffat-,laubach74 7#eeff74 ,step ,,iii4 ,burgmller4 #c ,nocturnes4 7#gfbf74 ,goltermann1 ,g4 ,op4 #aad4 ,sonatina4 7#gfce74 ,handel4 ,sonata for ,viola da ,gamba and ,cembalo concertato1 arranged by ,g4 ,jensen4 7#eeea74 ,hermann1 ,f4 #ab easy ,exercises and ,pieces 7#a to #c positions74 7#gfeb c74 ,kalliwoda4 ,op4 #ahf4 #f ,nocturnes4 7#bajd74 ,kreuz1 ,e4 ,select pieces in progressive order1 ,viola ,part in the first three positions3-- #bf4 ,mozart4 ,song from 8,figaro40 #bg4 ,weber4 ,air from 8,der ,freischtz40 #bh4 ,c4 ,gurlitt4 8,buds and ,blossoms40 ,op4 #ajg1 ,no4 #d4 #bi4 ,mendelssohn4 ,song without ,words1 ,no4 #ad4 #cj4 ,handel4 ,largo4 #ca4 ,schumann4 ,revery4 ,op4 #ae1 ,no4 #g4 #cb4 ,mendelssohn4 ,song without ,words1 ,no4 #bb4 #cc4 ,gluck4 ,ballet from 8,orfeo40 #cd4 ,c4 ,gurlitt4 ,slow waltz4 ,op4 #adf1 ,no4 #a4 #ce4 ,kjerulf4 ,longing4 #cf4 ,strelezki4 ,cavatina4 #cg4 ,mendelssohn4 ,song without words1 ,no4 #be4 #ch4 ,e4 ,kreuz4 ,sketch4 ,op4 #ac;e1 ,no4 #c4 #ci4 ,schubert4 ,serenade4 #dj4 ,fr4 ,hermann4 ,rondino4 ,op4 #bd1 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,huguenots40 #fb4 ,e4 ,kreuz4 ,spring fancies4 ,op4 #i4 ,no4 #b4 #fc4 ,chopin4 ,nocturne4 ,op4 #cg1 ,no4 #a4 #fd4 ,beethoven4 ,romance in ,f major4 ,op4 #ej4 #fe4 ,e4 ,kreuz4 ,barcarolle from ,concerto for ,viola and ,orchestra4 ,op4 #bj4 ,rubinstein1 ,a4 #c ,salon ,pieces1 ,op4 #aa1 edited by ,f4 ,hermann3-- ,moderato4 7#gfch;a74 ,allegro con moto4 7#gfch;b74 ,allegretto4 7#gfch;c74 -- ,op4 #di4 ,sonata4 ,one of the finest compositions for the viola4 ,duets for ,violin and ,viola4 ,fiorillo4 ,op4 #i4 #f ,sonatas4 ,,ii4 ,jansa4 ,op4 #gj4 #f ,duets4 #b ,bks4 7#bbcd;a-b74 ,,iii4 ,kalliwoda4 ,op4 #bjh4 #b ,duets4 7#baje74 ,,iii4 ,kreuz1 ,e4 #d ,duos4 #b ,bks4 7#eeid;a1 b74 ,,ii4 ,mozart1 ,w4 ,a4 ,op4 #bh4 #b ,duets4 ,,iii4 ,pleyel4 ,op4 #dd4 #c ,duets4 7#gheh74 ,,iii4 -- ,op4 #fi4 #c ,duets4 ,,ii-,,iii4 ,schoen1 ,m4 #f ,easy ,duettinos4 #a and #c positions4 7#gfbj74 ,i-,,ii4 ,spohr1 ,l4 ,op4 #ac4 ,grand ,duo4 ,v4 ,trios for ,violin1 ,viola and ,piano4 ,gade1 ,niels1 ,w4 ,novelletten4 ,op4 #bi4 ,arranged by ,ernst ,heim4 7#ebfh74 ,,iv4 ,jensen1 ,g4 ,phantasiestcke4 ,op4 #bg4 7#ebge74 ,,iv4 ,kreuz1 ,e4 ,trio in ,c4 ,op4 #ba4 7#ebga74 ,v4 -- ,trio facile1 in ,c4 ,op4 #cb4 7#ebgb74 ,,ii4 ,lachner1 ,ignaz4 ,grand ,trio4 ,op4 #ajb4 7#ebgg74 ,,ii4 -- ,trio in ,c4 ,op4 #ajc4 7#ebgh74 ,,ii4 ,mozart4 ,trio4 ,op4 #ad4 in ,e4 ,clarinet or ,violin1 ,viola and ,piano4 -- ,symphonie ,concertante4 7#bbjf74 ,pleyel4 #c ,trios4 ,op4 #dd 7,hermann74 7#ebhj74 ,,ii4 ,potpourris on ,popular ,melodies from classical and modern operas and oratorios4 ,arranged by ,r4 ,hofmann3-- ,wagner4 ,der fliegende ,hollnder4 7#edchs74 ,,iii4 -- ,lohengrin4 7#edcis74 ,,iv4 -- ,rienzi4 7#eddjs74 ,,iii4 -- ,tannhuser4 7#eddas74 ,,iv4 ,rossini4 ,il ,barbiere4 7#eddbs74 ,,iii4 -- ,guillaume ,tell4 7#eddcs74 ,,iv4 ,auber4 ,masaniello4 7#eddds74 ,,iii4 ,gounod4 ,faust4 7#eddes74 ,,iv4 ,reger1 ,max4 ,trio4 ,op4 #b4 7#ebhc74 ,,iv4 ,weidig1 ,adolf4 ,kleines ,trio4 ,op4 #i4 7#ebhf74 ,,ii4 ,,nb4 ,any of the pieces mentioned in the 8,guide0 can be procured from ,messrs4 ,augener ,co4 ,it will be sufficient to give the ,edition ,no4 where marked2 where there is no ,no41 name of author and title should be given4 ,,guide ,,through ,,violin ,,literature4 ,contents4 ,page ,violin ,methods #aji ,technical ,exercises #aaj ,studies #aaj ,violin ,solos #aah ,duets4 ,two ,violins4 ,step ,i4 ,first position #aai 0 ,,ii4 ,first four positions #aba 0 ,,iii4 ,first five positions #abc 0 ,,iv4 ,all positions #abe 0 ,v4 ,difficult #abf 0 ,,vi4 ,concert ,duets #abg ,duets for ,violin and ,violoncello #abg 0 0 ,violin and ,organ #abg ,violin1 with ,pianoforte accompaniment4 ,step ,ia4 ,first position1 elementary #abh 0 ,ib4 ,first position1 easy and progressive #abi 0 ,,ii4 ,first four positions #acc 0 ,,iii4 ,first five positions #adb 0 ,,iv4 ,all positions #aea 0 ,v4 ,difficult4 7,octaves1 ,springing ,bow1 ,staccato1 etc47 #aef 0 ,,vi4 ,very difficult4 7,concertos1 etc47 #aeh ,string ,trios4 ,three ,violins #afj ,two ,violins and ,violoncello #afa ,two ,violins and ,viola #afa ,violin1 ,viola1 and ,violoncello #afa ,piano ,trios4 ,violin1 ,violoncello1 and ,piano #afb ,two ,violins and ,piano #afe ,violin1 ,viola1 and ,piano #afg ,violin1 ,piano1 and ,organ 7or ,harmonium7 #afg ,music with ,toy ,instruments #afh ,string ,quartets4 ,four ,violins #afh ,three ,violins and ,viola #afh ,three ,violins and ,violoncello #afh ,two ,violins1 ,viola1 and ,violoncello #afi ,piano ,quartets4 ,violin1 ,viola1 ,violoncello1 and ,piano #aga ,two ,violins1 ,violoncello1 and ,piano #aga ,three ,violins and ,piano #agb ,string ,quintets4 ,three ,violins1 ,violoncello1 and ,bass #agb ,two ,violins1 ,viola1 ,violoncello1 and ,bass #agc ,two ,violins1 two ,violas1 and ,violoncello #agc ,solos with ,quartet ,accompaniments #agd ,piano ,quintets4 ,two ,violins1 ,viola1 ,violincello1 and ,piano #agd ,three ,violins1 ,violoncello1 and ,piano #age ,four ,violins and ,piano #age ,violin1 ,viola1 ,violoncello1 ,bass1 and ,piano #age ,sextets1 etc4 ,sextets #age ,septets #agf ,octets #agf ,old ,chamber ,music #agf ,violin and ,orchestra #agg ,string ,orchestra #agg ,,viola ,,literature4 ,methods #agi ,studies #ahj ,duets4 ,viola with ,pianoforte accompaniment4 ,step ,i #aha 0 ,,ii #ahb 0 ,,iii #ahb 0 ,,iv #ahd 0 ,v #ahe ,violin and ,viola #ahe ,trios4 ,violin1 ,viola1 and ,piano #ahe