APPENDIX.

Plate 27.—See Appendix.Medal struck in Paganini's honour in 1831.

This may have been the concert at which, according to a lithograph,[58]Paganini received "the homage of five thousand persons after having pocketed £2,000 for two hours' performance." While the great world showed their appreciation of his playing in this way, and Royal patrons delighted to invest him with noble orders, the more humble admirers of Paganini caused medals to be struck in his honour. One of these, a tribute from the city of Vienna, has already been referred to; another very fine medal, struck in Paris during Paganini's first visit there in 1831 is reproduced here. The inscription round Paganini's head fills one with a strangely ironical feeling, when one remembers that the fame of Paganini did but survive to lead to the homage of exhumation.

True, the world has remembered him sufficiently to place memorial tablets on the houses where he was born and died. Fifty years after his death a tablet was affixed to the house wherein he breathed his last, and at the centenary celebration of his birth the following inscription was placed on the house wherein he first saw the light: "A great honour fell to the lot of this modest house, in which, on the 27th October, 1782, Nicolo Paganini, unsurpassed in the divine art of tone, was born, to the glory of Genoa and to the delight of theworld." At present one may enquire in vain of most Genoese people as to the position of Paganini's birthplace, and chance alone will direct one, who trusts to them for the information, to the slum quarter and the narrow street where the building stands. Difficult though it may be, however, to find this spot, it is an easy task to find the Palazzo Municipale where reposes the famous Guarnerius violin of Paganini.

This superb instrument, bequeathed to the city of Genoa by Paganini himself, has been most carefully preserved by the civic authorities. It has only twice been heard in public—once at the 1882 celebrations—since Paganini's death, and on both occasions it was played by his favourite pupil Sivori. It was carefully examined and photographed by Mr. Edward Heron-Allen in 1885, and a very interesting account was given by him[59]of the manner in which the violin was worn away by Paganini's peculiar method of playing. After describing its general condition he says, "The patch by the side of the tailpiece and the large wear on the back tell of the force with which he held the instrument in those high and pizzicato passages, which account for the long groove down the side of the fingerboard and the broad patch at the side of the neck, on the table of the instrument. The wearing away of the edges in the curves of the instrument bear a striking testimony to the force with which he sawed the gut in his bravura passages on the first and fourth strings." In the same glass case as the violin is placed the medal presented toPaganini by the Decurional Council of Genoa in 1834. On the reverse it bears this inscription:—

Nic. Paganino, Fidicini, cui nemo par fuit civique bene mecrentiA.D. MDCCCXXXIIII.

Such outward honours as the world gives to its dead have indeed been offered to the memory of Paganini; but it is doubtful whether the higher honour of a frank recognition by the musical world of the work that he did for it, has ever been his. Unlike the great composer the instrumentalist leaves behind him no visible proof of the part he has played in the development of his art. And the world has easily forgotten that from the day of Paganini not only was the violin transformed into a new instrument, not only were its capabilities, previously undreamt of, newly revealed, but also in other branches of musical art, in orchestral music especially, a fresh field was opened up before the composer. It is scarcely too much to say that the scores of Tchaikovsky and Richard Strauss could not have been written, had Paganini never lived. We do not desire to see another Paganini, so complete a slave to his instrument, albeit its master; we do not desire to see another such life, with bodily health and moral vigour sacrificed to so absorbing a devotion to one single end. We would fain believe that Nicolo Paganini did not live in vain, that like a real artist he had and fulfilled his mission, that the evil he did died with him and that the good lives on to benefit the world.

The End.

NOTES ON THE ILLUSTRATIONS IN THIS VOLUME.

Plate 1—Frontispiece.

Portrait ofNicolò Paganini, by Maurin, a French Artist. Free from caricature, it is probably the most authentic picture of the great virtuoso. It appeared in the seventh volume of the "Revue Musicale."

Plate 2—Facing page 4.

The Birthplace of the Celebrated Paganiniin the Passo di Gatto Moro, Genoa, Italy. The house is in a squalid neighbourhood—a dirty, narrow alley now occupied by the poorest of the city. Probably no worse than at the time of Paganini's birth. There is a tablet which reads as follows:—

Alta ventura sortita ad umile luogoin questa casail giorno XXVII di Ottobre dell' annoMDCCLXXXIINacquea decoro di Genova a delizia del mondoNicolò Paganininella divina arte dei suoni insuperato maestro.

The date 1782 given here confirms the latest research that Paganini was born in that year and not in 1784 so usually quoted.

Plate 3—Facing page 14.

Paganini's Violin, Bow, Case, etc., in the Municipal Museum at Genoa. This is the celebrated Joseph Guarnerius on which the great virtuoso invariably performed. The instrument is under a glass shade, and with other relics of Paganini, preserved in a strong safe. It is stated that £5,000 has, in vain, been offered for the violin.

Plate 4—Facing page 20.

This is another Caricature—Paganini performing on a tight rope—under which is printed "Exercices sur une seule corde,"—in reference to his one string solos. This was published by Mori and Lavenu, London, circa 1831.

Plate 5—Facing page 40.

This is, we believe, from a contemporary German picture.

Plate 6—Facing page 50.

This humorous picture is on the title-page of a comic song, "The wonderful Paganini, or London fiddling mad." The poetry by W. T. Moncrieff, Esq., and the melody by one of the first composers of the day! London, published by Leoni Lee, circa 1831. The "poetry" is not of a classical standard.

"What a hubbub! what a fuss! all London sure are frantic Sirs,The Prince of Fiddlers has arriv'd, great Paganini has come.So wonderful, exorbitant, so frightful, so romantic, Sirs, the world of Music at his mighty presence are struck dumb.So firm his touch, so fine his stop, everyone must own his sway,Great King King of Catgut! Agitato! presto! Who but he Sirs,Mori, Spagnoletti, now must second fiddle play, Sirs—Glory be to Tweedle dum! Success to Tweedle dee! Sirs—Such golden sounds, he from one string can draw, no sum can pay him, Sirs,Germany, France, Italy, combined his fame to puffThe prices must be doubled, all the world crowd to survey him, Sirs,Four thousand pounds a night to pay him is not half enough,Sixpences, none, after this, must dare call fiddlers' money Sirs.Thousands, tens of thousands, must the wondrous man reward,"etc., etc.,and so on for five verses!

Plate 7—Facing page 54.

Sigr. Paganini.During one of his performances at the King's Theatre, June, 1831. From a contemporary lithograph of the celebrated sketch by D. Maclise, R.A., now in the Foster Collection, South Kensington Museum. In the background are J. B. Cramer, Lindley, Dragonetti, Mori, etc. This is, perhaps, the most interesting print of the great violinist. It was published on July 12th, 1831, by W. Spooner, 259, Regent Street, London.

Plate 8—Facing page 60.

Reproduction of the celebrated Statuette (caricature), by Dainton.

Plate 9—Facing page 66.

Paganini with the Violin, Rossini at the pianoforte and the celebrated prima-donna Pasta. (Jos. McGuire, delt., printed by Englemann & Co.), circa 1832.

Plate 10—Facing page 76.

A Copy of the Original Oil Painting of Paganiniin the Municipal Museum at Genoa. The face full of intellect, shows the ravages of the disease which was so soon to terminate his existence.

Plate 11—Facing page 80.

The House at Nice in which Paganini diedon the 27th May, 1840. It was formerly the residence of the Count de Sessol. The lower part has been converted into shops.

Plate 12—Facing page 80.

The Tablet, with inscription, fixed on the front of the house, Rue de la Prefecture, Nice, France.

Plate 13—Facing page 84.

The Tomb of Paganini at Parma.Neither religious nor political martyr ever had so many objections made to his obsequies. To the cemetery, near Parma, in November, 1876, the embalmed remains of Paganini were transposed from the family villa at Gaione, by order of his son, the Baron Achille (who died in December, 1895). The funeral was held at night by torchlight. A nephew, the Baron Attila Paganini, followed, and crowds of curious sightseers joined the procession. In 1893 there was erected the beautiful mausoleum which is now depicted from the only known photograph, taken expressly forThe Strad. It bears this inscription:—

Qui riposano le ceneridi Nicolò PaganiniChe traendo dal violino armonie divineScosse genio insuperabile tutta Europae cinse all'Italia,Nuova sfolgorante corona.Mente elettissimaCompose stupendamente in musicaAmmirato dai piu illustri maestri.Cuore oltremodo generosodonò largamenteai parenti, agli artisti ai poveri.

Qui riposano le ceneridi Nicolò PaganiniChe traendo dal violino armonie divineScosse genio insuperabile tutta Europae cinse all'Italia,Nuova sfolgorante corona.

Mente elettissimaCompose stupendamente in musicaAmmirato dai piu illustri maestri.

Cuore oltremodo generosodonò largamenteai parenti, agli artisti ai poveri.

Beneath this cupola of white marble, with its granite columns, may the ashes of Paganini rest in peace. His true remains—his reputation, his influence, his music, are with us for ever.

Plate 14—Facing page 90.

Paganini in Prison.One of the many scandals which is contradicted in the text. (See page90.) There is another prison story that during Paganini's incarceration, he was reduced to the G, in consequence of the other strings having broken—hence his wonderful development of the fourth. This is again apocryphal. Paganini has greater claim to a scientific knowledge of the acoustical property of strings.

Plates15,16, and17, see pages 101, 102, and 103,

are reproductions of Paganini's MSS. in the British Museum. No. 15, a letter (dated April 16th, 1832, and in French) thanking the person addressed, for kindness shown to his "cher fils Achille," Nos. 16 (dated February 19th, 1835) and 17 (dated May 5th, 1838); short notes (in Italian) are interesting autographs. Paganini was proverbially a "silent man"—his epistles are very rare.

Plates18,19,20,21, and22—Pages 129-133.

These reproductions of rare programmes tell their own tales—they are interesting, because there are seen the items and the arrangement of concerts, also the prices, for admission, etc.—in those years.

Plate 23—Facing page 136.

Facsimile of a Letter by Paganini, dated 1829. It was formerly in the possession of the late Mr. Carrodus, the great English violinist.

Plate 24—Facing page 144.

A Semi-Caricature of Paganiniwith the inscription.

The Modern Apollo (not Belvedere)Receiving the homage of 5,000 persons, after having pocketed£2,000 for two hours' performance.

Sketched at his last Concert at the King's Theatre. Published by G. Madeley, Wellington Street, Strand, 1831.

Plates25and26, see pages 176 and 177.

Reproductions of music MS. in British Museum. A Theme, with variations for violin, with accompaniment, is a curious example of the great master's compositions.

Plate 27—Facing page 190.

Copy of a rare Copper Medalstruck in Paganini's honor in 1831.

The extraordinary career of Paganini has received more attention than the life of any other instrumentalist. Of these biographies, it is impossible to give a complete list.

The following may, however, be commended.

"Paganini in seinem Reisewagen und Zimmer, in seinen redseligen Stunden, in gesellsschaftlichen Kirkeln, und seinen Concerten." Brunswick, Vieweg, 1830. Mr. George Harris, the writer of this pamphlet, was an Englishman, who in order to study Paganini, became the Violinist's secretary and interpreter."Leben, Charakter und Kunst N. Paganini's—Eine Skizze,"—by M. F. Shütz, a Professor at Halle. Leipzig, 1830."Paganini's Leben und Treiben als Künstler und als Mensch." Prague, 1830. Written by Professor Schottky."Paganini's Leben und Charakter," by M. L. Vinela. Hamburg, 1830."Notice sur le célèbre violoniste Nicolò Paganini," by M. J. Imbert de Laphaléque. Paris."Paganini et de Bériot, ou Avis aux artistes qui se destinent à l'enseignement du Violon," by F. Fayolle. Paris, 1831."Paganini, his life, his person, and a few words upon his secret," by J. L. Anders. Paris, 1831."Vita di Nicolò Paganini di Genova, scritta ed illustrata da Giancarlo Conestabile, socio di varie Academie." Perugia, 1831."Nicolo Paganini," by F. J. Fétis. Published by Schott and Co."L'Album." "Paganini." Rome, 1840."Good Words." Three articles by Rev. H. R. Haweis, M.A."Musical Gem." "Paganini." Portrait by R. J. Hamerton. London, 1832."The Violin," with some account of that leading instrument and its most eminent professors, by George Dubourg, 1836 and 1878. This interesting book contains a long account of Paganini (illustrated.)"Life of Moscheles." Two vols. 1873. In Vol. I., chapters 13 and 14, "Paganini.""Louis Spohr's Autobiography,"vide"Paganini," Vol. I., page 279, and Vol. II., page 168. Spohr says: "His (Paganini's) left hand and his constantly pure intonation were to me astonishing.""Dictionary of Music and Musicians," by Sir George Grove, D.C.L.,videarticle Paganini."Encyclopädie der gesammten musicalischen Wissenschaften," by Dr. Gustav Schilling. Article Paganini.Dr. Riemann's "Dictionary of Music," article Paganini."The Strad," various articles and paragraphs in the series of this journal."The Violin," by George Hart. Engravings of Paganini's Violin."Old Violins and their Makers," by James M. Fleming."Ole Bull," by Sara C. Bull. Various notices of Paganini."Musical Opinion," July, August, and September, 1888. A renowned fiddler (Paganini.) Three articles by Richard Harrison."Musical News," 1903."A Wooden Shoe" (Story of Paganini) by M. P. Audebrand."Paganiniana," (circa 1865.)"Troubadour," August, 1899. Paganini, by Richard Harrison."The Athenæum," 1831. Critiques on Paganini."The Tatler," 1831."An account of Paganini's début in London," June 3rd, 1831, by Mr. Gardner of Leicester, appears in Dubourg's "Violin.""Paganini's Concerts in Paris." A clever description was published in "Le Globe.""Foreign Quarterly Review" (circa 1832)."Catalogue of Paganini's compositions," by M. Conestabile.Paganini's works are published by Ricordi and Co., of Milan, and Schott and Co., of Mayence and London."Revue et Gazette Musicale de Paris," December 23rd, 1840. Article Paganini."Story of the Violin," by Paul Stoeving."The Quarterly Musical Magazine and Review," Vol. X."Ueber Paganini's Kunst, die Violine zu spielen," by Carl F. W. Guhr, original edition 1831. Modern. Schott and Co."Biographical Sketches of Celebrated Violinists." London: Bentley, publisher."Celebrated Violinists, Past and Present." Translated from the German of A. Ehrlich, and edited with notes and additions by Robin H. Legge (eighteen pages devoted to Paganini). Portraits.StradOffice, London."Notice of Antony Stradivari," by F. J. Fétis. Translated by John Bishop. London, 1864."The Harmonicon." An excellent musical journal. Published in London (contemporary with Paganini)."The Life of Rossini," by Sutherland Edwards."History of Music," by Emil Naumann. 2 vols. Cassell and Co., London, 1886."Life and Letters of Sir Charles Hallé." Paganini is mentioned by a musical amateur (Count de Stendhal), 1814 and 1817."Diary of an Invalid," by Mathews, 1818."History of the Violin," by William Sandys and S. A. Forster, 1864."Old Violins," by Rev. H. R. Haweis, M.A. 1898."Researches into the History of the Violin Family," by Carl Engel. 1883."Musical World." 1836."Musical and Personal Recollections," by Henry Phillips, 1864."Music and Manners in France and Germany," by Henry F. Chorley. 1841."The Student's History of Music," by F. L. Ritter. 1880.

"Leben, Charakter und Kunst N. Paganini's—Eine Skizze,"—by M. F. Shütz, a Professor at Halle. Leipzig, 1830.

"Paganini's Leben und Treiben als Künstler und als Mensch." Prague, 1830. Written by Professor Schottky.

"Paganini's Leben und Charakter," by M. L. Vinela. Hamburg, 1830.

"Notice sur le célèbre violoniste Nicolò Paganini," by M. J. Imbert de Laphaléque. Paris.

"Paganini et de Bériot, ou Avis aux artistes qui se destinent à l'enseignement du Violon," by F. Fayolle. Paris, 1831.

"Paganini, his life, his person, and a few words upon his secret," by J. L. Anders. Paris, 1831.

"Vita di Nicolò Paganini di Genova, scritta ed illustrata da Giancarlo Conestabile, socio di varie Academie." Perugia, 1831.

"Nicolo Paganini," by F. J. Fétis. Published by Schott and Co.

"L'Album." "Paganini." Rome, 1840.

"Good Words." Three articles by Rev. H. R. Haweis, M.A.

"Musical Gem." "Paganini." Portrait by R. J. Hamerton. London, 1832.

"The Violin," with some account of that leading instrument and its most eminent professors, by George Dubourg, 1836 and 1878. This interesting book contains a long account of Paganini (illustrated.)

"Life of Moscheles." Two vols. 1873. In Vol. I., chapters 13 and 14, "Paganini."

"Louis Spohr's Autobiography,"vide"Paganini," Vol. I., page 279, and Vol. II., page 168. Spohr says: "His (Paganini's) left hand and his constantly pure intonation were to me astonishing."

"Dictionary of Music and Musicians," by Sir George Grove, D.C.L.,videarticle Paganini.

"Encyclopädie der gesammten musicalischen Wissenschaften," by Dr. Gustav Schilling. Article Paganini.

Dr. Riemann's "Dictionary of Music," article Paganini.

"The Strad," various articles and paragraphs in the series of this journal.

"The Violin," by George Hart. Engravings of Paganini's Violin.

"Old Violins and their Makers," by James M. Fleming.

"Ole Bull," by Sara C. Bull. Various notices of Paganini.

"Musical Opinion," July, August, and September, 1888. A renowned fiddler (Paganini.) Three articles by Richard Harrison.

"Musical News," 1903.

"A Wooden Shoe" (Story of Paganini) by M. P. Audebrand.

"Paganiniana," (circa 1865.)

"Troubadour," August, 1899. Paganini, by Richard Harrison.

"The Athenæum," 1831. Critiques on Paganini.

"The Tatler," 1831.

"An account of Paganini's début in London," June 3rd, 1831, by Mr. Gardner of Leicester, appears in Dubourg's "Violin."

"Paganini's Concerts in Paris." A clever description was published in "Le Globe."

"Foreign Quarterly Review" (circa 1832).

"Catalogue of Paganini's compositions," by M. Conestabile.

Paganini's works are published by Ricordi and Co., of Milan, and Schott and Co., of Mayence and London.

"Revue et Gazette Musicale de Paris," December 23rd, 1840. Article Paganini.

"Story of the Violin," by Paul Stoeving.

"The Quarterly Musical Magazine and Review," Vol. X.

"Ueber Paganini's Kunst, die Violine zu spielen," by Carl F. W. Guhr, original edition 1831. Modern. Schott and Co.

"Biographical Sketches of Celebrated Violinists." London: Bentley, publisher.

"Celebrated Violinists, Past and Present." Translated from the German of A. Ehrlich, and edited with notes and additions by Robin H. Legge (eighteen pages devoted to Paganini). Portraits.StradOffice, London.

"Notice of Antony Stradivari," by F. J. Fétis. Translated by John Bishop. London, 1864.

"The Harmonicon." An excellent musical journal. Published in London (contemporary with Paganini).

"The Life of Rossini," by Sutherland Edwards.

"History of Music," by Emil Naumann. 2 vols. Cassell and Co., London, 1886.

"Life and Letters of Sir Charles Hallé." Paganini is mentioned by a musical amateur (Count de Stendhal), 1814 and 1817.

"Diary of an Invalid," by Mathews, 1818.

"History of the Violin," by William Sandys and S. A. Forster, 1864.

"Old Violins," by Rev. H. R. Haweis, M.A. 1898.

"Researches into the History of the Violin Family," by Carl Engel. 1883.

"Musical World." 1836.

"Musical and Personal Recollections," by Henry Phillips, 1864.

"Music and Manners in France and Germany," by Henry F. Chorley. 1841.

"The Student's History of Music," by F. L. Ritter. 1880.

Collectors will be interested in the Medals and Busts of Paganini.

The English and Continental contemporary Press notices, etc., would alone make a Paganini volume.

Of Paganini, there are many portraits, though too generally caricatures. M. Fétis, in his Life of Paganini, gives a short but incomplete catalogue. Those included in this volume have been carefully selected from contemporary prints, etc.

"THE STRAD" LIBRARY No. I.

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"THE STRAD" LIBRARY EDITION is the only Authorised Edition of

ONJOACHIM'S METHOD

BYCARL COURVOISIER,

With Folding Plates, containing Fifteen Illustrations.

LETTER FROM DR. JOACHIM.[COPY.]

My Dear Mr. Courvoisier: I have read the book on Violin Playing you have sent me, and have to congratulate you sincerely on the manner in which you have performed a most difficult task,i.e., to describe the best way of arriving at a correct manner of playing the violin.

It cannot but be welcome to thoughtful teachers, who reflect on the method of our art, and I hope that your work will prove useful to many students.

Believe me, my dear Mr. Courvoisier, to be most faithfully yours,

JOSEPH JOACHIM.

Berlin, November 3rd, 1894.

The New and Revised Edition of "Technics of Violin Playing," issued byThe Strad, is the only authorised edition of my work. The several English Editions which have all appeared without my knowledge areincompleteandfaulty.

CARL COURVOISIER.

"THE STRAD" LIBRARY, No. II.

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By J. T. CARRODUS.

CONTENTS.

Strings and Tuning. The Bow and Bowing. Faults and their Correction. Scales and their Importance. Course of Study. Advice on Elementary Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some Experiences as a Soloist. With full page portraits of Carrodus, Molique, Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a photo-reproduction of Dr. Spohr's testimonial to Carrodus.

"An interesting series of articles 'How to Study the Violin,' which Carrodus contributed toThe Strad, and completed only a week or two before his death, have now been collected in cheap book form. The technical hints to violin students, which are practical, plainly worded, and from such a pen most valuable."—Daily News.

"But a few weeks before his sudden death the most distinguished of native violinists completed inThe Strada series of chats to students of the instrument associated with his name. These chats are now re-issued, with a sympathetic preface and instructive annotations. All who care to listen to what were virtually the last words of such a conscientious teacher will recognise the pains taken by Carrodus to render every detail as clear to the novice as to the advanced pupil. Pleasant gossip concerning provincial festivals at which Carrodus was for many years 'leader' of the orchestra, ends a little volume worthy a place in musical libraries both for its practical value and as a memento of the life-work of an artist universally esteemed."—Daily Chronicle.

"It is surely, hardly necessary to direct the attention of students to the unique value of the hints and advice given by so experienced and accomplished a virtuoso as the late Mr. Carrodus, so that it only remains to state that the 'Recollections' make delightful reading, and that the book, as a whole, is as entertaining as it is instructive. The value of thebrochureis enhanced by an excellent portrait of Mr. Carrodus, as well as of a number of other violin worthies, and the printing, paper, and get up generally are good as could possibly be."—Musical Answers.

"THE STRAD" LIBRARY, No. III.

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THE TIMES—"A useful treatise on the Bow, in which the history, manufacture and use of the bow are discussed with considerable technical knowledge."

DAILY TELEGRAPH—"To the student there is much of interest in the work, which has the advantage of being copiously illustrated."

DAILY NEWS—"This book seems practically to exhaust its subject."

"THE STRAD" LIBRARY, No. IV.

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Translated from the German ofA. EHRLICH,And Edited with Notes and Additions byROBIN H. LEGGE.

WITH EIGHTY-NINE PORTRAITS.

PRESS NOTICES.

"Those who love their fiddles better than their fellows, and who treasure up every detail that can be found and recorded about their favourite and cherished players, will not fail to provide themselves with a copy of this book."—Musical Opinion.

"This book of 280 pages is a most interesting and valuable addition to the violinist's library. It contains 89 biographical sketches of well-known artists, ancient and modern, of all nations. This is not intended to be a perfect dictionary of violinists; the aim of the Editor of the present volume being merely to give a few more up-to-date details concerning some of the greatest of stringed instrument players, and we must concede that no name of the first importance has been omitted. Germany is represented by 21 names, Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known ladies, such as Teresina Tua, Therése and Marie Milanollo, Lady Hallé, Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is most agreeable reading to the numerous army of violinists, both professionals and amateurs, and after careful examination we can find nothing but praise for this translation into English of a book well known on the Continent."—The Piano, Organ and Music Trades Journal.

"THE STRAD" LIBRARY, No. V.

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BYE. VAN DER STRAETEN.

COPIOUSLY ILLUSTRATED.

Copy of Letter received by the Author from the great 'cellist, SIGNOR ALFRED PIATTI.

Cadenabbia, Lake of Como, March 9th, 1898.

Dear Sir,—I received the book you kindly sent me on "The Technics of Violoncello Playing," which I found excellent, particularly for beginners, which naturally was your scope. With many thanks for kindly remembering an old ex-violoncello player.

Believe me, yours sincerely,

ALFRED PIATTI.

Copy of Letter received by the Author from the eminent 'cellist, HERR DAVID POPPER.

Budapest, February 22nd, 1898.

Dear Sir,—In sending me your book on "The Technics of Violoncello Playing" you have given me a real and true pleasure. I know of no work, tutors and studies not excepted, which presents so much valuable material, so much that is absolutely to the point, avoiding—I might say, on principle—all that is superfluous and dispensable. Every earnest thinking violoncello student will in future make your book his own and thereby receive hints which will further and complete the instructions of his master.

I congratulate you and ourselves most heartily on the new violoncello book. With kind regards, Yours most sincerely,

DAVID POPPER.

"THE STRAD" LIBRARY, No. VI.

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CONTENTS

Introductory—Qualities indispensable to the ideal Violinist—Hints on the Choice of a Teacher—Some Tricks of pretending professors exposed.

On the Choice of a Violin and Bow—Advice regarding general adjustment and repairs.

On the Choice of Strings—Stringing the Instrument and keeping the Pegs in Order.

On the General Posture—The manner of holding the Violin and Bow as accepted by the leading artists of the day.

On Fingering Generally—The various positions—Scales recommended—The Modern Orchestral "Principal" or (so-called) Leader.

On Gliding—Special Characteristics of some of the most Eminent Players.

Double Stopping—The main difficulty in Double Stopping—How to gain Independence of Finger.

Bowings—Smooth Bowings—Solid Staccato—Spiccato—Spring Bow—Mixed Bowings.

Tone Production—Character of Tone—Rules and Conditions necessary to produce a good tone—Style and Expression.

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Crown 8vo., Cloth, 2/6, Post Free, 2/9.

BYARTHUR BROADLEY.

"Musicians, devotees of the 'cello in particular, will welcome the latest volume ofThe 'StradLibrary,' 'Chats to 'Cello Students,' by Arthur Broadley.... Mr. Broadley not only knows what he is talking about, but has practised what he says. From the choice of an instrument to finished delivery and orchestral playing, 'Chats to 'Cello Students' leaves nothing undiscussed. The treatment is simple and practical. The exhaustive chapter on 'bowing' should be an invaluable aid to students. In the last chapter of his book, 'On Delivery and Style' Mr. Broadley has given a lucid expression to a subject which has sadly needed voicing."—The Tribune, Nuneaton.

"Is a brightly written little volume filled with practical information for those who seek to bring out the wealth of expression of which the violoncello is capable. The instruction is presented in homely, common-sense fashion, and there are upwards of fifty examples in music type to illustrate the author's meaning."—Lloyd's Weekly.

"Every kind of bowing and fingering, the portamento, harmonic effects, arpeggios and their evolution from various chords, are all ably treated, and the work concludes with a few remarks on orchestral playing which are of especial interest."—Musical News.

"As a writer on the technique of his instrument Mr. Broadley is known all over the world, perhaps his most successful work being a little book published byThe Strad, 'Chats to 'Cello Students.'"—The Violinist.

"THE STRAD" LIBRARY, No. VIII.

Crown 8vo., Cloth, 2/6, Post Free, 2/9.

BYHORACE PETHERICK.

Of the Music Jury, International Inventions Exhibition, South Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in Law Courts, 1891; President of the Cremona Society.

ILLUSTRATED BY THE AUTHOR.

"This is the history of the life-work of the great Italian stringed musical instrument maker.... There is a most interesting analysis of Stradivari's method of mechanical construction which again is illustrated by original drawings from the many Strads which it has been Mr. Petherick's privilege to examine. All lovers of the king of instruments will read this delightful little volume."—Reynolds.

"Among makers of violins Stradivari perhaps occupies the premier position, and this account of his work, designs, and variations in finish of details will afford pleasure to many readers."—Morning Post.

"This is a monograph which all students of the violin will be happy to possess. The author is a connoisseur and expert, and his account of the great Cremonese master and his life-work, is singularly well and clearly told, whilst the technical descriptions and diagrams cannot fail to interest everyone who has fallen under the spell of the violin.... Mr. Petherick traces the career of Stradivari from his earliest insight into the mysteries of the craft to his highest achievements. Numerous illustrations lend attraction to the volume, not the least being a view of Stradivari's atelier, from a painting by Rinaldi, the sketch of which was made on the premises."—Music.

"Mr. Petherick is well known in the musical world as a violin expert with a special knowledge of the instruments made by the Cremonese master, whose biography he has here given us. He tells us how the master worked, what his pupils did, and where their work differs from that of their preceptor. In fact, the volume is as much a dissertation on the violins of Stradivari as a biography of the master, and is full of deeply interesting matter."—Lloyds.

"THE STRAD" LIBRARY, No. IX.

Crown 8vo., Cloth, 5/-, Post Free, 5/4.

BYWALTER H. MAYSON,

With Thirty-one Full-page PHOTO ETCHINGS,Illustrating the process of Violin-making in every stage—from the rough slab of wood to the finished Instrument.

The text is written by anActual Violin Maker, in a very clear and lucid style.

"'Popular lecture' style, with photographic illustrations."—The Times.

"A feature of the book is the clearness of the illustrations."—Morning Post.

"Describes a very fascinating art from start to finish."—Morning Leader.

"This new booklet, on how to make a violin, is an admirable exposition of methods. Mr. Mayson avoids learned terminology. He uses the simplest English, and goes straight to the point. He begins by showing the young learner how to choose the best wood for the violin that is to be. Throughout a whole chatty, perfectly simple chapter, he discourses on the back. A separate chapter is devoted to the modelling of the back, and a third to its 'working out.' The art of sound-holes, ribs, neck, fingerboard, the scroll, the belly. Among the illustrations is one showing the tools which the author himself uses in the making of his instruments. To learners of the well-known Manchester maker's delicate art we commend this little volume."—Daily News.

"THE STRAD" LIBRARY, No. X.

Crown 8vo., Cloth, 2/6, Post Free, 2/9.

(Dedicated, by permission, to Dr. JOSEPH JOACHIM)

Critically discussed, and Illustrated with overFIFTY MUSICAL EXAMPLES,

BYJ. MATTHEWS.

⁂ The book contains analytical and historical notes upon the Chamber Music of Beethoven, in which the violin takes part as a solo instrument, with some account of the various editions of the principal works; Beethoven's method of working, as shown by his Sketch Books, etc. It is dedicated to Dr.Joachim, who has furnished some notes respecting the stringed instruments possessed by Beethoven.

Extract from Author's Preface:—

"Young students often suppose that they ought to admire every work which proceeds from a great genius; an attempt therefore has been made to convey some idea of the relative art-value and importance of the various compositions discussed in these pages. For between the best work of any man and his least inspired, there is a wide difference. Certainly nothing annoyed the great master more than to hear his least mature works praised, especially at a time when many of his greatest creations were too little studied to be understood save by a few."

"Mr. John Matthews—dealing with Beethoven's music in pleasant fashion, and at not too great length—gives an historical account, and in many instances short analyses, with illustrations in music type of Beethoven's works for this instrument, and particularly the sonatas (to which considerable space is devoted), the trios, the quartets, and other compositions in which the master employed the violin. The book will be found by amateurs both interesting and instructive."—Daily News.

London:"STRAD" OFFICE, 3,Green Terrace, Rosebery Avenue, E.C.

"THE STRAD" LIBRARY, No. I.

12mo., Cloth, 1.00.

"THE STRAD" LIBRARY EDITION is the only Authorised Edition of

ONJOACHIM'S METHOD

BYCARL COURVOISIER,

With Folding Plates, containing Fifteen Illustrations.

LETTER FROM DR. JOACHIM.[COPY.]

It cannot but be welcome to thoughtful teachers, who reflect on the method of our art, and I hope that your work will prove useful to many students.

Believe me, my dear Mr. Courvoisier, to be most faithfully yours,

JOSEPH JOACHIM.

Berlin, November 3rd, 1894.

CARL COURVOISIER.

"THE STRAD" LIBRARY, No. II.

12mo., Cloth, 1.00.

By J. T. CARRODUS.

CONTENTS.

"THE STRAD" LIBRARY, No. III.

12mo., Cloth, 1.00.

BYHENRY SAINT-GEORGE.

With Full Page Illustrations (exact size) by Photo Process.

THE TIMES—"A useful treatise on the Bow, in which the history, manufacture and use of the bow are discussed with considerable technical knowledge."

DAILY TELEGRAPH—"To the student there is much of interest in the work, which has the advantage of being copiously illustrated."

DAILY NEWS—"This book seems practically to exhaust its subject."

"THE STRAD" LIBRARY, No. IV.

12mo., Cloth, 2.00.