Chapter X (3)

[65] As it is neither hoped nor intended that this chapter should constitute a _gradus_, or complete code of instruction for the young student, I do but hint at a _few_ of the streams of information that Footnote: are open to him. A more extended view of these would result to him from a reference to the printed catalogues of those very diligent purveyors of _pabulum_ for auricular purposes, Messrs. Cocks and Co.; but, should he look upon a copious Catalogue as little better than a strange road without a guide, or a labyrinth without a _clue_—and should he have no _live_ preceptor at hand, to consult—I would point his attention to an available help from the same quarter, namely, “_Hamilton’s Catechism for the Violin_,” small in compass as in cost, wherein he will find, briefly indicated, the various steps by which, with due regard to continuous advancement, he should make his way.

[66] It is noticeable, as among the advantages due to this enterprise, that the text of the great Master, whose name it borrows, has been rescued (so far as relates to his Quartetts) from the numerous _errors_ wherewith all the editions were chargeable; and that a new edition, edited by Monsieur Rousselot (through whose labours that purification was mainly accomplished) has been submitted to the public by Messrs. Cocks & Co.

[67] Among the meritorious doings of provincial Amateurs (albeit _not_ in the way of Quartetts), I would here take occasion to mention the Brighton “Choral Society,” commenced in 1835, under the zealous management of Mr. H. Woledge, whose funds, as well as his time and talent, were liberally contributed to the undertaking. That social combination, although not continued beyond its third season, has been followed by the Brighton “Amateur Symphony Society,” which, with Mr. B. Thom for its Leader, and Mr. Woledge as its Secretary, is at this time pursuing its career of recreative euphony. Such Societies as this last, though they do not form quartett-players, can qualify their members to supply, with creditable effect, some of the demands of an orchestra.

[68] When twenty-four bits, instead of twelve, are used for the _purfling_, and when the _tail-piece_ is made of _two_ bits, the total number of pieces extends to _seventy-one_!

[69] Anecdotes of Mozart, by Frederic Rochlitz.

PRINTED BY J. MALLETT, 59, WARDOUR STREET, LONDON. WORKS FOR VIOLINISTS.

OTTO ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN, ENLARGED EDITION, 8VO. BOARDS, BY JOHN BISHOP,

(_With Illustrations_).

PRICE THREE SHILLINGS.

A TREATISE

ON THE

STRUCTURE AND PRESERVATION

OF THE

VIOLIN,

AND

ALL OTHER BOW INSTRUMENTS;

TOGETHER WITH

An Account of the most celebrated Makers, and of the genuine Characteristics of their Instruments;

BY

JACOBUS AUGUSTUS OTTO,

_Instrument Maker to the Court of the Grand Duke of Wiemar_.

Translated from the Original, with Additions and Illustrations,

BY

JOHN BISHOP,

OF CHELTENHAM.

ROBERT COCKS & CO. LONDON.

OTTO ON THE CONSTRUCTION AND PRESERVATION OF THE VIOLIN, ENLARGED EDITION, BY JOHN BISHOP.

_From the Author’s Preface._

“I have been induced to draw up a minute description of the construction of the Violin and all other bow instruments, together with a careful explanation of the forms of the genuine Italian instruments, by which they may be clearly distinguished from the spurious imitations. I shall specify those makers who, next to the Cremonese, have produced the best instruments and worked on the most correct mathematical principles, and shall treat at large of the rules which should be observed in repairing; because, through this, most of the good Italian violins, and those of other celebrated makers, have been spoiled.”

“... many good Violinists are unacquainted with the construction and the various component parts of their instruments....” _Chap. II, p. 4._

_From the Morning Herald._

“The famous Treatise of Otto on the Violin has been ably translated by Mr. John Bishop, whose book will be welcome to those who are curious in the history of the instrument, in the biographies of its most renowned makers, and in its mechanism philosophically considered.”

“The appendix (only found in this edition) contains a valuable article on the proportions, &c. of the several parts of the violin, illustrated by elaborate diagrams; and also another upon the bow, which was a desideratum in the original work—thus completing the necessary circle of information which every violinist should possess respecting the mechanism of his instrument—and which will prove an effectual safeguard against the mischievous practices of so-called restorers and repairers.”

“The study of this book will show any unfair dealing on the part of dealers in old violins.”—_Harmonicon._

See also _Chap. IX, p. 342_, of “The Violin.”

A LIST

OF

BOOKS OF INSTRUCTION

FOR THE

VIOLIN,

INCLUDING

THE METHODS OF THE MOST CELEBRATED MASTERS.

STANDARD EDITION OF DR. SPOHR’S GREAT WORK,

_With the Author’s own Sanction._

LOUIS SPOHR’S CELEBRATED VIOLIN SCHOOL, translated by JOHN
BISHOP, with two portraits of the Author—large music folio, whole
cloth boards, £1 11s. 6d.

TESTIMONIAL FROM THE AUTHOR.

“London, June, 1843.

“I have carefully looked over the English edition of my Violin School, published by Messrs. Cocks and Co. and have no hesitation in recommending it as a faithful translation of the original work.

“LOUIS SPOHR.”

The following is the reply to the Inscription Letter of the Publishers, received by them from the Secretary to the

ROYAL ACADEMY OF MUSIC:

“Royal Academy of Music, February 13th, 1843.

“Sir,—I am directed by the Committee of Management of this
Institution, to state that they have much pleasure in granting
your wish to publish their names as patronizing your edition of
SPOHR’S VIOLIN SCHOOL. I am farther instructed to return you
their best thanks for your donation of a copy of the above Work,
and which they have felt much pleasure in directing to be placed
in the Library of the Academy.

“I am, Sir, your obedient Servant,

“To Robert Cocks, Esq.”

“J. GIMSON, Secretary.”

_From the Morning Chronicle._

“This edition is fully equal in value to the original German; or, indeed, superior to it, when we consider the useful notes added by the Translator, and the correct and beautiful manner in which the Volume has been brought out by the Publishers.”

_From the Spectator._

“Any criticism on a work of such standing and repute as SPOHR’S VIOLIN SCHOOL would now be superfluous, if not impertinent. Its reputation has long been established throughout Europe; and the testimony of the best judges has stamped it as the most perfect work of its kind.”

INSTRUCTION BOOKS FOR THE VIOLIN.

CAMPAGNOLI’S New and Progressive Method for the Violin,
translated by John Bishop, and dedicated to His late
Royal Highness the Duke of Cambridge—large music
folio, whole cloth boards £1 4 0

PAGANINI’S Method of Playing the Violin, by Charles Guhr,
translated by James Clarke 12 0

RODE, BAILLOT, and KREUTZER’S Method of Learning the
Violin, as adopted by the Conservatoire de Musique,
in Paris, translated by J. A. Hamilton 10 6

Supplement to Rode, Baillot, and Kreutzer’s Method 8 0

HAMILTON’S Catechism of the Violin, with an Appendix
by John Bishop, 6th Edition 1 0

PACINI’S Easy Method, with 50 Airs, 13th Edition, revised
by Hamilton 2 0

ABBÉ’S (fils) Treatise on Harmonics 1 6

GUHR’S Treatise on Single and Double Harmonics 4 0

PRAEGER’S Elementary and Practical School for the Violin,
in Three Parts.