Books › An Encyclopedia of the Violin (1925)
An Encyclopedia of the Violin
Alberto Bachmann. 1925.
On archive.org as encyclopediaofvi0000albe_u1d5.
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| Scan | Page | Starts | |
|---|---|---|---|
| 13 | INTRODUCTION | Read | |
| 15 | AUTHOR'S PREFACE | Read | |
| 17 | EDITOR'S PREFACE | Read | |
| 19 | CONTENTS | Read | |
| 21 | ILLUSTRATIONS | Read | |
| 22 | PLATE | Read | |
| 25 | AN ENCYCLOPEDIA OF THE VIOLIN | Read | |
| 26 | 2 | is not met with in France until about th… | Read |
| 28 | 4 | It is only just to remark, however, that… | Read |
| 30 | 6 | The labels of this master are conceived… | Read |
| 32 | 8 | We may set the date of the actual creati… | Read |
| 33 | 9 | CHAPTER II | Read |
| 34 | 10 | Francesco Ruggieri detto il per Cremona… | Read |
| 35 | 11 | cellent bow maker. His sons, Michael and… | Read |
| 37 | 13 | used by Balestrieri is reproduced on Pla… | Read |
| 39 | 15 | he surpassed all his predecessors and so… | Read |
| 40 | 16 | Joseph Guarnerius fecit Cremonae anno 17… | Read |
| 41 | 17 | BUSAN, DOMENICO, Vicenza, Venice, 1740 t… | Read |
| 43 | 19 | this he went to Clement as assistant, an… | Read |
| 45 | 21 | DENNIS, JESSE, London, b. 1795, d. after… | Read |
| 46 | 22 | Antonius, & Hieronymus Fr. Amati Cremone… | Read |
| 47 | 23 | of Bernhard, his eldest brother. Jacob w… | Read |
| 49 | 25 | good wood and a red varnish. Only a few… | Read |
| 51 | 27 | GIBBS, JAMES, London 1800, d. about 1845… | Read |
| 53 | 29 | instruments on the Stradivarius model, b… | Read |
| 54 | 30 | Nicolas Lupot Luthier rue de Grammont; à… | Read |
| 55 | 31 | ers and Their Imitators (London 1875 and… | Read |
| 57 | 33 | HÜLLER (HULLER), AUGUSTIN, Schöneck, 173… | Read |
| 58 | 34 | by Landolfi is reproduced on Plate 8, an… | Read |
| 59 | 35 | Jacobusstainer in Albon prope Oemigenium… | Read |
| 60 | 36 | label used by Maggini is reproduced on P… | Read |
| 62 | 38 | NAYLOR, ISAAC, Headingly, b. Leeds; 1778… | Read |
| 63 | 39 | PECCENINI, ALESSANDRO, Bologna, 1581 to… | Read |
| 64 | 40 | ROCCA, GIUSEPPE ANTONIO, Turin, Genoa, b… | Read |
| 67 | 41 | SCHWARTZ, GEORG FRIEDRICH, Strassburg, b… | Read |
| 68 | 42 | Stainer was the younger brother of Jacob… | Read |
| 70 | 44 | is said to have paid the enormous sum of… | Read |
| 71 | 45 | Benjamin Banks | Read |
| 72 | 46 | TOPPANI (TAPPANI), (MICHEL) ANGELO (DE),… | Read |
| 74 | 48 | Wenger, Gregori Ferdinand, Augsburg, b.… | Read |
| 75 | 49 | CHAPTER III | Read |
| 76 | 50 | "GEMÜNDER ART VIOLIN | Read |
| 77 | 51 | ment and desiring to create one for his… | Read |
| 80 | 54 | Goss, Walter Solon, Boston, Mass. | Read |
| 82 | 56 | CHAPTER IV | Read |
| 84 | 58 | Although the violin is the best known an… | Read |
| 86 | 60 | The violoncello, which is tuned an octav… | Read |
| 87 | 61 | purfling was further removed from the si… | Read |
| 89 | 63 | their arch being raised no more than a h… | Read |
| 90 | 64 | well cut, and are individual inasmuch as… | Read |
| 92 | 66 | One of the most essential factors toward… | Read |
| 94 | 68 | hundred years ago or more, by the Stradi… | Read |
| 95 | 69 | of the compass are approached in such wi… | Read |
| 96 | 70 | A to point G, passing from one to the ot… | Read |
| 97 | 71 | It is by means of these two instruments… | Read |
| 99 | 73 | Finally, the eight screw holes seen in F… | Read |
| 100 | 74 | mold are absolutely on a level, which sh… | Read |
| 101 | 75 | It might be observed here that maple or… | Read |
| 102 | 76 | by the plane. In order to do so the tool… | Read |
| 103 | 77 | by the mold and the corners with its ent… | Read |
| 104 | 78 | blocks, their ends are introduced into t… | Read |
| 106 | 80 | that the surface is absolutely level. Th… | Read |
| 107 | 81 | the upper and of the lower part of the i… | Read |
| 108 | 82 | This procedure serves to fix at once the… | Read |
| 110 | 84 | the sound board. They are not pierced un… | Read |
| 111 | 85 | Care having been taken, then, to establi… | Read |
| 112 | 86 | which are found between the square and t… | Read |
| 113 | 87 | that the grain of the wood is on the sam… | Read |
| 114 | 88 | is placed flat on the sound board, and,… | Read |
| 115 | 89 | the plane is used again, with more or le… | Read |
| 116 | 90 | gone over with the knife in order to dee… | Read |
| 117 | 91 | might believe at first glance that the w… | Read |
| 118 | 92 | and on the two straight lines of wood an… | Read |
| 119 | 93 | with scrapers and glass paper. The gouge… | Read |
| 120 | 94 | HOW TO MAKE THE FINGER BOARD | Read |
| 121 | 95 | It might be well to observe, before taki… | Read |
| 122 | 96 | 1/6 of an inch of elevation above the so… | Read |
| 123 | 97 | tracer or a knife point in the flat surf… | Read |
| 124 | 98 | A rat-tail file is then used to cut the… | Read |
| 125 | 99 | graceful as those made in Mirecourt can… | Read |
| 126 | 100 | In order to ascertain the height of the… | Read |
| 127 | 101 | CHAPTER V | Read |
| 128 | 102 | allowed to macerate for two or three wee… | Read |
| 129 | 103 | Brownish Red.—This color, which is the c… | Read |
| 130 | 104 | A glazed earthenware dish should be fill… | Read |
| 131 | 105 | color desired is to approach more or les… | Read |
| 132 | 106 | The bottle should then be uncorked, and… | Read |
| 133 | 107 | Drying Oil or Oil Varnish | Read |
| 134 | 108 | of terebinth is poured, and it is then p… | Read |
| 135 | 109 | following this should be poured carefull… | Read |
| 136 | 110 | When the violin has been covered with va… | Read |
| 137 | 111 | yellowish-red dye also known as annatto. | Read |
| 138 | 112 | Garance (Fleur-de-garance or madder-bloo… | Read |
| 139 | 113 | made of the old roots of the Curcuma lon… | Read |
| 140 | 114 | CHAPTER VI | Read |
| 142 | 116 | Johann Christoph, a highly skilled bow m… | Read |
| 144 | 118 | AN ENCYCLOPEDIA OF THE VIOLIN | Read |
| 146 | 120 | line, AC, is drawn, representing the len… | Read |
| 147 | 121 | "The bows of stringed instruments, as th… | Read |
| 148 | 122 | patron, and later this gentleman and mys… | Read |
| 150 | 124 | Bows that are at all expensive are made… | Read |
| 152 | 126 | One of these drills is intended to bore… | Read |
| 153 | 127 | used to saw iron, brass, ivory, mother-o… | Read |
| 155 | 129 | HOW THE STICK IS MADE | Read |
| 156 | 130 | The wood is then once more dressed with… | Read |
| 157 | 131 | It would be advisable for those who wish… | Read |
| 158 | 132 | for it must be placed well in the center… | Read |
| 159 | 133 | The heel end of the nut is that part of… | Read |
| 160 | 134 | the hairs would not fail to rest against… | Read |
| 161 | 135 | button, taking care that the hole which… | Read |
| 162 | 136 | stick with scrapers and glass paper and,… | Read |
| 163 | 137 | nut is then set on the wedge box, and in… | Read |
| 164 | 138 | CHAPTER VII | Read |
| 166 | 140 | and economical to use bridges already pr… | Read |
| 168 | 142 | they would risk receiving them in a stat… | Read |
| 169 | 143 | with a split, beveled cane, which they h… | Read |
| 170 | 144 | ing passage through the water, the stren… | Read |
| 171 | 145 | several fixed pegs, while the opposite e… | Read |
| 172 | 146 | latter are then moistened with sponges,… | Read |
| 174 | 148 | Finishing the Strings | Read |
| 175 | 149 | not flexible, and do not easily resume t… | Read |
| 176 | 150 | the sulphur bath, since, as chemistry te… | Read |
| 178 | 152 | the larger factories this operation is c… | Read |
| 179 | 153 | whole intestines in a double-bass string… | Read |
| 180 | 154 | hair it should whiten it and not give it… | Read |
| 181 | 155 | CHAPTER VIII | Read |
| 182 | 156 | taking teacher, must follow exactly the… | Read |
| 183 | 157 | War, there seems to be hardly any questi… | Read |
| 184 | CHAPTER IX | Read | |
| 187 | ne true head of all the "schools" in exi… | Read | |
| 188 | 160 | Joachim's line of violinistic descent ru… | Read |
| 189 | 161 | CHAPTER X | Read |
| 190 | 162 | In the Beethoven Concerto, the opening p… | Read |
| 192 | 164 | The work should not be made heavy and cl… | Read |
| 193 | 165 | first few measures my neighbor exclaimed… | Read |
| 194 | 166 | CHAPTER XI | Read |
| 195 | 167 | The French and Italians, in general, hav… | Read |
| 196 | 168 | sonorous while playing, and that when th… | Read |
| 197 | 169 | Play this same exercise first quickly an… | Read |
| 198 | 170 | The staccato should not come from the wr… | Read |
| 199 | 171 | At certain points it is at times necessa… | Read |
| 200 | 172 | This incorrect accentuation rarely occur… | Read |
| 201 | 173 | is not as perfect as the trill in triple… | Read |
| 202 | 174 | Now it is worth mentioning that though B… | Read |
| 203 | 175 | In the trill in the first movement the f… | Read |
| 204 | 176 | ANCIENT MUSICAL ABBREVIATIONS | Read |
| 205 | 177 | The détaché should be played in the exac… | Read |
| 206 | 178 | The majority of violinists, however, pla… | Read |
| 207 | 179 | The martelé, if taken rightly, means tha… | Read |
| 208 | 180 | "Design corresponds to honesty and since… | Read |
| 209 | 181 | they are interassociated by some histori… | Read |
| 210 | 182 | favorable to the artist, public performa… | Read |
| 211 | 183 | object is to define the properties and r… | Read |
| 213 | 185 | CHAPTER XII | Read |
| 214 | 186 | The method indicated by the slurs above… | Read |
| 215 | 187 | One of the most complex details of violi… | Read |
| 216 | 188 | CHAPTER XIII | Read |
| 217 | 189 | In his Twenty-four Caprices, Locatelli (… | Read |
| 218 | 190 | composition in accordance with the tradi… | Read |
| 219 | 191 | "I would recommend every violinist to st… | Read |
| 220 | 192 | Henri Wieniawski, employs the same devic… | Read |
| 221 | 193 | Then we have the reception given the fam… | Read |
| 222 | 194 | and deserves gratitude for being the fir… | Read |
| 223 | 195 | Fleigende Holländer (Wagner) | Read |
| 224 | 196 | the Concerto with his habitual talent, a… | Read |
| 225 | 197 | which is quite illogical. It would be pr… | Read |
| 226 | 198 | alteration which should facilitate the p… | Read |
| 227 | 199 | nevertheless, once they are taken up in… | Read |
| 228 | 200 | CHAPTER XIV | Read |
| 229 | 201 | What is done in the G Minor Symphony of… | Read |
| 230 | 202 | A defective bow technique is the point o… | Read |
| 231 | 203 | CHAPTER XV | Read |
| 232 | 204 | the result is monotony itself, while if… | Read |
| 233 | 205 | In the allegretto which precedes the viv… | Read |
| 234 | 206 | In this vigorously martial two-measure p… | Read |
| 235 | 207 | THE TECHNICAL ACCENTUATION | Read |
| 237 | 209 | CHAPTER XVI | Read |
| 238 | 210 | This movement from B to F is all too oft… | Read |
| 240 | 212 | CHAPTER XVII | Read |
| 241 | 213 | 1 | Read |
| 242 | 214 | Play the four first measures with tender… | Read |
| 243 | 215 | since the chords, arranged in the follow… | Read |
| 244 | 216 | Carry out a voluminous stretto in the cr… | Read |
| 245 | 217 | These five measures are most characteris… | Read |
| 246 | 218 | the second measure a slight crescendo, a… | Read |
| 247 | 219 | We give below the bowing which we have f… | Read |
| 248 | 220 | Play mezzo forte, with a slight crescend… | Read |
| 249 | 221 | In measure 1 the triplets should be play… | Read |
| 250 | 222 | that the master was influenced by a spir… | Read |
| 251 | 223 | 4 | Read |
| 252 | 224 | scription: "Concerto Written for Clement… | Read |
| 253 | 225 | ould not be crowded together on one and… | Read |
| 254 | 226 | each note should be played with an incre… | Read |
| 255 | 227 | Measures 19 and 20 are characterized by… | Read |
| 256 | 228 | The shading at this point should be unif… | Read |
| 257 | 229 | We begin period nine after the tutti. | Read |
| 258 | 230 | Larghetto | Read |
| 259 | 231 | Play the final measures of this admirabl… | Read |
| 260 | 232 | From measure 15 on allow the adorable pe… | Read |
| 261 | 233 | it is that of maintaining a rigorous rhy… | Read |
| 262 | 234 | The sforzando on the C of measure 12 sho… | Read |
| 263 | 235 | The 20 measures preceding the first repe… | Read |
| 264 | 236 | and the following one at the repeat: | Read |
| 265 | 237 | The measure before the last should be pl… | Read |
| 266 | 238 | was a violinist of great talent, and as… | Read |
| 267 | 239 | The octaves of measures 10 to 12 should… | Read |
| 268 | 240 | Play measures 15 to 22 mezzo forte, if n… | Read |
| 269 | 241 | the A in the third position is very tric… | Read |
| 270 | 242 | In measures 22 to 30 recall the beginnin… | Read |
| 271 | 243 | 15 | Read |
| 272 | 244 | In measure 11 let the D stand out. In me… | Read |
| 273 | 245 | According to the Joachim edition, measur… | Read |
| 274 | 246 | Measures 1 to 4 should be played with gr… | Read |
| 275 | 247 | This magnificent work is more musical th… | Read |
| 276 | 248 | A pianissimo shading not being possible… | Read |
| 277 | 249 | illustration of the melody orchestrally… | Read |
| 278 | 250 | The superb phrase which runs from measur… | Read |
| 279 | 251 | Measures 22 to 31 should be played very… | Read |
| 280 | 252 | strictly in time. The organ point should… | Read |
| 281 | 253 | almost metronomically, with a prolonged… | Read |
| 282 | 254 | The ravishing episode which begins with… | Read |
| 283 | 255 | Introduce a rapid crescendo in measures… | Read |
| 284 | 256 | Accent the third and sixth beats of meas… | Read |
| 285 | 257 | The delightful andante should be played… | Read |
| 286 | 258 | not a single violinist who has composed… | Read |
| 287 | 259 | An intensive effect may be obtained at m… | Read |
| 288 | 260 | The harmonics at the close of this movem… | Read |
| 289 | 261 | THE SYMPHONIE ESPAGNOLE | Read |
| 290 | 262 | Avoid drowning the individual notes whil… | Read |
| 291 | 263 | and somewhat further on we find a detail… | Read |
| 292 | 264 | 4 | Read |
| 293 | 265 | are very fully indicated—are all observe… | Read |
| 294 | 266 | The first recitation, as well as that wh… | Read |
| 295 | 267 | A special effort should be made to play… | Read |
| 296 | 268 | The student must endeavor to realize tha… | Read |
| 297 | 269 | Also make a crescendo at the commencemen… | Read |
| 298 | 270 | of the chromatic passage played sautillé… | Read |
| 299 | 271 | CHAPTER XVIII | Read |
| 301 | 273 | sibilities of the instrument rapidly spr… | Read |
| 303 | 275 | In France and Belgium, collections of vi… | Read |
| 306 | 278 | trace as far as possible some of the int… | Read |
| 308 | 280 | Germany many years, having the opportuni… | Read |
| 310 | 282 | Antonius Stradivarius (continued) | Read |
| 312 | 284 | Joseph Guarnerius del Gesu (continued) | Read |
| 314 | 986 | <table> | Read |
| 317 | 287 | in question for a reasonable length of t… | Read |
| 318 | 288 | CHAPTER XIX | Read |
| 320 | 290 | these great works of art. It would requi… | Read |
| 323 | 293 | certs on Sundays which every one might a… | Read |
| 325 | 295 | HALIR QUARTET. Composed of Carl Halir, G… | Read |
| 328 | 298 | Quartet Op. 76, No. 5—Haydn | Read |
| 330 | 300 | this quartet, Karl Friedrich Muller, als… | Read |
| 333 | 303 | Remporat and Artura Cuccoli. Many change… | Read |
| 335 | 305 | In the Mozart String Quartet No. I, dedi… | Read |
| 336 | 306 | of one man has created these marvels whi… | Read |
| 337 | 307 | CHAMBER MUSIC TEMPOS | Read |
| 338 | 308 | Menuetto | Read |
| 339 | 309 | CHAMBER MUSIC TEMPOS | Read |
| 340 | 310 | 70. Allegro molto | Read |
| 341 | 311 | Un poco più vivace = 112 | Read |
| 342 | 312 | CHAPTER XX | Read |
| 343 | 313 | Thaïs by Massenet may be mentioned, reco… | Read |
| 344 | 314 | Brahms, Joh. | Read |
| 345 | 315 | Drdla, Fr. | Read |
| 346 | 316 | Gossec, F. J. | Read |
| 347 | 317 | Massenet, J. | Read |
| 348 | 318 | Rode, Pierre | Read |
| 349 | 319 | Sibelius, J. | Read |
| 350 | 320 | Wieniawski, H. | Read |
| 351 | 321 | CHAPTER XXI | Read |
| 352 | 322 | by an elaborate introduction and followe… | Read |
| 353 | 323 | Avec (Fr.). With. | Read |
| 354 | 324 | prices for violin were those by Locatell… | Read |
| 355 | 325 | time, having rather a lively movement wi… | Read |
| 356 | 326 | Embellishment. See grace note. | Read |
| 357 | 327 | Gaiement (Fr.). Merrily, gayly. | Read |
| 358 | 328 | Intonation. The production of sound on t… | Read |
| 359 | 329 | from the ancient lute family (pear-shape… | Read |
| 360 | 330 | a drone bass note being used to make the… | Read |
| 361 | 331 | Polacca (Pol.). The polacca (or polonais… | Read |
| 362 | 332 | Ritardando (It.). Same as ritard. | Read |
| 363 | 333 | Siciliano. An ancient quiet dance in 6/8… | Read |
| 364 | 334 | Sul (It.). On (or near) the bridge as su… | Read |
| 365 | 335 | Tristesse (Fr.). Sadness. | Read |
| 366 | 336 | CHAPTER XXII | Read |
| 368 | 338 | a performer on the violin he was highly… | Read |
| 369 | 339 | ARDITI, EMILIA, woman violinist, b. abou… | Read |
| 370 | 340 | fessor of violin at the Vienna Conservat… | Read |
| 372 | 342 | der Beck and Joachim. Concertmaster and… | Read |
| 373 | 343 | consecutive concerts at Berlin, and is n… | Read |
| 374 | 344 | silver medal for proficiency. Appeared a… | Read |
| 375 | 345 | GREEN, mulatto violinist, b. Poland abou… | Read |
| 377 | 347 | the great European Orchestras. Made nume… | Read |
| 378 | 348 | of Great Britain. Taught the violin at t… | Read |
| 379 | 349 | numerous successful tours of Europe and… | Read |
| 380 | 350 | has grown to be a part of the city's mus… | Read |
| 381 | 351 | 1817. Studied under Habeneck at the Pari… | Read |
| 383 | 353 | and Ysaye. Appeared as soloist at St. Ja… | Read |
| 384 | 354 | EICHBERG, JULIUS, German violinist and c… | Read |
| 385 | 355 | ness. For the youthful player or beginne… | Read |
| 386 | 356 | Fontana, Giovanni Batista, Italian violi… | Read |
| 388 | 358 | and composer, b. Lucca, about 1680. Stud… | Read |
| 389 | 359 | Music, Chicago. His compositions include… | Read |
| 390 | 360 | played by Paganini which without him wou… | Read |
| 391 | 361 | Ysaye. Appeared as soloist in Berlin in… | Read |
| 392 | 362 | April 24, 1800. Studied under Böhm and b… | Read |
| 394 | 364 | he was awarded first prize for violin pl… | Read |
| 395 | 365 | the violin he combines unusual talent wi… | Read |
| 396 | 366 | on the violin she possessed a splendid t… | Read |
| 398 | 368 | JENSEN, GUSTAV, German violinist and com… | Read |
| 399 | 369 | York, Dec. 13, 1884. Studied under Hilf,… | Read |
| 400 | 370 | KRAHMER, CAROLINE, Austrian violinist, b… | Read |
| 402 | 372 | at the Prague Conservatory, graduating w… | Read |
| 403 | 373 | LANGLEY, BEATRICE, English violinist, b.… | Read |
| 404 | 374 | a performer on the violin he was one of… | Read |
| 406 | 376 | certmaster of various important American… | Read |
| 407 | 377 | Became a teacher at Edinburgh and leader… | Read |
| 408 | 378 | Appeared as soloist at the Paris Concert… | Read |
| 409 | 379 | McCarthy, Maud, American violinist. Stud… | Read |
| 411 | 381 | he Cincinnati Conservatory. Compositions… | Read |
| 412 | 382 | for the violin. D. Santander, Sept. 28,… | Read |
| 414 | 384 | MOSER, ANDREAS, Hungarian violinist and… | Read |
| 415 | 385 | Santa Barbara, California. Compositions… | Read |
| 416 | 386 | the Vienna Conservatory and was graduate… | Read |
| 417 | 387 | n London and married the pianist, Anna C… | Read |
| 419 | 389 | PARLOW, KATHLEEN, Canadian violinist, b.… | Read |
| 420 | 390 | ist and composer, b. Lambeth, Sept. 25,… | Read |
| 421 | 391 | violin he had an extraordinarily powerfu… | Read |
| 422 | 392 | other organizations throughout Europe. N… | Read |
| 424 | 394 | business, first in Dresden and later in… | Read |
| 425 | 395 | the viola, for which he had a great fond… | Read |
| 426 | 396 | nani. Spent his entire life in Dessau, w… | Read |
| 427 | 397 | orchestra at the first concert in 1813.… | Read |
| 429 | 399 | fessor at the Cincinnati College of Musi… | Read |
| 430 | 400 | head of the Master School for violin at… | Read |
| 431 | 401 | d was equally well received in London fo… | Read |
| 433 | 403 | a string quartet, giving more than 400 c… | Read |
| 434 | 404 | London, retiring in 1893. D. Cambridge i… | Read |
| 435 | 405 | pointed violinist at San Antonio's Churc… | Read |
| 436 | 406 | France and Germany with Hayot Quartet. H… | Read |
| 438 | 408 | concertmaster of the New Haven Symphony… | Read |
| 439 | 409 | VERBRUGGHEN, HENRI, Belgian violinist an… | Read |
| 440 | 410 | clavier). One of Vivaldi's violin concer… | Read |
| 441 | 411 | of operatic fantasias for the violin, wa… | Read |
| 443 | 413 | for many years. In 1849 he gave classica… | Read |
| 444 | 414 | ist, b. Ostrow, Aug. 26, 1878. Studied u… | Read |
| 445 | 415 | CHAPTER XXIII | Read |
| 446 | 416 | In addition to the above, the large univ… | Read |
| 447 | 417 | LITERATURE RELATING TO THE VIOLIN | Read |
| 448 | 418 | Auer, Leopold, My Long Life in Music | Read |
| 449 | 419 | LITERATURE RELATING TO THE VIOLIN | Read |
| 450 | 420 | Haweis, H. R., Old Violins | Read |
| 451 | 421 | MARTENS, FREDERICK, String Mastery | Read |
| 452 | 422 | Rebs, Alexander, Anleitung zum Lackiren… | Read |
| 453 | 423 | VIDAL, M., Les Instruments à archet | Read |
| 454 | CHAPTER XXIV | Read | |
| 457 | was his development of the technique of… | Read | |
| 458 | 426 | thousands of unpublished manuscripts wri… | Read |
| 459 | 427 | Two of the most interesting contribution… | Read |
| 460 | 428 | CHAPTER XXV | Read |
| 461 | 429 | not be procured by the local music deale… | Read |
| 462 | 430 | Wassmann, Karl | Read |
| 463 | 431 | Herrmann, Ed. | Read |
| 464 | 432 | Sauret, Emile | Read |
| 465 | 433 | Weiss, Julius | Read |
| 466 | 434 | 6. VIOLIN SOLOS WITH PIANO ACCOMPANIMENT | Read |
| 467 | 435 | Babell, William | Read |
| 468 | 436 | Beriot, Ch. de (Cont’d) | Read |
| 469 | 437 | Bossi, M. Enrico (Cont’d) | Read |
| 470 | 438 | Cliffe, Frederic (Cont’d) | Read |
| 471 | 439 | Debussy, Claude (Cont’d) | Read |
| 472 | 440 | Elgar, E. (Cont’d) | Read |
| 473 | 441 | Galliard, J. E. | Read |
| 474 | 442 | Gouvy, Th. | Read |
| 475 | 443 | Henry, J. Harold | Read |
| 476 | 444 | Jongen, J. | Read |
| 477 | 445 | Lacombe, P. (Cont’d) | Read |
| 478 | 446 | MacDowell, E. (Cont’d) | Read |
| 479 | 447 | Mitnitzky, I. (Cont’d) | Read |
| 480 | 448 | Ortemans, René (Cont’d) | Read |
| 481 | 449 | Raff, Joachim | Read |
| 482 | 450 | Roussel, Albert | Read |
| 483 | 451 | Schink, H. | Read |
| 484 | 452 | Sitt, Hans (Cont'd) | Read |
| 485 | 453 | Tartini, Giuseppe (Cont'd) | Read |
| 486 | 454 | Vieuxtemps, Henri (Cont'd) | Read |
| 487 | 455 | Wieniawski, Henri (Cont'd) | Read |
| 488 | 456 | Giordani, Th. | Read |
| 489 | 457 | Godard, Benj. | Read |
| 490 | 458 | Draeseke, F. | Read |
| 491 | 459 | Viotti, J. B. (Cont'd) | Read |
| 492 | 460 | Gossec | Read |
| 493 | 461 | Rheinberger, Joseph | Read |
| 494 | 462 | THREE VIOLINS | Read |
| 495 | 463 | Schmidt, E. | Read |
| 496 | 464 | Castillon, A. de | Read |
| 497 | 465 | Sochting, E. (Cont’d) | Read |
| 498 | 466 | Jullien, René | Read |
| 499 | 467 | 22. QUARTETS FOR PIANO, VIOLIN, VIOLA AN… | Read |
| 500 | 468 | 25. QUINTETS FOR TWO VIOLINS, VIOLA, CEL… | Read |
| 501 | 469 | INDEX | Read |
| 502 | 470 | Partello collection, 278 | Read |
| 503 | Important Educational Violin Works in th… | Read | |
| 504 | Recreational Violin Collections in the "… | Read |
Makers from this book
729, A to Z. The first few: