Books › The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890 › scan 19
Scan 19
The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890
30 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1beauty of the purfling and the perfect corners, the sharp upward curl of the f holes, and the black edging of the scroll are seen on this Strad as they are on no other in the world. The pegs and tail piece are of yellow wood, beautifully carved with tiny figures in relief, and case is also magnificently carved. The back shows broad waves of light instead of the usual herring-ribbed markings and is in two parts. "The tone is magnificent" says the author of "The Violin; how to master it." Fetis said "in this new* instrument we find in combination all the qualities of power, mellowness, roundness, delicacy, freedom with a noble and penetrating tone." Messrs. Hill are of opinion that the tone would be greatly improved if the instrument were used more.
3Only two and twenty years ago Charles Reade, the novelist, valued the Salabue Strad at £600.
5There is, we think, no doubt that Mr. Crawford is the fortunate owner of the finest violin the world wots of, and we think we have said enough to justify the epithet "unique" as applied to "Le Messie."
7One word in conclusion. Those who are interested in this subject will find it fully dealt with in the beautifully printed, and no less superbly illustrated monograph mentioned above. The illustrations, which are admirably drawn and also printed in accurate colours, are alone worth the money asked for the book.
9R. H. L.
11THE GREAT VIOLIN SCHOOLS.
12III.—PAPINI.
13(Continued from page 25).
15The second part of Papini's Violin School is even more remarkable than the first for its thoroughness. It consists mainly of studies for the different positions: a subject of the utmost importance to students, for without a complete knowledge of the positions, no good work is possible; sight-reading, in fact, being utterly out of the question if the player is not ready for each and every kind of "position-work" that may present itself in the course of a difficult quartett or orchestral movement. The positions have been dealt with in most of the great violin schools, and there have been published separately some excellent studies to the same end, most notably, of course, the "Seven Divertimenti" of Campagnoli. But Signor Papini,
17* New, because so rarely played upon.
19in this second part of his violin school now under consideration, has handled the matter in an exceptionally felicitous manner; if he has followed any groove at all, it is distinctly his own groove. Thus, the chief characteristic of the entire work—a characteristic that is most noticeable in this section—is the author's desire to familiarize the student with the subject treated of. This is a point overlooked in many educational works.
21The second part opens with a little "advice" as to the style of music the student should select for pieces, etc. He is also recommended to practice such violin duets as are well within his powers of performance. This is followed by a useful table of signs of expression, given in three languages. Then come all the scales in one octave. No. 35 is a study of shakes in the first position. No. 37 contains a scale and two exercises to lay the bearings of the second position. No. 38, a graceful étude; No. 39, three exercises in different keys; and No. 40 all being in the second position. No. 41 combines the first and second positions.
23As in the second position studies, Signor Papini is careful in all those following to thoroughly prepare the way for the student, for in each case the real "position-studies" are preceded by a scale and a series of exercises that pave the way in a most gradual and certain manner.
25For the third position (commencing with No. 42) there are no less than seven preparatory exercises, and then examples of the two kinds of extensions: thus, by the time the pupil reaches the actual studies, he is perfectly familiar with the position, and can practice with greater interest in, and enjoyment of, the musical beauties that abound therein. No. 45 is most charming:—
27and its later development:—
29Nos. 47 and 48 are exercises on the first, second, and third positions, with extensions. No. 49 prepares the way for 50 and 51, which are in the fourth position; the first in E; the second in A flat:—
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