Books › The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890 › scan 21
Scan 21
The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890
51 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1and absolutely necessary. Then after all what is there to fear in four clefs, for they are all a string player requires; and there are not many who have to use all these. I think the advocates of clef-abolition are not of great experience, else they would see that (as in learning a language) each clef one has to master seems easier than the one preceding. Who did not find most difficulty with his first clef? That mastered, the others are mere trifles; one can get familiar with any clef in a week or a fortnight with a fair amount of work; and when you have learnt three or four clefs do you ever mix them up together? No; he who does so, and finds each new clef a mountain of difficulty will never climb far enough to give any weight to the abolition argument, however simple and easy it may appear to him to use one clef for piccolo, piano, 'cello, tenor, in fact all instruments and all voices.
3There is one question I should like to see answered by one of your readers; why does the 'cellist have to use practically four clefs? Surely the bass and tenor clefs would be enough with perhaps an occasional "octave higher passage." By means of two or three ledger lines the tenor clef would nearly always be sufficient, and I should be pleased to learn the necessity of having also two treble clefs, for the treble clef read an octave lower is practically a different clef to the one generally used.
5Yours faithfully,
6JANUS.
8Answers to Correspondents.
10The Editor will be glad to answer questions on any subject likely to interest players of stringed instruments. All letters to be addressed to the Editor, 3, Green Terrace, Rosebery Avenue, E.C.
12Bantam: It all depends on which kind of "Tremolo" you mean; if the soloist's tremolo, as in De Beriot's solo of that name, it will be impossible for you to acquire it alone. The orchestral tremolo is an easier matter; given a loose wrist and patience to practice slowly, anyone ought to be able to master it in a short time. (See answer to P.C.M.)
14J. T. Rawlings: The correct edition of Paganini's "Clochette Rondo" is published by Messrs. Schott and Co., Regent Street.
16Winterbotham, Plymouth: We cannot give you any of the details you ask for, and greatly doubt the accuracy of the original statement. It is a great pity that such fairy tales about enormous sums of money given for instruments should be circulated. Obviously this instrument cannot be by the great Joseph del Jesu; and no 'cello by any of the other four Guarneri would command such a figure.
18Ass. Board Exams.: H. Tolhurst's "Scales and Arpeggios" are what you want. We have never heard of an adult person going up for any examination with a small sized violin.
20Studioius: We do not like the idea of competitions at all. With a rapidly increasing circulation the STRAD does not need to resort to such means. We should advise you to try Kayser's Studies, Augener and Co. Handel's A Major Sonata ranks about 5-6.
22Another Stradler, Derby: We think the "Fine Art Insurance Co." 28, Cornhill, E.C., will insure your instrument against theft, etc.
24W. A., Bradford: We think (and hope) that there is no music published for violin and banjo. We also think that a man who has finished Krentzer, as you say you have, ought to be above asking for such.
26Viola, Sunderland: Studying the viola will have no ill effects on your violin playing, considering your degree of advancement; on the contrary, it ought to prove beneficial in the way of strengthening the figures. Either Basil Althaus' Viola Tutor (Chanot) or that by E. Kreutz (Augener) will suit you. As to how long it will be before you can play in an orchestra it is difficult to say; so much depends on personal ability and application, but it ought not to be very long. There is a scarcity of, and, consequently, a considerable demand for good viola players.
28Psalterium, Durham: The Marquis de Lair made violins at Mirecourt, about the beginning of the century. The wood is mostly plain and his varnish is somewhat opaque. His instruments are of no particular value.
30R. W. H. began the violin when he was twenty, is now twenty-six, but had to drop practice for two years out of that time. He has been all through Spohr, Kreutzer, Fiorillo, etc., and plays solos to match. He is desirous of knowing what he will be able to play in another four years, practising four hours daily. We advise R. W. H. to do his four hours a day carefully and steadily, and when the four years is through he will find that he can play all sorts of things that he had better not think of at present. We regret that we cannot give a more definite answer to this interesting conundrum just now, as our prophecying editor is having his holidays.
32C. F.: Sad! Sad!! are the tales we hear, but still, we do not contemplate starting an "agony column" just yet, so Charlie will have to find some other means of acquainting his lady-love with the joyful news that he is alive and kic—and has returned. About the young lady's initials, we notice the following curious paradox.—As soon as she is wed, and we sincerely trust that Charlie will be the happy man, she will no longer be W.E.D.
34A. C., Derbyshire: We do not know of such a book, but the scales and arpeggios are to be found in any good 'cello school, such as Piatti's, Lee's, and Schröter's.
36Geo. Jennings, Hunkley, sends up a very curious old fiddle. The ribs, purfling, and edges of belly and back are all crinkled with a short running in and out design which is extended to the neck and sound holes. As a piece of workmanship it is very curious, and should find its way into a collection.
38S., Innsbruck: Thanks for photographs. They are excellent. We have added them to our already large collection.
40T. S., Reading: Thanks for your suggestion. We are glad you think so highly of the Edition de Luxe, but to reprint the forty-eight numbers of THE STRAD in that form is out of the question, as it would cost something like £1000.
42H. D. P., Artillery: You ought to get a good toned old violin for £20, but if you prefer one by a modern maker, you will be fairly treated by the firm you mention.
44C. O., Leeds: Jacobus Stainer as a violin maker has been more copied than either Strad or Guarnerius. Real instruments of his are extremely scarce. There is no definite rule with regard to the label, some being printed, others written, both being found in genuine specimens. The varnish is of the Cremona type and quality, yellow brown.
46R., Shrewsbury: Cannot give an opinion unless you send the violin up to this office.
48J. P. F., Durham: A maker who branded his instruments "Le Marquis de Lair" worked in Mirecourt about 1800. The value of these violins is from £4 to £5.
50T. T., Norwich, suggests that the numbers of Vol.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.