Books › The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890 › scan 35
Scan 35
The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890
54 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1known to himself, as I could detect no real reason for his dissatisfaction. Another instance of his shewing annoyance was caused quite unintentionally by myself. I was engaged by M. Jullien for a series of nights to perform solos at his promenade concerts. In lieu of repeating Ernst's "Il Pirata," I substituted Paganini's Moto Perpetuo, which much resembled that frequently played by Sivori; this being so, he could only assume that his MS. edition had been jotted down by me or others as he had played it from time to time. I felt much concerned when I heard that he had formed this not unnatural supposition, and I lost no time in convincing him that he had arrived at an erroneous conclusion; he was from that period most kind to me, and generously gave his services at an orchestral concert given by me (conjointly with my sister, Miss Ellen Day) at the Hanover Square Rooms, performing with Sainton, Willy and myself Maurer's Concertante Quartett for four violins.
3I will conclude this paper by narrating how I really became possessed of the "Moto Perpetuo" which I have referred to. My father took me to see an old friend of his, viz., Mr. Tom Cooke, residing at Great Portland Street, in order that my playing might be heard by him with the prospective view to my performing at one of the Philharmonic Concerts (Mr. Cooke being the leader of the band and a director of that society). After I had played a concerto, Mr. Cooke produced a manuscript of Paganini's Moto Perpetuo which he had jotted down after having heard Paganini play it on several occasions. There was not a distinct violin copy, but it was written over the pianoforte part from which I had to play. Mr. Cooke accompanied me on the piano. Being near-sighted, I had to look down closely to the music, which brought my bow in near proximity to Mr. Cooke's head. All went well for a time, but suddenly I found myself to be unaccompanied, in fact the accompanist seemed to have disappeared altogether. However, on looking down I saw him (but now scarcely recognisable) scrambling for something on the floor. This something was a remarkably fine wig, which I had unconsciously fiddled off. He deftly readjusted it, saying, "Young man, please don't do that again."
5The Editor's Table.
7Music, books, etc., intended for review, should be addressed to the Editor, 3, Green Terrace, Rosebery Avenue, London, E.C.
9From Cremona we have received an interesting little pamphlet, La Patria di Giovanni Paolo Maggini, by Prof. D. Angelo Berengi. It is well written and should be read by all violinists who have a knowledge of Italian. It is a significant fact that The Strad should be quoted as an authority in the foot notes.
11Music: The numbers placed after the pieces indicate the degree of difficulty thus: (1), means quite elementary; (2), very easy; (3), easy; (4), fairly easy; (5), moderately difficult; (6), difficulties can be overcome by a good amateur; (7), difficult; (8), very difficult; (9), only for artists; (10), only for virtuosi.
13From Charles Woolhouse we have a Romanza entitled La Speranza, for 'cello and piano or violin and piano, by Frank D'Alquen, a pleasing melody suitable to both instruments (5).
15Eolian, a Romance for 'cello and piano, by Walter Alcock, will prove acceptable to amateurs (6
17Caprice for violin and piano by Cecil Gann we like very much (6). Berceuse for violin and piano by Herbert Sharpe, something in the style of Schumann's Slumber Song, and will be appreciated by those who like slow pieces (5).
19From Messrs, Laudy & Co., we have received the following music for violin and piano.
21Cantilena by A. Kleffel is written in good style (4).
23La Gracieuse by A. Malkoff is a bright and showy piece which will surely find favour. The marks for bowing have been well attended to and we can well recommend it as a thoroughly good piece (6).
25Gavotte by S. Bachrich is effective and easy with the exception of the harmonics at the end; it seems to us rather a mistake to place harmonics of this description in so easy a piece, though in this particular case they are not difficult, yet the student who could play well enough to render the first part of the piece would find these harmonics beyond his capabilities (4).
27Danse Slave by M. Zawadzki, an excellent drawing-room piece in the Hungarian style (5).
29Invocation by F. Borowski (3).
31Aragonese by A. F. Lindroth is a good bolero and will be found useful to players and teachers (6), also a Romance by the same composer (6).
33Four pieces by Willem Ten Have, published separately, include a Lied, Intermezzo, Serenade and Reverie, they will all undoubtedly become popular as they are excellent and neither of them exceed (4).
35Lovers of the celebrated composer Grieg should get Solveig's Song and Album Leaf (4), Watchman's Song and Folks Song (4). They are all charming and we really cannot say which is the best of these pretty and quaint little pieces.
37Messrs. Edward Willis & Co. send us four pieces for violin and piano. The first before us is a good Tarantelle by Egidio Campione, which can be well recommended (6), also by the same composer Duo d'Amour (6). Both pieces are dedicated to and played by Mr. J. T. Carrodus.
39Canzonetta by J. F. Lexhime makes a good teaching piece (5). Polonaise by the same composer is a brilliant piece (5).
41From Messrs. Louis Oertel & Co. we have some novelties. Gebauer's well-known twelve violin duets, arranged for two violas; these will prove very acceptable to the amateur "violist" as they are easy and do not exceed the first position.
43L'Art de l'Archet for viola solo is the fifty violin variations by Tartini, Ferd. David. The arrangement of these fifty variations is indeed excellent and is a welcome addition to the limited repertoire of the viola player (5).
45Messrs. Augener & Co's. parcel is always interesting and their September novelties which are now before us, do not alter our opinion. For violin and piano we have a Potpourris on Adams' Le Postillon (5401c), also Potpourris on Bellini's favourite La Sonnambula (5402) arranged by R. Hofmann. Both books are arranged for first position, great care having been taken with all bowings and fingerings (3).
47Book I. of 30 Melodies by Emil Kreuz, contains sixteen progressive and elementary pieces, commencing with the open strings and gradually introducing the notes of C major. The book will be invaluable to beginners and the highly interesting piano accompaniments will be enjoyed by both professor and student (1-2).
4920 Exercises by T. Merk for violoncello (No. 7777) is a very good and useful work (6-7).
51Book IV. of Classische Violoncell-Musik (No. 5504) by Carl Schroeder for 'cello and piano contains two interesting sonatas by Cervetto (4).
53CONTRA BASSO.
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