Handbook of Violin Playing

The invention of stringed instruments is certainly of great antiquity, but exact information with regard to the origin of the violin has not come down to us. Although stringed instruments were in use before Christian times, we know that these had nothing in common with the violin, or that at any rate the bow was not then known. It is therefore presumed that its invention and use in connection with stringed instruments occurred in the first century of the Christian era.

Many are, notwithstanding, of the opinion that the use of the bow was known in pre-Christian times,—in India and in Persia. Pictures of Indian and Persian bowed instruments exist, but the period when they were employed is not exactly known. See Fig. a and b of page 2.

known are those of the Tyrolese Lute maker Gaspard Duiffopruggar (Tieffenbrucker), made in the 16ᵗʰ century. A few of these instruments remain to the present day, and are noticeable on account of their fine, clear tone, as well as for the neatness and elegance of their workmanship.

After Duiffopruggar the following makers were those who chiefly laboured to perfect the violin:—Gaspard da Salo (middle of the 17ᵗʰ century), Giovanni Paolo Maggini (1590-1640), Andreas Amati (1520-1580), his sons Antonius and Hieronymus Amati, the son of the latter, Nicolas Amati (1596-1684), the pupils of the same: Jacob Stainer (1621-1683) and Antonius Stradivarius (1644-1737). Of the Amati violins, those of Nicolas Amati are the best; the most perfect specimens of violin making, at present unsurpassed, were made by Stradivarius. In his instruments everything is perfected, — tone, model, varnish, etc.

After Stradivarius the finest violins are those of his pupil Joseph Guarnerius del Gesu (1683-1745), and there are many of them which rank with those of Stradivarius. To the Guarnerius family of violin makers belong Andreas Guarnerius, pupil of Amati (middle of the 17ᵗʰ century), his son Joseph Guarnerius (1680-1730), Peter Guarnerius and the son of the elder (Andreas) Guarnerius (1725-1740). The names Stradivarius and Joseph Guarnerius mark the highest achievement of violin making, and to the present day none have succeeded in surpassing them. Of other Italian violin makers who have furnished us with good instruments may be mentioned Alessandro Gagliano (1695-1725), Carlo Bergonzi (1712-1750), Laurentius Guadagnini (close of the 17ᵗʰ and beginning of the 18ᵗʰ century), Joh. Bapt. Guadagnini (1755-1785), Dominicus Montagnana (1715-1750), Vincent Ruggeri, Giov. Bapt. Ruggeri, and Peter Jacob Ruggeri (beginning of the 18ᵗʰ century). In France, good violins were made by Lupot (18ᵗʰ century), Gand, Bernardel (19ᵗʰ century) and Vuillaume (1798-1875). In Germany, besides Stainer and his pupil Albani of Botzen, Klotz, (father and son) 17ᵗʰ and 18ᵗʰ century in Mittenwalde; Witthalm (18ᵗʰ century, Nuremburg); Bausch (father and son, Leipsic, 1805-1871 and 1829-1871), Jacob Diehl (Hamburg). In England, B. Banks, Salisbury (1727-1795); R. Duke, London (1754-1780); Jacob Fendt and C. Harris (early part of the present century), and Matthew Hardie (Edinburgh), have left many good violins.

Good violins are made in the present day by Hammig in Leipsic; Reichers, Berlin; Schunemann, Schwerin; Pfab, Hamburg; Lenk, Frankfort; Reuner, Berlin; Roth, Markneukirchen, etc.

[In England excellent instruments have been and are being made by Hill, Hart, Chanot, E. Withers, and Boullangier, London; W. H. Mayson, Manchester; F. Devoney, Blackpool; J. Monk, Merton, Surrey; and others. In France, by Miquel, Foucher, Lotte; and in America, Gemunder. These have all produced serviceable instruments. Ability to judge properly the merits of a violin,—whether new or old,—comes only with experience; beginners should therefore before purchasing consult a player or teacher possessing the necessary knowledge. Violins by the same maker, to all appearance exactly alike, yet frequently differ greatly in tone quality, and an instrument of bad tone is a stumbling block in the path of progress, disheartening the learner. Tr.]

Many attempts have been made at improving the violin by altering its form and proportions, and by using other kinds of wood:—metal, glass, and porcelain violins have also been constructed. Experiments have been made with the bass bar, bridge, soundpost, etc., in endeavours to make a further advance in violin making; but all these attempts have yielded no results of importance. The most remarkable attempted alteration of latter days proceeds from the piano maker Hagspiel in Dresden, and consists in bending or arching the upper table of the violin instead of working it out, the sound-holes appearing as round openings in the ribs instead of in the upper surface. The tone of these violins is of surprising power and volume, but they demand a peculiar, and somewhat firm bowing; a heavier bow is also needed. The maker proceeds on the assumption that there exists, in modern orchestras a tonal gap between the string and the brass instrument. The tone of the stringed instruments is often quite overpowered by the predominating force of the wind instruments. This is especially noticeable in opera orchestras, where their space will seldom permit of more than 10 or 12 first violins, and the same number of second violins; for instance in the instrumentation of Wagner’s Nibelungen Ring. In its production the wind instruments need so much space in the orchestra, that instead of a corresponding increase in the number of the strings, they must often be lessened, naturally occasioning a want of balance. A selection of the instruments made by Herr Hagspiel,—violins, violas, violoncelli and double basses, would probably tend to lessen this disproportion, as one of them yields at least as much tone as two of the ordinary instruments. By sufficient familiarity with the method of using them, the tone might be made to blend uniformly with that of the other instruments in passages of a light and soft character. In any case the inventor has thrown out a suggestion, and made a beginning towards preparing the way for a correct balance of tone in the orchestra, and his idea therefore deserves consideration. The author is not aware if practical experiment in the orchestra has been made with these instruments, but it should certainly give some advantageous result.

Another invention has been produced recently by Herr Christopher Scheinert in Berlin. It consists of a vibrating hammer or tongue for stringed instruments. This is a little instrument placed under the bridge of the violin, so that, (it being furnished with a slender hammer), elastic metal tongues vibrate freely between the upper table and the strings. The vibrating hammer is set in motion through the strings by the bow, through which simultaneous movement the power of the instrument is increased, and the tone colour elicited. Experts have tested the contrivance, declaring it to be a happy idea.

Professor H. Ritter’s invention of the normal three-footed bridge must also be mentioned. Assuming that the bridge in use for centuries, with its prescribed feet, does not fully convey the vibrations of the strings to the upper table,—the two middle strings sounding feebler than the outer,—Prof. Ritter has made a middle point of contact between the bridge and the upper table. This inner support is intended to make the middle strings sound with the same intensity as the outer ones.

In his pamphlet on the subject (Wurzburg, G. Herz), Herr Ritter demonstrates that his three-footed bridge has not only an aesthetic significance, but claims consideration scientifically.[1]

For a long period violin making was restricted (deviations such as the experiments explained above, notwithstanding) to imitating the first Italian masters of the art, and endeavouring to equal them. But so conscientious and true in all their parts and contents is the workmanship of the Italian instruments that this has not been attained. A very general opinion is, that certain secrets in instrument making were known to the Italian masters but have become lost, and many have made the attempt to re-discover these secrets. A maker in Aix la Chapelle, named Niederheitmann, a violin amateur, possessing a collection rich in valuable old violins, believed the mystery to be discovered, and that it consisted in impregnating the wood. The substance used was a species of pine found in the vicinity of Cremona, or the instrument was mainly built of this wood. This pine (balsam pine) became quite decayed by the drying up of its resin, and thereby the key to the enigma why in spite of the closest imitation the old Italian tone was not arrived at, was found. This pine exists no longer in Italy, and thus was to be explained the reason why notwithstanding the closest copying of existing instruments, the old Italian tone quality was not reproduced. A friend of Niederheitmann’s, Concertmeister Henry Schradieck (formerly of Leipsic) interested himself greatly in this discovery, and having obtained through a chemist a similar resinous substance, made, with the aid of Herr Hammig in Leipsic many trials with this impregnation, from which a remarkable result was to be got, but which was not of long duration. Herr Schradieck, who went later to America, knowing that the balsam pine still grew there, did not rest until he found this tree, believing that instruments made from it would again approach the old Italians. Several violins were found already made with balsam pine wood, but the brilliant expectations that were cherished were not fulfilled.

Maggini violins. These instruments are of large outline. The upper table is highly arched and the arching rises somewhat suddenly from the edges. The wood of the upper table is thick and very good. The back, compared to the upper table is less thick. The wood of the back is taken slab-wise (the trunk of the tree being cut in layers across the whole breadth).[2] The sides are shallow. The varnish is thin, transparent, and of a clear brown colour. The purfling is frequently doubled; and spread over the back in arabesques. The tone of the Maggini violins is full and heavy, resembling the viola quality. The ticket is as follows:—

Andreas Amati. These are mostly of small model. The upper table is of good, fairly thick wood, and very highly arched towards the middle. The back is cut on the slab. The varnish is brown and transparent. The tone is delicate and not powerful.

Antonius and Hieronymus Amati. The violins issued as the work of the two brothers in partnership are much esteemed. More instruments of small than of large size were, however, produced by them. The upper table is highly curved, and has towards the edges a groove or furrow. The wood of the back and of the ribs cut slab-wise. The varnish resembles that of Andreas Amati’s violins. The tone is also small. The label runs:—

Nicolas Amati. These instruments are distinguished from those of the other Amati violins by a grander appearance, better and thicker varnish, and a more brilliant and penetrating tone. The scroll is somewhat small in proportion to the body. Label:—

Stradivarius. In the career of Stradivarius three periods may be traced, and the violins proceeding from each, of these distinct periods themselves vary more or less. The instruments of the first period differ but little from Amati violins, and are classified as being of the school of Nicolas Amati. The instruments of the second period are already quite different from the first. The whole model is larger, the arching finer, the wood of the upper table and also of the back is stronger, and the varnish redder in colour. From the third period proceeded the finest violins that are in existence. The model is again somewhat larger, the upper table is flatter, the wood of the back and of the ribs instead of being cut on the layers in slab form (sur couche), is taken on the quarter (sur maille). The varnish is still more brilliant, yet soft looking, and so transparent that the beauty of the wood underneath it is fully brought out. The f holes are wonderfully cut, and the entire work is finely finished in every detail. The tone fulfils every possible requirement, it is of great power and body, sparkling, noble, and yet sympathetic and sweet. The violins made in the last years of Stradivarius reveal the weakness pertaining to old age. The tone is still fine, but the workmanship is altogether inferior. From this time forward, when the arching is more prominent, and the varnish darker, the beauty of the tone is diminished. Label:—

Labels of various other Italian makers:—

The old Italian violins have been so closely copied by many makers, with regard to model, wood, varnish and appearance of age, that it is difficult to discriminate between the genuine and the spurious. It is still more difficult when the copy possesses a fine quality of tone. It needs a practised, keen eye to determine the genuineness or spuriousness of an instrument, and it may well be that many, believing themselves to have bought a real old Italian instrument, have only obtained an imitation thereof. The inside ticket has of itself been closely copied, and may be purchased in sheets.

The most important part is the upper table or belly (a). The other parts are the ribs or sides (b), the back (c), the neck (d), the head comprising the scroll and peg box (e), the pegs (f), the finger board (g), the bridge (h), the tailpiece (i), the button[3] (k), the nut (l), and the f or sound-holes (m). The interior of the violin contains the soundpost and the bass bar.

The soundpost, placed underneath the right foot of the bridge (a little way behind it) supports the upper table against the pressure of the strings upon the bridge, and the bass bar serves a similar purpose under the left foot of the bridge. The sound post, by connecting the upper table with the back, sets the entire instrument into vibration, and by its help the sound waves radiate to all parts.

The bridge must stand on the middle of the upper table so that both feet are in line with the nicks of the f holes. Through the forward pull of the strings,—increased during playing,—the bridge has a tendency to bend forward. To avoid this one must frequently watch, and pull it backward, yet keeping the feet in the same place. The bridge may be fixed sloping somewhat backward rather than forward.[4]

Through the combined influence of the strain and pressure of the strings upon the upper table, it supports a weight of about 100 lbs. Against this burden, this, in other respects, fragile instrument, opposes a wonderful power of resistance, an example of its ingenious yet simple construction.

The violin measures in the length of its body 14 in., in breadth in the upper part 6⁹/₁₀ in., in the lower 8³/₁₆ in. The top height of sides 1³/₁₆ in.; bottom height of sides 1¼ in. Three sizes are distinguished,—“full”, “three-quarter”, and “half” size. These last serve for children.

The upper table is made of pine. This must be very old, dry, compact, straight in grain, whereby the choice of suitable wood is rendered difficult. For the back, ribs, neck and bridge, maple is used. The sound post and bass bar consist usually of pine. For the fingerboard and pegs[5], ebony is the most serviceable.

The old Italian violin makers procured their pine wood from Italian Switzerland, and from the South Tyrol; maple from Croatia, Dalmatia, and Turkey.

This is of great importance for the instrument. In the first place it preserves it from the influence of the weather, and then it also has its influence upon the tone. A fine varnish must be transparent, so that the wood underneath may be fully shown up, and it must also be of a fine, but not glaring or staring, colour. The finest varnish is found on the violins of Stradivarius. Two kinds of varnish are used,—spirit varnish,—a gum dissolved in alcohol; and oil varnish,—a gum dissolved in oil of turpentine.

Violin strings are made from the intestines of sheep. The lowest string has fine wire spun round it, silver wire being the best. Copper wire is greatly used, it being much cheaper. The best strings are obtained from Italy, from Rome, Padua, and Naples, although very good strings are also manufactured in Germany, at Markneukirchen. The value of a string consists principally in its perfect equality of thickness throughout; above all, there must not be knots in it. A string spun quite evenly yields accurate vibrations, and is on this account pure in tone.

In order to test the purity of tone of each string, it may be held as shown at both ends, pulling it rather tight, and then setting it into vibration with one of the fingers. If it appears double, thus:—

it possesses a pure tone; if, however, it appears threefold,—if only at one part of it,—it will be false.

To obtain absolutely pure intonation, the strings must be pure in fifths, i. e., the notes in those higher positions which are pressed by one finger across two strings, must sound perfectly true. Many strings are rather thicker at one end than at the other; if this is not also the case with the adjacent string, or if the thicker end of it be not stretched in the same direction as the other string, then the two are not true in fifths with each other. Both strings must therefore lie from one end to the other regular in thickness, or else their thin ends must be laid in one direction.[6] In the latter case, however, all the harmonic notes are not true, and one also notices that the intervals in double-stopping generally, as well as in fifths, are not regular upon all the strings. A treatment is in vogue by makers of strings and instruments by means of which the strings are rendered quite pure in fifths. These prepared strings are, however, not so durable, nor so good in tone, as the unprepared. But it is of service to have always a few of these in readiness, as the violinist has not always time enough to select those strings which are true. Weichhold, Dresden, supplies strings pure in fifths, which may be recommended.

In order always to have strings of the same thickness, a string guage is used, which may be procured at any instrument maker.[7]

That the strings may be kept fresh, it is advisable to wrap them in oil paper and then preserve them in a close, air-tight tin box. In this way they may be preserved in fit condition for a year or more.

This received its name from its ancient form, which has undergone many alterations before the present form was arrived at.

The greatest improvement in the bow was attained by the Frenchman, Tourte, at the end of the 18th century. His bows possess the greatest elasticity and firmness, and are, in consequence, the most successful. After Tourte, Vuillaume in Paris, John Dodd in England, and L. Bausch in Leipsic, have made the best bows. At present the most celebrated bow makers are Tubbs in London, Knopf in Dresden, and Voirin in Paris. French bows are most in request, although many of them are made in Germany, sent en gros to Paris, stamped there as French, and issued to the world as of Parisian make.

These are (a) the stick, (b) the hair, (c) the nut, (d) the screw, (e) the head or point, (f) the lapping.

The stick is made of Pernambuco or Brazil wood; the hair is white horse hair, that taken from living horses being the best, though less often obtained. The screw serves to give the stick its proper curve. The lapping helps to give the fingers a firmer hold, avoiding contact with the smooth stick. Silk, silver wire, or leather is used for the lapping.[8]

To set the strings in vibration, the hair of the bow must be rubbed with resin. Its German name “Kolophonium” is derived from the Grecian town Kolophon, from whence it was first procured. The unprepared hair of a new bow requires a small quantity of powdered resin rubbed into it. Before the bow is used, the hair should be tried upon some instrument not in use, or upon a stretched string. During the ordinary rubbing upon the hair, care must be taken that the resin is not rubbed hard, but allowed to glide lightly over the hair.

It is very usual to hold the resin with the left and the bow with the right hand. In this way the fingers of the left hand become sticky with resin dust, which is detrimental to the stopping, and also soils the strings and fingerboard. It is better, therefore, to reverse this procedure. Good resin is supplied by Gand and Bernadel in Paris, Hammig in Leipsic, Pfab and Diel in Hamburg, and others. The most suitable holders are those which open on two sides, and are also provided with a cover.[9]

A good violin is worthy of a good case, to protect it against dust and damp. It should be so filled that the violin lies in it securely, and yet may be easily taken out. A leather covering for the case is also convenient, by means of which the effects of any sudden shock are minimised. The best cases are mostly obtained from Paris, though some very good ones are made in Markneukirchen.

It is not easy to state the exact price of a violin, especially of an old one, and here particular fancy and habit come also into the question. The best old Italian violins, such as those by Stradivarius and Guarnerius, are in our own time excessively dear, often £300 to £1000, and even more. Stradivarius received for his violins about 4 Louis d’or. Amati violins are considerably less, costing from £150 to £300. Other old Italian violins, if in fine condition, cost £30 and upwards. New violins by celebrated makers may cost from £15 to £30, yet one can often get a very useful instrument for from 50/- upwards.

Cases cost from 5/- to £3, the latter price including a leather covering.

The bows of Tourte now cost £25 and upward. New silver mounted bows of best quality cost about 30/-, mounted in German silver about 18/-. Inferior qualities may be had from 3/- upward. The worth of a bow to its possessor consists in its firmness and elasticity, and in its proving fit to execute every kind of bowing with certainty.

The instrument must always be kept clean and in order; every part should always be in proper condition. The dust from the resin must, every time after playing, be wiped from the upper table, fingerboard and bridge with a soft cloth. The strings, fingerboard and neck are then rubbed with an old silk handkerchief, taking care not to rub the strings to and fro, but always in one direction, else small fibres may be loosened. If the strings are dirty through perspiring fingers, the upper three strings may be rubbed with a little neats’ foot oil or almond oil, or a notched almond may be used. The G string may be cleaned with spirits or by rubbing with fine (No. 1) glass paper. The encrustation of resin upon the surface of the strings may be removed with spirits, observing that nothing drops upon the upper table, to injure the varnish.

To keep the neck quite smooth it may be occasionally rubbed with pulverized pumice stone put into a little muslin bag.[10]

The dust that accumulates inside the violin may be removed by warming some very fine gravel or grains of wheat, and throwing them inside. The instrument is then shaken about, and on shaking the grains out again through the f holes, the dust comes away also. To make the pegs work easily and yet hold fast, they must frequently be rubbed with dry soap and then with chalk, where they come in contact with the peg box.

If dirty, unscrew the nut from the stick, and wash the hair with warm water and soap. Then rinse in cold water, and hang up the bow to dry. When again screwed up, powdered resin is rubbed into the hair with a little brush. Spots of grease are extracted by rubbing with salt in blotting paper, or by a hot iron with blotting paper wrapped around it.

The four strings of the violin are tuned in perfect fifths. The first is the E string (1ᵃ), the second the A (2ᵈᵃ), the third the D (3ᵃ), and the fourth the G (4ᵃ). The usual practice, when the pitch of the A is determined, is to tune the D to it, the G to that, and lastly the E to the A.[11]

The compass of the violin extends over about 4½ octaves. In the orchestra to this extent at most:—

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Casorti. Technique of the Bow.

Courvoisier. L’École de la Vélocité.  (7603 a, b).

Dancla. Op. 74.  École du Mécanisme.

Kreuz, E. Scales and Arpeggios (3 Bks.).  (5664 a-c).

Lütgen, H. Scales and Exercises.  (8663).

Ritter. Scale and Chord Exercises.  (5676).

Wohlfahrt, F. Daily Exercises.  (7624).

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Step I. First position only, and in easy keys.

Böhmer, C. 75 Exercises in Intonation, through all keys. Op. 54. (E. Heim.) 2 Books. (5643 a, b).

An excellent work greatly facilitating the knowledge of extreme keys. Book 2 belongs to the next step.

Courvoisier, C. The School of Velocity.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hering, C. Op. 16. 25 Studies for 2 Violins in all major and minor keys; revised, phrased, and fingered by E. Heim. The Scales as contained in 2ⁿᵈ Violin part to be played by the student. (5618).

Hermann, F. Le Commencement de l’Etude. (5612 a, b).

In two books, containing familiar airs interspersed with easy studies, with a 2ⁿᵈ violin part.

Hofmann, R. The First Instruction in Violin Playing. (Der erste Unterricht im Violinspiel.) Op. 92. 2 Books. (5668 a, b).

A thorough elementary course leading on to the following work of the same author.

Op. 90, Book I. 80 Melodic Studies. (5666 a).

A well graduated course. Book 2 belongs to the next grade, and would prove an excellent preparation for Kayser’s 36 Studies. (8662 a).

Kreuz, E. Progressive Studies. Op. 34, Bk. 1. (5663 a).

Contains 40 progressive exercises gradually introducing the notes of C major in the 1ˢᵗ position.

Scale and Arpeggio Manual for the Violin, arranged with a special view to the requirements of candidates at the various Local Examinations, by A. Laubach. (5672).

This Manual is written for Students of all Grades.

Popular Instructor in Violin Playing:—

Part I. Elementary and First Position. (7623 a).

Schön, M. Practical Course of Instruction:—

Part	I.		ABC of Violin Playing. Introductory School. (7611).
”	II.		First Steps in practical Violin Playing.
”	III.		Progressive exercises in the first position
”	IV.		and in all Scales. In 3 Books. (7612-14).
	Parts V to XII belong to the following Grades.

Steffani, R. 12 Progressive Studies, in the first position. (5683).

Step II. First four Positions.

Alard, D. Op. 10. Études mélodiques et progressives. (5640).

also with 2ⁿᵈ Violin in 2 Books. (5600 a, b).

Böhmer, C. 75 Exercises in Intonation, through all keys. Op. 54. (E. Heim.) Book 2. (5643 b).

Courvoisier, C. The School of Velocity.

Book IV (12 Melodic Studies in the first position, Minor). (7603 d).

Dont, J. 24 Exercices préparatoires aux études de R. Kreutzer et P. Rode. Op. 37. (7604).

except Nos. 6, 8, 9 and 15 which belong to Step III.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hermann, F. Op. 24, Bk. 1. 30 Studies in the 1st position. (5659).

also with 2ⁿᵈ Violin. (5613).

Hofmann, R. Melodic Studies. Op. 90, Book 2. (5666 b).

Kayser, H. E. Violin Studies, carefully revised and fingered, with instructive annotations by Ernst Heim:—

Kreuz, E. Progressive Studies. Op. 34, Bks. 2 and 3. (5663 b, c).

Book 2 contains 20 progressive studies in the sharp major and minor keys, Book 3, 20 in the flat major and minor keys.

Mazas, F. 75 Melodic and Progressive Studies for the Violin. Op. 36. Revised and fingered by C. Courvoisier:—

Bk. I. 30 Special Studies. (7607 a). Bk. II. 27 Brilliant Studies. (7607 b).

Popular Instructor in Violin Playing:—

Part I. Elementary and First Position. Part II. Higher Positions. (7623 b).

Schön, M. Practical Course of Instruction:—

Book V. 46 short Exercises for the Violin with a second violin. (7615).

Step III. First five Positions.

Corelli, Arcangelo. Œuvres revues par Joachim et F. Chrysander. (In score.) 8vo:—

Dont, Jacques. 20 Exercices progressives, pour le Violon (avec accompagnement d’un second Violon), Op. 38. (7605).

The last of these exercises belong to Step IV.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hermann, F. Op. 24, Bk. 2. 25 Studies in the 1st, 2nd and 3rd positions. (5660 a, b).

Hofmann, R. Op. 91. 40 Studies in all positions, for practice in shifting. 2 Bks. (5667 a, b).

Kayser, H. E. 36 elementary and progressive Studies (introductory to those of Kreutzer) carefully revised, fingered, and with instructive annotations by Ernst Heim. Op. 20, Bk. III. (8662 c).

also with Second Violin (5610 c), or with Pianoforte Accompaniment (7397 c).

Kreuz, E. Progressive Studies. Op. 34, Bks. 4 and 5. (5663 d, e).

Schön, M. Practical Course of Instruction:—

Step IV. All Positions.

Blagrove, H. 12 Studies. (9415).

Courvoisier, C. The School of Velocity.

Book V. Special Studies in Shifting. (7603 E).

Dancla. Op. 2. 6 Studies, (5644).

Fiorillo, F. 36 Études en forme de Caprices (Ernst Heim) (5654).

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Hermann, F. Op. 24, Bk. 3. 25 Studies, 3rd to 7th positions. (5661).

also with 2ⁿᵈ Violin accompaniment. (5615).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Kreutzer, R. 42 Studies. New Edition, revised and fingered by Ernst Heim. (5671).

Kreuz, E. Progressive Studies. Op. 34, Bks. 6 and 7. (5663 f, g).

Mazas, F. Op. 36, Bk. III. 18 Studies for Artists. (7607 c).

Schön, M. Practical Course of Instruction:—

Scholz, Richard. School of Artistic Violin Playing. A theoretical and practical Instruction Book, in all matters relating to style, for moderately advanced players. Op. 9. (5681).

Wessely, Hans. Comprehensive Scale Manual. (5686).

Step V. Difficult. (Octaves, Springing Bow, Staccato etc.).

Bériot, C. de. 6 Études brillantes. (5646).

Also, published with pianoforte accompaniment (7339 a, b).

Campagnoli. 7 Divertissements. Edited by G. Jensen. 7601.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by E. Heim:—

Rode, P. 24 Caprices in the form of Studies for the Violin. Revised and fingered by Ernst Heim. (5679).

Rode, P. Caprices, revised by Carl Courvoisier 5678.

Vieuxtemps, H. Op. 16. 6 Concert Studies.

Step VI. Very difficult.

Gaviniés, P. 24 Études 24 Matinees.

Gradus ad Parnassum. A Collection of Studies in progressive order, selected, carefully revised, fingered, and edited, with annotations and remarks by K. Heim:—

Wieniawski, H. L’École moderne. Études-Caprices. Op. 10. E. Heim. (5687).

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Step I. In the first position.

Hermann, Fr. 50 favourite Melodies. 5465 a.

Hofmann, R. Potpourris on Popular Melodies from Classical and Modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books

in the first position:—

Le Postillon.	(5401a).
La Sonnambula.	(5402a).
Norma.	(5403a).
Le Calife de Bagdad	(5404a).
La Dame Blanche.	(5405a).
La Fille du Régiment.	(5406a).
Lucia di Lammermoor.	(5407a).
Orpheus.	(5408a).
The Messiah.	(5409a).
The Creation.	(5410a).
Zampa.	(5411a).
Wildschütz.	(5412a).
Czar und Zimmermann.	(5413a).
Joseph.	(5414a).
St. Paul.	(5415a).
Il Seraglio.	(5416a).
Il Flauto Magico.	(5417a).
Don Giovanni.	(5418a).
Der Freischütz.	(5419a).

Step II. In various positions.

Gurlitt. Our Favourite Tunes. (7608).

Hofmann, Richard. Potpourris on Popular Melodies from Classical and Modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books.

The Bohemian Girl.	(5420a).
Egmont.	(5421a).
Fidelio.	(5422a).
L’Elisire d’Amore.	(5423a).
Lucrezia Borgia.	(5424a).
Iphigénie en Aulide.	(5425a).
Judas Maccabaeus.	(5426a).
Das Nachtlager in Granada.	(5427a).
Hans Heiling.	(5428a).
A Midsummer Night’s Dream.	(5429a).
Elijah.	(5430a).
Les Huguenots.	(5431a).
Le Prophète.	(5432a).
Le Nozze di Figaro.	(5433a).
Die lustigen Weiber von Windsor.	(5434a).
Maritana.	(5435a).
Oberon.	(5436a).
Preciosa.	(5437a).
Der fliegende Holländer.	(5438a).
Lohengrin.	(5439a).
Rienzi.	(5440a).
Tannhäuser.	(5441a).
Il Barbiere.	(5442a).
Guillaume Tell.	(5443a).
Masaniello.	(5444a).
Faust. (Gounod)	(5445a).

---

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Dancla, C. Op. 25. 3 Duos faciles. (5601).

Gurlitt. Op. 150. Duos faciles et progressifs. (5605).

Our Favourite Tunes. Arranged. (7609).

Heim, Ernst. Abecedarian in Violin Playing. 45 Elementary Pieces for Violin with accompaniment of a second Violin. 2 Books. (5598 a, b).

Hermann, Fr. 50 Favourite Melodies. (5465 b).

Hofmann, Richard. 30 short, instructive Melodic Pieces. Op. 113. (5624).

Step 1. (in the first position):—

Le Postilion.	(5401b).
Sonnambula.	(5402b).
Norma.	(5403b).
Calife de Bagdad.	(5404b).
Dame Blanche.	(5405b).
Fille du Régiment.	(5406b).
Lucia di Lammermoor.	(5407b).
Orpheus.	(5408b).
Messiah.	(5409b).
Creation.	(5410b).
Zampa.	(5411b).
Wildschütz.	(5412b).
Czar und Zimmermann.	(5413b).
Joseph.	(5414b).
St. Paul.	(5415b).
Il Seraglio.	(5416b).
Il Flauto Magico.	(5417b).
Don Giovanni.	(5418b).
Freischütz.	(5419b).

Mazas, F. Duos faciles et progressifs. 2 Bks. (5608 a, b).

Pleyel. Op. 8. 6 Duos. (7597).

Reinecke. Op. 122a. 10 Petits Morceaux. (5630).

Ritter, E. W. 30 Exercices faciles. Bk. I. (5631 a).

Schön, M. 18 short modern Duets for two Violins. In various major and minor keys (First Position). (7616). 6 easy and melodious Duettinos for two violins. In various major and minor keys (First Position). (7617).

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Album opératique. (5639).

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Dancla, C. Op. 24 and 25. Duos faciles. 2 Bks. (5602-3).

Gurlitt. Our Favourite Tunes. Arranged by F. Hermann. (7609).

Hering, Carl. 2 Duos, both in the first, and occasionally the half and second positions. Op. 15. Revised, phrased, and fingered by Ernst Heim. (5617).

Hofmann, Richard. 14 instructive Melodic Pieces. Op. 114. (5625).

Bohemian Girl.	(5420b).
Egmont.	(5421b).
Fidelio.	(5422b).
L’Elisire d’amore.	(5423b).
Lucrezia Borgia.	(5424b).
Iphigénie en Aulide.	(5425b).
Judas Maccabaeus.	(5426b).
Nachtlager.	(5427b).
Hans Heiling.	(5428b).
A Midsummer Night’s Dream.	(5429b).
Elijah.	(5430b).
Huguenots.	(5431b).
Le Prophète.	(5432b).
Figaro.	(5433b).
Merry Wives of Windsor.	(5434b).
Maritana.	(5435b).
Oberon.	(5436b).
Preciosa.	(5437b).
Der fliegende Holländer.	(5438b).
Lohengrin.	(5439b).
Rienzi.	(5440b).
Tannhäuser.	(5441b).
Il Barbiere.	(5442b).
Guillaume Tell.	(5443b).
Masaniello.	(5444b).
Faust. (Gounod.)	(5445b).

Kalliwoda. Op. 243. Duos faciles et brillants. 3 Bks. (5606 a-c).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Lachner, I. Op. 96, 97 and 98. Sonatinas in A, D and B♭. (5621-2-3).

Mazas, F. Duos faciles et progressifs; Letters C, D & E. 3 Bks. (5608c-e).

Pleyel, I. Op. 48. 6 Sonatinas. (7598).

Ries, H. Progressive Duets. (Ernst Heim) 9 Books:—

Ritter, E. W. 30 Exercices faciles. Bk. 2. (5631b).

Thomas, E. 4 Duos. (5634a, b).

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Dont. 20 Exercices progressifs. Op. 38. (7605).

Gurlitt. Op. 105. Ouverture des Marionettes. (7596). Op. 137. “Commedietta” Ouverture. (7599).

Hermann. Op. 26. Morceaux mélodiques; Bks. 1, 2, 3. (Piano ad lib). (5328 a-c).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Molique, B. 3 Duets. Op. 3. 3 Books. (10008 a-c).

Mozart, W. A. Op. 70. 12 Duets. 4 Bks.

Pleyel, I. Op. 23. Duos. (1085 d).

Ries, H. Progressive Duets, (Ernst Heim).

Rode, P. Op. 1. 6 Duos. 2 Bks.

Viotti. Concert duets. 13 Bks.

Alard, D. Progressive Duets, revised and fingered by E. Heim:—

Arena. A collection of Duets for two violins, arranged in progressive order, carefully marked and annotated by E. Heim:—

Hauptmann, M. Op. 2. 2 Duets. (1082).

Hermann. Op. 26. Morceaux mélodiques. Bks. 4, 5. (5328 d, e).

Kayser, H. E. Violin Studies, carefully revised, fingered, and with instructive annotations by Ernst Heim:—

Mayseder. 3 celebrated Duets. Op. 30, 31, and 32. (10007 a-c).

Ries, H. Progressive Duets. (Ernst Heim).

Arena. A Collection of Duets for Two Violins, arranged in progressive order, carefully marked and annotated:—

Hermann. Op. 24. Études spéciales. On double stops, shifting &c. (5615 a).

Kalliwoda. Op. 234. Grand Duo brillant. (5607).

Rode. 24 Caprices in the form of Studies, with 2nd Violin by Ludwig Abel; revised by E. Heim. (5632).

Heim, Ernst. Arena. A Collection of Duets for 2 Violins, arranged in progressive order, carefully marked and annotated:—

Spohr, L. Op. 3, 39, 67, 148, 150 and 153. 14 Grand Duets. (7 Bks.).

Kreutzer. Sonatas. Op. 16 and 17. 2 Bks. II.

Beethoven. 3 Duets. III.

Haydn, J. Duet in D. III.

Hoffmann, H. A. 6 Duos. Op. 5. III.

Leonard & Servais. Grand Duo de Concert (Airs Anglais). VI.

Album. 10 Pieces. (2450).

Becker, A. Op. 20. Adagio. (2078). IV.

Henkel, H. 3 Tonsätze von J. S. Bach, arr. No. 1, Berceuse; 2, Sarabande; 3, Toccata. (7326). II.

Jensen, Gustav. Arioso e Rondo patetico. Op. 40. (5380). IV.

Lachner, I. 2 Pieces. Op. 66. No. 1, Andantino; 2, Nocturno. IV.

Mozart. Andante Cantabile from Violin Concerto. Op. 121. Arr. by I. Lachner. IV.

Rheinberger, J. Op. 150. 6 Pieces. No. 1, Theme with variations; 2, Abendlied; 3, Gigue; 4, Pastorale; 5, Elegie; 6, Overture.

Spohr. Adagio from 9th Violin Concerto, arr. by I. Lachner. IV.

The simplest pieces only (rhythmically, as well as technically) are included under this head, the melodies being almost entirely either in minims and crotchets, or in crotchets and quavers.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment: arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Fitzenhagen, W. Petits Morceaux. (Violin part within the compass of a Fourth):—

  Op. 38. No. 1. Ave Maria.

Heim, Ernst. Abecedarian in Violin Playing. Elementary Pieces in progressive order. Nos. 1-25. Bk. 1. (11461 a).

  Most useful and attractive collection for young beginners.

Hering, Carl. 16 Pieces in progressive order. Op. 14. Revised and marked for teaching purposes by Ernst Heim. (11493).

Kreuz, E. Op. 25. 30 Melodies. 3 Bks. (7515 a-c).

Laubach, A. 3 Pieces (Menuetto, Nocturne [Ib], Marche militaire).

Moffat, A. 6 Easy Pieces for young Violinists. (7525).

Rieding, O. 6 Easy Pieces.

Ritter, E. W. 12 Short Pieces.

In the easiest keys only, but containing a little more movement and rhythmic variety.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Beazley, J. C. 6 Little Pieces. Book 1, “A stray thought,” “On the lake”, and “A happy moment”; Book 2, “Eventide”. “Meditation” and “March”.

Clark, Scotson. Melody in A.

Danbé, J. 6 Petits Morceaux. Cantabile & Allegro, Petite Valse, Caprice, Adagio and Rondo, Minuet, Petite Barcarolle.

Fitzenhagen, W. Petits Morceaux. (Violin part within the compass of a fourth):—

Gurlitt, C. Our Favorite Tunes. Melodies, Ancient and Modern. (7375).

Hauptmann, M. 3 Sonatinas. (7384).

Heim, E. Abecedarian in Violin Playing. Elementary Pieces, transcribed and arranged in progressive order.

Hermann, F. 50 favourite Melodies; the Violin Part in the first position. (5465 c).

Hill, Claud H. Three Pieces. No. 1, Prelude; No. 2, Allegretto; No. 3, Gavotte.

Hoby, C. Album of Duets. Romance, Bourrée, Fairy Tale, Alla Mazurka.

Hofmann, Richard. Op. 101. No. 1, Animation.

Adam.	Der Postilion.	(5401 c).
Bellini.	Nachtwandlerin. (Sonnambula).	(5402 c).
Bellini.	Norma.	(5403 c).
Boieldieu.	Le Calife de Bagdad.	(5404 c).
Boieldieu.	La Dame Blanche.	(5405 c).
Donizetti.	La Fille du Régiment.	(5406 c).
Donizetti.	Lucia di Lammermoor.	(5407 c).
Gluck.	Orpheus.	(5408 c).
Handel.	The Messiah.	(5409 c).
Haydn.	The Creation.	(5410 c).
Hérold.	Zampa.	(5411 c).
Lortzing.	Wildschütz.	(5412 c).
Lortzing.	Czar und Zimmermann.	(5413 c).
Méhul.	Joseph.	(5414 c).
Mendelssohn.	St. Paul.	(5415 c).
Mozart.	Il Seraglio.	(5416 c).
Mozart.	Il Flauto Magico.	(5417 c).
Mozart.	Don Giovanni.	(5418 c).
Weber.	Der Freischütz.	(5419 c).

Horrocks, A. E. Rigaudon.

Kayser. Op. 65. Exercises and Popular Melodies. (7398).

Kirchner, Th. 4 Albumblätter. (F. Hermann.) (7400).

Koch, F. Petite Suite. (Allegretto, Arietta, Scherzo, Romanzetta, Alla Marcia.) Op. 12. (7508).

Kreuz, E. Op. 30. 6 easy Pieces. (7518).

March Album, Book 1. Edited by Hermann. (8686 a).

Meo, Alfonso. The Dolly’s Dance.

Moffat, A. Album. 12 pieces (in the easier positions). (7524).

Nicole, L. Minuet and Gavotte.

Our Favourite Tunes. From a collection of ancient and modern Melodies by C. Gurlitt. Arranged by Fr. Hermann. (7388).

Pleyel. Op. 8. 6 Duos. (Hermann). (7545).

Reinecke. Op. 122 a. 10 Petits Morceaux. (7541).

Rieding, Oskar. 6 Easy Pieces. Nos. 4, 5 and 6, “Tempo di Valse”, “Polonaise” and “Air varié”.

Ritter, E. W. Brilliant Duets. (The Violin part in the first position):—

No. 1.	Variations on “The Carnival of Venice”.	(7550 a).
No. 2.	Stradella, by Flotow.	(7550 b).
No. 3.	Variations. “Rule, Britannia”.	(7550 c).
No. 4.	Rondo, “The Bay of Biscay”
	and “Hearts of Oak”.	(7550 d).
No. 5.	“Logie O’Buchan”.  Fantasia.	(7550 e).

Taubert, W. Serenade. (M.F. 17)

Terschak, A. Popular Melodies:—

Tschaïkowsky. Favourite airs from the opera “Eugène Onégin”. Arranged by V. Sorreno. (5469 a).

Volkmann. “In the Mill”. (No. 1 of “Musical Picture Book”). (M.F. 59).

Wurm, Marie. March in D.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Adam, A. Christmas. (M.F. 108).

Agrell, J. Sonata, edited by W. Abert. (11305).

Albums. Arranged by F. Hermann, containing pieces by modern composers:—

Album Opératique. Vol. 1. 12 Melodies; Vol. 2. 15 Melodies. (8689 a, b).

Ariosti, Attilio. 6 Sonatas Lezioni for Viola d’amore, transcribed by G. Saint-George. (11311 a-f).

Atkinson, J. A. Petite Valse. Op. 1.

Bach, Emanuel. Solfegietto. Arr. by Oscar Wagner.

Bach, J. S. Gavotte in D. (Hermann, C. V. M. 9).

Beazley, J. C. Sonatina in F.

Beethoven. Andante Cantabile from Trio. Op. 97. (M. F. 98).

Bennett, W. Sterndale. The Lake. (M.F. 78).

Boccherini, L. Minuet in A.

Brooks, W. Op. 48. Album Lyrique. 4 Pieces. (7333).

Burgmüller. 3 Nocturnes. (8673).

Busoni. Op. 28. Bagatellen. No. 3. (2449).

Christmas-Album. 10 Pieces suitable for Christmastide, arranged by F. Hermann. Albums, Vol. XIV. (7322 o).

Clark, S. Marche aux Flambeaux. (9403 a).

Clementi, C. 6 Sonatinas. Op. 36. Violin part by M. Reger. (7351).

Courvoisier, C. Bagatelles. 6 petites Pièces. Op. 35. (9404).

Czibulka. Gavotte de la Princesse. Arr. par Fr. Hermann, (9406 g).

D’Alquen, F. Nocturne in G.

Dancla, J. C. 12 Mélodies. Arr. by C. Gurlitt. (7361).

David, Ferd. Gondellied. (Hermann.) (M.F. 69). Kinderlied. (Hermann). (M.F. 12). Remembrance (Souvenir.)

De-Angelis, G. Due Pezzi facili. Op.9. (Berceuse, Gavotta.) (7325).

Diabelli. Sonata in F. (W. Abert.) (11373).

Dolmetsch, A. Romance.

Dorn, Ed. Grande Marche impériale. (9406 a).

D’Ourville, Leon. Gondolina. Arranged by E. Thomas.

Dussek. Op. 20. 6 Sonatinas. (2507).

Gade, N. W. Elegie. (M.F. 13). Spring-flower. (M.F. 32)

Gautier, L. Le Secret. (M.F. 114).

Gavotte Album. 14 of the most celebrated Italian, French, and German Gavottes by Corelli, Couperin, Rameau, Bach, Handel, Martini, Gluck, &c. F. Hermann). (8687).

Gluck, C. W. Andantino affettuoso (Jensen, V. 22).

Gounod, C. L’Angelus, arranged by F. Hermann. (M.F. 113).

Goltermann, G. Op. 114. Sonatine in F. (7381).

Gungl, J. Oberländler. (M.F. 19).

Gurlitt, C. Morceaux de Salon (faciles). Op. 146:—

Handel, G. F. 2 Suites, arranged by G. Jensen:—

Hartog, Henri. Les Cloches. 5me Morceau de Salon.

Haydn, J. Serenade. (Jensen. V. 2).

Hauptmann. Sonata. Op. 6. (F. Hermann.) (7383).

Hauser. Die Plume (Preghiera). (M.F. 55).

Heim, Ernst. Abendlied (Evening Song).

Hennessy, Swan. Op. 7. “In the Mountains”.

Henkel, H. Sicilienne.

Henselt, A. La Fontaine. (M.F. 35).

Hermann, F. Sonatina in G. (7389 a).

Hoffmann, J. Cantilena in A.

Hofmann, Richard. Op. 78. 4 Pieces:—Scherzino, Romance, Gavotte. Minuet.

Hofmann. Potpourris on popular Melodies from classical and modern operas and oratorios.

Balfe.	The Bohemian Girl.	(5420 c).
Beethoven.	Egmont.	(5421 c).
Beethoven.	Fidelio.	(5422 c).
Donizetti.	L’Elisire d’amore.	(5423 c).
Donizetti.	Lucrezia Borgia.	(5424 c).
Gluck.	Iphigénie en Aulide.	(5425 c).
Handel.	Judas Maccabaeus.	(5426 c).
Kreutzer.	Das Nachtlager in Granada.	(5427 c).
Marschner.	Hans Heiling.	(5428 c).
Mendelssohn.	A Midsummer Night’s Dream.	(5429 c).
Mendelssohn.	Elijah.	(5430 c).
Meyerbeer.	Les Huguenots.	(5431 c).
Meyerbeer.	Le Prophète.	(5432 c).
Mozart.	Le Nozze di Figaro.	(5433 c).
Nicolai.	Die lustigen Weiber von Windsor.	(5434 c).
Wallace.	Maritana.	(5435 c).
Weber.	Oberon.	(5436 c).
Weber.	Preciosa.	(5437 c).

Holländer, G. Op. 3. Spinnerlied.

Jansa, L. Op. 54. Concertino. (7391).

Jensen, A. Ländler. (M.F. 8).

Jensen. Wanderbilder. 2 Bks. (2129 a, b).

Kayser. 36 Elementary and Progressive Studies, Op. 20 (introductory to those of Kreutzer), revised by E. Heim.

Kearne, L. Canzonetta.

Kirchner, F. Op. 184 a. Slumber Song.

Kirchner, Th. Feuillet d’Album. (M.F. 15).

Kreuz, Emil. Chant d’amour. Op. 44, No. 2.

Kuhlau, F. Sonatines. Op. 88. (Emile Thomas):—No. 1, en Ut (in C). 3. en La bémol (in A minor).

Lachner, I. Op. 93. 3 Morceaux de Salon: No. 2. Tarantelle; 3. Danse des Matelots. (7511 b, c).

Langer. G. Op. 20. “Grossmütterchen.” Ländler.

Laubach, F. 24 Scottish Songs, arranged. (7513).

Lee, Maurice. Cantilena.—Gavotte de Louis XV.—Rêve céleste, Morceau de Salon.

Liszt. F. Consolation. (M.F. 16).

Lully. J. B. Entrée de l’Opéra, “Les Songes funestes d’Atys”. (Hermann, C.V.M. 5).

March Album. Bk. 2. Edited by Hermann. (8686 b). Contains 5 Marches by Beethoven, 3 by Cherubini, and 1 by Lesueur.

Martini, G. B. Gavotta. (Jensen, V. 16).

Mendelssohn. 4 Marches (Wedding March, War March, March from Italian Symphony, Lied ohne Worte in E minor). Bk. 5 of March Albums. (8686 e).

Meo, Alfonzo. The Cubanese Dance.

Moffat, A. Bourrée et Musette. Gigue anglaise. Hebridean Jorram (Hebriden Schifferlied). Mélodie élégiaque. Pierrette. Danse Gracieuse. Fantasia on English Airs. Fantasia on Irish Melodies.

Mozart, W. A. Allegretto (Sonata in G). (7324 c).

Nölck, A. Berceuse. Op. 92.

Our Favorite Tunes. (Hermann.) (7388).

Papini, G. Deux Airs Napolitains. No. 1 in D; No. 2 in D.

Pergolese, G. B. Air. (M.F. 116).

Pleyel. Op. 48. Six Sonatinas. (F. Hermann.) (7546).

Porpora, Niccolo. La Chasse. Pianoforte Accompaniment, arranged from the original figured Bass by A. Moffat.

Poznanski, J. B. La Paresse.

Rameau, J. P. Menuet et Passepieds de “Castor et Pollux”. (Hermann, C.V.M. No. 7).

Reber, H. Berceuse in G.

Reinecke, C. Miniature Sonatina in C. Op. 122, No. 9.

Rheinberger, J. Masurek. (M.F. 20).

Ries, F. Sonatinas in F, in A minor, and in C. (Thomas). (7547).

Roeckel, J. L. Croquis musicaux. 6 Morceaux. 2 Books. (7563 a, b).

Rubinstein, A. Romance (F). (M.F. 24).

Saint-George. L’ancien régime. Petite Suite. (7570a).

Schmitt, J. Sonatina in C. (E. Thomas).

Schubert. Three Sonatinas. (E. Thomas). (7571).

Schubert, F. (Dresden). Cantabile. (M.F. 84).

Schumann, R. Schlummerlied. (M.F. 26).

Schytte, L. Berceuse. (M.F. 82).

Senaillé, J. B. Aria in G minor. (Jensen, V. 7).

Simon, A. Berceuse. Edited and fingered by Ernst Heim.

Smith, Sydney. The Lily of the Valley, op. 14. Arranged.

Spohr, L. Romanze in A. (M.F. 22).

Squire, W. H. Gavotte sentimentale.

Strelezki, A. “L’Absence”, Mélodie.

Struss, Fritz. 2 Characteristic Pieces. Op. 12.

Sutcliffe, W. Andante in E.

Tartini, G. Larghetto (G minor). (Jensen, V. 6).

Thomas, Emile. Air de Ballet.

Tschaïkowsky, P. Album of Favourite Pieces:—

Valle de Paz, E. del. Op. 29, No. 2. Minuet.

Veracini, A. Sonata in A minor. (G. Jensen.) (7416).

Veracini, F. M. Minuet. (Jensen, V. 5).

Volkmann, R. Musical Picture Book. Arranged by F. Hermann:—

Weber, C. M. von. Lonely. (Krug.)

Witting, C. Andante alla Siciliana.

Wolfermann, A. Fantasia No. 1 in G, No. 2 in G.

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces, for Violin Solo with Pianoforte Accompaniment: arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Album de Danses. Vols. 1 and 2, containing some of the most celebrated dances by Johann and Josef Strauss. (7319a, b).

Album pour Violon et Piano. 15 Vols. Arranged by F. Hermann. (7322 a-n).

Arensky, A. Serenade in G. (M.F. 102).

Bach, J. S. Air and Gavotte (from the Orchestral Suite in D). (Jensen, V. 1).

Barthélemon, E. H. Sonata in E minor. (7421).

Batiste, E. Voix céleste. (M.F. 70).

Becker, J. Romance. (M.F. 42).

Beethoven-Album. (Arranged by F. Hermann). (7329).

Beethoven. 2 Romances in G and F. (Jensen, V. 10, 11). (7331).

Benda, Franz. 8th Sonata in A minor. (7433).

Bennet, W. Sterndale. Overture, “Parisina”. (8671a).

Bériot, C. de. 6me Air varié. (7335).

Blagrove, Stanley. Rêverie.

Borch, Gaston. Berceuse in G. Op. 50.

Borders, W. Morceau à l’Irlandaise. Op. 87.

Borghi, L. Sonata No. 2, in A major. (7413).

Brahms, J. Op. 39. Walzer. (9402).

Brauer, Max. Meditation on “Little Study”, by Schumann (Ernst Heim).

Burgmüller. Nocturne. (M.F. 91).

Campagnoli. Etude. (Hermann, C.V.M. 3).

Chamber Music. Edited by H. Holmes. A selection from the Solo Sonatas of Corelli, Tartini, Bach and Handel. (8679).

Chopin, F. Mazurka. (M.F. 34).

Corelli, A. 12 Sonatas. Op. 5 (Gustav Jensen). Bound, with Portrait. (7354*).

Danbé, J. Mazurka de Salon.

David, Ferd. 6 Salonstücke. Op. 24. Revised by Fr. Hermann. (7349).

De-Angelis, G. Andante religioso. Op. 7.

Del Valle de Paz, E. 3 Capricci. Op. 15. (7362).

Delibes, L. “Sylvia”. Introduction and Valse Lente.

Dobrzynski, I. F. Les Larmes. (M.F. 104).

Dunkler, E. Morceau de Salon, revised by Hermann. (M.F. 48).

Dussek. Op. 69, No. 1. Sonata in B♭. (E. Thomas.) (7360).

Dvorak. Op. 15. Ballade. (7365).

Ellerton. Duo in D minor. Op. 56. (8675).

Ersfeld, C. Op. 15. Romance in B♭. (7373).

Gabriel-Marie. Sérénade Badine.

Gade, N. W. Op. 6. Sonata in A. (7369).

Geminiani, F. Sonatas No. 1 in A major (7401), No. 2 in B minor (7402), No. 8 in D minor (7411).

German, Edward. Song without Words. (11441).

Godard, B. Berceuse de “Jocelyn”.

Goltermann. Op. 13. 2 Salon Pieces. (Les Adieux and Le Rêve.) (1996).

Gounod, C. Serenade. (M.F. 72).

Grieg, E. Christmas Song, arr. by F. Hermann. (M.F. 110).

Guillaume. Op. 4. Mélancolie; Romance.

Gurlitt, C. Op. 134. Sonatinas:— No. 1, in A major (7372a); No. 2, in F (7372b).

Handel. Largo. Aria, “Ombra mai fu”, arr. by R. Hofmann.

Hartog. “Home, sweet home”. Variations. (7380).

Hauser, M. Le Désir. (M.F. 4).

Haydn. Variations “Gott erhalte Franz den Kaiser”. (Thomas).

Heller & Ernst. Pensées fugitives. (Fr. Hermann):—

Heller, Stephen. Rondeau. (M.F. 88).

Henkel, H. Gavotte moderne. Op. 81.

Movements from the works of Great Masters. The following may be taken in this Step:—

Herrmann, E. Op. 12. Barcarolle. (8678).

Hoffmann, J. Bolero.—Danse des sorcières.—Zingaresca, Morceau caractéristique.—Robin Adair. Fantaisie brillante.

Hofmann, Richard. Short Study (Kleine Studie). Op. 110, No. 2.

Holländer, V. Polonaise. (11501).

Hurlstone. W. Sonata in D minor. (7507).

Ireland, John. Berceuse.

Jensen, A. Träumerei.

Jensen, G. Op. 25. Suite in A minor. (8680).

Kayser. 36 Elementary and Progressive Studies. Op. 20 (introductory to those of Kreutzer), revised by E. Heim. Book III. (7397 c).

Kjerulf, H. Frühlingslied. (M.F. 75).

Kreuz. E. “Frühlingsgedanken.” Op. 9. (7510).

Kücken, F. 6 Duos. (8681 a-f).

Kuhlau. Op. 88. 4 Sonatinas. Nos. 2, 3 and 4. (7399).

Lachner, Ignaz. Morceaux de Salon. Op. 93:— No. 1. Nocturne.

Leclair, J. M. Andante, Gavotta e Minuetto. (Jensen, V. 18).

Le Jeune, A. Coronation March.

Loeschhorn, A. A Child’s Dream (Des Kindes Traum). Characteristic piece, arranged by Ernst Heim.

Loew, J. Albumblatt. (M.F. 6).

Lully, J. B. Gavotte in D minor. (Hermann, C.V.M. 10).

Mac Cunn, Hamish. Op. 30. “Highland Memories”, Suite of 3 Scottish Scenes: “By the Burnside”, “On the Loch” and “Harvest Dance”. (7520).

Mackenzie, A. C. Op. 37, Nos. 3 and 4 “Benedictus” and “Zingaresca”.

Mallard, C. “Sehnsucht und Hoffnung”.

March Album. Bks. 3 and 4. Edited by Hermann. (8686c, d).

Martini, G. B. Siciliana. (Jensen, V. 15).

Matras, Maud. Ballade. Op. 8. (7534).

Mendelssohn. Op. 4. Adieu à Berlin. (8683).

Moffat, Alfred. La Gracieuse. Mazurka.

Molique, B. 6 Morceaux Caractéristiques. Op. 41. (Ernst Heim). (11562).

Monsigny. Rigaudon. (7387d).

Moszkowski, M. Op. 8. 5 Valses. (7527)

Mozart, W. A. 18 Sonatas.

Nicodé, J. L. Barcarolle. (M.F. 31).

Noskowski, S. Op. 23. Cracovienne Mélancolique. (M.F. 77).

Papini, Guido. Trois Morceaux de Salon. (8685):—

Pfeiffer, G. Op. 77. Gigue dans le genre ancien. (Thomas). (11630).

Pitt, Percy. Canzonetta. Op. 8, No. 1.

Pleyel. Op. 44. (Hermann). (7544).

Pugnani, G. Sonata in E. (7404).

Raff, Joachim. Pastorale. Op. 85. No. 2.

Renard, F. Berceuse. (M.F. 44).

Ries. Romance. (M.F. 9).

Ritter. Operatic Duets. The following can be taken in this Step:—Sonnambula, (9407c); La Favorite, (9407d); Lucia di Lammermoor, (9407e); Zampa, (9407f); Zauberflöte, (9407g); Lohengrin, (9407h); Tannhäuser, (9407i); Oberon, (9407k); Taming of the Shrew, (9407l); Flying Dutchman, (9407m); Fra Diavolo (9407a).

Rode, P. Op. 10. Air Varié. (Jensen V. 12). (8691).

Roeckel, J. L. Croquis musicaux.

Rubinstein, A. 3 Salon Pieces, Op. 11, edited by E. Heim:

Saint-George, G. Désir.

Scharwenka, X. Op. 20. Tone Pictures. (9408).

Scholtz, H. 3 Albumblätter. (M.F. 47).

Schubert, F. Sonatine, Op. 137, No. 2, in A minor. Revue et doigtée par Emile Thomas.

Schubert, F. (of Dresden). L’Abeille (The Bee).

Schumann. Op. 94. 3 Romances. (7581).

Somervell, Arthur. Whims. (No. 3 of 3 Original Pieces).

Squire, W. H. Serenade. Op. 15. (7122 b).

Strelezki, A. Appassionata.

Struss, Fritz. 2 Characteristic Pieces. Op. 12:— No. 2. Idylle.

Sutcliffe, W. Romance.

Svendsen, J. S. Op. 26. Romance in G. (7587).

Tartini. Andante Cantabile (8th Sonata). (Jensen. V. 8).

Thirlwall. Favourite Airs, with Variations:—

Thomas, Emile. 1ère Fantasie sur les Airs écossais.

Thomé, F. Op. 25. Simple Aveu.

Tschaïkowsky. Andante Cantabile. (M.F. 45).

Veracini, F. M. Concert Sonata in E minor. (7424).

Vivaldi, A. Sonata in A. (7423).

Vieuxtemps, H. Op. 40. No. 1. Romance in F.

Volkmann, R. Hungarian Sketch. (M.F. 38).

Wagner, R. Album-Leaf. (8699).

Walger, Carl. Serenade.

Weber, C. M. von. Invitation à la Valse. (Thomas).

Wieniawski. Op. 12. No. 2. Chanson polonaise. (7494).

Wilhelmj, A. Walter’s Preislied (from the “Meistersinger”).

Wüerst, R. Op. 25. Two Romances.

Wurm, Marie. Estera Gavotte. (M.F. 79).

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin solo with Pianoforte accompaniment; arranged in progressive order, carefully marked and annotated by E. Heim:—

Bach, J. S. Aria from the Suite for Orchestra, arranged as a Concert Piece on the fourth string by Ernst Heim.

Bache, F. E. Romance. Op. 21. (7664).

Baillot, P. Rondo sur un Air Moldavien. (Hermann, C.V.M.4).

Becker, A. Op. 20. Adagio. (2078).

Beer-Walbrunn. Op. 3. Short Fantasia in G min. (2930).

Beethoven. 6 Quartets. Op. 18. F, G, D, C minor. A and B flat. Arranged by F. Hermann. (7341-6).

Beethoveniana. 3 Bks. Extracts from the pianoforte Sonatas, arranged for violin and piano by F. Hermann. (7330a-c).

Bériot, C. de. Op. 32. 2nd Concerto in B minor.

Bortniansky. Adoration. (M.F. 111).

Coleridge-Taylor, S. Op. 9. Two Romantic Pieces, “Lament” and “Merry-making”. (7352).

Corelli. Adagio and Allegro. (Hermann, C.V.M. 1).

Cui, César. Berceuse.

Danbé, J. Berceuse.

David, Ferd. Etude. (M.F. 36).

De-Angelis, G. Pensée mélancolique. Op. 8.

Ernst. Elegy. (7366).

Field. Nocturnes (Hermann). (2128).

Fleurs des Opéras. Tannhäuser. (Courvoisier). (7470).

Goltermann, G. Berceuse. (M.F. 109).

Gounod. Faust. Potpourri by R. Hofmann. (5445 c).

Gurlitt, C. Op. 105. Ouverture des Marionettes. (7371).

Grieg, E. Op. 8. Sonata in F.

Hartog, Henri. Prière, 3me Morceau de Salon.

Hauser, M. Chanson de Berceau. (M.F. 53).

Haydn. Andante. (M.F. 97).

Heller, Stephen. Feuillet d’Album. Transcrit par h. W. Ernst. (E. Heim).

Henselt, A. Chant d’amour. (M.F. 29).

Hiller, F. Zur Guitarre. (M.F. 49).

Hoffmann, J. Bourrée; Gavotte.

Hofmann, Richard. Potpourris on Popular Melodies from classical and modern Operas and Oratorios, arranged by R. Hofmann:—

Wagner.	Der fliegende Holländer.	(5438 c).
Wagner.	Lohengrin.	(5439 c).
Wagner.	Rienzi.	(5440 c).
Wagner.	Tannhäuser.	(5441 c).
Rossini.	Il Barbiere di Seviglia.	(5442 c).
Rossini.	Guillaume Tell.	(5443 c).
Auber.	Masaniello.	(5444 c).
Gounod.	Faust.	(5445 c).

Holländer, G. Op. 50. Waldmärchen.

Jensen, Gustav. Op. 39. Capriccio.

Jensen, G. Bolero in D minor.

Kalliwoda, J. W. Op. 237. Ländler. (M.F. 57).

Kreuz, E. Op. 20. Barcarolle, from Concerto.

Lassen, E. Liederstrauss. (M.F. 50).

Leclair. “Le Tombeau”. Sonata. (7428).

Molique, B. 6 melodies. Op. 36. (Ernst Heim). (11561).

Moffat, A. Melodie amoureuse.

Morgan, R. Orlando. Ballade. Op. 28.

Moszkowski, M. Op. 17, No. 2. Minuet (E. Thomas).

Mozart, W. A. Adagio and Rondo. (7420).

Noskowski, S. Dumka. Op. 29. (Emile Thomas.)

Palmer, G. A Dream. Nocturne.

Papini, G. Deux Airs Suédois. (11622).

Parkyns, Beatrice. Berceuse.

Popper, D. Romance. (7548).

Rachmaninoff, S. Romance in D minor.

Raff, Joachim. Six Morceaux. Op. 85:—No. 1, Marcia; No. 3, Cavatina; No. 4, Scherzino; No. 5, Canzona; No. 6, Tarantella.

Reger, Max. Op. 1. Sonata in D minor. (7535).

Rode. Concerto No. 7.

Rubinstein, A. Op. 13. Sonata in G.

Saint-George, G. Chant sans Paroles.

Sauret, E. Souvenir d’Orient. 6 Morceaux, Op. 63:—

Scharwenka, Xaver. Op. 3. Cinq Danses polonaises. Arranged by G. Holländer:—

Schubert. Op. 70, 159, 160 and 162.

Schumann. Op. 105 and 121, Sonatas in A minor and D minor. (7579, 7580).

Simonetti, A. Mazurka.

Sinding. Op. 10. Suite. (2477).

Sitt, Hans. Op. 71. No. 1. Romance.

Sjögren. Op. 19. Sonata in G minor. (2215).

Smetana. 2 Salon-Pieces. (2634 a-b).

Somervell, Arthur. 3 Original Pieces:—

Spohr, L. Op. 2. Concerto in D minor.

Stanford, Villiers. Légende.

Strelezki, A. Romanza in F.

Sutcliffe, W. Gavotte Romantique.

Thirlwall. Favourite Airs, with Variations:—

No. 1.	English Air.	(9412 a).
No. 2.	Scotch Air (Annie Laurie).	(9412 b).
No. 3.	Irish Air (Sprig of Shillelagh).	(9412 c).
No. 4.	Welsh Air (Poor Mary Ann).	(9412 d).
No. 5.	Northumbrian Air (Weel may the Keel row).	(9412 e).
No. 7.	No. 7. Ye Banks and Braes.	(9412 g).
No. 8.	No. 8. Carnaval de Venise.	(9412 h).

Thomé, F. 1er Andante Religioso. Op. 70.

Tschaïkowsky. Christmas. (Noël). (M.F. 117).

Vieuxtemps, H. Rêverie. Adagio. Op. 22, No. 3. (7594 c).

Volkmann, R. Chant du Troubadour, Morceau de Salon, Op. 10. Revu par R. Scholz.

Wagner, R. March (from Tannhäuser). (M.F. 73).

Weber. 6 Sonatas. Complete (David). (191).

Wichtl. Fantasias on National Songs. Op. 119:—

No. 1.	Home, sweet Home.	(9413 a).
No. 2.	Long, long ago.	(9413 b).
No. 3.	The Red Sarafan.	(9413 c).
No. 4.	Santa Lucia.	(9413 d).
No. 5.	Robin Adair.	(9413 e).
No. 6.	Die drei Rosen.	(9413 f).

Wieniawski, H. Légende. Op. 17. (7495).

Wüerst, R. Russian Suite. F. Hermann. (7501).

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin Solo with Pianoforte Accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Beethoven. Ten Sonatas. Joachim. (3031).

Bériot, C. de. Op. 30. Le Tremolo. Caprice. (9419).

Bériot and Osborne. Fantasia on “William Tell”.

Berlioz, Hector. Rêverie et Caprice. Romance, Op. 8. (E. Heim.) (11321).

Böhm, C. Op. 314, No. 2. Cavatina.

Bruch, M. Op. 42. Romanza in A minor.

Coleridge-Taylor, S. Hiawathan Sketches. Op. 16. No. 1, A Tale; No. 2. A Song; No. 3, A Dance. (7356).

David, Ferd. Introd. and Variations on Air by Mozart. Op. 11. (8674).

Eller, L. Op. 3. Concert Fantasia on Styrian Melodies.

Hauser. Op. 43. Hungarian Rhapsody. (2567 a).

Holländer, G. Op. 10. Romance.

Kreutzer. Concertos, Nos. 13, 14, 18, 19. (1091 a-d).

Laub. Op. 7. Romance & Impromptu. (1092).

Lauterbach. Tarantelle. (2203).

Leonard, H. Op. 2. Souvenir de Haydn.

Lipinsky. Op. 21. Concert militaire. (2642).

Mackenzie, A. C. Op. 47, No. 1, Highland Ballad.

Mendelssohn. Op. 64. Concerto.

Moszkowski. Op. 16. No. 1. Ballade; No. 2, Bolero. (7528 a, b).

Nicodé, J. L. Romance. Op. 14.

Paganini, N. Moto Perpetuo. Revised and the original Orchestral accompaniment arranged for the Pianoforte by Ernst Heim.

Ragghianti, J. Aria di Danza (“La Monferina”).

Rust, F. W. Sonata in D minor.

Sauret, E. Op. 47, No. 3. Scène Polonaise. (11693).

Scharwenka, Xaver. Danses polonaises (Five Polish Dances.) Op. 3. Arrangées par G. Holländer. Nos. 1, 4 and 5. (7565).

Sinding. Op. 60. Concerto No. 2 in D major. (2976).

Sitt, Hans. Op. 21. 2nd Concerto in A minor.

Tartini. Trille du Diable. Sonata.

Vieuxtemps, H. Fantaisie-Caprice. Op. 11. (Hermann.) (7592).

Wieniawski, H. Adagio élégique. Op. 5. (R. Scholz). (7498).

Palaestra. A Collection of Pieces, Sonatas, Suites, and Concert Pieces for Violin solo with Pianoforte accompaniment; arranged in progressive order, carefully marked and annotated by Ernst Heim:—

Bach. Chaconne. (2474).

Brahms, J. Op. 77. Concerto.

Bruch, M. Op. 26. Concerto in G minor.

Dancla, C. Op. 50. Romance and Bolero.

David, Ferd. Andante et Scherzo capriccioso. Op. 16. (E. Heim.) (7348).

Ernst, H. W. Fantaisie brillante sur la Marche et la Romance d’Otello de Rossini. Op. 11. (Ernst Heim.) (11401).

Hauser. Op. 34. Bird on the tree. (2565).

Joachim, J. Op. 11. Hungarian Concerto.

Laub. Op. 8. Polonaise. (Wilhelmj). (1093 b).

Paganini. First Concerto in E flat. (1991).

Rubinstein. Op. 46. Concerto in G major. (1339).

Sarasate, M. Airs Espagnols.

Spohr, L. 7th Concerto in E minor.

Vieuxtemps. Fantaisie sur Norma. Op. 18. (2573).

No. 1.	Morceau brillant.	(7594 a).
No. 2.	Air varié.	(7594 b).
No. 4.	Souvenir du Bosphore.	(7594 d).
No. 5.	Tarentelle.	(7594 e).
No. 6.	L’Orage.	(7594 f).

Wieniawski, H. Polonaise de Concert. Op. 4. (R. Scholz). (7491).

Hermann, Fr. The First Practice in Ensemble Playing. 32 Short Pieces, arranged. 2 Books. (5291 a, b). Ib.

Hofmann, Richard. 4 Pieces in an easy style for the use of Music-schools, Academies, etc. Op. 104. (5292). III.

Lachner, Ignaz. 3 Sonatinas. Op. 92:—II.

Wohlfahrt, F. Op. 88. Melodic pieces. 2 Bks. I.

Wichtl. 3 Trios. Op. 79. II.

Corelli, Arcangelo. Œuvres revues par J. Joachim et F. Chrysander. (In Score.) 8vo.:—

Gurlitt, Cornelius. Op. 105. Ouverture des Marionettes. (7312). II.

Handel. Zwei Suiten nach Händel’schen Original-Compositionen herausgegeben von Gustav Jensen. (5312). II.

Herrmann, E. Petites Variations faciles. Op. 13. (5332). Ib.

Pleyel, I. J. Œuvres. Arrangées par F. Hermann:—

Reinecke, C. Toy symphony (with 9 toy instruments). (7115). II.

Wanhal. 15 Trios Faciles. (5360). I.

Hofmann, Richard. Op. 112. Trio. (5323). II and III.

Pleyel, I. J. Op. 44. 3 Trios. (5365). II and III.

Haydn. Op. 53. 3 Trios. III.

Mozart. Divertimento. Op. 19. III and IV.

Beethoven. Op. 8, 25. Serenade and Trios. IV.

Barnett, John Francis. Trio. Op. 49, in C minor. (9299). IV.

Beethoven. 6 Quartets. Op. 18. Arranged by F. Hermann. 6 Books. (9291-96). IV.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven arrangés par Fr. Hermann:—

Bennett, W. Sterndale. Chamber Trio. Op. 26. (9659). III.

Brahms, Johannes. Trio. Op. 8. (7246). V.

Dancla, J. C. 12 Mélodies. Arr. by Cornelius Gurlitt. (7248). Ib.

Dussek. J. L. Favourite Sonata. Op. 37. (7249). II.

Ellerton. Trio, in A. Op. 27. (9304). III.

Gade, Niels. Novelletten. Op. 29. (7257). IV.

Gurlitt. C. Op. 105. Ouverture des Marionettes. (7258) II.

Hennessy, Swan. Lieder an den Mond: 1. Um Mitternacht; 2. In der Frühe; 3. Am Abend. Op. 10. (9309). Ib.

Hermann, F. Sonatine en sol majeur. (7389 b). Ib.

Horsley. Trio in A. Op. 7. (9660). IV.

Hudson, J. W. Trio in D. (7263). II.

Ivimey, J. W. Trio. Op. 1, in D. (7262). IV.

Kalliwoda. 1st Grand Trio in F minor. Op. 121. (9661). IV.

Kreuz, Emil. Trio facile. Op. 31. (7264). I.

Mayseder. 4th Grand Trio, in G. Op. 59. (9662). V.

Meyer, L. Trios faciles (Kinder-Trios):—

No. 1,	in G.	(9317 a).  Ib.
2,	in G.	(9317 b).  Ib.
3,	in F.	(9317 c).  Ib.

Molique. 1st Trio, in B flat. Op. 27. (9663). IV.

Pleyel, I. J. Œuvres arrangés par F. Hermann:—

Potpourris on Popular Melodies from classical and modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books.

Series I. (in the first position). I and II.

Le Postillon.	(5401 e).
La Sonnambula.	(5402 e).
Norma.	(5403 e).
Le Calife de Bagdad.	(5404 e).
La Dame Blanche.	(5405 e).
La Fille du Régiment.	(5406 e).
Lucia di Lammermoor.	(5407 e).
Orpheus.	(5408 e).
The Messiah.	(5409 e).
The Creation.	(5410 e).
Zampa.	(5411 e).
Wildschütz.	(5412 e).
Czar und Zimmermann.	(5413 e).
Joseph.	(5414 e).
St. Paul.	(5415 e).
Il Seraglio.	(5416 e).
Il Flauto Magico.	(5417 e).
Don Giovanni.	(5418 e).
Der Freischütz.	(5419 e).

Series II. (in various positions). II and III.

The Bohemian Girl.	(5420 e).
Egmont.	(5421 e).
Fidelio.	(5422 e).
L’Elisire d’Amore.	(5423 e).
Lucrezia Borgia.	(5424 e).
Iphigénie en Aulide.	(5425 e).
Judas Maccabaeus.	(5426 e).
Das Nachtlager in Granada.	(5427 e).
Hans Heiling.	(5428 e).
A Midsummer Night’s Dream.	(5429 e).
Elijah.	(5430 e).
Les Huguenots.	(5431 e).
Le Prophète.	(5432 e).
Le Nozze di Figaro.	(5433 e).
Die lustigen Weiber von Windsor.	(5434 e).
Maritana.	(5435 e).
Oberon.	(5436 e).
Preciosa.	(5437 e).

III and IV.

Der fliegende Holländer.	(5438 e).
Lohengrin.	(5439 e).
Rienzi.	(5440 e).
Tannhäuser.	(5441 e).
Il Barbiere di Seviglia.	(5442 e).
Guillaume Tell.	(5443 e).
Masaniello.	(5444 e).
Faust.	(5445 e).

Saint-George, G. L’ancien régime. Petite Suite. (7570 c). Ib.

Schumann, R. Trio. Op. 63. In D minor. (7274). V.

Silas, E. Trios.

No. 1,	in C minor.	(10051).	IV.
2,	in A (Op. 27).	(10052).	III and IV.
3,	in C (Op. 46).	(10053).	III.

Sinding. Op. 64. Trio in A min. (3051). VI.

Sitt. Op. 63, Nos. 1 & 2. Trios. (2835 a and b). II.

Spohr. Trio, in E minor. Op. 119 (W. S. B. Woolhouse). (9664 a). IV.

Turner, Bradbury. Trio in C minor. (9329). II.

Volkmann, R. Trio in B flat minor. Op. 5. (7286). III.

Boyce, William. Sonata in A major. (G. Jensen). (7432). II.

Corelli, Arcangelo. 6 Sonate da Camera a tre (due Violini, e Violone, o Cembalo). Opera IV. With Pianoforte Accompaniment worked out from the Figured Bass of the Author, and with all necessary indications for the mode of executing, for bowing and fingering by Gustav Jensen. (5302). I and II.

Gurlitt, Cornelius. Op. 105. Ouverture des Marionettes. (7307). II.

Hermann, F. 50 Favourite Melodies. (5465d). I.

Herrmann, E. Petites Variations faciles. Op. 13. (5332). Ia.

Langer, Gustav. Grossmütterchen. (Granny.) Ländler. Op. 20. II.

Pleyel, I. J. (Œuvres, arrangées par F. Hermann:—

Potpourris on Popular Melodies from classical and modern Operas and Oratorios. Arranged by R. Hofmann. 45 Books.

Series I. (in the first position). I and II.

Le Postilion.	(5401d).
La Sonnambula.	(5402d).
Norma.	(5403d).
Le Calife de Bagdad.	(5404d).
La Dame Blanche.	(5405d).
La Fille du Régiment.	(5406d).
Lucia di Lammermoor.	(5407d).
Orpheus.	(5408d).
The Messiah.	(5409d).
The Creation.	(5410d).
Zampa.	(5411d).
Wildschütz.	(5412d).
Czar und Zimmermann.	(5413d).
Joseph.	(5414d).
St. Paul.	(5415d).
Il Seraglio.	(5416d).
Il Flauto Magico.	(5417d).
Don Giovanni.	(5418d).
Der Freischütz.	(5419d).

Series II. (in various positions). II-IV.

The Bohemian Girl.	(5420d).
Egmont.	(5421d).
Fidelio.	(5422d).
L’Elisire d’Amore.	(5423d).
Lucrezia Borgia.	(5424d).
Iphigénie en Aulide.	(5425d).
Judas Maccabaeus.	(5426d).
Das Nachtlager in Granada.	(5427d).
Hans Heiling.	(5428d).
A Midsummer Night’s Dream.	(5429d).
Elijah.	(5430d).
Les Huguenots.	(5431d).
Le Prophète.	(5432d).
Le Nozze di Figaro.	(5433d).
Die lustigen Weiber von Winsdor.	(5434d).
Maritana.	(5435d).
Oberon.	(5436d).
Preciosa.	(5437d).
Der fliegende Holländer.	(5438d).
Lohengrin.	(5439d).
Rienzi.	(5440d).
Tannhäuser.	(5441d).
Il Barbiere di Seviglia.	(5442d).
Guillaume Tell.	(5443d).
Masaniello.	(5444d).
Faust.	(5445d).

Purcell, Henry. Sonatas. Arranged by G. Jensen:—

Saint-George. L’ancien régime. Petite Suite. (7570b). Ib.

Torelli, Giuseppe. Concerto. Op. 8. (G. Jensen). (7417). II.

Veracini, A. Sonate. C min. (G. Jensen). (7415). II.

Weidig, Adolf. Kleines Trio. Op. 9. (5286). II.

Morceaux d’Ensemble. (F. Hermann):—

Gade, Niels W. Novelletten. Op. 29. Arranged by Ernst Heim. (5268). IV.

Jensen, G. Phantasiestücke. Op. 27. (5275). IV.

Kreuz, E. Trio in C. Op. 21. (5271). IV.

Lachner, Ignaz. Grand Trio. Op. 102. (5277). II.

Pleyel. 3 Trios. Op. 44. (Hermann). (5280). III.

Potpourris on Popular Melodies from classical and modern Operas and Oratorios. Arranged by R. Hofmann:—III and IV.

Wagner.	Der fliegende Holländer.	(5438s).
Wagner.	Lohengrin.	(5439s).
Wagner.	Rienzi.	(5440s).
Wagner.	Tannhäuser.	(5441s).
Rossini.	Il Barbiere.	(5442s).
Rossini.	Guillaume Tell.	(5443s).
Auber.	Masaniello.	(5444s).
Gounod.	Faust.	(5445s).

Reger, Max. Trio. Op. 2. (5283). V.

Weidig, Adolf. Kleines Trio. Op. 9. (5286). II.

Audibert. Andante réligieuse. (9551). III.

Bach, E. Solfeggietto, arr. by Oscar Wagner. (9785b). II.

Bach, J. S. Adoration, Meditation on the 7th short Prelude, composed by Oscar Wagner. (9550). II.

Clark, Scotson. Marche aux Flambeaux for Piano, Harmonium, Violin, and Violoncello. (8781). II.

Field, J. Nocturne in B flat (Scotson Clark). (9554). II.

Gounod, C. Meditation on the 1st Prelude of J. S. Bach, for Violin (or Violoncello), Harmonium and Piano. (11450b). III.

(The Toy Instruments may be had of the Publishers)

Gurlitt, C. Kindersymphonie. Toy Symphony for Pianoforte (Violin and Violoncello ad lib.). Cuckoo, Quail, Nightingale, Trumpet, Triangle, and Drum. Op. 169. (7108). II.

Haydn, J. Toy Symphony for Pianoforte or 2 Violins and Bass, and 7 Toy Instruments. Score and Parts. (7109). II.

Reinecke, C. Kinder-Symphonie. Toy Symphony for Pianoforte, 2 Violins, Violoncello, and 9 Toy instruments (Nightingale, Cuckoo, 2 Trumpets, Drum, Rattle, Bells, Glass-bell, and Tea-tray). Score and parts. (7115). II.

Romberg, B. Toy Symphony (Kinder-Sinfonie) for Piano (or 2 Violins and Bass) with 7 Toy Instruments. (7116). II.

Clark, Scotson. Gavotte. (7231). IV.

Lachner, I. Op. 107. Quartet in G. (7220). IV.

Leo, Leonardo. Concerto a quattro Violini obbligati, arr. for 4 Violins with Piano accomp. by Gustav Jensen. (5001). II and III.

Shaw, Sydney. Reverie. (7239). II.

Herrmann, E. Serenade. Op. 14. (7228). III.

Lachner, Ignaz. Quartet in C. Op. 106. (7219). III.

Henkel, H. Introduction and Polacca. Piano accompaniment ad lib. (7213). III.

Saint-George. L’ancien régime. Petite Suite (7570m). II.

Barnett, J. F. Op. 8. Quartet in D minor. (9255). IV.

Beethoven. 6 Quartets. Op. 18. No. 1, in F; No. 2, in G; No. 3, in D; No. 4, in C minor; No. 5, in A; No. 6, in B flat. Revised by Fr. Hermann. 6 Books. (7201-6). IV.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Brahms. Op. 51. 2 Quartets, C minor and A minor.

Cherubini. 3 Quartets. (1346).

Coleridge-Taylor, S. Fantasiestücke. Op. 5. (7207). V.

Deane, C. Quartet in B flat. (9634). IV.

Ellerton. Op. 62. Quartet. No. 10. (9259 a). V. Score. 8 vo. (9259 b).

Grieg. Op. 27. Quartet. (2489). V.

Gurlitt, Cornelius:—

Haydn. 83 Quartets, complete. (15).

Hermann, Fr. Leichte Streichquartettsätze. 6 easy movements (Mendelssohn, 2 Lieder ohne Worte; Beethoven, Scherzo; Schumann, Nachtstück; Tschaïkowsky, Romance; Bach, Gavotte). (7214). II and III.

Kreuz, E. Quartet. Op. 42, in D minor. (9262). V.

Mendelssohn. 7 Quartets. (1742).

Mozart. 10 celebrated Quartets. (16).

Ouseley, Sir F. A. G. Quartet in C. (9266 a). IV.

Perry, E. Prize Quartet. (9635). IV.

Pleyel, I. J. Œvres arrangés par F. Hermann:—

Prout, E. Op. 1. Prize Quartet. (9636). IV.

Ries, H. 2 Quatuors faciles. Op. 20. II.

Rode, P. Air varié. Op. 10. (Gustav Jensen.) (8691). V.

Saint-George. L’ancien régime. Petite Suite. (7570 d). II.

Schubert. Quartets. 2 vols. (168 a-b).

Schumann. Op. 41. 3 Quartets. (2379).

Spohr. Op. 4, No. 1 & 2. Quartets. (2483 a-b).

Stanford, C. Villiers. Quartet. No. 3, in D minor. Op. 64. V.

Beethoven. Op. 16. Quartet in E♭. (294).

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Brahms. Op. 25, Nos. 1 and 2. Quartets in G minor and A major. VI.

Mendelssohn. Complete Quartets. (1741).

Mozart. 2 Quartets in G minor & E♭. (272).

Pfeiffer, G. Quatuor en F a mineur. Op. 119. (7183). IV.

Pleyel, I. J. Œvres. Arrangés par F. Hermann:—

Prout, E. Op. 2, in C. Prize Quartet. (9637). IV.

Rheinberger, J. Quartet in E flat. Op. 38. (7185). IV.

Schubert. Adagio & Rondo. (1347).

Schumann. Op. 47. Piano Quartet. (2380).

Weber. Op. 8. Piano Quartet. (2177).

Westrop, H. Op. 2. Quartet in A flat. (9638). IV.

Abaco, Evaristo Felice Dall’. Suite (Sonata da Camera) in G minor. Arranged by Dr. H. Riemann. Score and Parts. (5390) II.

Boyce, W. Sonata in A major. (G. Jensen). (7432). II.

Corelli, Arcangelo. 6 Sonate da Camera a tre (due Violini, e Violone, o Cembalo). Opera IV. With Pianoforte Accompaniment worked out from the Figured Bass of the author, and with all necessary indications for the mode of executing, for bowing and fingering by Gustav Jensen. (7171). I and II.

Hofmann, R. Potpourris on melodies from Operas and Oratorios. 19 Bks. (5401 f-5419 f.) (Violin Parts in 1st Position only). I.

Pleyel. 3 Quartets. Op. 44. (Hermann.) (7178). III.

Purcell, Henry. Sonatas. Arranged by G. Jensen:—

The Golden Sonata.	(7410 a).	II.
Sonata in B minor.	(7429).	II.
Sonata in A minor.	(7430).	II.
Sonata in C major.	(7431).	II.

Squire, W. H. Serenade. Op. 15. (7122 c.) IV.

Veracini, Antonio. Sonata in C minor. Arranged by G. Jensen. (7415.) II.

Gurlitt, C. Ouverture des Marionettes. Op. 105. (7209). II.

Morceaux d’ensemble. (F. Hermann). II-IV.:—

Chopin.	Marche funèbre.	(7215 a).
Schubert.	Moment musical.	(7215 b).
Mendelssohn.	Duo. Op. 38.	(7215 c).
Fr. Hermann.	Petite Marche.	(7215 d).
Nicolai.	Merry Wives of Windsor.	(7215 e).
Beethoven.	Marche turque des Ruines d’Athènes.	(7215 f).
Mozart.	Andante du 8 me Quatuor.	(7215 g).
Fr. Hermann.	Barcarolle.	(7215 h).
Weber.	Finale d’Euryanthe.	(7215 i).
Schumann.	Chœur de Paradis et Péri.	(7215 k).
Schubert.	Entr’acte de Rosamonde.	(7215 l).
Beethoven.	“An die Freude”. Hymn from 9th Symphony.	(7215 m).

Papini, G. “Hope” March. I.

Saint-George. L’ancien régime. Petite Suite. (7570 n). II.

Saint-George. L’ancien régime. Petite Suite. (7570 k). II.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Boccherini. Quintet for 2 Violins, Alto, and 2 Celli. (2231).

Borch, Gaston. Elégie. Op. 56, No. 1. (7013). IV.

Dance Movements from the Works of Great Masters. (F. Hermann):—

Smyth. Quintet for 2 Violins, Alto and 2 Celli. (2171). V.

Beethoven. 4 String Quintets. (599).

Gade, Niels W. Quintet. Op. 8. (7138). IV.

Haydn. Quintet concertant. Op. 88.

Kreuz, E. Prize Quintet. Op. 49. (7165). V.

Mendelssohn. Op. 18, 87. 2 Quintets. (1743).

Mozart. 10 String Quintets. (18-19).

Schubert. Op. 163. String Quintet. (775).

Mozart, W. A. Adagio:—

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Brahms, J. Op. 34. Quintet in F minor. IV.

Gurlitt, Cornelius:—

Pleyel, I. J. Œuvres arrangées par Fr. Hermann:—

Potpourris on Popular Melodies from classical and modern operas and oratorios. Arranged by R. Hofmann. III to IV:—

Wagner.	Der fliegende Holländer.	(5438 q).
—	Lohengrin.	(5439 q).
—	Rienzi.	(5440 q).
—	Tannhäuser.	(5441 q).
Rossini.	Il Barbiere.	(5442 q).
—	Guillaume Tell.	(5443 q).
Auber.	Masaniello.	(5444 q).
Gounod.	Faust.	(5445 q).

Prout, E. Op. 3. Quintet in G. (9245). IV.

Saint-George. L’ancien régime. Petite Suite. (7570 f). II.

Saint-Saëns, C. Op. 14. Quintet in A. V.

Schumann. Op. 44. Piano Quintet. (2381). V.

Spohr. Op. 130. Quintet. (W. S. B. Woolhouse.) (9632). IV.

Henkel, H. Introduction and Polacca. (7213). III.

Saint-George. L’ancien régime. Petite Suite. (7570 l). II.

Leo, Leonardo. Concerto a quattro Violini obbligati, arranged by Gustav Jensen. (5001). II and III.

Maurer. Op. 55. Concertante. (2908). III.

Hummel. Grand Quintet in E flat minor. Op. 87. (W. S. B. Woolhouse.) (9622). IV.

Schubert. Op. 114. Trout Quintet. (169).

Bennett, W. S. Op. 8. Sextetto. For Piano, 2 Violins, Viola, Violoncello, and Double Bass. (9621). III.

Jensen, G. Symphonies arrangées pour Flûte (ou Violon), deux Violons, Viola, Violoncelle et Basse:—

Jos. Haydn.	En RÉ major (D major).	(7131). III.
—	En UT mineur (C minor).	(7132). III.
W. A. Mozart.	En UT majeur (C major).	(7133). III.
—	En LA majeur (A major).	(7134). III.
Jos. Haydn.	En SI bémol majeur (B flat major).	(7135). III.

Potpourris on Popular Melodies from classical and modern operas and oratorios. (Flute, 2 Violins, Tenor, Violoncello, and Pianoforte.) Arranged by R. Hofmann. III to IV:—

Wagner.	Der fliegende Holländer.	(5438 n).
—	Lohengrin.	(5439 n).
—	Rienzi.	(5440 n).
—	Tannhäuser.	(5441 n).
Rossini.	Il Barbiere.	(5442 n).
—	Guillaume Tell.	(5443 n).
Auber.	Masaniello.	(5444 n).
Gounod.	Faust.	(5445 n).

Saint-George. L’ancien régime. Petite Suite:—II.

Beethoven. Op. 20. Septet. (2466).

Corelli, Arcangelo. Œvres revues par J. Joachim et F. Chrysander. 8vo:—

Morceaux d’ensemble, for 3 Violins, Viola, ’Cello, C. Bass, and Piano. (F. Hermann):—II.

Chopin.	Marche funèbre.	(7110 a).
Schubert.	Moment musical.	(7110 b).
Mendelssohn.	Duo. Op. 38.	(7110 c).
Fr. Hermann.	Petite Marche.	(7110 d).
Nicolai.	Merry Wives of Windsor.	(7110 e).
Beethoven.	Marche turque des Ruines d’Athènes.	(7110 f).
Mozart.	Andante du 8me Quatuor.	(7110 g).
Fr. Hermann.	Barcarolle.	(7110 h).
Weber.	Finale d’Euryanthe.	(7110 i).
Schumann.	Chœur de Paradis et Péri	(7110 k).
Schubert.	Entr’acte de Rosamonde.	(7110 l).
Beethoven.	“An die Freude,” Hymn from 9th Symphony.	(7110 m).

Squire, W. H. Serenade. Op. 15. Piano, 2 Violins and Violoncello, with Flute, Clarinet, and Double Bass ad lib. (7122 c). IV.

Gade, N. W. Octet, Op. 17, for 4 Violins, 2 Violas, and 2 Violoncellos. (7107). V.

Mendelssohn. Op. 20. Octet. (1782).

Schubert. Op. 166. Octet. (1849).

Riemann, Dr. Hugo. Old Chamber Music (Alte Kammermusik). A selection of Canzones, Sonatas, etc. (da chiesa and da camera), for strings alone, or with a thorough-bass, by composers of the 17th and 18th centuries; edited and arranged. In score. 3 Bks. (5391-93).

Nardini, Pietro. Adagio for Violin, arranged for Violin and small Orchestra (2 Flutes, 2 Bassoons, Violins, Violoncellos, and Contrabass) by Gustav Jensen. Score and parts. (7072). III.

Beethoveniana. Extraits des Sonates pour Piano de Beethoven, arrangés par Fr. Hermann:—

Borch, Gaston. Elégie. Op. 56, No. 1. (Parts.) (7013). IV.

Corelli, Arcangelo. Œuvres revues par J. Joachim et F. Chrysander. 8 vo:—

Del Valle de Paz, E. Prélude. Op. 9, No. 3. (7045). II.

Haydn, J. Symphonies arranged by Gustav Jensen:—

Iliffe, F. Pizzicato Serenade. Score and Parts. (7057). II.

Kreuz, Emil. Suite in G (Prelude, Allemande, Gigue, Intermezzo, Scherzo, and Finale). Op. 38. (7015). IV.

Lee, Maurice. Gavotte du Palais-Royal. (7066). II.

Mozart, W. A. Symphonies, arranged by Gustav Jensen:—

Roeckel. Air du Dauphin. Ancienne Danse de la Cour. (7083).

Saint-George. L’ancien régime. Petite Suite. (7570 g). II.

Scharwenka, X. Andante religioso, for String Orchestra, Harp, and Organ. Op. 46 B. IV.

Schütt, E. Serenade in D. Op. 6. Score and Parts. III.

Wüerst, R. Sous le Balcon. Serenade for String Orchestra with Violoncello Obbligato. Op. 78. V.

Wurm, M. Estera Gavotte. Score and Parts. (7099). III.

Dance Movements from the Works of Great Masters. (F. Hermann). II and III:—

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Methods			179
Studies			180
Duets.
Viola with Pianoforte accompaniment.
	Step	I	181
	”	II	182
	”	III	182
	”	IV	184
	”	V	185
Violin and Viola			185
Trios.
Violin, Viola, and Piano			185

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