The Violin - A Research and Information Guide

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Routledge Music Bibliographies SERIES EDITOR: BRAD EDEN COMPOSERS Isaac Albéniz (1998) Walter A. Clark C. P. E. Bach (2002) Doris Bosworth Powers Samuel Barber (2001) Wayne C. Wentzel Béla Bartók, 2nd Edition (1997) Elliott Antokoletz Vincenzo Bellini (2002) Stephen A. Willier Alban Berg (1996) Bryan R. Simms Leonard Bernstein (2001) Paul F. Laird Johannes Brahms (2003) Heather Platt Benjamin Britten (1996) Peter J. Hodgson William Byrd, 2nd Edition (2005) Richard Turbet Elliott Carter (2000) John L. Link Carlos Chávez (1998) Robert Parker Frédéric Chopin (1999) William Smialek Aaron Copland (2001) Marta Robertson and Robin Armstrong Frederick Delius (2005) Mary L. Huisman Gaetano Donizetti (2000) James P. Cassaro Edward Elgar (1993) Christopher Kent Gabriel Fauré (1999) Edward R. Phillips Christoph Willibald Gluck, 2nd Edition (2003) Patricia Howard G.F. Handel, 2nd Edition (2004) Mary Ann Parker

Paul Hindemith (2005) Stephen Luttman Charles Ives (2002) Gayle Sherwood Scott Joplin (1998) Nancy R. Ping-Robbins Zoltán Kodály (1998) Mícheál Houlahan and Philip Tacka Franz Liszt, 2nd Edition (2004) Michael Saffle Guillaume de Machaut (1995) Lawrence Earp Felix Mendelssohn Bartholdy (2001) John Michael Cooper Giovanni Pierluigi da Palestrina (2001) Clara Marvin Giacomo Puccini (1999) Linda B. Fairtile Maurice Ravel (2004) Stephen Zank Gioachino Rossini (2002) Denise P. Gallo Camille Saint- Saëns (2003) Timothy S. Flynn Alessandro and Domenico Scarlatti (1993) Carole F. Vidali Heinrich Schenker (2003) Benjamin Ayotte Alexander Scriabin (2004) Ellon D. Carpenter Jean Sibelius (1998) Glenda D. Goss Giuseppe Verdi (1998) Gregory Harwood Tomás Luis de Victoria (1998) Eugene Casjen Cramer Richard Wagner (2002) Michael Saffle

Adrian Willaert (2004) David Michael Kidger

GENRES American Music Librarianship (2005) Carol June Bradley Central European Folk Music (1996) Philip V. Bohlman Chamber Music, 2nd Edition (2002) John H. Baron Church and Worship Music (2005) Avery T. Sharp and James Michael Floyd Concerto (2006) Stephen D. Lindeman Ethnomusicology (2003) Jennifer C. Post Jazz Scholarship and Pedagogy, Third Edition (2005) Eddie S. Meadows Music in Canada (1997) Carl Morey The Musical (2004) William A. Everett North American Indian Music (1997) Richard Keeling Opera, 2nd Edition (2001) Guy Marco The Recorder, 2nd Edition (2003) Richard Griscom and David Lasocki Serial Music and Serialism (2001) John D. Vander Weg String Quartets (2005) Mara E. Parker The Violin (2006) Mark Katz Women in Music (2005) Karin Pendle

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New York London

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Published in 2006 by Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016

Published in Great Britain by Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN

© 2006 by Taylor & Francis Group, LLC Routledge is an imprint of Taylor & Francis Group Printed in the United States of America on acid-free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number-10: 0-8153-3637-3 (Hardcover) International Standard Book Number-13: 978-0-8153-3637-2 (Hardcover) Library of Congress Card Number 2005030659 No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data Katz, Mark, 1970The violin : a research and information guide / Mark Katz. p. cm. -- (Routledge music bibliographies) Includes bibliographical references (p. ) and indexes. ISBN 0-8153-3637-3 (hb) 1. Violin--Bibliography. I. Title. II. Series. ML128.V4K38 2006 016.7872--dc22

2005030659

Visit the Taylor & Francis Web site at http://www.taylorandfrancis.com Taylor & Francis Group is the Academic Division of Informa plc.

and the Routledge Web site at http://www.routledge-ny.com

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To Beth and Anna

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Contents

Acknowledgments Introduction The Goal and Scope of the Guide How to Use This Book I

II

xi 1 2 3

Reference and General Studies General Music Reference Electronic Resources General Violin Bibliographies Discography Periodicals General Acoustics and Construction Violin Playing and Violin Music General Studies of the Violin

5 5 6 7 8 8 9 10 12 12

The Violin: Acoustics and Construction Acoustics and Mechanics General Studies Sound Vibration and Radiation Studies by Materials, Parts Violin Making: Construction and Repair Reference History and General Studies Treatises, Manuals, and Guides Experimental Violins Studies by Region

19 19 19 22 23 36 36 37 43 48 50

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Contents

Violin Makers Collective Studies and Reference Individual Makers and Families The Bow General Physics and Mechanics History Construction, Repair, and Maintenance Bow Makers Studies of Individual Makers and Families Collecting and Dealing Authentication: Frauds and Forgeries III

IV

62 62 65 85 85 85 86 86 88 88 90 93

Violin Playing and Performance Practice History of Violin Playing General Studies Studies by Period Studies by Region Studies by Style Studies by Technique; Performance Practice Pedagogy History, General Studies, and Reference Manuals, Methods, and Treatises (and Commentary Thereupon) Competitions Health Issues Violin Playing and Recording Technology

95 95 95 96 104 108 114 126 126 128 142 143 144

Violin Music Reference: Lists and Guides General Surveys Studies by Genre Concertos Sonatas and Other Keyboard-Accompanied Works Unaccompanied Violin Other Studies by Period Studies by Region Studies by Composer

147 147 149 150 150 154 156 158 159 160 169

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ix

V

Violinists, Violinist-Composers, and Violin Teachers Reference Collective Biographies Studies by Region Women Violinists Violinists of African Descent Folk Violinists Individual Biographies

277 277 278 288 291 292 292 293

Author Index

379

Name Index

395

Subject Index

407

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Acknowledgments When I first came up with the crazy idea to write a bibliography of the violin, she not only humored me, but encouraged me. Nearly a dozen years later, my mind and wrists numbed by the seemingly endless project of indexing the book, she stepped in to provide some much-needed assistance. And in all the years in between her love and support have sustained me. So my first and deepest thanks, as usual, must go to my wife, Beth Jakub. However, this project would never have gotten off the ground without access to libraries and the assistance of librarians (not to mention that boon to all scholars, interlibrary loan). I would like to acknowledge the staffs (or should that be staves?) of three music libraries where I completed the majority of my work, in particular: Calvin Elliker (sadly, no longer with us), Amy Marino, and Charles Reynolds at the University of Michigan Music Library; Patricia Baughman, Denise Gallo, Bill Harvey, Karen Moses, Samuel Perryman, and Stephanie Poxon at the Library of Congress Music Division; and Benjamin Altman, Robert Follet, Betsy Nelson, and Ned Quist at the Arthur Friedheim Library of the Peabody Conservatory. I sincerely appreciate all their work on my behalf as well as their cheerful tolerance of my microscopic handwriting. At the Peabody Conservatory, where I teach in the Department of Musicology, many excellent students have lent their assistance to this project. My thanks go to Jeffrey Lindon, Ken Osowski, Christian Tremblay, and especially Elizabeth Ford and Aeja Killworth, who worked as my research assistants. I am also grateful for the help of my colleague Andrew Talle, whose superb German I exploited on many occasions. I am fortunate to have an excellent publisher in Routledge, and offer my sincere thanks to Richard Carlin, Shannon McLachlan, Simina Calin, Sarah Blackmon, and Laura Lawrie for their diligence, patience, and good humor. I also want to mention fellow Routledge author John Baron, whose excellent Chamber Music: A Research and Information Guide was ever near at hand and served me well as model and foil. Finally, I must thank my daughter, Anna, whose recent appearance gave me every incentive to bring this project to a timely conclusion.

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Introduction

Apparently, every century or so what the world needs is a new bibliography of the violin. The last time (in fact, also the first time) a broad, general guide to the literature on the violin was undertaken was in 1879, the same year Joachim premiered Brahms’s violin concerto. That was the year Englishman Edward Heron-Allen started work on what was to become his magnum opus, De Fidiculis Bibliographia (item 11 in this volume), published in its final form in 1894 and still a work of great value today. The intervening years, however, have seen some fine specialized bibliographies. Luigi Torri’s La Costruzione ed i Costruttori degli Istrumenti ad Arco, first published in 1907 {140}, and Roberto Regazzi’s Complete Luthier’s Manual of 1990 {142}, for example, are both valuable resources on the literature on violin making. Some bibliographies focus on segments of the repertoire, such as RoseMarie Johnson’s Violin Music by Women Composers {646}, and others, like the great encyclopedias The New Grove Dictionary of Music and Musicians {1} and Musik in Geschichte und Gegenwart {2} have selected, unannotated bibliographies on a variety of violin-related subjects. Still, a century has passed with no successor to De Fidiculis. I now know why. It is an endless, or at least seemingly endless task. It is generally agreed that the first book to mention the violin was published in 1532 (Hans Gerle’s Musica Teusch auf die Instrument die grossen unnd kleynen Geygen {578}) and since then innumerable books and articles on every aspect of the violin have come down to us. It is an abundant and extraordinarily diverse literature, bound by no one discipline. As might be expected, writings by violinists, violin makers, composers, musicologists, ethnomusicologists, music theorists, and music educators all appear in this book. But among others, acousticians, biologists, chemists, dendrochronologists, dentists, dermatologists, economists, engineers (biomedical, electrical, and mechanical), folklorists, historians, journalists, 1

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kinesiologists, novelists, psychologists, physicists, physiologists, and statisticians are here, too. (Dendrochronologists, dentists, and dermatologists? See {81–84} for articles on dating violins through tree-ring analysis, and {635} and {632} for items on “fiddler’s neck,” and on jaw disease among violinists.) This interdisciplinarity has been one of the great pleasures and challenges of this project. Even with my training as a violinist and musicologist, many of the terms, concepts, perspectives, and philosophies I encountered while compiling this book were new to me. In the process I learned a tremendous deal and can only hope that I have fairly represented the work of those whom I’ve cited. THE GOAL AND SCOPE OF THE GUIDE With this book I have sought to offer a comprehensive research guide to the violin, one that represents the wide variety of writings on the instrument, its makers, music, players, and performance practices. By comprehensive, however, I do not mean complete. I am confident that a truly complete bibliography of the violin will never exist. Such a work would have hundreds, perhaps thousands of citations on Paganini and Stradivari alone; it would include tens, even hundreds, of thousands of newspaper essays and reviews, and, collectively, countless liner notes, term papers, short stories, master’s theses, poems, program notes, and unpublished jottings and scrawlings. This bibliography would run to dozens of volumes and would be hopelessly unwieldy, not to mention prohibitively expensive. A certain selectivity, therefore, is both necessary and desirable. Specifically, the present guide includes published books and articles, and unpublished doctoral (Ph.D. and D.M.A.) dissertations in English, French, German, and Italian written before 2004 (although some works from that year do appear). I have not included auction catalogs, reviews (of books, music, or recordings), newspaper articles, editorials, pedagogical material not accompanied by substantial text, and (with a few exceptions) prefaces to scores. Only works on the violin proper are cited, which excludes the viol family, the viola, cello, and bass, and folk violins that are significantly different from the traditional instrument (such as the Norwegian Hardanger fiddle). (However, certain works on the violin cited here also include information on other instruments as well.) Although the vast majority of the writings are nonfiction, I have cited selected novels and short stories, particularly about Paganini and Stradivari, around whom a substantial fictional literature has arisen. (I have not included any of the countless poems on the violin, of which thousands were written in the Victorian period alone.) Finally, although the Internet is an incredibly valuable resource, I have not cited writings that appear only on the Web. Many of these sites are ephemeral, likely to disappear or change address without warning, and thus would prove difficult and often impossible for readers to find. However, I have cited several electronic resources in the Reference and General Studies section that either index books and articles or have scanned

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Introduction

3

such writings for online viewing. These sites, too, may disappear, but most are associated with universities or well-funded businesses, and are likely to exist for some time. None of this is to say that I have accounted for every book, article, and dissertation in English, French, German, and Italian. Even this would lead to a bloated, redundant book. (For example, there is no need to include all of the dozens of obituaries written for Fritz Kreisler, or every crackpot theory published on the secret of Stradivari’s violins.) Above all, I have sought balance. Although for obvious reasons I include the best and most influential works, some of the poorest, most misleading, works are here, too, precisely to caution readers about them. I also have attempted a balance between the old and new, the populist and scholarly, and the light-hearted and profound (although with a bit more weight on the latter of each pair). In seeking this balance, I hope to have produced both a substantial and useful guide, one that will well serve the needs of students, scholars, performers, bibliophiles, and others. Still, I recognize that I may have omitted writings that some readers will feel ought to be present. I encourage those readers to alert me or the publisher of any omissions (or corrections, for that matter) in the event that a second edition is prepared.

HOW TO USE THIS BOOK This book is divided into five main parts: Reference and General Studies; The Violin: Acoustics and Construction; Violin Playing and Performance Practice; Violin Music; and Violinists, Violinist-Composers, and Violin Teachers. Each section is divided into multiple subsections, and within each subsection entries are arranged chronologically. (If several editions of a book have been published, the item is placed according to the date of its first edition.) Although there can be good reasons for alphabetical arrangement, a chronological ordering provides the reader with something of a historiography of each subject. At a glance one can, for example, see how attitudes toward vibrato have changed over the course of a century, or how new priorities have emerged in the scholarship on Beethoven’s violin music. And because the index is alphabetically arranged, readers can easily find specific authors. (There are just a few exceptions to the chronological ordering: entries 1–4, which cite general music reference works, are in order of their relative applicability, as I deem it, to the research someone using this book might conduct; and entries 5–10, all electronic resources, are in alphabetical order— because they are constantly updated a chronological ordering would be difficult and provide little useful information.) Each citation provides the usual bibliographic information: author, title, edition, place of publication, publisher, date, and pages. I have decided not to include either ISBNs or Library of Congress call numbers. It has become so easy to find books or articles electronically with just a fragment of a citation (and,

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sometimes, even if it is misspelled), that these identifiers are no longer indispensable. For the sake of efficiency I have employed a few abbreviations in the citations: R. stands for reprint edition, and E., F., G., and I. refer to English, French, German, and Italian translations. Otherwise, citations conform to the guidelines set out in the Chicago Manual of Style.

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I Reference and General Studies

GENERAL MUSIC REFERENCE 1.

The New Grove Dictionary of Music and Musicians. 2d ed. Ed. Stanley Sadie and John Tyrrell. 29 vols. London: Macmillan, 2001. Online at http://www.grovemusic.com. The standard English-language encyclopedia of music, with entries written by leading scholars. The entry on the violin, written by David Boyden, Chris Goertzen, Peter Holman, Robin Stowell, Peter Walls, and others, is thorough and well researched. The encyclopedia also includes many entries on violinists and violin makers. Entries are accompanied by selected bibliographies. Of use for research on jazz violinists is The New Grove Dictionary of Jazz, 2d ed., ed. Barry Kernfeld (London: Macmillan, 2002). Entries from this and its parent encyclopedia are regularly updated on the New Grove Web site, listed above.

2.

Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. 2d ed. Ed. Ludwig Finscher. 27 vols. (projected). Kassel and New York: Bärenreiter; Stuttgart: Metzler, 1994–. Online at http://www.mggonline.com. Along with The New Grove, MGG (as it is often abbreviated) is one of the major music encyclopedias in print today. Its entries are written by experts in their respective fields and include brief bibliographies. The 5

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encyclopedia is divided into a Sachteil, a 10-volume subject encyclopedia, and a Personenteil, a 17-volume biographical encyclopedia, of which 13 volumes had been completed by late 2005. The articles on the violin have been collected and published separately in {56}. 3.

The Harvard Dictionary of Music. 4th ed. Ed. Don Michael Randel. Cambridge, MA, and London: Belknap/Harvard University Press, 2003. xxvii, 978pp. An authoritative one-volume music dictionary. Its entry on the violin is brief and useful, and largely focuses on the history of violin construction.

4.

Duckles, Vincent and Ida Reed. Music Reference and Research Materials: An Annotated Bibliography. 5th ed. New York: Schirmer, 1997. xviii, 812pp. A broad, annotated bibliography of music reference works. Includes chapters on encyclopedias, dictionaries, bibliographies, discographies, yearbooks, directories, and catalogs. Cites many writings on the violin.

ELECTRONIC RESOURCES See also {1}. These resources are by subscription only, but can be accessed through many public and university libraries in the United States and elsewhere. 5.

IIMP. http://music.chadwyck.com/. The International Index of Music Periodicals. Indexes articles and reviews from hundreds of academic and popular music journals from 1874 to the present, including string journals such as Journal of the Violin Society of America, Strad, and Strings. The JVSA is indexed beginning with vol. 10 (1990), Strad begins with vol. 80 (1969), and Strings with vol. 10 (1996). All articles published after 1996 are abstracted.

6.

JSTOR. http://www.jstor.org. JSTOR, short for Journal Storage, is an online depository of more than 400 academic journals across all disciplines. The entire contents of the these journals have been electronically scanned, allowing users to read articles online, view illustrations, search for words or phrases within articles, and download and print articles. As of late 2005, JSTOR included more than 30 music journals. None is devoted solely to stringed instruments, but there are hundreds of relevant articles and reviews available in the journals that have been archived.

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7.

7

The Music Index. http://www.hppmusicindex.com. Indexes over 700 academic and popular journals on all types of music since 1974. Like IIMP, it indexes Journal of the Violin Society of America, Strad, and Strings, though with slightly different coverage. Regularly updated. The Music Index also exists in paper form, which started coverage in 1949.

8.

ProQuest Digital Dissertations. http://www.lib.umi.com/dissertations. An extensive database of information on doctoral dissertations and master’s theses. Lists more than 2 million titles, with abstracts available for most works written after 1980 and the full text of many dissertations and theses available in downloadable form. Because rarely more than a few hard copies of any individual dissertation exist, and because most do not circulate (except through interlibrary loan), this is a very valuable resource.

9.

RILM. http://biblioline.nisc.com/scripts/login.dll?BiblioLine. RILM, or Répertoire International de Littérature Musicale, indexes books, articles, dissertations, and other writings (thus making it broader than the periodical-only indexes) published since 1967. Entries provide full bibliographic information and a concise abstract. (Despite the French name, RILM’s abstracts are in English.) RILM is also published in print and CD-ROM form.

10.

WorldCat. http://firstsearch.oclc.org/. A “meta-catalog” that draws on the online catalogs of hundreds of libraries worldwide. Provides detailed bibliographic information on books, theses, scores, recordings, videos, and archival collections. This Web site also provides access to a variety of other indexes, such as Article First (a periodical index) and ECO (Electronic Collection Online).

GENERAL VIOLIN BIBLIOGRAPHIES For more circumscribed bibliographies on violin making, see {140}, {142}, and {143}; on violin music, see {639–48}; on violinists, see {1200}. 11.

Heron-Allen, Edward. De Fidiculis Bibliographia. London: Griffith Farran, 1890–94. 2 vols., x, 416pp., lxxviii (supplement). R. (in one vol.) London: Holland, 1961. x, 416pp., lxxviii.

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An important and monumental bibliography of the violin. Covers all topics related to the violin published in many formats (books, pamphlets, articles, etc.). Most items are annotated and provide insightful summaries, often with biographical information on the author. Includes novels, poems, religious tracts, catalogs, patents, and songs. The organization is idiosyncratic—for example, books, book extracts, and periodical articles are found in different sections, regardless of the topic—although the indexes provide a helpful guide. Although more than a century old, Heron-Allen’s work remains valuable because of its perceptive annotations and its inclusion of writings unlikely to be cited in any other source (including the present volume). This work supersedes the author’s Libri desiderati: Prolegema to “De fidiculis bibliographia,” Libri desiderati: Postscriptum to “De fidiculis bibliographia,” and other pamphlets written before 1894 connected with the bibliography. 12.

Bonaventura, Arnaldo. “Saggio di una bibliografia dell violino e dei violinisti.” Rivista delle biblioteche e degli Archivi 17 (January 1906): 1–9. A classified and unannotated bibliography of the violin; categories include violin making and makers, history, violin playing, violinists, and reference.

DISCOGRAPHY See also {38}. For discographies of individual violinists and works, consult the entries in the Violinists and Violin Music sections of this book. 13.

Creighton, James. Discopaedia of the Violin, 1889–1971. Toronto: University of Toronto Press, 1974. xvi, 987pp. 2d ed. 4 vols. Burlington, Ontario: Records Past, 1994. 1610pp. A monumental violin discography. Organized alphabetically by violinist (of which there are thousands listed); each entry lists the violinist’s recordings (arranged by composer) and identifies the label, catalog number, and matrix number of each recording. The dates the recordings were made, however, are not provided. Indexes list composers, popular titles of works (e.g., the “Kreutzer” sonata), record manufacturers, and the violinists themselves.

PERIODICALS The following journals are devoted specifically to the violin or to the violin family in general. Many general music periodicals not listed

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here, such as Etude, Instrumentalist, Jacobs’ Orchestra Monthly, Musical America, Musical Courier, Musique et Instruments, and Zeitschrift für Instrumentenbau, frequently contain articles on the violin or have regular violin departments. Place of publication often changes over the course of a periodical’s life; locations provided here are either the location of their founding (if the journal is now defunct) or the most current location as of 2005. GENERAL 14.

The Fiddler: A Monthly Journal for Professionals and Amateurs of All Stringed Instruments Played with the Bow. London, 1884–86. Perhaps the first periodical devoted solely to stringed instruments. Most issues include profiles of celebrated violinists of the past, articles on the history and construction of the violin, as well as anecdotes, sayings, and bits of advice to performers.

15.

Strad. London, 1890–. Addresses the gamut of topics and issues related to the violin family. Includes interviews with performers and luthiers, practical exercises with musical examples, analyses of the string literature, and record, music, and book reviews. It is the longest-running violin periodical, and one of the longest-running music periodicals of any kind. A well-respected journal and a valuable resource. The journal’s Internet address is http://www.thestrad.com/.

16.

Violin World. New York, 1892–1928. Subtitled “A Monthly Journal Published in the Interests of String Instruments and their Players.” Its brief, non-scholarly articles cover a variety of topics on the violin, violin makers, and violinists.

17.

Violin Times. London, 1893–1907. Subtitled “A Monthly Journal for Professional and Amateur Violinists and Quartet Players.” Edited by Eugene Polonaski, a pedagogue and former editor of Strad, and Edward Heron-Allen, author of {11}, {151}, etc. Includes concert notices, book and music reviews, articles on the history of the violin, profiles of performers past and present, and a variety of opinion pieces.

18.

Strings: The Fiddler’s Magazine. London, 1894–98. Covers a variety of subjects of interest to violinists, including technique, famous violinists, and the violin itself; also includes short stories and poems on the violin. Established and edited by John Broadhouse, author of {175}.

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The Violin: A Research and Information Guide

Violinist. Chicago, 1900–37. Offers articles on a wide array of topics, including profiles of violinists past and present, analyses of works for violin, advice on technique and recital programming, and discussion of violin making and violin makers. A valuable resource.

20.

The Cremona. London, 1906–11. Full title: The Cremona, With Which is Incorporated ‘The Violinist,’ a Record of the String World. The editorial in the first issue (17 December 1906) describes The Cremona as “an independent journal dealing with stringed instruments, their history, their uses, and their players … which shall appeal not only to the great mass of musicians and players, but which shall be indispensable to the enthusiast, the collector and the virtuoso” (1). Includes articles on the violin, violinists, and composers, auction records, book, music, and concert reviews, and works of fiction.

21.

The Violin and String World. London, 1908–13. Continued the Violin Times and was published as a supplement to the Musical Standard, with which it later merged.

22.

Violins and Violinists. Chicago, 1938–60. Covers all areas, but contributed particularly (and valuably) to the study of violin makers and violin making. Established and edited by Ernest Doring, also a frequent contributor to the journal (see the Author Index for a list of selected writings).

23.

Strings: The Magazine for Players and Makers of Bowed Instruments. St. Anselmo, CA, 1986–. Comparable to Strad, although with more emphasis on American topics and popular music. The journal’s Internet address is http://www.stringsmagazine.com/.

ACOUSTICS 24.

AND

CONSTRUCTION

Fiddlestrings. New York, 1918–28. The house journal for Muller & Kaplan, Stringmakers. As the first issue states, “I am a catalog-magazine. My aim is to make the first pages so interesting that you will read the last pages, the ones that will bring the business” (2). In addition to ads for the company’s strings, it provides articles on string making and string care, violin makers, and violinists.

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25.

11

Horvath’s Bulletin. New York, 1924–? Devoted largely to violin making and the violin trade, although with features on violinists and violin playing. The official organ of the American Violin Trade Association. Founded by Julius Horvath and published until at least 1929.

26.

Die Geige und verwandte Instrumente: Monatsschrift für Geiger und Geigenbauer. Berlin, 1925–28. A monthly journal devoted to the interests of violin makers and violinists. Issues include detailed photographs and descriptions (including measurements) of important instruments. Edited by violin maker Otto Möckel, author of {181}.

27.

Violin Makers’ Journal. Vancouver, 1957–61. The official monthly publication of the Violin Makers Association of British Columbia.

28.

Violin and Guitar Makers. Miami, AZ, 1959–93. The journal of the Violin and Guitar Makers Association of Arizona, later the Violin Makers Association of Arizona International. The journal changed to Violin Makers Association of Arizona International Journal, and had that title when it ceased publication.

29.

Catgut Acoustical Society Newsletter and Catgut Acoustical Society Journal. Poughkeepsie, NY, 1964–2003. An important scholarly journal, established by Carleen Maley Hutchins, for researchers and makers of string instruments, with particular attention to the practical applications of studies in acoustics. Articles are often highly technical, and cover subjects such as cavity mode frequencies, string vibration, the acoustic properties of bridges and sound posts, and experimental instruments. Issues often include book reviews and conference reports as well. The Newsletter was published between 1964 and 1984, after which it became the Catgut Acoustical Society Journal. Selected articles have been reprinted in {62} and {68} (and many are cited throughout this volume). As of 2004, the contents of selected volumes are listed on the Society’s Web site at http://www.catgutacoustical.org/ JOURNAL/index.htm.

30.

Journal of the Violin Society of America. Poughkeepsie, NY, 1974–. An important journal that publishes new research on violin making, acoustics, violin makers, and related topics. (Many of its articles are transcripts of presentations given at the Society’s annual meetings.) The journal’s Internet address is http://www.vsa.to/journal.htm.

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The Violin: A Research and Information Guide

American Lutherie: The Quarterly Journal of the Guild of American Luthiers. Tacoma, WA, 1985–. Aimed at those who make, restore, and repair stringed instruments, including the violin family, the gamba family, lutes, and guitars. Articles provide practical advice, profile makers, review products and books, and report on conferences. Selected articles from 1985 to 1993 have been reprinted in The Big Red Book of American Lutherie, vols. 1–3, available through the Guild of American Luthiers. As of 2004, the contents of issues 1–76 were listed on the Guild’s Web site, http://www.luth.org/backissues/ biindex.htm.

32.

Arte Liutaria. Florence, 1985–89. Focuses on the study and restoration of old stringed instruments. Edited by the violin maker Carlo Vettori.

VIOLIN PLAYING 33.

AND

VIOLIN MUSIC

American String Teacher. Fairfax, VA, 1951–. The journal of the American String Teacher’s Association (ASTA). ASTA’s Web site (with links to its journal) is http://www.astaweb.com/. Articles typically focus on the practical aspects of pedagogy and technique.

34.

Devil’s Box. Madison, AL, 1967–. A quarterly journal published by the Tennessee Folklore Society “for the purpose of promoting and preserving fiddling and related music” (Devil’s Box 17 [Spring 1983]: 2.) Articles profile and interview fiddlers, discuss trends in fiddling, provide transcriptions, etc. Note that it was first published as individual issues up to no. 27, and then switched to volume designation beginning after no. 27 with vol. 9.

35.

Violexchange: A Quarterly Review of Rare and Out-of-Print String Literature. Ann Arbor, MI, 1986–92. Largely dedicated to the exploration of little-known works for strings, with each issue discussing and reprinting (or publishing for the first time) particular works. Also includes interviews with musicians and instrument makers and reprints of older articles on strings and string repertoire.

GENERAL STUDIES OF THE VIOLIN The following items provide information on two or more of the broad categories used in this book—acoustics and construction, violin playing

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and performance practice, violin music, and violinists, violinist-composers, and violin teachers. See also {1201} and {1215}. 36.

Adler, Eduard. Die Behandlung und Erhaltung der Streichinstrumente. Leipzig: Merseburger, 1895. 60pp. 2d ed. Leipzig: Merseburger, 1910. 60pp. 3d ed. Leipzig: Merseburger, 1924. 60pp. A broad guide to the violin; illustrates the parts of the violin and lists makers, literature, and repertoire.

37.

Vercheval, Henri. Dictionnaire du violoniste. Paris: Fischbacher, 1923. 192pp. I. Dizionario del Violinista. Trans. Nella de Angeli. Bologna: Sarti, 1924. 248pp. An almanac of useful facts for the violinist. The first part lists musical terms; the second provides a lightly annotated list of violinists and violin and bow makers.

38.

Bachmann, Alberto. An Encyclopedia of the Violin. Trans. Frederick H. Martens. New York: Appleton, 1925. xiv, 470pp. R. New York: Da Capo, 1966. vi, 470pp. A valuable single-volume guide to all matters violinistic. The first 7 of 25 chapters discuss the instrument and its construction, and include lists of violin and bow makers, a glossary of varnish ingredients, and detailed descriptions of violin, bow, string, and rosin manufacture, along with dozens of illustrations. Chapters 8 through 16 focus on violin playing, with historical discussion of and practical advice on left- and right-hand techniques. Chapter 17 provides analyses of the following works: Bach’s Chaconne, Beethoven’s Violin Concerto, “Kreutzer” Sonata, and two Romances, Tartini’s “Devil’s Trill” Sonata, the violin concertos of Mendelssohn, Brahms, Saint-Saëns in A minor and B minor, and Bruch (G minor), Lalo’s Symphonie Espagnole, and Saint-Saëns’s Introduction and Rondo Capriccioso. The subject of Chapter 18 is violin collecting in Europe and America. Chapter 19 focuses on chamber music, with an annotated list of accomplished string quartet ensembles and suggested tempos for each movement of the Haydn and Beethoven quartets. Chapter 20 is a discography of various works for violin. Chapter 21 is a glossary of musical terms and 22 a biographical dictionary of violinists. Chapter 23 provides a selected bibliography. Chapter 24 addresses the development of violin music, and the final chapter supplies a classified list of the violin literature. Bachmann’s Encyclopedia supersedes his earlier French-language guide, Le Violon (Paris: Fischbacher, 1906) and remains a good source of information.

39.

Pincherle, Marc. Feuillets d’Histoire du Violon. Paris: Legouix, 1927. 181pp.

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A collection of 17 essays on various aspects of the violin. The first of three main parts, “History, Biography, Aesthetics,” includes articles on Jean-Pierre Guignon, Eugène Ysaÿe, and the correspondence of Viotti and Baillot. A second section includes five articles on Czech violinists (including Otakar Ševcík), composers, and music. The final part, “Technique, History of the Forms,” includes pieces on ornamentation in Corelli’s sonatas, Kreisler’s arrangements, and Viotti’s violin method. 40.

Debaar, Mathieu. Le violon: Son historique, Sa littérature. Verviers: Nautet-Hans, 1935. 78pp. 2d ed. Brussels: Schott, 1937. 84pp. A history of the violin for the general reader; discusses violin making and violin makers, violin music, and violinists. Includes lists of violinists arranged by country.

41.

Farga, Franz. Geigen und Geiger. Zurich: Müller, 1940. 334pp. 7th ed. Zurich: Müller, 1983. 367pp. E. Violins and Violinists. Trans. Egon Larsen. New York: Macmillan; London: Rockliff, 1950. xvi, 223pp. 2d ed. London: Barrie & Rockliff; New York: Praeger, 1969. xv, 247pp. A popular general study of the violin. Part I, “Violins,” discusses the early history of the violin and provides chapters on various schools of violin making. (A chapter on British lutherie is contributed by E. W. Lavender.) Part II, “Violinists,” surveys the celebrated violinists up to the mid-20th century. Not always factually reliable, although later editions correct the errors of the earlier ones.

42.

Piccoli, Georges. Trois siècles de l’histoire du violon. Nice: Delrieu, 1954. 127pp. A broad history of violin music and violin playing, with particular attention given to Italy and France.

43.

Pincherle, Marc. Le violon. Paris: Presses universitaires de France, 1966. 128pp. 2d ed. Paris: Presses universitaires de France, 1974. 127pp. A general history of the violin aimed at a broad audience. Five chapters cover the origins and form of the instrument, violin makers, technique, violin literature, and violinists. Mus. exx., bib.

44.

Audibert, Henri. Bréviaire technique scientifique du violiniste, memento de connaissances, histoire, lutherie, violinistes, Paganini, experimentation, pedagogie, acoustique. Narbonne: Audibert, 1970. vi, 418pp. A self-published catch-all survey of all matters violinistic. Includes chapters on lutherie, performance practice, Paganini, and pedagogy. Numerous figures.

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15

Kolneder, Walter. Das Buch der Violine. Zurich and Freiburg: Atlantis, 1972. 626pp. 2d ed. Zurich and Freiburg: Atlantis, 1978. 626pp. 3d ed. Zurich and Freiburg: Atlantis, 1984. 626pp. 4th ed. Zurich and Freiburg: Atlantis, 1989. 612pp. 5th ed. Zurich and Freiburg: Atlantis, 1993. 612pp. E. The Amadeus Book of the Violin. Trans. and ed. Reinhard G. Pauly. Portland, OR: Amadeus, 1998. 597pp. A useful, informative, and well-researched sourcebook. The first (and shortest) part of the book describes the physical characteristics, construction, and repair of the violin and bow. Part Two chronicles the instrument’s history. Its many brief chapters cover the pre- and early history of the violin, violin and bow makers from several centuries and more than a dozen countries, as well as experimental violins, and amateur violin making. Part Three (the longest of the book) addresses performance, pedagogy, and composition, and proceeds chronologically from the 16th to the 20th centuries, profiling, summarizing, and listing dozens of violinists, works, and treatises as well as discussing issues of performance practice. Well illustrated with photographs, drawings, and musical examples, and includes a substantial bibliography. The English edition, published posthumously, includes revisions and additions by Reinhard Pauly.

46.

Nelson, Sheila. The Violin and Viola: History, Structure, Techniques. London: Benn; New York: Norton, 1972. xv, 277pp. R. New York: Dover, 2003. xv, 277pp. Explores the history, construction, and performance of the violin and viola. Chapters cover the earliest forms of the instruments, 17th- and 18thcentury violin makers, the string quartet, the orchestra, and the rise and development of the string virtuoso. Illustrations, musical examples, and bibliography.

47.

Melkus, Eduard. Die Violine, eine Einführung in die Geschichte der Violine und des Violinspiels. Bern: Hallwag, 1973. 124pp. 4th ed. Mainz: Schott, 2000. 193pp. F. Le violon: une introduction à son histoire, à son facture et à son jeu. Trans. Evelyne Kolatte. Lausanne: Payot, 1972. 123pp. A broad study of the violin, written by a noted scholar of the instrument, with chapters devoted to construction, acoustics (contributed by Gregor Widholm), performance practice, and repertoire. Generously illustrated.

48.

Wechsberg, Joseph. The Glory of the Violin. New York: Viking, 1973. 314pp. An engaging survey of the violin. The first of three main parts focuses on the development of the instrument and the great violin makers. (It includes

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chapters on the Amati family, Antonio Stradivari, the Guarneri family, and Jacob Stainer.) The second part explores the world of violin collecting and dealing, and discusses labels, frauds, and great collectors. The final section surveys the great violinists of the distant and near past. Illustrated. 49.

Schwarz, Vera, ed. Violinspiel und Violinmusik in Geschichte und Gegenwart. Vienna: Universal Edition, 1975. 333pp. Collects the papers, most in German, presented at the International Violin Congress in Graz, Austria, in 1972. Divided into five sections: Violin Music, Violin Playing, Problems of Pedagogy, String Playing as a Profession, and Violin Construction. Papers by David Boyden {387}, Peter Guth {480}, Marianne Kroemer {573}, Boris Schwarz {1165}, and Rudolf Stephan {691} are abstracted separately. A broad and useful compendium.

50.

Gill, Dominic, ed. The Book of the Violin. New York: Rizzoli, 1984. 256pp. An informative and richly illustrated survey of the violin. Chapters address the anatomy of the violin and bow, music in the Baroque, Classical, Romantic, and Modern periods, the violin concerto, and jazz and folk violin playing. Includes a chronology of violinists from Joseph Joachim to Anne-Sophie Mutter, a discography, glossary, and bibliography.

51.

Boyden, David D., et al. The New Grove Violin Family. New York: Norton, 1989. 315pp. A broad guide to stringed instruments drawn from essays, written by a variety of leading scholars, first published in the 1980 edition of the New Grove Dictionary of Music and Musicians. (Much of the text was revised and corrected for this book.) Nine chapters are devoted to the violin and its construction and makers; violin technique; violin repertoire; the folk violin; the viola; the cello; the bass; the bow; and acoustics. Two appendices provide a glossary and an index of violin and bow makers. Includes many illustrations, musical examples, and a bibliography.

52.

Stowell, Robin, ed. The Cambridge Companion to the Violin. Cambridge: Cambridge University Press, 1992. xvi, 303pp. A useful collection of essays by a variety of (mostly) British scholars on the history, literature, and performance of the violin. Fifteen chapters cover the origins, development, and physics of the instrument; violinists and violin playing from the Baroque to the 20th century; pedagogy; solo and ensemble repertoire, and the violin in jazz and non-Western music. Includes 40 musical examples, and 45 illustrations, a list of violin treatises, a glossary, and an extensive bibliography.

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Includes the following essays, which are annotated separately: Peter Cooke, “The Violin—Instrument of Four Continents,” John Dilworth, “The Violin and Bow—Origins and Development,” Adrian Eales, “The Fundamentals of Violin Playing and Teaching,” Max Harrison, “The Violin in Jazz,” Simon McVeigh, “The Violinists of the Baroque and Classical Periods,” Bernard Richardson, “The Physics of the Violin,” Robin Stowell, “The Nineteenth-Century Bravura Tradition,” “Technique and Performing Practice,” “The Concerto,” “The Sonata,” “Other Solo Repertory,” “The Pedagogical Literature,” Eric Wen, “The Twentieth Century,” and Paul Zukofsky, “Aspects of Contemporary Technique.” 53.

Menuhin, Yehudi and Catherine Meyer. The Violin. Paris: Flammarion, 1996. 301pp. A coffee-table-type book on the violin. Lavishly illustrated, with historical, philosophical, and autobiographical essays by Menuhin grouped under headings including “The Object that Creates the Sound,” “The Violin Maker,” “The Violin Player,” “The Violin Teacher,” “The Violin Composer,” and “Violins of the World.”

54.

String Anthology: A Compendium of Articles on String Playing and Teaching from The Instrumentalist from 1946 to 1997. Northfield, IL: Instrumentalist, 1997. 828pp. Reprints more than 300 articles originally published in The Instrumentalist on all aspects of the violin (as well as the cello, viola, and bass). The majority of articles focus on technique and pedagogy. A smaller number of articles addresses instrument repair and profile individual violinists and teachers. A valuable resource.

55.

Dawes, Richard, ed. The Violin Book. London: Balafon; San Francisco: Miller Freeman, 1999. 126pp. An informative and well-illustrated guide to the violin for the general reader. Chapters, written by a variety of respected scholars and instrument makers, address the physical properties of the instrument, violin making, violin playing, and violin repertoire. Notable for its numerous detailed photographs of the parts of the violin and the violin-making process. Provides a list of recommended recordings and a brief bibliography.

56.

Nobach, Christiana, ed. Streichinstrumente. Kassel: Bärenreiter; Stuttgart: Metzler, 2002. 357pp. A broad guide to stringed instruments drawn from essays published in the second edition of the German encyclopedia Musik in Geschichte und Gegenwart {2}. The first major part surveys instrument building both in

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terms of process and history, with a separate section devoted to bow making. A later section is devoted solely to the violin (other sections concern the viola, cello, bass, and viol family), and discusses its history, acoustical characteristics, and techniques. Includes illustrations, musical examples, and extensive bibliographies.

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ACOUSTICS AND MECHANICS GENERAL STUDIES See also {29}, {45}, {47}, {51}, {56}, {174}. 57.

Savart, Félix. Mémoire sur la construction des instruments à cordes et à archet. Paris: Roret, 1819. 118pp. R. Geneva: Minkoff, 1972. vi, 120pp. A pioneering and oft-cited study of the scientific principles that govern the construction and tone production of stringed instruments. Explains the properties of vibrating strings, instrument plates, and air cavities. Draws on the then-recent work of physicist Ernst Chladni, and illustrates many so-called Chladni patterns, which demonstrate how materials vibrate. Includes a section on Savart’s invention, the trapezoidal violin. Reprinted in {171}.

58.

Giltay, J. W. Bow Instruments: Their Form and Construction. London: Reeves, 1923. x, 129pp. R. St. Clair Shores, MI: Scholarly, 1976. 139pp. A study of the physical properties of the violin. Chapters address the strings, bridge, the belly and back and the vibration of the air they enclose, the sound post, the f-holes, bass bar, and mute, and the effect of age on the functioning of the violin. Numerous figures.

59.

Schelling, John C. “The Violin as a Circuit.” Journal of the Acoustical Society of America 35 (March 1963): 326–38.

19

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Uses the analogy of the circuit to understand the function of instruments of the violin family. Diagrams. Reprinted in {68} and in the Catgut Acoustical Society Journal 4 (May 2001): 13–25. 60.

Brick, M. J. “How Does the Violin Work?” Strad 65 (May 1964): 23–27. The first in a 16-part series that sets out to explain the acoustical and mechanical properties of the violin in language suitable for the nonscientist. Numerous diagrams.

61.

Peterlongo, Paolo. Strumenti ad arco. Milano, SIEI, 1973. 268pp. G. Die Streichinstrumente und die physikalischen Grundprinzipien ihres Funktionierens. Trans. Silvia Kincel. Frankfurt: Das Musikinstrument, 1976. 171pp. E. The Violin: Its Physical and Acoustic Principles. Trans. Bill Hopkins. London: Elek, 1979; New York: Crescendo/Taplinger, 1979. 160pp. Explores the mechanical and acoustic workings of the violin. Twenty short chapters discuss the various parts of the violin, as well as the physiology of violin playing, violin adjustment and repair, and the testing and evaluation of instruments. Includes many diagrams and photographs.

62.

Hutchins, Carleen Maley, ed. Musical Acoustics. 2 vols. Stroudsburg, PA: Dowden, Hutchinson & Ross, 1975–76. xv, 478pp.; xvii, 379pp. A valuable collection of mostly technical articles on the physical properties of the violin. The first volume is divided into six sections: general papers, the bowed string, the bridge, the sound post, wood, and varnish. The articles are largely from the 20th century and in English, though some (such as an 1840 article by Félix Savart) come from earlier times or are in other languages. The second volume is similar, but is divided into three parts: body vibrations, radiation, and musical focus. Both volumes include many illustrations, charts, and tables. The articles, many by leading scholars, are reprinted from the Catgut Acoustical Society Newsletter, Journal of the Acoustical Society of America, Journal of the Physical Society of Japan, Zeitschrift für Instrumentenbau, and other sources. See {68} for the sequel to this set.

63.

Cremer, Lothar. Physik der Geige. Stuttgart: Hirzel, 1981. 368pp. E. The Physics of the Violin. Trans. John S. Allen. Cambridge, MA: M.I.T. Press, 1983. ix, 450pp. A rigorous study of the acoustical properties of the violin. Divided into three main parts, which consider the oscillation of bowed and plucked strings, the body of the instrument (esp. the bridge), and the radiation of sound from the violin. Aimed at acousticians and violin makers. Numerous equations and diagrams. The English edition updates the German original. For an earlier work on the same topic by the author,

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see Die Geige aus der Sicht des Physikers (Gottingen: Vandenhoeck & Ruprecht, 1971). For a study of the subject aimed at the layreader, see {67}. 64.

Hutchins, Carleen Maley. “A History of Violin Research.” Journal of the Acoustical Society of America 73 (May 1983): 1421–40. A very useful overview of the research on the mechanical and acoustical properties of the violin from the 17th to the 20th centuries. Discusses the work of, among others, Félix Savart, Hermann von Helmholtz, C. V. Raman, John C. Schelling, and Frederick Saunders, as well as the author’s own research. Includes numerous illustrations and an extensive bibliography. For an update by the same author, see “A History of Violin Research,” Catgut Acoustical Society Journal 4 (May 2000): 4–10.

65.

Richardson, Bernard. “The Physics of the Violin.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 30–45. Cambridge: Cambridge University Press, 1992. Provides an overview of the basic acoustical and mechanical functions of the violin. Illustrated.

66.

Weinreich, Gabriel. “What Science Knows about Violins—And What it Does not Know.” American Journal of Physics 61 (December 1993): 1067–77. Surveys the state of scientific knowledge about the violin as of the early 1990s in two main categories: “Physics of the Bowed String” and “The Violin as a Radiator of Sound.” Also considers the limits of what current science can reveal about the violin. Identifies what the author calls “The New Secret of Stradivarius,” which is that there is no way to differentiate between the highest and lowest quality violins in terms of physically measurable properties, even though most violinists will instantly and intuitively know which is which. Written in generally nontechnical language accessible to the nonscientist. Illustrated.

67.

Beament, James. The Violin Explained: Components, Mechanism, and Sound. Oxford: Clarendon, 1997. viii, 245pp. Explains the physical aspects of the violin, the mechanisms by which violins produce sound, and the ways in which violin sound is perceived by the human ear. Written in a nontechnical manner for the layreader; numerous charts and diagrams. For a technical one-volume survey, see {63}.

68.

Hutchins, Carleen Maley and Virginia Benade, eds. Research Papers in Violin Acoustics: 1975–1993. 2 vols. Woodbury, NY: Acoustical Society of America, 1997. xix, 1312pp.

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A companion to Hutchins’s earlier compilation of technical articles {62}; represents the explosion of research in the last quarter of the 20th century. Volume 1 opens with an introductory survey of 350 years of violin research followed by sections organized around the following topics: sound radiation, the bowed string, the bridge, the sound post, bass bar, and tailpiece, normal bending modes of unattached violin plates, modes of the completed violin body, and violin air cavity resonance modes. The articles in Volume 2 focus on the following subjects: the interrelation of string, wood, and cavity resonances of the whole violin, wood, varnish, psychoacoustics, the Catgut Acoustical Society, acoustic theory and research, and the future of violin research. Each section is preceded a general overview of the topic. The articles, many by leading scholars, are reprinted from Acustica, Journal of the Acoustical Society of America, Journal of the Audio Engineering Society of America, Journal of the Catgut Acoustical Society, and other sources. Includes biographies of the authors and a bibliography. 69.

Curtin, Joseph. “Innovation in Violinmaking.” Catgut Acoustical Society Journal 3 (May 1999): 18–22. Reflects on the role of innovation in such a tradition-bound craft; notes that acousticians, engineers, and material scientists can contribute to improving the performance of the violin.

SOUND VIBRATION

AND

RADIATION

See also {132}. Additional articles on these subjects, not abstracted here, are included in the anthologies {62} and {68}. 70.

Hutchins, Carleen Maley, Alvin S. Hopping, and Frederick A. Saunders. “The Air Tone of the Violin.” Strad 70 (September 1959): 161–63. Explains the significance of the “air tone” (also known as blow tone), the resonant frequency of a violin’s air cavity.

71.

Dunnwald, Heinrich. “Ein erweiteres Verfahrung zur objektiven Bestimmung der Klangqualitat von Violinen.” Acustica 71 (1990): 269–76. Based on measurements of the frequency response of about 700 violins, the author proposes an “objective” standard for determining the sound quality of violins; suggests that the celebrated tone of old Italian violins is a function of craftsmanship but not aging.

72.

Hutchins, Carleen Maley. “A Study of the Cavity Resonances of a Violin and Their Effects on its Tone and Playing Abilities.” Journal of the Acoustical Society of America 87 (1990): 392–97.

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Describes experiments in which the resonance of a violin is measured with holes drilled in it and after being buried in sand, experiments that demonstrate the important effect that the motion of air within the violin body has on the tone of a (normal) violin. Photographs and graphs. Reprinted in {68}. 73.

Hutchins, Carleen Maley and Duane Voskuil. “Mode Tuning for the Violin Maker.” Catgut Acoustical Society Journal 2 (November 1993): 5–9. Summarizes findings on the relationships among five key resonant frequencies of the violin’s body and suggests how violin makers can adjust their instruments, and thus the relationship of these frequencies, to improve the sound of their instruments.

74.

Weinreich, Gabriel. “Directional Tone Color.” Journal of the Acoustical Society of America 101 (April 1997): 2338–46. Describes and examines the phenomenon the author calls “directional tone color,” the rapid variation of a violin’s sound radiation pattern at frequencies above 1 kHz that can give the illusion that different notes in a solo sound as if they are coming from different directions. Considers how understanding directional tone color can shed light on the use of vibrato, on solo versus orchestral playing, the projection of violin sound in a hall, and on the electronic reproduction of violin sound. Includes graphs, photographs, and musical examples.

STUDIES

BY

MATERIALS, PARTS

Wood See also {109}, {151}, {224}, {226}, {253}, {302}, {340}, {359}, {397} and many of the treatises cited in {167} through {188}. Additional articles, not abstracted here, are included in {62} and {68}. 75.

McCollister, E. H. “Violin Woods of the Pacific Northwest.” Violinist 26 (February 1920): 53–58. Describes various woods to be found in Oregon and Washington suitable for violin making.

76.

Haines, Daniel W. “On Musical Instrument Wood.” 2 parts. Catgut Acoustical Society Newsletter 31 (November 1979): 23–32; 33 (May 1980): 19–23. Reports on an extensive study of the mechanical properties of woods used to make violins, guitars, and pianos, in particular their stiffness, density, and vibrational damping. Part I considers untreated wood, Part II, treated (i.e., with filler or varnish, or through exposure to light or water). Includes

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diagrams, graphs, and data tables. Reprinted in {68}. See also the author’s later article on the same subject, “The Essential Mechanical Properties of Wood Prepared for Musical Instruments,” Catgut Acoustical Society Journal 4 (November 2000): 20–32. 77.

Shigo, Alex L. and Karl Roy. Violin Woods: A New Look. Durham: University of New Hampshire, 1983. iv, 67pp. Presents information on the characteristics of the wood used for violins, especially spruce and maple. Intended to guide violin makers in the selection of wood for their instruments. Includes many detailed photographs of wood samples. In parallel German and English texts.

78.

Fulton, William. “The Acoustic Properties of Spruce.” Journal of the Violin Society of America 7, no. 1 (1984): 37–56. Discusses the physical characteristics of spruce, a wood usually used for violin top plates. Quotes from several historical and contemporary writings on the subject.

79.

Minato, K. and H. Yano. “Improvement of the Acoustic and Hygroscopic Properties of Wood by a Chemical Treatment and Application to the Violin Parts.” Journal of the Acoustical Society of America 92 (September 1992): 1222–27. A technical article on the effect of treating the wood of various parts of the violin (top plate, bass bar, bridge, sound post) with formaldehyde; concludes that such treatment protects the wood against humidity and improves the instrument’s sound quality. In a later article, the authors tested the effect of other chemical treatments. See “Chemical Treatment of Wood for Musical Instruments,” Journal of the Acoustical Society of America 94 (December 1996): 3380–91.

80.

Hutchins, Carleen Maley. “A Measurable Effect of Long-term Playing on Violin Family Instruments.” Catgut Acoustical Society Journal 3 (May 1998): 38–40. Based on tests conducted over a period of years, reports that long-term playing of stringed instruments increases the flexibility of the wood, which may translate to increased power.

81.

Topham, John and Derek McCormick. “A Dendrochronological Investigation of British Stringed Instruments of the Violin Family.” Journal of Archaeological Science 25 (1998): 1149–57. Reports on a pilot study in the use of dendrochronology (tree-ring analysis) as a method for confirming the dates of violins. Forty-seven stringed instruments attributed to British makers of the 17th to 19th centuries were

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tested. The authors conclude that dendrochronology can be a reliable method of dating instruments. For later studies of other collections of instruments, see Topham’s “A Dendrochronological Survey of Musical Instruments from the Hill Collection at the Ashmolean Museum in Oxford,” Galpin Society Journal, no. 55 (April 2002): 244–68, and “A Dendrochronological Survey of Stringed Instruments from Three Collections in Edinburgh, London and Paris,” Galpin Society Journal, no. 56 (June 2003): 132–46, as well as {82}. 82.

Topham, John and Derek McCormick. “A Dendrochronological Investigation of Stringed Instruments of the Cremonese School (1666–1757) Including ‘The Messiah’ Violin Attributed to Antonio Stradivari.” Journal of Archaeological Science 27 (2000): 183–92. Reports the results of dendrochronological (tree-ring) studies of 33 Cremonese violins made during the late 17th and early 18th centuries, including 20 by Stradivari. Among the Strads studied was the violin known as “The Messiah,” long thought to have been by Stradivarius but then later ruled out as a Strad because the wood had been thought to have dated from after the maker’s death. The authors date the violin’s wood to within Stradivari’s lifetime—once again suggesting that that the violin is a Strad. Provides charts, tables, maps, and photographs. The authors’ findings were independently confirmed in Henri D. Grissino-Mayer et al., “A Dendroarchaeological Re-examination of the ‘Messiah’ Violin and Other Instruments Attributed to Antonio Stradivari,” Journal of Archaeological Science 31 (February 2004): 167–74. See also {359}.

83.

Burckle, Lloyd and Henri D. Grissino-Mayer. “Stradivari, Violins, Tree Rings, and the Maunder Mininum: A Hypothesis.” Dendrochronologia 21, no. 1 (2003): 41–45. Noting that many hypotheses have been offered to explain the superior sound of instruments by Stradivari and his contemporaries, but that all seem lacking, the authors present an alternative hypothesis based on the Maunder Minimum. The Maunder Minimum was a period (1645–1715) of longer winters and cooler summers that slowed the growth of trees, and resulted in wood of increased density. The authors suggest that the unusual quality of the wood, combined with other environmental factors, may help explain the apparently unsurpassed quality of certain instruments made during this time.

84.

Topham, John and Derek McCormick. “Working Methods of Early Classical Violin Makers: Implications of Recent Dendrochronological Studies.” Catgut Acoustical Society Journal 4 (May 2003): 59–67.

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Drawing on dendrochronological (tree-ring) studies of violins by Stradivari, Guarneri, and other luthiers, the authors conclude that the great makers often used fairly young wood (between 3 and 20 years old), were not overly concerned with bookmatching two-piece top plates (i.e., using symmetrically grained wood for each half), and did not have, as is sometimes maintained, a secret source of wood, given that there are significant similarities between the woods of makers from different regions. Includes illustrations, graphs, and references. Top and Back Plates Additional articles are included in {62} and {68}. 85.

Starkman, Martin. “Violin Arching.” Strad 80 (November 1969): 313–14, 319–21. Provides a method for designing templates for the arching of violin plates.

86.

Nigogosian, Vahakn and Albert Mell. “To Graduate or not to Graduate.” Journal of the Violin Society of America 3 (Summer 1977): 58–67. Discusses the pros and cons of varying the thickness (graduating) of a violin’s plates.

87.

Hutchins, Carleen Maley. “The Acoustics of Violin Plates.” Scientific American 245 (October 1981): 170–86. Reports the findings of a decades-long investigation into the physical and vibrational qualities of the top and back plates of the violin necessary to produce a fine instrument. This is a clear exposition of the topic suitable for general readers. Includes several photographs, diagrams, and graphs. Reprinted in {68}, which also includes several more technical articles on plate tuning and arching.

88.

Lolov, Athanas. “Bent Plates in Violin Construction.” Galpin Society Journal, no. 37 (March 1984): 10–15. Suggests that Stradivari (and perhaps other Cremonese makers of that era) may have created the top plates of his violins through bending the wood, rather than carving, as is typical, and that this method may account for the legendary quality of the instruments.

89.

Loen, Jeffrey S. “Reverse Graduation in Fine Cremonese Violins.” Catgut Acoustical Society Journal 4 (May 2003): 27–39. Based on the study of the top plates of 105 Cremonese violins made by Stradivari, Guarneri, and others, reports that the majority of so-called Golden Age violins have reverse graduated top plates, meaning that they

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are thinnest at the center and thicker at the edges, unlike most of the violins made after 1750. Includes illustrations and tables. Varnish See also {38}, {62}, {68}, {76}, {140}, {148}, {151}, {152}, {155}, {161}, {167–88} passim, {189}, {227}, {229}, {253}, {258}, {285}, {340}, {414}, {429}. 90.

Gheroldi, Vincenzo, ed. Varnishes and Very Curious Secrets Cremona 1747. Trans. Minni Vesconi. Cremona: Cremonabooks, 1999. 251pp. A translation of an anonymous and previously unpublished Italian 18thcentury manuscript of varnish recipes and instructions, known as the Trivulziana Manuscript 4 [H113]. Includes three essays by the editor and one by Luciano Colombo on the manuscript and on violin varnish more generally.

91.

Mailand, Eugène. Découverte des anciens vernis italiens employées pour les instruments cordes et a archets. Paris: Lahure, 1859. 168pp. G. Das wiederentdeckte Geheimnis des altitalienischen Geigenlackes. Leipzig: de Wit, 1903. 74pp. 2d ed. Leipzig: de Wit, 1913. 74pp. R. (of 1903 ed.) Die wiederentdeckte Geheimnisse des altitalienischen Geigenlackes. Munich: Katzbichler, 1975. 74, viipp. A pioneering and influential study of the varnish used by the Italian masters between about 1550 and 1740. The first of two parts summarizes and comments on numerous early treatises on varnishing. The second part addresses practical matters and discusses the preparation of instruments before varnishing, the coloration of varnishes, and various formulas and recipes.

92.

Fry, George. The Varnishes of the Italian Violin-makers of the Sixteenth, Seventeenth and Eighteenth Centuries. London: Stevens & Sons, 1904. xii, 170pp. R. Cape Coral, FL: Virtuoso: 1977. xi, 128pp. Waterbury, CT: Brohan, 1999. 140pp. A study of Italian violin varnishes in an attempt to discover the secrets of the classic violin makers. Boasts that “every variety of the old varnishes could be reproduced with facility from turpentine and linseed-oil without the admixture of colouring matter in any form” (7). An appendix lists the ingredients of 16 different varnishes. Although now outdated, it remains an oft-cited work.

93.

Greilsamer, Lucien. Le vernis de Crémone: Étude historique et critique. Paris: Société française d’imprimerie et de libraire, 1908. viii, 175pp.

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Surveys the research on the varnish used by the Italian master luthiers. Offers critical assessments of work by Victor Grivel, Eugène Mailand, M. Mordret, Charles Reade, Félix Savart, L’abbé Sibire, Auguste Tolbecque, and others. Reprints several historical varnish recipies. Bib. 94.

Christ-Iselin, Wilhelm. Zur Frage des Cremoneser Geigenlackes: eine Hypothese. Basel: Frobenius, 1920. 63pp. 2d ed. Leipzig: Breitkopf & Härtel, 1920. xii, 71pp. E. The Mystery of Cremona Varnish: An Attempted Solution. Leipzig: Breitkopf & Härtel, 1923. 43pp. Claims to have discovered the secret of Cremonese varnish, namely, “to make use of tempera in laying a first coat on white string instruments … before varnishing” (4, English ed.).

95.

Michelman, Joseph. Violin Varnish: A Plausible Re-creation of the Varnish used by the Italian Violin Makers Between the Years 1550 and 1750. Cincinnati, OH: Author, 1946. xi, 185pp. Offers what the author calls a “plausible” recreation of the “lost art” of violin varnishing. The first three chapters provide a useful review of the literature (with extensive quotations of many writings). Subsequent chapters (there are 18 in all), discuss a variety of materials, methods, and recipes. The author was a chemist by training, and in his work on varnish used only materials, equipment, and methods that would have been available to Stradivari et al. For this book, it was not possible to confirm that the author’s recipes matched those of the Italian masters because of the unavailability of varnish samples, although in subsequent articles ({98}, {100}, {102}, {103}) the author was able to report on chemical analyses of old varnish.

96.

Arakélian, Sourène. Le violon: Précepts et notices d’un luthier. Tehran: Institut Franco-Iranien, 1952. 67pp. G. Die Geige: Retschlage und Betrachtungen Eines Geigenbauers. Frankfurt: Das Musikinstrument, [1958]. 67pp. E. The Violin: Precepts and Observations of a Luthier, My Varnish, Based on Myrrh. Trans. Peter Armitage. Frankfurt: Das Musikinstrument, 1981. 81pp. A collection of observations on the craft of violin making. The first of two parts includes brief chapters on the thickness of the violin’s belly and back, on the bridge, f-holes, bass bar, and sound post. The second, and main part, focuses on the author’s varnish, which is based on myrrh, an ingredient he believes was introduced to the classic Italian violin makers from the Near East. Provides several different myrrh-based varnish recipes.

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Apps, Howard Llewellyn. “Cremona Varnish: Was it a Secret?” Strad 71 (July 1960): 97–101. Reviews various theories by Ole Bull, Charles Reade, W. M. Morris, and Eugène Mailand about the secrets of Italian violin varnish.

98.

Michelman, Joseph. “Which Is It—Violin Varnish or Finish?” Strad 71 (August 1960): 133–35. Argues that “the wood of old Italian instruments has received some preliminary treatment … separate and distinct from the varnish on the surface of the instruments. Accordingly, the term varnish does not suffice to describe the finish used by the old Italian luthiers; it is composed of two components—the pre-treatment and the varnish” (133). The author explains the use of his own violin finish in the August 1962, March 1963, and June 1969 issues of Strad.

99.

Apps, Howard Llewellyn. “Some Spirit Varnishes Compared.” Strad 73 (June 1962): 55–59. Argues that spirit varnishes, usually considered inferior to oil varnishes, can be used successfully on violins; compares three different commercial spirit varnish recipes.

100.

Michelman, Joseph. “Chemical Research on the Violin.” Strad 76 (October 1965): 205–7. “It is the purpose of this article to explain chemical research on the violin, particularly on the finish, its objectives, difficulties and the obstacles in conducting the research, the results that have been obtained to date, etc.” (205). Cites numerous articles on the subject.

101.

Clare, Henry. “Violin Priming.” 2 parts. Strad 78 (May 1967): 17–21; (June 1967): 53–57. An experienced violin maker offers advice and instructions on the preparation of a violin (known as priming or sizing) before it is varnished. Provides his own primer recipe.

102.

Michelman, Joseph. “Queer Element in the Old Italian Violin Varnish.” Strad 78 (December 1967): 297–301. Reports on an analysis of a varnish sample taken from a 1730s violin by Camilo Camilli and the surprising presence of barium. Concludes that “Barium should now be added to the list of ‘tell-tale’ elements that confirm the rediscovery of the old Italian violin varnish” (301).

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Michelman, Joseph. “Three More Clues that Confirm the Rediscovery of the Lost Varnish.” Strad 82 (June 1971): 67–73. Reports on the author’s analysis of varnishes used by Gagliano and Albani instruments, and identifies potassium, tin, and silicon as the main components.

104.

Fulton, William. “Varnishes.” Journal of the American Violin Society 2 (Fall 1976): 104–18. An often technical discussion of the author’s varnish experiments, including his attempt to recreate the varnish used by the 17th-century English luthier Christopher Love Morley.

105.

Condax, Louis W. “Final Summary Report on Violin Varnish Research Project.” Catgut Acoustical Society Newsletter 37 (1982): 31–36. Reviews the author’s years of research into the nature of the varnishes used by many of the great Italian luthiers between 1540 and 1760. Identifies rosin oil as a key to creating a varnish that displays a range of hues depending on the angle from which it is viewed, a characteristic of the old varnishes known as dichroism. Takes issue with the conclusions of Fry {92} and Michelman {95}. This article was originally published in 1970 as a report to the Mellon Institute. (See also Condax’s “Violin Varnishes Created by Two Prominent Authors, George Fry and Joseph Michelman: Their Comparisons to the Old Masters,” Catgut Acoustical Society Newsletter 6 [1966]).

106.

Baese, Geary. Classic Italian Violin Varnish. Ft. Collins, CO: Author, 1985. 99pp. Aims to “stimulate the revival and maintenance of the grand tradition of artistic violin varnish” (vii). In three parts covering the history of Italian violin varnish, the materials used in various varnishes, and the preparation and application of varnish. The author summarizes his and others’ research on varnish in “Classic Italian Violin Varnish,” Journal of the Violin Society of America 8, no. 3 (1987): 50–75.

107.

Carletti, Gabriele. Vernici in liuteria. Padua: Zanibon, 1985. 141pp. Provides a practical guide to the use of varnishes. Chapters address each step of the process, from the selection of plants to use in making varnish, to the preparation of the wood, to the application and polishing of varnish. Also includes chapters on the use of lacquer and enamel. Includes numerous formulas and recipes.

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Colombo, Luciano. Antiche vernici perliuteria. Cremona: Turris, 1997. 76pp. A clear and useful overview of research on the “secret” of the varnish used by Stradivari, Guarneri, and the other master luthiers. Summarizes the work of Sacconi, Fry, Michelman, and Hutchins, among others. Parallel Italian and English text.

109.

Schleske, Martin. “On the Acoustical Properties of Violin Varnish.” Catgut Acoustical Society Journal 3 (November 1998): 27–43. Based on experiments conducted by the author, observes that varnish has a significant effect on the vibration of spruce, and that different varnish recipes affect the wood in measurably different ways.

Strings See also {24}, {29}, {38}, {57}, {58}, {62}, {63}, {66}, {151}, {152}, {167–88} passim, {204}, {258}, {385}, {435}, {604}. Mechanics and Acoustics 110.

Sundt, E. V. “Why Can’t We Have Better Violin Strings?” Etude 68 (September 1950): 18–19, 51, 53. An engineer and violinist reports on three years of experiments on the tension, weight, diameter, strength, and loudness of gut and metal strings. Notes that metal strings consistently outperform gut, but there is still a great deal of room for improvement in string performance.

111.

Schelling, John C. “The Physics of the Bowed String.” Scientific American 230 (January 1974): 87–95. Seeks to answer the question, “What actually happens when a violin string is bowed?” Provides an overview of old and newer research to explain the complex phenomenon. Includes photographs, illustrations, and graphs.

112.

Pickering, Norman C. The Bowed String. Mattituck, NY: Amereon, 1991. iv, 132pp. Presents a wealth of information on the acoustics, mechanics, design, construction, and manufacture on strings for the violin family. Written in generally nontechnical language for musicians and instrument makers (although some terms are left unexplained). Includes many diagrams and illustrations. More recent (and technical) writings on the subject by

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Pickering include “A New Type of String for Bowed Instruments,” Journal of the Violin Society of America 15, no. 1 (1997): 25–44 and (with Fan Tao) “Why Strings Sound Different,” Journal of the Violin Society of America 17, no. 3 (2001): 73–91. 113.

Schumacher, Robert T. and James Woodhouse. “Computer Modelling of Violin Playing.” Contemporary Physics 36 (March–April 1995): 79–92. Reviews recent research on the oscillation of bowed strings—specifically in the area of computer simulation—aimed at understanding the sound production of the violin. Clearly written, though assumes a certain familiarity with the technical language of physics. Includes equations and figures.

History 114.

Witek, Anton. “The Wire E.” Violinist 24 (August 1919): 289–94. A brief history of the steel E string and advice on its use.

115.

Dann, Elias. “The Second Revolution in the History of the Violin.” College Music Symposium 17 (Fall 1977): 64–71. Considers the widespread change from gut to metal strings in the early 20th century, citing it as the second revolution in the history of the violin (the first occurring in the 18th century with changes in the bow, and the violin’s neck and bass bar). Discusses several historic recordings made by violinists using gut strings.

116.

Pickering, Norman C. “Modern Strings: Where They Come From, How Best to Use Them.” Strings 2 (Winter 1988): 8–12. Chronicles the history of string making, from the development of metalwound strings to the introduction of aluminum and then synthetic materials in string making. Also offers practical advice on the installation and maintenance of strings.

117.

Perfuffo, Mimmo. “Italian Violin Strings in the Eighteenth and Nineteenth Centuries: Typologies, Manufacturing Techniques and Principles of Stringing.” Recercare 9 (1997): 157–203. Sets out to correct misconceptions about historical violin strings and stringing, in particular arguing that strings were generally thicker than has been thought. Provides data on string tension and gauge. Summary in Italian.

118.

Bonta, Stephen. “Readers’ Comments: The Making of Gut Strings in 18thCentury Paris.” Galpin Society Journal 52 (April 1999): 376–85.

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Discusses gut string making in 18th-century Paris. Includes translations of articles on “Boyaudier” (gut string maker) and “Corde” (string) from Diderot’s Encyclopédie. Construction, Manufacture, Materials 119.

“A New E String.” Violinist 2 (June 1902): 7. Notes that a violinist in Kalamazoo, Michigan, has reported success using braided silk fishing line as an E string.

120.

Bobzin, Charles. “The Making of Strings for Musical Instruments from a Commercial and Sentimental Standpoint.” Crescendo 2 (November 1909): 5–6, 9. Discusses the state of string manufacture and its market in the United States and Europe. Includes figures on prices, import duties, tensile strength, and so on. Notes that metal strings were first produced in Boston in 1875.

121.

“Manufacturing Gut Strings.” Violinist 21 (April 1917): 145–49. Explains the process by which gut strings are made; includes photographs of a string factory. A similar, briefer article on the subject appeared in Violinist 7 (April 1909).

122.

Herwig, Charles. “The Evil of the Wire E String.” Fiddlestrings 1 (1918): 5. Condemns the steel E string for producing a “coarse and unmusical” tone, and urges violinists to use gut E strings, as was traditional. Also published in Violinist 24 (April 1919): 129–30.

123.

Scott, James. “Violin Silken Strings: Their Origin, Formation, and Curiosities.” Strad 30 (April 1919): 95–97. Describes the properties of silk strings (which were used only as E strings) and their creation in the cocoons of the silkworm. Illustrated.

124.

Tiny, Paul. “Les cordes d’instruments de musique: ce qu’il faut savoir sur leur fabrication.” Musique et Instruments 22 (October 1931): 877, 881. Describes the various stages of gut string manufacture.

125.

Abbot, Djilda and Ephraim Segerman. “Gut Strings.” Early Music 4 (October 1976): 430–37. Offers practical advice on the use of gut strings; discusses factors such as string length, tuning, pitch distortions, and string material and construction.

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Schuster, Oskar. “The Manufacture of Strings for Musical Instruments.” Journal of the Violin Society of America 2 (Fall 1976): 89–103. A discussion of string manufacture, with particular attention to the handling of sheep gut, from the president of Gustav Pirazzi and Company, makers of Pirastro strings. Photographs.

127.

Firth, Ian M. “Construction and Performance of Quality Commercial Strings.” Journal of the Violin Society of America 8, no. 2 (1987): 75–89. Investigates the construction and physical properties of strings made by Pirastro. Includes graphs, data tables, and photographs of strings taken through an electron microscope. Reprinted from the Catgut Acoustical Society Newsletter 47 (May 1987).

128.

Rickard, James. “Manufacturing Strings for the Violin Family.” Journal of the Violin Society of America 10, no. 2 (1989): 66–106. The author, of D’Addario string makers, explains the manufacturing process, with accompanying photographs. Includes a discussion of string making in Korea.

Bass Bar See also {58}, {62}, {63}, {67}, {68}, {79}, {96}, {160}. 129.

Bretos, J., C. Santamaria, and J. Alonso Moral. “Effect of The Bass Bar on the Free Violin Top Plate Studied by Finite Element Analysis.” Catgut Acoustical Society Journal 3 (November 1998): 16–20. Reports on a study of the vibration of the bass bar and top plate, concluding that the bass bar serves not only a structural purpose but also has a significant impact on the volume and timbre of the violin.

130.

Rodgers, Oliver E. “On the Function of the Violin Bass Bar.” Catgut Acoustical Society Journal 3 (November 1999): 15–18. Reviews research done on the function and design of the bass bar. Concludes that bass bars are likely heavier than is necessary for optimal functioning and that the asymmetrical placement of the bass bar is crucial to good sound production.

Sound Post See also {29}, {58}, {63}, {67}, {68}, {79}, {96}, {160}. 131.

Lorenzen, L. J. “The Violin Sound Post as a Phase Regulator.” Journal of the Violin Society of America 7, no. 4 (1986): 122–33.

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Seeks to discover the exact function of the sound post, which has long been unclear. Explains his experiments with sound posts and offers the provisional conclusion that the sound post acts as a “mechanical feedback system which works to subdue resonant peaks and smooth the response curve” (133). Includes five figures. 132.

Bissinger, George. “Some Mechanical and Acoustical Consequences of the Violin Soundpost.” Journal of the Acoustical Society of America 97 (May 1995): 3154–64. Based on a study of the sound radiation of the violin with and without a sound post, concludes that the presence of the sound post lowers and boosts certain frequencies, decreases the mechanical response of the bridge, increases radiation efficiency, and alters radiation patterns significantly. See also the author’s later articles on the sound post, “Modal Analysis, Radiation and the Violin’s Soundpost,” Sound and Vibration 29 (August 1995): 18–22, and “Mode-ling the Sound of the Violin: the V-R Model and the Role of the Soundpost,” Catgut Acoustical Society Journal 3 (May 1998): 29–39.

133.

Rodgers, Oliver E. “Effect of Sound Post Adjustment.” Catgut Acoustical Society Journal 3 (May 1997): 19–24. Compares the effect of the sound post on the tone of the violin when harmonic analyses are made of a violin playing with the post in different positions.

Bridge See also {58}, {62}, {63}, {68}, {79}, {96}, {160}, {179}. 134.

Müller, Helmut A. “The Function of the Violin Bridge.” Trans. E. Wall. Catgut Acoustical Society Newsletter 31 (May 1979): 19–22. Explains the mechanics and acoustics of the bridge in fairly nontechnical language. Includes several illustrations. Originally published in German in the journal Das Musikinstrumente.

135.

Larson, Daniel C. “Instrument Set-Up for Historical Performance: A Study of Early Bridges.” Catgut Acoustical Society Journal 4 (November 2003): 53–63. Reports on a study of early violin, viola, and cello bridges by important Italian, French, and English makers of the 17th through 19th centuries. Notes that early violin and viola bridges are more varied in design and are thinner and have smaller feet than modern bridges, and are thicker on the treble side than the bass side.

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Chin Rest and Shoulder Rest See also {509–12}, {514}, {632}, {1574}. 136.

Doring, Ernest N. “Chin and Shoulder Rests.” Violins and Violinists 2 (January 1940): 168–70. Briefly surveys the history and varieties of chin and shoulder rests.

Mute See also {58}, {453}. 137.

Seashore, Carl E. “The Psychology of Music—What Does the Mute Do to a Violin Tone?” Music Educators Journal 25 (December 1938): 23. Reports on a study of the mute’s effect on the violin’s sound. Concludes that the mute reduces the overall intensity of the tone (although the change comes in the intensity of the middle range of overtones, not the fundamental), that the effect is “radically different” from string to string, and that the effect of the mute varies with the pitch, loudness, and timbre of the tones and with the construction of the mute.

Rosin See also {38}, {148}, {379}, {382}, {389}, {604}. 138.

Joseph, Sonia. “Causing Friction.” Strad 109 (June 1998): 618–21. Discusses the purpose and manufacturing of rosin; advises on the choice and use of rosin.

139.

Smith, J. H. and J. Woodhouse. “The Tribology of Rosin.” Journal of the Mechanics and Physics of Solids 48 (1 August 2000): 1633–81. Investigates the precise nature of the frictional behavior of rosin, which the authors note has not been studied in any great detail. Suggests that the temperature of the rosin, which heats and melts to a certain extent during bowing, plays an important role.

VIOLIN MAKING: CONSTRUCTION AND REPAIR REFERENCE See also {415}. 140.

Torri, Luigi. La Costruzione ed i Costruttori degli Istrumenti ad Arco. Turin, 1907. 2d ed. Padua: Zanibon, 1921. viii, 43pp. 3d. ed. Ed. Lauro Malusi. Padua: Zanibon, 1978. 84pp.

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A bibliography of the history and construction of the violin. Organized alphabetically by author, with brief commentaries on selected books. Includes a “systematic index” that lists the books by category (history, violin makers, strings, varnish, etc.). 141.

Edler, Hans. Geigen-f-Modelle: Nach den Originalen alter Meister. Siegburg: Schmitt, 1970. 71pp. 2d ed., 1976. 71pp. Reproduces drawings of violin and viola f-holes of the great instrument makers of the 17th, 18th, and 19th centuries; there is no text other than the maker’s name, place of origin, and date.

142.

Regazzi, Roberto. The Complete Luthier’s Library. Bologna: Florenus, 1990. xviii, 556pp. An alphabetical, selectively annotated bibliography of more than 3,700 books, catalogs, and pamphlets (although not articles from periodicals) related to violin making. Includes name and subject indexes and a list of relevant periodicals. An important reference work.

143.

Moens, Karel. “La recherche en organologie: Les instruments de musique occidentaux, 1960–1992: Les Cordes Frottées.” Revue de Musicologie 79 (1993): 342–53. A classified survey of recent research on bowed instruments; headings include regional studies, monographs on particular luthiers, works on construction and iconography, and reference works. Includes a bibliography.

144.

Gerbeth, Thomas M., Kacy Crystal-Spörer, and Eduard Schwen. Fachwörterbuch des Streichinstrumentenhandwerks: Deutsch-Englisch, Englisch-Deutsch. Frankfurt: Bochinsky, 1995. x, 246pp. A German-English, English-German dictionary of about 9,000 terms related to all aspects of violin making.

HISTORY

AND

GENERAL STUDIES

See also {432}, {473}. 145.

Fétis, François Joseph. Antoine Stradivari, Luthier Célèbre. Paris: Vuillaume, 1856. xi, 128pp. E. Notice of Anthony Stradivari, the Celebrated Violin-Maker. Trans. John Bishop. London: Robin Cocks, 1864. xiv, 132pp. A broad study of violin and bow making. Despite the title, less than a third of the book is devoted to Stradivari (one chapter sketches the life and works of the luthier). Chapters discuss the early history of the violin, other Italian violin makers, the development and form of the violin bow,

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and the bow maker, François Tourte. Includes a few musical examples and illustrations. 146.

Abele, Hyacinth. Die Violine, ihre Geschichte und ihr Bau. Neuberg: Prechter, 1864. 196pp. 2d ed. Neuberg: Prechter, 1874. 160pp. E. The Violin and Its Story. Trans. Geoffrey Alwyn. London: Strad, 1905. New York: Scribner’s Sons, 1905. 118pp. The Violin: Its History and Construction Illustrated and Described From Many Sources. Trans. John Broadhouse. London: Reeves, 1907. 151pp. R. Boston: Longwood, 1977. vi, 151pp. For a time this was a standard work on the history of the violin. The first of three sections covers the precursors of the violin; the second section surveys the first centuries of violin making; the third discusses the physical characteristics of the violin and bow. Illustrated.

147.

Sandys, William and Simon Andrew Forster. The History of the Violin, and Other Instruments Played On with the Bow from the Remotest Times to the Present. London: John Russell Smith, 1864. xii, 390pp. R. London: Reeves, n.d. xii, 390pp. A history of the violin and violin making. The first several chapters focus on the violin’s predecessors. Subsequent chapters consider Italian, French, German, and most notably, English violin makers, to which the final 150 pages are devoted. The Banks and Foster families are given the most attention. Also includes chapters on orchestras and 19th-century performers. Illustrated.

148.

Davidson, Peter. The Violin: Its Construction Theoretically and Practically Treated. Glasgow: Porteous; London: Pitman, 1871. viii, 204pp. 5th ed. Goodwin, 1895. viii, 301pp. A general study of the art of violin making. Chapters cover the early history of the instrument, acoustics and the research of Félix Savart, the practical aspects of violin making, the celebrated violin makers, varnish, and the bow, rosin, and strings. A final chapter entitled “Miscellanea” collects amusing anecdotes about the violin, and two appendices list violin makers and sales records of notable instrument collections. In the preface of later editions, the author complains that the anonymous book published by Jean White of Boston, The Violin, and How to Make It (1886) is an exact reproduction of his book (errors and all) minus Chapter 11, the miscellany.

149.

Vidal, Antoine. Les Instruments à archets, les faiseurs, les joueurs d’instruments, leur histoire. 3 vols. Paris: Claye, 1876–78. xvi, 357pp.; vi, 383pp.; vi, 160, ccxxii pp. R. London: Holland, 1961. xvi, 357pp.; vi, 383pp.; vi, 160, ccxxii pp.

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A monumental study of bowed instruments. Volume 1 devotes six chapters to the history of bowed instruments, with much space given to instruments other than the violin. The middle eight chapters focus on instrument makers and the great luthiers. The final three chapters discuss performers and playing up to the Renaissance. Volume 2 continues with 14 chapters on string music and celebrated musicians, three of which provide brief biographical entries on Italian, German, and French violinists. The last two chapters focus on the cello. The first two chapters of Volume 3 discuss musical printing, and are followed by a biographical dictionary of composers of chamber music. The final 200+ pages comprise a catalog of chamber music, organized by ensemble size and type. The original edition includes nearly 120 often exquisite engravings. Heron-Allen considered this to be one of the finest works written on the violin. (Violin-Making, 343, {151}.) 150.

Rühlmann, Julius. Die Geschichte der Bogeninstrumente. Braunschweig: Vieweg und Sohn, 1882. xii, 321pp. R. Walluf bei Wiesbaden: Sändig, 1974. xii, 321pp. A broad history of stringed instruments. Chapters are devoted to the violin’s ancestors, to the viol family, and to the modern violin family. (In fact, the majority of the book is devoted to instruments other than the violin proper.) An appendix describes the experiments and innovations in violin making by Félix Savart and others. A separately bound “Atlas” contains several fold-out plates with detailed illustrations.

151.

Heron-Allen, Edward. Violin-Making As It Was and Is. London: Ward, Locke, 1884. xix, 366pp. 2d ed. 1885. xix, 366pp. R. (of 2d ed.) London: Ward, Locke, 1976. xix, 366pp. A classic study of the art of violin making. Divided into three main parts: Historical, Theoretical, and Practical. Part One gives a condensed history of the violin and its makers, with chapters on the violin’s ancestors, a chapter of biographical profiles of luthiers from Gasparo da Salò to the Hill brothers, a chapter on the history of the bow, and one on unusual and experimental violins. Part Two comprises seven chapters devoted to discussions of various parts of the violin, beginning with the wood and ending with the strings. Part Three offers, in seven chapters, detailed step-by-step instructions, aimed at the amateur violin maker, for constructing a violin, from assembling the proper tools to varnishing and repairing. Five appendices provide information on materials used in varnishing, suggestions on the preservation of instruments, an extensive bibliography (the origins of the author’s monumental De Fidiculis Bibliographia, {11}), a list of treatises on violin playing, and a series of extensive quotations from

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John Playford’s An Introduction to the Skill of Music (1654). Profusely illustrated. 152.

Haweis, Hugh Reginald. Old Violins. New York, Longmans Green, 1889. 292pp. London: Redway; New York: Longmans Green, 1898. v, 292pp. Old Violins and Violin Lore. London: Reeves, 1898. 292pp. Edinburgh: Grant, 1905. v, 292pp. Edinburgh: Grant, 1910. 293pp. R. (of the 1910 printing) West Newfield, ME: Longwood, 1981. 293pp. Surveys a wide spectrum of topics concerning the violin and violin making. Discusses the different violin-making schools in Brescia, Cremona, Germany, France, and England. Addresses issues such as varnish, strings and bows, dealers, collectors, and amateurs. Includes a dictionary of violin makers and many illustrations.

153.

Racster, Olga. Chats on Violins. London: Laurie; Philadelphia: Lippincott, 1905. 221pp. Traces the evolution and history of the violin. Chapters cover the violin’s ancestors and origins, the viol family, national violin-making traditions, and violin maintenance and performance. A substantial appendix provides a biographical sketch of Paganini.

154.

Chapin, Anna Alice. The Heart of Music: The Story of the Violin. New York: Dodd, Mead, 1906. xi, 299pp. An effusive and romanticized history of violin making, from its prehistory to the early 19th century. No index or bibliography.

155.

Angeloni, Domenico. Il liutaio, orgine e construzione del violino. Milan: Hoepli, 1923. 558pp. A broad and technical study of violin making. Includes chapters on the origins of the violin, the acoustics and mechanics of the violin, violin construction, varnish, and the great luthiers. Regazzi describes it as “one of the most important texts on Violin-making in Italy at the beginning of this [the 20th] century” {142}. Includes many diagrams, illustrations (particularly reproductions of early paintings of the violin and its ancestors), equations, and a bibliography.

156.

Caressa, Albert. “Le violon: Ses Origines, Sa Construction.” 2 parts. Musique et Instruments 11 (10 March 1925): 185, 187, 189, 193; (10 April 1925): 287, 289, 293. Traces the history of the violin and of violin making. Illustrations. Published in booklet form in 1925 by the Office Général de la Musique in Paris.

157.

Greilsamer, Lucien. “On Old Violins.” Musical Quarterly 13 (July 1927): 410–33.

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Discusses a variety of matters related to the violins of the Italian masters, including historical context, provenance, workmanship, and fraud. Includes a ranking of the Italian masters from “Supermen” (Stradivari and Guarneri) to “Third Rank” (Rugeri and Cappa) and an “American Epilogue” by Jay C. Freeman with a list of American violin collectors. 158.

Emmanuel, Maurice. “The Creation of the Violin and Its Consequences.” Musical Quarterly 23 (October 1937): 509–15. Considers the influence of the violin on 17th-century music and society, particularly its impact on the development of new instrumental genres, the evolution of tempered tuning, and even on contemporary politics and international relations.

159.

Peluzzi, Euro. “Chi fu l’inventore del violino?” Rivista Musicale Italiana 45 (1941): 25–39. Reviews the origins of the violin and the debates surrounding its invention. Argues that the idea for the violin came from the mathematician Nicolo Tartaglia, who first devised the proportions of the violin, and that Pellegrino (also known as Peregrino) Micheli and his father Zanetto da Montichiaro constructed the first violin, as early as 1552. David Boyden calls the argument for Tartaglia “one of the most preposterous absurdities ever committed to print” {439}, p. 18.

160.

Babitz, Sol. “Identifying the Renaissance, Baroque and Transition Violins.” Strad 76 (May 1965): 9–13. Charts the physical development of the violin from the 1500s to the 1800s, focusing on the bridge, neck, sound post, and bass bar, with accompanying illustrations. Reprinted, with corrections and additional commentary, in How to Restore the Viols and Violins of the Renaissance and Baroque Eras. Los Angeles: Early Music Laboratory, 1979.

161.

Leipp, Emile. Le violon: histoire, esthétique, facture et acoustique. Paris: Hermann, 1965. 127pp. E. The Violin: History, Aesthetics, Manufacture, and Acoustics. Trans. Hildegarde W. Perry. Toronto: University of Toronto Press, 1969. 126pp. A broad study of the physical aspects of the violin, with the goal of “demolishing many legends” about the instrument and its makers (117). Its four parts focus on the history of the instrument (including its ancestors), the aesthetics of violin design, the practicalities of construction (with a substantial discussion of varnish), and acoustics. Surveys a good deal of the litera-ture of the violin. Well illustrated and includes a substantial bibliography. See also Leipp’s earlier book, Essai sur la lutherie (Paris: Author, 1946).

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Winternitz, Emanuel. Gaudenzio Ferrari: His School and the Early History of the Violin. Trans. Edoarda Ottina Bassi. Varallo Sesia: Societa conservazione opere arte monumenti valsesia, 1967. 64pp. Explores the violin’s origins and traces its early development using as evidence depictions of instruments in the paintings of Ferrari and his school in the 16th century. Illustrated. Text in English and Italian. See also the author’s Musical Instruments and their Symbolism in Western Art (New York: Norton, 1967), 99–109.

163.

Geiser, Brigitte. Studien zur Frühgeschichte der Violine. Bern: Haupt, 1974. 136pp. Consists of four “studies” on various aspects of the early history of the violin. The first surveys the state of the research. The second is an organological study, describing and classifying a number of existing instruments, including predecessors to the violin and fully formed early violins. The third study reviews treatises, mostly from the 16th and 17th centuries that discuss the violin or similar stringed instruments. The final study is iconographic, and discusses about 200 images of the violin, largely taken from paintings. A final section offers a summary. Mus. exx., bib., illus.

164.

Card, Caroline. “Was the Violin Created in Response to Social and Economic Needs?” Strad 94 (November 1983): 453–56. Argues that the violin arose and thrived because an increased demand for dance music in 16th-century Venice; the violin met this demand because it had a more powerful sound than other stringed instruments, such as those of the viol family.

165.

Coates, Kevin. Geometry, Proportion, and the Art of Lutherie. Oxford: Clarendon, 1985. viii, 178pp. Studies the use and aesthetic significance of geometry and numerical proportion in the design of Western European string instruments of the 16th–18th centuries, arguing that luthiers, much like their contemporaries in other disciplines such as architecture and painting, consciously used numerical proportion in their designs of instruments. Analyzes the geometry of viols, liras da braccio, violins (violas and cellos), violas d’amore, kits or pochettes, lutes, mandore and mandolins, citterns, and guitars; specifically discusses four violins—two by Andrea Amati (1564) and (c. 1670), and Antonio Stradivari (1666) and (1703). Includes charts, graphs, diagrams, and drawings.

166.

Dilworth, John. “The Violin and Bow—Origins and Development.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 1–29. Cambridge: Cambridge University Press, 1992.

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A useful overview of the physical aspects of the violin. Discusses terminology, the origins and ancestors of the violin, the instrument’s later development, historical centers of violin making, and the bow and its makers. Nine figures. TREATISES, MANUALS,

AND

GUIDES

See also {151}. 167.

Bagatella, Antonio. Regole per la costruzione de’ violini, viole, violoncelli e violoni. Padua: A spese dell’Accademia, 1786. 24pp. G. Regeln zur Verfertigung von Violinen, Violen, Violoncellen und Violonen. Göttigen: Hübner, 1786. 4th ed. Berlin: Wunder, 1922. 30pp. F. Regles pour la construction des violons, altis, violoncelles et basses de viole. Trans. Gustave Koeckert. 34pp. Geneva: Kling, 1927. R. Padua: Randi, 1883. 31pp. Cremona: Turris, 1995. 86pp. A brief, historically important book that sets out rules for the construction of stringed instruments based on the work of Nicolò Amati and Antonio Stradivari. Includes two fold-out pages illustrating 72 width-wise divisions of the violin’s plates designed as a guide for makers to construct forms, as well as illustrations of various tools. Bagatella was one of the first in a long and continuing line of violin makers and others who have sought to discover the secrets of the Cremonese masters. The 1995 reprint offers the text in the original French as well as in English and Italian translation. For commentary on Bagatella’s rules see {45}, {183}, and {252}.

168.

Sibire, L’abbé Antoine. La chélonomie, ou le parfait luthier. Paris: author, 1806. x, 288pp. 2d ed. Brussels: Weissenbruch, 1823. iv, 152pp. R. Geneva, Minkoff, 1984. iv, 152pp. Brussels: Lossfelt, 1885. [2], 11. [1], vi, 227pp. A guide to the art of violin making based on the author’s interactions with the celebrated Parisian luthier Nicolas Lupot. The first edition is reprinted in Gallay, Les Luthiers Italiens {226} and Lescat and Saint-Arroman {581}.

169.

Otto, Jacob Augustus. Über den Bau und die Erhaltung der Geige und aller Bogeninstrumente. Halle and Leipzig: Reinecke, 1817. 2d ed. Über den Bau der Bogeninstrument und über die Arbeiten der vorzüglichsten Instrumentmacher. Jena: Bran, 1828. viii, 97pp. 3d ed. Jena: Mauke, 1886. viii, 94pp. E. Treatise on the Construction, Preservation, Repair, and Improvement of the Violin and All Bow Instruments. Trans. Thomas Fardeley. London: Longman et al., 1833. xii, 66pp. A Treatise on the Structure and Preservation of the Violin and All Other Bow-Instruments. Trans.

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John Bishop. London: Cocks, 1848. vi, 56pp. 3d ed. Cocks, 1875. viii, 96pp. 4th ed. London: Reeves, n.d. vi, 91pp., illus. A popular 19th-century book on violin construction and repair. Includes two chapters eulogizing the German maker Jacob Stainer. The Bishop translation includes a variety of additional information in its appendices. Heron-Allen declares the Bishop translation much superior to the Fardeley (Violin-Making, 330 {151}). 170.

Wettengel, Gustav Adolph. Vollständiges, theoretisch-praktisches auf Grundsätze der Akustik, Tonkunst und Mathematik, und auf die Erfahrungen der Geschicktesten Italienischen und deutschen Meister Begründetes Lehrbuch der Anfertigung und Reparatur aller noch jetzt gebräuchlichen Gattungen von Italienischen und deutschen Geigen, namentlich der Violinen, Bratschen, Schellos und Bässe, so wie aller Gattungen der gewöhnlichen und Pianoforte-Guitarren, ingleichen der Violin-, Schello und Bassbogen. Ilmenau: Voigt, 1828. xiv, 654pp. 2d ed. Lehrbuch der Geigenund Bogenmacher Kunst oder Theoretisch-praktische Anweisung zur Anfertigung und Reparatur der verschiedenen arten Geigen und Bogen, sowie der Guitarren, nebst einer Darstellung der darauf bezüglichen Lehren der Physik. Ed. Heinrich Gretschel. Weimar: Voigt, 1869. x, 312pp. A detailed guide to making and repairing all types of Italian and German stringed instruments (violins, violas, cellos, and basses as well as guitars and bows). It offers tremendous detail on tools and equipment and includes background information on acoustics and composition that the author deems every instrument maker ought to know. The first edition includes 17 pages of illustrations following the main text. At the time of the 1828 publication, Wettengel was a violin maker in Neukirchen bei Adorf.

171.

Maugin, J. C. Manuel du luthier. Paris: Roret, 1834. 224pp. 2d ed. (with W. Maigne). Nouveau manuel complet du luthier. 226pp. 3d ed. Paris: Roret, 1894. viii, 404pp. 4th ed. Paris: Malfère, 1929. viii, 404pp. R. (of 4th ed.) Paris: Laget, 1977. viii, 404pp. An important 19th-century guide to lutherie. Part One (of six) focuses on the violin family, progressing from a discussion of tools to instructions concerning varnish and repair. Parts Two and Three provide instruction on bow and string making (the latter is particularly detailed). Parts Four, Five, and Six cover a variety of other stringed instruments, including the guitar, lute, mandolin, harp, banjo, and viola d’amore. An appendix reprints Savart’s Mémoire sur la construction des instruments à cordes et à archet {57}. The 4th edition includes more than 70 illustrations and several fold-out diagrams.

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Bachmann, Otto. Theoretisch-praktisches Handbuch des Geigenbaues. Quendlinburg and Leipzig: Basse, 1835. vi, 97pp. A popular early-19th-century treatise on violin making. In three parts, the first on practical issues of construction and repair, the second on the guitar, and the third on the bow. Includes an appendix on varnishes.

173.

Simoutre, Nicolas. Aux amateurs du violon: Historique, construction, & conservation de cet instrument. Basel: Bonfantini, 1883. 55pp. 3d ed. Paris: author, 1900. 64pp. A brief guide to the violin and violin making intended for enthusiasts but not necessarily professionals in the trade. Chapters discuss the celebrated luthiers and the value of their violins (as reflected in sales records) and practical advice on violin construction and repair.

174.

Apian-Bennewitz, Paul. Die Geige, der Geigenbau und die Bogenverfertigung: eine auf Grund der Theorie und Geschichte der Bogeninstrumente. 2 vols. Weimar: Voigt, 1892. xii, 416, [14]pp. 2d ed. Die Geige, umfassend: die Grundzuge der Akustik. Leipzig: Voigt, 1920. viii, 416, [7]. A comprehensive and authoritative study of the acoustics and construction of the violin. The first of five main parts offers an introduction to acoustics. Part Two discusses the mechanics of the violin generally and the physical characteristics of the instruments of the celebrated makers. Part Three outlines the history of the violin and profiles various centers of violin making. The fourth and largest section provides a detailed examination of violin construction, from the choice of tools to instrument repair; also includes brief chapters on other stringed instruments. The final part focuses on the bow. An appendix supplies measurements of the various parts of the instrument. The second volume consists of 14 foldout plates with 154 figures illustrating tools and various parts of the violin. An important and oft-cited work.

175.

Broadhouse, John. The Violin: Its Construction Practically Treated. London: Reeves, 1892. viii, 125pp. Inside title given as How to Make a Violin. A general study of violin construction. Discusses the parts of the violin, wood selection, tools, models, molds, varnish and polish, and accessories. Includes some illustrations. See also the author’s shorter book on the same subject, The Art of Fiddle-Making (London: Haynes, 1894).

176.

Riechers, August. Die Geige und ihr Bau. Göttingen: Wunder, 1893. 36pp. 6th ed. Berlin: Wunder, 1922. 44pp. E. The Violin and the Art of its Construction: A Treatise on the Stradivarius Violin. Göttingen: Wunder, 1895. 35pp.

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A brief treatise on violin construction based on the work of Stradivari. Largely provides practical advice, measurements, and information on materials. Includes fold-out diagrams. 177.

Hepworth, William. Mitteilungen fur Spieler, Besitzer, Handler und Verfertiger von Streichinstrumenten. Dresden: Seeling, 1895. 64pp. E. Hepworth, William. Information for Players, Owners, Dealers & Makers of Bow-Instruments, also for String Manufacturers. London: Reeves, 1899. 89pp. Offers practical advice on the construction and maintenance of the instruments of the violin family. Illustrated.

178.

Petherick, Horace. The Repairing and Restoration of Violins. London: Strad; New York: Scribner’s Sons, 1897. 199pp. 2d ed., 1915. R. (of 1897 ed.) London: Orpheus, 1998. 199pp. A practical guide to violin repair and restoration. Offers advice on fixing loose and cracked parts, applying and removing glue, and so on. Many diagrams.

179.

Broadley, Arthur. Adjusting and Repairing Violins, ‘Cellos, etc.: A Practical Handbook for all Players. London: Gill; New York: Scribner’s Sons, 1908. 84pp. A repair and maintenance manual. Provides instructions on fitting the bridge, adjusting the sound post, inserting the bass-bar, fixing cracked ribs, “grafting” a new neck, cleaning and restoring old instruments, varnishing, and inserting purfling. Illustrated.

180.

Greilsamer, Lucien. L’hygiène du violon, de l’alto, et du violoncelle. Paris: Delagrave, 1910. 124pp. 6th ed. Paris: Delgrave, 1924. E. The “Health” of the Violin: Practical Advice on the Acquisition, Maintenance, Adjustment, and Conservation of Bowed Instruments. Trans. Henry A. Strobel. Aumsville, OR: Strobel, 1991. 34pp. A guide to maintaining stringed instruments in good working order. Provides specific information on optimal measurements, string tension, and repairs, and has suggestions for those seeking to buy antique instruments. Includes a glossary and bibliography.

181.

Möckel, Otto. Die Kunst des Geigenbaues. Leipzig: Voigt, 1930. 389pp. 2d ed., ed. Fritz Winckel. Berlin: Voigt, 1954. xv, 332pp. 3d ed., ed. Fritz Winckel. Hamburg: Voigt, 1967. xxxii, 378pp. 6th ed., Voigt, 1984. xxxii, 378pp. A standard text on violin construction, largely aimed at makers and scholars. The most substantial of its 14 chapters provides a detailed guide to making a violin, with accompanying chapters on acoustics, tools, wood,

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strings, repair, and the bow. Includes 150 illustrations, 53 plates of violins, and a four-language glossary. The so-called 6th edition seems to be simply a reprint of the 3rd edition. 182.

Greilsamer, Lucien. “Aperçus nouveaux sur le réglage des instruments à archet.” Revue Musicale 13 (September–October 1932): 179–99. Offers suggestions on the proper adjustment of stringed instruments (esp. violins); draws on the work of the 19th-century scientist Félix Savart and refers often to the violins of Stradivari.

183.

Peluzzi, Euro. “Le Regole di Antonio Bagatella: Chiarimenti e commenti all memoria ‘Aunes te fidibus oblectare canoris.’” Rivista Musicale Italiana 47 (1943): 165–87. Discusses Bagatella’s treatise on the construction of stringed instruments {167}, with particular attention to Bagatella’s diagrams.

184.

Alton, Robert. Violin and Cello Building and Repairing. London: Cassell, 1950. 182pp. In two parts, the first and larger (pp. 1–132) devoted the violin, the second to the cello; 12 chapters cover topics including choosing wood, varnishing, stringing, repair, and bow making. 82 illustrations.

185.

Millant, Roger and Max Millant. Manuel pratique de lutherie. Paris: Larousse, 1952. R. Brussels: Les amis de la musique, 1979. 268pp. G. Praktisches Handbuch des Geigenbaus. Munich: Katzbichler, 1974. 116pp. A manual for violin makers. Thirty-four chapters in five parts cover construction, repair, the violin’s ancestors, the bow, and string manufacture. Includes 109 figures and a brief bibliography.

186.

Doerr, Ray. Violin Maker’s Handbook. Battle Creek, MI: author, 1985. 248pp. A practical guide to violin construction and repair; 37 chapters and several appendices address a wide variety of topics and issues.

187.

Strobel, Henry A. Useful Measurements for Violin Makers: A Reference for Shop Use. Aumsville, OR: author, 1988. 42pp. 3d ed., 1989. 46pp. Intended as a practical guide, this small book provides standard measurements of the various parts of the violin, viola, and cello. Also includes a 200-word French-German-Italian-English dictionary of luthier’s terms, illustrations, and a brief bibliography. This is just one of several practical guides to violin making by the author, others of which include Art & Method of the Violin Maker: Principles and Practices (Aumsville,

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OR: Author, 1993; 2d ed., 1994) and Violin Making, Step by Step (Aumsville, OR: Author, 1994). 188.

Johnson, Chris and Roy Courtnall. The Art of Violin Making. London: Robert Hale, 1999. 253pp. A three-part treatise on violin making based on the approach of the Newark School in England. Part One reviews the work of famous makers such as Amati and Stradivari and their modern counterparts; Part Two briefly describes the workshop, tools, and materials necessary for good violin making; Part Three (the bulk of the book) delineates the Newark School method, starting with the choice of molds and templates and concluding with instructions on varnish and fittings. Appendices provide a glossary, measurement conversion tables, and lists of suppliers, associations, and collections. Dozens of illustrations, many of them color photographs.

EXPERIMENTAL VIOLINS See also {29}, {45}, {57}, {150}, {151}. 189.

F. A. W. “Anmerkungen über die Violine und den Violinspieler.” 6 parts. Musikalische Real-Zeitung 1 (9 July 1788): 14–15; (16 July 1788): 17–18; (23 July 1788): 30–32; (30 July 1788): 37–39; (1 October 1788): 105–08; (8 October 1788): 113–16. Although this series of articles covers a variety of topics, of particular interest is the considerable attention given to unusual violins. The author discusses the gebundene Violin, a violin with a capo that raises the sounding pitch by a third and the englische Violet, a violin whose top two strings are tuned in octaves with the lower two strings, giving an effect similar to a viola d’amore. Elsewhere in the article the author, clearly an experienced player, offers advice on how to appraise instruments (based on the thickness and quality of wood, transparency of varnish, etc.) and on how to avoid falling victim to lazy or unskilled luthiers.

190.

Donovan, Dick. “The Stroh Violin.” Strand Magazine 23 (January 1902): 89–91. Describes the new instrument—a violin with its body replaced by a conical metal horn used for amplification purposes (typically in sound recording sessions)—and predicts a great future for it. Includes several photos of the instrument.

191.

Roehl, Harvey. “Player Violins.” In Player Piano Treasury. Vestal, NY: Vestal, [1961]. 2d ed. Vestal, NY: Vestal, [1973]. Chronicles the history of the self-playing violin in the early 20th century. Reprints period articles, advertisements, and diagrams.

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Hutchins, Carleen Maley. “Founding a Family of Fiddles.” Physics Today 20 (February 1967): 23–37. Discusses the development of a new violin family of eight instead of four instruments. This new octet is “constructed on principles of proper resonance for desired tone quality [and] represent[s] the first successful application of a consistent acoustical theory to a whole family of musical instruments.” Illustrated. Twenty-five years later, the author reported again on the violin octet in “A 30-year Experiment in the Acoustical and Musical Development of Violin-Family Instruments,” Journal of the Acoustical Society of America 92 (1992): 639–50. Both articles are reprinted in {68}. See also {195} and {198}.

193.

Pilling, Julian. “Fiddles with Horns.” Galpin Society Journal 28 (April 1975): 86–92. Explains the design and function of “Stroh” violins and other early-20thcentury stringed instruments that use horns for amplification.

194.

Buechner, Alan C. “William Sidney Mount’s ‘Cradle of Harmony’ A Unique 19th Century American Violin.” Journal of the Violin Society of America 3 (Spring 1977): 35–71. Discusses the “Cradle of Harmony,” an experimental violin designed by the American realist painter William Sidney Mount (1807–68) to be more audible at country dances than the traditional fiddle. Reproduces paintings and sketches by Mount.

195.

Catgut Acoustical Society. The Violin Octet. Montclair, NJ: Catgut Acoustical Society, 1981. 12pp. This pamphlet explains the history and science of the octet, a “consort of acoustically balanced instruments in graduated sizes and tunings” (1), ranging from the contrabass violin to the treble violin. Includes photographs, diagrams, measurements, and a list of works written or arranged for the octet. See also {192} and {198}.

196.

Jüttemann, Herbert. “Die mechanische Geige.” Das mechanische Musikinstrument 14 (August 1990): 5–10. Describes various attempts (two of them successful) to construct a selfplaying mechanical violin in the early years of the 20th century. Includes charts, diagrams, and technical drawings.

197.

Clements, Cary. “Augustus Stroh and the Famous Stroh Violin.” 2 parts. Experimental Musical Instruments 10 (June 1995): 8–15; 11 (September 1995): 38–39.

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Offers a historical account of the horned Stroh violin and its inventor. Includes five drawings. See also the author’s later articles on the Stroh: “Historical Patents for Horned Violins,” Experimental Musical Instruments 13 (December 1997) and “Extra, Extra—Stroh Violins Still Being Made,” Experimental Musical Instruments 14 (June 1999): 78–82. 198.

Laird, Paul R. “The Violin Octet: Its First Forty Years.” Catgut Acoustical Society Journal 3 (November 1997): 3–9. Reviews the origins and history of the violin octet, a set of eight acoustically matched instruments. See also {192} and {195}.

199.

Graesser, Hanno. Electric Violins: Design und Technik der elektrischen Streichinstrumente. Frankfurt am Main: Bochinsky, 1998. 199pp. A history of the design and performance of electric violins from the 1870s to the modern MIDI instruments. Includes a chapter by English violin maker Andy Holliman on violin amplification. Appendices provide technical data and names and addresses of manufacturers. Text in English and German. Illustrated.

200.

Yoo, Lilit and Ichiro Fujinaga. “Zeta Violin Techniques: Limitations and Applications.” Journal SEAMUS 13, no. 2 (1998): 12–15. Explains the capabilities and drawbacks of the ZETA electric violin.

201.

Trueman, Daniel Laurence. “Reinventing the Violin.” Ph.D. diss., Princeton University, 1999. x, 158pp. Largely a study of experimental violins. The second of two chapters considers a variety of electric violins and the third chapter explores the idea of a virtual violin—not an actual instrument but, rather, “a collection of data derived from the physical process of playing the violin” (104)— and explains the author’s own experimental violin, the BoSSA, or BowedSensor-Speaker-Array. The first chapter is not on experimental violins, but offers a “critical inquiry into the features of various violins that have made them unique, irreplaceable, and immensely popular” (iii), and includes a discussion of Corelli’s use of the violin in the third of the Op. 5 violin sonatas (pp. 12–28).

STUDIES

BY

REGION

Argentina 202.

Saravi, Pablo Alejandro. Italian Violin Making In Argentina. Cremona: Blot, 2002. 137pp.

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A study of Italian violin makers who immigrated to Argentina. Provides a historical introduction and entries (with accompanying instrument photos) on 42 individual makers. Text in English and Italian. Austria See also {249}. 203.

Jalovec, Karel. German and Austrian Violin Makers. Trans. George Theiner. Ed. Patrick Hanks. London: Hamlyn, 1967. 439pp. An encyclopedia of German and Austrian violin makers, with brief alphabetically arranged entries on dozens of makers. Lists more than 4,000 makers and provides several hundred photographs of violins and labels. Originally in Czech.

204.

Maunder, Richard. “Viennese Stringed Instrument Makers, 1700–1800.” Galpin Society Journal 52 (April 1999): 27–51. Surveys the makers of strings and stringed instruments in 18th-century Vienna. Largely an annotated list of known makers.

Belgium See {250}. Czech Republic and Slovakia 205.

Jalovec, Karel. Böhmische Geigenbauer. Prague: Artia, 1959. 159pp. E. The Violin Makers of Bohemia. London: Anglo-Italian Publications, 1965. 128pp. An encyclopedia of the violin makers of what is now the Czech Republic and Slovakia, with brief entries on dozens of luthiers. A large unpaginated set of appendices (c. 200 pages) provides photographs of 319 instruments and 622 labels and drawings of 16 instruments.

Denmark 206.

Hjorth, Arne. Danish Violins and Their Makers. Copenhagen: Hjorth & Sønner, 1963. 45pp. Profiles 36 Danish violin makers; numerous photographs of violins and labels.

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France See also {404}, {470}. 207.

Jacquot, Albert. La lutherie lorraine et francaise depuis ses origines jusqu’a nos jours, d’apres les archives locales. Paris: Fischbacher, 1912. xxix, 357pp. R. Geneva: Minkoff, 1985. xxix, 357pp. Provides brief entries on more than a thousand French violin makers and about a hundred bow makers; gives particular attention to the Lorraine region (especially the violin-making center of Mirecourt). An introductory section on violin making precedes the entries. Illustrated.

208.

Milliot, Sylvette. Documents inedits sur les luthiers parisiens du XVIIIe siècle. Paris: Société française de musicologie, 1970. 237pp. Presents a trove of information of 18th-century Parisian luthiers based on unpublished and little known primary sources. An introduction addresses the challenges of studying the lutherie of this era and discusses two 18thcentury schools: one surrounding Claude Pierray and Jacques Bocquay and the other led by Louis Guersan and Salomon. Part One of the volume gives brief biographies of the violin makers. Part Two lists the values of the instruments and other merchandise left by these makers on their deaths. Includes eight photographic plates and a bibliography.

209.

Claudel, Jean-Paul. Le violon et Mirecourt. Épinal: Éditions du Sapin d’or, 1974. 79pp. A brief history of the violin-making tradition based in Mirecourt, France, from the 1500s to the late 1900s. Illustrations.

210.

Gaugue, Aime. “La Lutherie at Mirecourt.” Trans. Renè Morel. Journal of the Violin Society of America 3 (Summer 1977): 68–79. Recounts the history of Mirecourt, a French center of violin making since the mid-16th century.

Germany See also {152}, {203}, {249}, {269}. 211.

Petong, Richard. “The Arts and Crafts-Book of the Worshipful Guild of Violin-Makers of Markneukirchen.” Trans. and ed. Edward and Marianna Heron-Allen. 9 parts. Violin Times 1 (1893–94): 6–7, 22–23, 37–39, 55, 87, 102, 118–19, 135, 151. R. London: Nichols, 1894. 55p. Journal of the Violin Society of America 2, no. 2 (Spring 1976): 48–55; 2, no. 3 (Summer 1976): 49–54; 3, no. 1 (Winter 1977): 46–57; 3, no. 2 (Spring 1977): 111–18.

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A history of the German violin-making guild in Markneukirchen; largely a census of guild members from its founding in 1677 to 1722. 212.

Hamma, Fridolin. Meister deutscher Geigenbaukunst. Stuttgart: Schuler, 1948. 70pp. E. German Violin Makers. Trans. Walter Stewart. London: Reeves, 1961. xi, 49pp. Lists more than 500 German violin makers throughout the ages with brief entries providing dates, region, instrument photographs, and occasional commentary. Arranged alphabetically.

213.

Bletschacher, Richard. Die Lauten- und Geigenmacher des Füssender Landes. Hofheim am Taunus: Hofmeister, 1978. 239pp. A history of lute and violin making in the Füssen area in southern Germany. Lavishly illustrated with photographs and illustrations; includes a register of known Füssen luthiers.

214.

Hamma, Walter. Geigenbauer der deutschen Schule des 17. bis 19. Jahrhunderts. 2 vols. Tutzing: Schneider, 1986. 519pp; 591pp. 2d ed. Tutzing: Schneider, 1992. A study of 128 violin makers from the German school, circa 1600–1900. Entries include brief remarks on the makers and their work, and provide photographs and measurements of one or more of their instruments. Text is in German, English, and French.

215.

Moens, Karel. “Der frühe Geigenbau in Süddeutschland.” In Studia Organologica: Festschrift für John Henry van der Meer zu seinem fünfundsechzigsten Geburtstag, ed. Friedemann Hellwig, 349–88. Tutzing: Schneider, 1987. Investigates the South German tradition of violin making in the 16th and 17th centuries. Argues that South German violin making was not based on the work of nearby Italian makers but constituted its own tradition, indigenous to the area. Draws on iconographic and archival sources.

216.

Drescher, Thomas. “Geigenbau im 17. Jahrhundert.” In Heinrich Franz Biber: Musik und Kultur im hochbarocken Salzburg, Petrus Eder and Ernst Hintermaier, eds., 75–81. Salzburg: Selke, 1994. Provides a brief survey of violin makers and violin making in 17th-century Germany. Includes a bibliography.

217.

Baumgartner, Roland. “Violin Making in Germany: A General Overview.” Journal of the Violin Society of America 14, no. 1 (1995): 23–43. Surveys violin making in Germany, with brief sections devoted to the luthiers of 21 different centers, from Hamburg and Berlin in the north, to

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Bratislava and Budapest in the east, to Absam and Venice in the south. (The author takes an expansive view of what constitutes Germany.) Illustrations. 218.

Michels, Egmont. Die Mainzer Geigenbauer. Hofheim: Hofmeister, 1995. 353pp. A study of violin making in Mainz, Germany, an important center of activity in the 18th century. Provides biographies of individual makers and detailed descriptions and hundreds of photographs of more than 100 instruments.

219.

Knesch, Matthias. Meister und Schüler des Geigenbaues im Deutschsprachigen Raum. Frankfurt: Bochinsky, 1997. 204pp. Provides genealogical tables to establish the master-student relationships of several hundred violin makers from German-speaking countries, covering the beginnings of the art to the late 20th century.

Great Britain See also {41}, {104}, {147}, {152}, {188}, {383}, {395}. 220.

Morris, W. Meredith. British Violin Makers: Classical and Modern. London: Chatto & Windus, 1904. xii, 248pp. 2d ed. London: Robert Scott, 1920. xii, 318pp. Provides a detailed discussion of the classical and modern schools of violin making in Britain, based on the author’s firsthand experience. Speculates on the secret of the Stradivarius tone and includes a dictionary of violin and bow makers as well as pictures and facsimiles of various luthier’s labels.

221.

Alburger, Mary Anne, ed. The Violin Makers: Portrait of a Living Craft. London: Gollancz, 1978. 240pp. Profiles a cross-section of contemporary British violin makers (as well as a bow maker, restorer, and connoisseur), based largely on extensive discussions with the author.

222.

Harvey, Brian W. The Violin Family and its Makers in the British Isles: An Illustrated History and Directory. Oxford: Clarendon, 1995. xv, 432pp. Chronicles and describes the lives, methods, and instruments of Britain’s violin makers from the 17th century to the 20th, seeking to situate their work in the musical, social, and economic contexts of the times. Also includes chapters on dealers, collectors, connoisseurs, copyists, and scholars. An extensive appendix provides a directory of British violin and bow makers. Illustrated with 110 plates.

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Dilworth, John. “Violin Making in England in the Time of Purcell.” In Performing the Music of Henry Purcell, ed. Michael Burden, 39–48. Oxford: Oxford University Press, 1996. Surveys the state of lutherie in the second half of the 17th century, particularly in England, claiming that “English violin making dragged itself from the dark ages to the renaissance during the short lifetime of Purcell” (48).

224.

The British Violin: Historical Aspects of Violin and Bow Making in the British Isles. Oxford: British Violin Making Association, 1999. 51pp. Proceedings of a symposium. Includes the following articles: Mary Anne Alburger, “Scottish Violin Making: Myth and Reality”; Peter Holman, “The Violin in Tudor and Stuart England”; Philip Kass, “British Bow Makers”; Brenda Neece, “The National Register and Database of Musical Instruments”; and John Topham, “Tree Ring Analysis Applied to English Instruments.” Illustrated.

Hungary 225.

Erdélyi, Sándor. Magyarországi Hegedús Kincsek. Budapest: Dreskult, 1996. viii, 277pp. Surveys the history of Hungarian violin making. The majority of the text is in Hungarian, but two chapters are English: “The Notable Days of the Hungarian Violin’s History” and “Historical Literature on Violin Making in Hungary.” Includes many illustrations and an extensive bibliography. A separately paginated section (198pp.) is bound with this book and consists largely of photographs of instruments and labels, and a directory of violin makers.

Italy General See also {202}. 226.

Gallay, Jules. Les luthiers italiens aux XVIIe et XVIIIe siècles. Paris: Académie des Bibliophiles, 1869. xiv, vii, 260pp. A study of Italian violin making. After a brief introduction follows a reprint of l’Abbé Sibire’s 1806 short book La chélonomie {168}. The final hundred or so pages consists of essays on, among other things, Nicolas Lupot and other French makers, the wood used by Stradivari and colleagues, and the introduction of Italian instruments into France, as well as appendices listing celebrated makers and collections. Illustrated.

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Niederheitmann, Friedrich. Cremona: Eine Charackteristik der italienischen Geigenbauer und ihrer Instrumenten. Leipzig: Merseburger, 1877. viii, 68pp. 3d ed. Leipzig: Merseburger, 1897. viii, 104pp. 4th ed. Leipzig: Merseburger, 1909. xxxii, 156pp. 8th ed., ed. Albert Berr. Frankfurt: Hofmeister, 1956. 125pp. E. Cremona: An Account of the Italian Violinmakers and their Instruments. Trans. W. H. Quarrell. London: Cocks, 1894. xvi, 96pp. R. Buren: Knuf, 1986. xvi, 96pp. A study of Italian lutherie and luthiers. Includes essays on the origins of the violin, the important schools of Italian violin making, the collector Luigi Tarisio, labels and forgeries, and varnish, followed by an alphabetical list of Italian makers with comments on their work.

228.

Jalovec, Karel. Italian Violin Makers. London: Anglo-Italian, 1957. 440pp. 2d ed. London: Paul Hamlyn, 1964. 445pp. G. Italienische Geigenbauer. Trans. B. Wiener. Prague: Artia, 1957. 446pp. An encyclopedia of Italian luthiers. Entries, arranged alphabetically by maker (Alessandro Abbate to Vittorio Zuzzi), are typically just a few lines long, although the master luthiers (Stradivari et al.) are given much more space. Includes photographs of more than 400 instruments (including violas, cellos, and basses), many labels, and 32 detailed line drawings of selected instruments (with measurements). The entries are preceded by an essay “On the Evaluation of Stringed Instruments” by J. B. Kozák and a brief introductory essay by Jalovec.

229.

Jalovec, Karel. Beautiful Italian Violins. Trans. J. B. Kozak. London: Hamlyn, 1963. 111pp. A survey of Italian violin making of the 17th and 18th centuries. Includes chapters on varnish, on the earliest violin makers, and on the various schools of lutherie. Forty-five classic violins are shown in front, back, and side view photographs. Originally in Czech.

230.

Azzolina, Umberto. Liuteria Italiana dell ‘ottocento e del novecento. Milan: Ceschina, 1964. 64, [105]pp. 2d ed. Itlalian and English text. Trans. Dawne Haddad and Ethene Zinn. Cremona: Turris, 1989. 64, [105]pp. A study of 19th- and 20th-century Italian lutherie. The volume is dominated by an unpaginated appendix with color photographs of more than 100 violins, violas, and cellos by a variety of makers, among them Giuseppe and Enrico Ceruti, Andrea Postacchini, Giovan Francesco Pressenda, and Giuseppe Rocca. The main text consists of a brief introduction, a chapter on the characteristics of 19th- and 20th-century Italian stringed instrument making, and profiles of various regional schools.

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Hamma, Walter. Meister italienischer Geigenbaukunst. Stuttgart: Schuler, 1965. 728pp. 3d ed. Munich: Schuler, 1971. 727pp. 5th ed. Herrsching am Ammersee: Schuler, 1978. 727pp. 8th ed. Wilhelmshaven: Noetzel, 1993. 804pp. An encyclopedia of master Italian violin makers, largely from the 17th, 18th, and 19th centuries. Arranged alphabetically by maker (Ferdinando Alberti to Joannes Baptista Zanoli); each entry has a brief introduction to the maker and several photographs of instruments. This is a reconstruction and expansion of Meisterwerke italienischer Geigenbaukunst (Stuttgart: Hamma, 1931) by Fridolin Hamma, the author’s father.

232.

Peluzzi, Euro. Tecnica costruttiva degli antichi liutai italiani. Florence: Olschki, 1978. vii, 425pp. A study of early Italian lutherie. In two parts—theoretical and practical. Part One includes chapters on the inventor of the violin (see also Peluzzi’s article on the subject, {159}), the work of Antonio Bagatella {167}, and on the acoustics and physics of the violin. Part Two explores and speculates on the techniques used by the Italian makers. 150 illustrations.

233.

Nicolini, Gualtiero. Liutai italiani di ieri e di oggi. 2 vols. Cremona: Stradivari, 1982–83. 120pp. An encyclopedia of Italian violin makers from the 16th century to the 20th century with brief alphabetically arranged entries. Well illustrated.

234.

Azzolina, Umberto. Liuteria Italiana Inedita. Cremona: Turris, 1991. 351pp. A survey of Italian violin making from the beginning of the art to the late 20th century, with a specific focus on little-known or unknown instruments and makers; chapters organized by region (Cremona, Venice, Milan, etc.). Lavishly illustrated with 152 plates. Text in Italian and English.

235.

Blot, Eric. Un secolo di liuteria italiana, 1860–1960. 4 vols. Cremona: Turris, 1994 (vol. 1), Blot (reprint of vol. 1, vols. 2–4), 264pp.; 336pp.; 216pp.; 416pp. A comprehensive survey of modern Italian violin making. Organized by region, with entries on particular luthiers and their instruments. Volume 1 covers the Emilia Romagna region; Volume 2, Lombardy and Veneto; Volume 3, Liguria; Volume 4, Piedmont. [A fifth volume, covering Naples, is forthcoming.] Meticulously documented and researched. In parallel English and Italian text.

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Bologna See {235}. Brescia See also {152}, {269}, {294}, {296}, {319}. The following two pamphlets were unavaible for examination. 236.

Berenzi, Angelo. Gli artefici liutai Bresciani. Brescia: Apollonio, 1890. 32pp.

237.

Lozzi, Carlo. I liutai bresciani e l’invenzione del violino. Milan: Ricordi, 1891. 27pp.

Cremona See also {152}, {235}, {269}, {274}, {276}. 238.

Nicolini, Gualtiero. Quarant'anni di storia della Scuola internazionale di liuteria di Cremona. Cremona: Stradivari, 1979. 159pp. E. The International School of Cremona: Two Score Years of Violin Making. Trans. Helen Palmer. Cremona: Stradivari, 1979. 159pp. Chronicles the first 40 years of the International Violin Making School, which was established in Cremona in 1938. Includes a list of graduates and many photographs of instruments and their makers.

239.

Hargrave, Roger. “The Method of Construction Used by Cremonese Makers, Circa 1550–1750.” Journal of the Violin Society of America 10, no. 1 (1989): 33–108. Describes the working methods of Baroque violin makers, including Antonio Stradivari and members of the Guarneri and Guadagnini families. The author claims that by renouncing modern methods (and even electricity), he has seen an increase in his productivity as a violin maker. Often very detailed, with dozens of accompanying photographs and illustrations. This is a transcript of a public lecture, and includes the subsequent question and answer session.

240.

Santoro, Elia. Violinari e violini: gli Amati e i Guarneri a Cremona tra Rinascimento e Barocco. Cremona: Sanlorenzo, 1989. 255pp. A study of early Cremonese violin making, with particular attention given to the Amati and Guarneri families. Many illustrations.

241.

Santoro, Elia. Oltre Stradivari: la liuteria classica cremonese attraverso Guarneri, Bergonzi, e Ceruti. Cremona: Turris, 1991. 173pp.

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Explores the contributions of the Cremonese school of violin making in the 18th and 19th centuries, with particular focus on members of the Guarneri, Bergonzi, and Ceruti families. Numerous illustrations. In Italian with English chapter summaries by Lyn Hungerford. 242.

Spotti, Giancarlo. Liuteria cremonese contemporanea: 47 liutai in vetrina. Cremona: Turris, 1994. 231pp. A lavishly illustrated study of late-20th-century Cremonese lutherie. Provides brief chapters on 47 makers, with photographs and measurements of representative instruments. In Italian and English.

243.

Nicolini, Gualtiero. I Liutai di Cremona: Il Novecento. Cremona: Stradivari, 1998. 243pp. A survey of 20th-century Cremonese lutherie. Includes brief entries on dozens of makers of various nationalities working in Cremona and many photos of instruments and makers.

Lombardy See also {235}. 244.

Chiesa, Carlo. “Violin Making and Makers of the Contrada Larga in Milan.” Trans. Duane Rosengard. Journal of the Violin Society of America 14, no. 3 (1996): 3–41. A study of violin making in 17th- and 18th-century Milan, in particular of the many makers whose shops lined the street known as Contrada Larga. Discusses, among others, the Grancino, Pasta, Compostano, and Testore families. Includes family trees, maps, and a chronology.

245.

Kass, Philip J. “Stringed Instruments of the Milanese Lituai of the Contrada Larga.” Journal of the Violin Society of America 14, no. 3 (1996): 43–102. A companion to Carlo Chiesa’s article on the subject {244}; provides photos of 21 instruments made by the makers Chiesa discusses. Includes a brief introduction and discussion of the labels of the Milanese makers.

246.

Codazzi, Roberto and Cinzia Manfredini, eds. La liuteria lombarda del ‘900. Milan: Silvana, 2002. 191pp. Surveys violin making in 20th-century Lombardy. A collection of short essays by several authors on the subject is followed by a catalog of instruments by various makers (with color photographs of dozens of instruments).

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Turin See {269}. 247.

Kass, Philip J. “Violin Making in Turin: 1800–1870.” Journal of the Violin Society of America 17, no. 3 (2001): 27–56. Chronicles the development of violin making in 19th-century Turin where, the author argues, the art underwent a profound change, more so than elsewhere in Italy. Considers the work of several luthiers, but particularly focuses on Giovanni Francesco Pressenda.

Tuscany 248.

Borsó, Pietro. La liuteria e la scuola del violino in Toscana. Pisa: PaciniMariotti, 1930. 77pp. R. Cremona: Editrice Turris, 1994. 77pp. A brief study of violin making in Tuscany in the early part of the 20th century.

Venice See {164}, {234}. 249.

Greither, Aloys. Geigen und andere Streichinstrumente des 18. Jahrhunderts aus Venedig. Hanau: Dausien, 1987. 271pp. A broad study of 18th-century Venetian stringed-instrument making. The main part of the book is devoted to the best-known Venetian luthiers, including Matteo Gofriller (c. 1659–1742), Pietro Guarneri (1695–1762), Domenico Montagnana (c. 1687–1750), and the Serafin, Deconetti, and Tononi families. Also discusses the origins of violin making in Venice (including nearby parts of Germany and Austria), iconography, and Mozart’s Jacob Stainer violin (the author argues that the Tyrolean Stainer should really be considered a member of the Venetian school). Illustrated.

The Netherlands 250.

Möller, Max. The Violin-Makers of the Low Countries. Amsterdam: author, 1955. 165pp. The bulk of this book (pp. 23–129) is given over to photographs of violins, violas, and cellos made in the Netherlands and Belgium. A brief introduction gives a century-by-century sketch of violin making in the Low Countries, from the strong influence of Italian and then French lutherie in the 17th and 18th centuries to its decline in the 19th and 20th centuries. An alphabetical register of violin makers and a four-language glossary complete the volume.

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Spain 251.

Pinto Comas, Ramón. Los Luthiers Españoles. Barcelona: author, 1988. 352pp. A study of Spanish lutherie. An introductory chapter provides an overview, with discussion of 17th-century Spanish violin repertoire, the function of the violin in Spanish musical life, and iconographic matters. The body of the work is devoted to biographies of 40 different makers. Includes 86 color plates of 17th–20th century stringed instruments. Text in Spanish, French, and English.

Switzerland 252.

Boltshauser, Hans. Die Geigenbauer der Schweiz. Degersheim: Haelg, 1969. 142pp. A directory of Swiss violin makers arranged alphabetically by maker (Amrein to Züst). Includes photographs of instruments and labels. Largely supersedes the author’s earlier Geschichte der Geigenbaukunst in der Schweiz (Leipzig: Carl Merseburger, 1923).

253.

Adelmann, Olga. Die alemannische Schule: archaischer Geigenbau des 17. Jahrhunderts im südlichen Schwarzwald und in der Schweiz. Berlin: Staatliches Institut für Musikforschung, 1990. 136pp. Rev. and enl. by Olga Adelmann and Annette Otterstedt as Die alemannische Schule: Geigenbau des 17. Jahrhunderts im südlichen Schwarzwald und in der Schweiz. Berlin: Staatliches Institut für Musikforschung, 1997. 203pp. Surveys the 17th-century Alemanic School of violin making of southwestern Germany and northern Switzerland. Includes chapters on wood, the bow, varnish, decorative inlay, as well as detailed descriptions of 23 historical instruments. The second edition adds chapters by Annette Otterstedt on historical context and performance practice as well as numerous illustrations. For further articles by the authors on the Alemanic School, see Adelmann, “Die Entdeckung der Alemannischen Schule,” and Otterstedt, “Die Bedeutung der Entdeckung der Alemannischen Schule für die Praxis” in Jahrbuch des Staatlichen Institut für Musikforschung [2000], 277–88 and 259–76, as well as Otterstedt’s “What Old Fiddles Can Teach Us …” Galpin Society Journal 52 (April 1999): 219–42.

United States See also {31}, {194}, {399}. 254.

“Violin-Making in America.” Violin World 7 (August 1899): 49–50.

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Sketches the state of American lutherie at the turn of the 20th century, boasting that “America has distinctly triumphed in the matter of violin construction” (50). 255.

“American Violin Makers.” Violinist 26 (February 1920): 65–102. A directory of makers, dealers, repairers, importers, and others in related fields active in the United States as of 1920. An updated directory is included in Violinist 33 (August 1923).

256.

Wenberg, Thomas. The Violin Makers of the United States. Mount Hood, OR: Mount Hood, 1986. x, 399pp. A compilation of short biographies in alphabetical order of “the people who made violins or have been influential in the development of violin making in the United States” (vii). Numerous photographs of violins, bows, and labels.

257.

Kuronen, Darcy. “Early Violin Making in New England.” Journal of the American Musical Instrument Society 28 (2002): 5–62. Discusses the lives and works of New England violin makers active before the middle of the 19th century, notably George Catlin, Benjamin Crehore, and Abraham Prescott. Observes a change from a derivative European style to a distinctively American one. Includes photographs of some of the luthiers and their instruments.

VIOLIN MAKERS COLLECTIVE STUDIES

AND

REFERENCE

See also {38}, and entries under Studies by Region {202–69} for directories and encyclopedias of violin makers of particular areas. 258.

Hart, George. The Violin: Its Famous Makers and Their Imitators. London: Dulau, 1875. xiv, 352pp. London: Dulau, 1880. vi, 310pp. Rev. ed. London: Dulau, 1885. xi, 499pp. Rev. ed. London: Dulau, 1909. xxxii, 526pp. F. Le violon, ses luthiers célèbre et leurs imitateurs. Trans. Alphonse Royer. Paris: Schott, 1886. viii, 415pp. R. (of 1885 ed.) New York: AMS, 1978. [Many other reprints and editions.] In the late 19th and early 20th centuries, this was probably the best-known and most widely circulated history of the violin in English. After two brief chapters on the construction and early history of the violin, the next 10 chapters are devoted to the Italian, French, English, German, and Dutch schools of violin making and their makers. (The Italian section also includes chapters on varnish and string manufacture.) The final three

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chapters discuss famous violin owners and dealers, profile famous violinists, and offer a collection of violin-related anecdotes. Includes several engravings of famous violins. 259.

Lütgendorff, Willibald. Die Geigen und Lauten-Macher vom mittelalter bis zur gegenwart. Frankfurt: Keller, 1904. xx, 812, 12pp. (addendum). 5th and 6th eds. Frankfurt: Frankfurter verlags-anstalt, 1922. 2 vols. 670pp.; 420pp. “Supplemental volume” by Thomas Drescher. Tutzing: Schneider, 1990. xxxi, 948pp. An encyclopedia of luthiers since medieval times. Brief entries are alphabetically arranged. Hundreds of illustrations and photographs. The first volume of the 1922 edition provides an extensive overview of violin making arranged by region. The supplemental volume compiled by Thomas Drescher after Lütgendorff’s death offers new entries on more recent luthiers and expanded entries of other makers, reproductions of more than 1,400 labels from 20th-century instruments, and a substantial bibliography. A standard reference work.

260.

Clarke, A. Mason. The Violin and Old Violin Makers. London: Reeves, 1910. iv, 120pp. R. St. Clair Shores, MI: Scholarly, 1979. iv, 120pp. A historical sketch of various schools of violin making; discusses the life and work of several makers.

261.

Bauer, Heinrich. Practical History of the Violin. New York: Bauer, 1911. 36pp. A listing of 1,200 violin makers, with illustrations of 778 labels.

262.

Poidras, Henri. Dictionnaire des luthiers anciens et modernes. 2 vols. Rouen: Imprimerie de la Vicomté, 1924. xiv, 240pp.; xvi, 280pp. E. Critical and Documentary Dictionary of Violin Makers Old and New. Trans. Arnold Sewell. 2 vols. Rouen: Imprimerie de la Vicomté, 1928, 1930. xiii, 290pp.; xvi, 296pp. R. St. Clair Shores, MI: Scholarly, 1978. xiii, 290pp. Briefly profiles more than 2,000 violin makers; organized by region (the Italian school, the English school, etc.). Includes dozens of pages of plates.

263.

Vannes, René. Essai d’un Dictionnaire Universel des Luthiers. Paris: Fischbacher, 1932. xiii, 430pp. 2d ed. Dictionnaire Universel des Luthiers. Brussels: Les Amis de la Musique, 1951. xxi, 408pp. 3d ed. Dictionnaire Universel des Luthiers. Spa, Belgium: Les Amis de la Musique, 1999. 907pp. Provides brief profiles of hundreds of luthiers throughout history. Entries include biographical information, names of teachers and students, prices of instruments, and instrument measurements. An unpaginated section

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follows with reproductions of thousands of makers’ labels. One of the most comprehensive guides of its kind. 264.

Fairfield, John H. Known Violin Makers. [New York: Bradford], 1942. xiv, 192pp. 6th ed. Richmond, VA: Virtuoso, 1999. xiv, 255pp. Lists violin makers, with entries providing birth and death dates, location, and brief descriptive entries of their work with general estimates on the value of their instruments. Includes essays by the author on the care and selection of instruments.

265.

Henley, William. Universal Dictionary of Violin and Bow Makers. Ed. Cyril Woodcock. 5 vols. Brighton, England: Amati, 1959–60. Each vol. 256pp. R. (in one vol.) Tunbridge Wells, England: Amati, 1997. 1270pp. A massive annotated list of known makers, arranged alphabetically. Most entries are very brief, though important figures receive more in-depth treatment. No plates or illustrations. A standard reference work.

266.

Woodcock, Cyril. Dictionary of Contemporary Violin and Bow Makers. Sussex: Amati, 1965. 96pp. An annotated, alphabetical list of contemporary makers. More than half of the book is given over to 132 black and white plates. Serves as vol. 6 of Henley’s Universal Dictionary {265}.

267.

Jalovec, Karel. Encyclopedia of Violin Makers. Trans. J. B. Kozak. 2 vols. London: Paul Hamlyn, 1968. 471pp.; 399pp. Provides brief alphabetically arranged entries on hundreds on violin makers. Preceding the encyclopedia proper are chapters on violin-making tools and the parts of the violin and a glossary of stringed instruments of the world. Numerous illustrations and photographs. An authoritative source. Originally in Czech.

268.

Henley, William and Cyril Woodcock. Universal Dictionary of Violin and Bow Makers: Price Guide and Appendix. Brighton, England: Amati, 1969. 101pp. Lists sale prices of violins of various makers. Includes 16 plates of wellknown violins. Serves as vol. 7 of Henley’s Universal Dictionary {265}.

269.

Alte Meistergeigen. 6 vols. Frankfurt: Das Musikinstrument, 1977–82. 211pp.; 226pp.; 418pp.; 404pp.; 254pp.; 235pp. Eight volumes (bound as six), each focusing on a different school or maker from the 17th to the 20th century. Each volume profiles selected instruments (mostly violins, but also violas and cellos), providing photographs (many under ultraviolet light) and detailed measurements and descriptions. Brief

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articles, some with English and French translations of the German, preface each volume. Volumes: 1, “The Venetian School”; 2, “The Milanese, Florentine, and Genovese Schools”; 3, “The Cremonese School” (excluding Stradivari); 4, “Antonius Stradivarius”; 5, “The Neapolitan School”; 6, “Schools of Rome, Livorno, Verona, Ferrara, Brescia, and Mantua”; 7, “The Violin Makers of the Guadagnini Family and the Turin School”; 8, “The French School and German Masters.” A valuable resource. INDIVIDUAL MAKERS

AND

FAMILIES

Amati Family See also {1}, {2}, {48}, {165}, {167}, {188}, {240}, {258–65}, {267–69}, {302}, {409}, {422}, {1419}. Andrea Amati (before 1511–1577), Antonio Amati (c. 1540–1607), Girolamo (Hieronymous) Amati (c. 1561–1630), Nicolò Amati (1596–1684), Girolamo (Hieronymous II) Amati (1649–1740) 270.

Bonetti, Carlo, Agostino Cavalcabò, and Ugo Gualazzini. Genealogia degli Amati liutai e il primato della scuola liutistica cremonese. Cremona: Pressa la R. Deputazione di Storia Patria, 1938. 62pp. E. A Genealogy of the Amati Family of Violin Makers, 1500–1740. Ed. Daniel Draley. Trans. Gertrud Graubart Champe. Iowa City, IA: Maecenas, 1989. xvi, 149pp. A documentary history, based on copious primary sources, of the Amati family of Cremona. Sets out to correct long-standing misconceptions. The English translation includes a facsimile of the original, several photographs of Amati instruments, and a useful introduction that assesses the importance and deficiencies of the main text.

271.

Doring, Ernest N. “The Amati Family.” 4 parts. Violins and Violinists 4 (January 1942): 47–52; (February 1942): 92–97; (April 1942): 152–55; (May–June 1942): 183–91. Discusses the careers and instruments of the famed family of luthiers. Includes photographs of several instruments.

272.

“A Grand Pattern Nicolo Amati.” Strad 73 (October 1963): 198–99. Profiles the Cremonese luthier; includes a description and photographs of a circa 1690 Amati violin.

273.

Witten, Laurence. “The Surviving Instruments of Andrea Amati.” Early Music 10 (October 1982): 487–94. Largely a list and description of surviving Amatis; also discusses the origin of the violin and regional differences among early instruments.

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Kass, Philip J. “The Stati d’Anime of S. Faustino in Cremona: Tracing the Amati Family, 1641 to 1686.” Journal of the Violin Society of America 12, no. 1 (1992): 3–85. Draws on the records of the annual census of members (the “Stati d’Anime”) kept by the San Faustino church in Cremona, to which the Amati family belonged, for biographical information on the illustrious family of luthiers. After discussing the church and the Amati house, the article reports and comments on the Amati census returns from between 1641 and 1686. Includes many photographs of Amati violins.

275.

Chiesa, Carlo and Philip J. Kass. “Survival of the Fittest.” Strad 107 (December 1996): 1296–1303. Traces the history of the Amati family, with particular attention to Nicolò, the most highly regarded member of the family.

276.

Chiesa, Carlo and Philip J. Kass. “Crowded Out.” Strad 110 (October 1999): 1044–47. Profiles Girolamo Amati (also known as Hieronymous II), the eldest son of Nicolò, on the 350th anniversary of his birth. Discusses his troubled personal life and the competitive violin-making business in Cremona.

Benjamin Banks (1727–95) See also {1}, {147}, {220}, {222}, {265}. 277.

“Benjamin Banks.” Strad 81 (May 1970): 6–7. A brief article on one of England’s greatest violin makers, one of the first to abandon the Stainer model for Amati. Includes photographs of Banks’s work.

278.

Cooper, Albert W. Benjamin Banks, 1727–1795: The Salisbury Violin Maker. Fernhurst, England: Ashford, 1989. 168pp. A study of the life and work of the English violin maker. The first two parts of the book chronicle his life and career, with many illustrations and facsimiles of documents (a marriage certificate, advertisements, etc.). The bulk of the book is given over to photographs of his instruments, with accompanying discussion of Banks’s labels, brands, varnish, and materials.

Bergonzi Family See also {1}, {2}, {241}, {259}, {263}, {265}, {281}, {284}, {383}. Carlo Bergonzi (1683–1747), Michele Angelo Bergonzi (1721–58), Nicola Bergonzi (1754–1832)

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“Michele Angelo Bergonzi.” Strad 71 (October 1960): 198–99. Profiles the Italian luthier and son of the celebrated Carlo Bergonzi; describes and provides photographs of a 1756 M. A. Bergonzi violin.

280.

“Carlo Bergonzi.” Strad 72 (August 1961): 118–19, 133. Profiles the Cremonese luthier; includes a description and photographs of a 1733 Bergonzi violin, then known as the “ex-Brooks.” Bergonzi’s 1732 violin, the “Tarisio,” is described in Strad 75 (June 1964), a 1736 Bergonzi is discussed in Strad 77 (November 1966), and the 1731 “Constable” in Strad 80 (May 1969).

Gaspar Borbon (c. 1632–1710) 281.

Strick, Jan. “Flanders Finesse.” Strad 107 (August 1996): 782–86. Discusses the Flemish school of violin making, emphasizing the work of Gaspar Borbon.

Chiaffredo [Gioffredo] Cappa (1644–1717) See also {1}, {157}, {265}. 282.

“Giofredo Cappa.” Strad 73 (June 1962): 46–47. Profiles the Italian luthier; includes a description and photographs of a circa 1680 Cappa violin.

Ceruti Family See also {1}, {230}, {235}, {241}. Giovanni Battista Ceruti (1755–1817), Giuseppe Ceruti (1785–1860), Enrico (Riccardo Fabio) Ceruti (1806–83) 283.

“Giovanni Battista Ceruti.” Strad 73 (March 1964): 398–99. Profiles the patriarch of the Ceruti family of Italian violin makers; includes a description and photographs of an 1811 Ceruti violin.

284.

Rosengard, Duane. “The Ceruti Family of Violin Makers.” Journal of the Violin Society of America 12, no. 3 (1993): 35–68. Chronicles the history of three generations (c. 1790–1880) of the Cremonese violin-making family. Includes photographs of several Ceruti instruments. Begins with an addendum to his article on the Bergonzi and Storioni families {338}, with newly discovered information on the birth and death dates of some of the families’ members.

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Chanot-Chardon Family See also {1}, {263}. 285.

Milliot, Sylvette. La famille Chanot-Chardon. Spa: Les Amis de la Musique, 1994. 254pp. Chronicles the lives and careers of the Chanot-Chardon family of violin makers, restorers, and dealers, who were active in Paris in the 19th and 20th centuries. The first four chapters tell the story of the several generations of Chanots and Chardons, drawing extensively on the private family archive to which the author was granted access. The final chapter is devoted to the family’s instruments and bows, and provides photographs, varnish recipes, and auction records.

Joseph Dalaglio (fl. 1795–1840) 286.

“Joseph Dalaglio.” Strad 73 (September 1962): 158–59. Profiles the Mantuan luthier; includes a description and photographs of an 1825 Dalaglio violin.

Michele Deconet (1712–after 1780) See also {1}. 287.

“Michele Deconet.” Strad 73 (May 1962): 6–7, 27. Profiles the Venetian luthier; includes a description and photographs of a circa 1790 Deconet violin.

Gagliano family See also {1}, {2}, {103}, {259}, {263}, {1419}. Alessandro Gagliano (fl. 1700–35), Nicola Gagliano (fl. c. 1740–80), Januarius (Gennaro) Gagliano (fl. c. 1740–80), Ferdinando Gagliano (fl. 1770–c. 1795), et al. 288.

Doring, Ernest N. “The Gagliano Family.” Violins and Violinists 1 (December 1938): 329–32. A brief discussion and assessment of the work of the Italian family of violin makers. Note that the first volume of this journal was originally called Violins.

289.

“Nicola Gagliano.” Strad 72 (December 1961): 270–71, 289. Profiles the Neapolitan luthier; includes a description and photographs of a 1740s N. Gagliano violin.

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“Januarius Gagliano.” Strad 73 (April 1963): 438–39. Profiles the 18th-century Neapolitan luthier (also known as Gennaro Gagliano); includes a description and photographs of a Gagliano violin from 1770. See Strad 77 (July 1966) and Strad 88 (June 1977) for descriptions of a 1730 and a 1750 violin by the maker.

291.

“Alessandro Gagliano.” Strad 73 (September 1963): 158–59. Profiles the Italian luthier, founder of the Neapolitan school; includes a description and photographs of a circa 1700 A. Gagliano violin. See Strad 87 (July 1976) for a description of a 1710 A. Gagliano violin.

292.

“Ferdinando Gagliano.” Strad 75 (April 1965): 438–39. Profiles the Neapolitan violin maker, eldest son of luthier Nicola Gagliano; includes a description and photographs of a 1783 violin by the maker. Strad 78 (December 1967) discusses a 1772 F. Gagliano.

Gasparo da Salò [Bertolotti] (1540–1609) See also {1}, {2}, {151}, {258–65}, (267–69}, {378}, {1295}, {1297}, {1300}. 293.

Berenzi, Angelo. Di alcuni stromenti fabbricati da Gasparo di Salò. Brescia: Geroldi, 1906. 49pp. Describes the Gasparo da Salò double bass owned by Domenico Dragonetti, and violins played by Ole Bull and the Milanollo sisters, with biographical information on their owners. Note: the attribution of Bull’s violin to Gasparo has been challenged by Amighetti {1300}.

294.

Mucchi, Antonio Maria. Gasparo da Salò, la vita e l'opera, 1540–1609. Milan: Hoepli, 1940. xxiv, 226pp. R. Milan: Cisalpino-La Goliardica, 1978. xxiv, 226pp. Milan: Ateneo di Salò, 1998. xxiv, 226pp. A substantial study of the Italian luthier’s life and work. Chapters discuss Gasparo’s early years, his move from Salò to Brescia, the (still unresolved) debates over whether he was the inventor of the violin, music and violin making in Brescia, and Gasparo’s instruments. Includes a bibliography, iconographic information, and 52 full-page photos and illustrations.

295.

Andrews, Robert E. Gasparo Bertolotti, da Salò. Berkeley: author, 1953. vi, 230pp. Chronicles the life and surveys the work of the violin maker. Part One is a biography, and draws on archival documents, such as the luthier’s tax returns, for information. Part Two discusses his instruments, and devotes

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chapters to Ole Bull’s Gasparo violin, Gasparo’s other instruments (with information on their current owners), and Gasparo’s place in violin making. Illus., bib. Note: the attribution of Bull’s violin to Gasparo has been challenged by Amighetti {1300}. 296.

Dassenno, Flavio and Ugo Ravasio, eds. Gasparo da Salò e la liuteria bresciana tra Rinascimento e Barocco. Brescia: Fondazione civiltà bresciana; Cremona: Turris, 1990. 94pp. A collection of essays on lutherie in 16th- and 17th-century Brescia, with particular focus on the work of Gasparo. Includes a register of documents related to Gasparo and numerous photographs and illustrations.

Giovanni Baptista Grancino (1637–1709) See also {1}, {2}, {244}, {245}. 297.

“Giovanni Baptista Grancino.” Strad 70 (February 1960): 358–59. A brief profile of the late 17th-century Milanese violin maker, with photographs and a description of a circa 1690 Grancino violin. A similar article with a description and photographs of a 1695 Grancino appears in Strad 73 (December 1962).

Guadagnini Family See also {1}, {2}, {239}, {258–65}, {267–69}. Lorenzo Gudagnini (1685–1746), Giovanni Battista (J. B.) Guadagnini (1711–86), Carlo Guadagnini (1768–1816), Antonio Guadagini (1831–81), Paolo Guadagnini (1908–42), et al. 298.

Doring, Ernest N. The Guadagnini Family of Violin Makers. Chicago: William Lewis & Son, 1949. 335pp. Largely a study of the life and work of Giovanni Battista (also known as Joannes Baptista, or J. B.) Guadagnini, with chapters on father Lorenzo and various descendents as well as one on the violin collector Cozio di Salabue. Numerous photographs. Originally published serially in Violins and Violinists beginning with Volume 5 (March–April 1943).

299.

“Carlo Guadagnini.” Strad 72 (September 1961): 150–51, 159. Profiles the Turinese luthier, a lesser-known member of the famous violinmaking family; includes a description and photographs of an 1806 violin by the maker.

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“Joannes Baptista Guadagnini.” Strad 73 (July 1962): 86–87, 109. Profiles the Italian luthier; includes a description and photographs of a 1767 violin from Guadagnini’s Parma period. Strad 73 (February 1963) discusses a 1755 violin from the maker’s Milan period; Strad 75 (January 1965) spotlights a 1759 Parma Guadagnini; Strad 77 (May 1966) and (January 1967) profile 1748 and 1744 violins made in Piacenza. A circa 1765 Parma Guadagnini is discussed in Strad 78 (August 1967).

301.

Rosengard, Duane. Giovanni Battista Guadagnini: The Life and Achievement of a Master Maker of Violins. Haddonfield, NJ: Carteggiomedia, 2000. 315pp. An exhaustive study of the life of the most famous member of the Guadagnini family. Draws extensively on archival documents and corrects various long-standing errors and myths. Includes facsimiles, maps, photographs of instruments, and a bibliography.

Guarneri Family See also {1}, {2}, {48}, {84}, {89}, {108}, {157}, {239–41}, {249}, {258–65}, {267–69}, {344}, {408}, {409}, {1314}, {1315}, {1389}, {1419}, {1425}, {1476}, {1535}, {1574}. Andrea Guarneri (1623–98), Pitero Giovanni Guarneri (1655–1720), Giuseppe Giovanni Battista Guarneri (1666–c. 1740), (Bartolomeo) Giuseppe Guarneri (“del Gesù”) (1698–1744), Pietro Guarneri (1695–1762) 302.

Petherick, Horace. Joseph Guarnerius: His Work and His Master. London: Strad; New York: Scribner’s Sons, 1906. 220pp. R. (of 1906 ed.) Boston: Longwood, 1977. 220pp. London: Orpheus, 1998. 220pp. A substantial study of the life, career, and work of Guarneri “del Gesù,” also known as Joseph. Includes chapters on the work of Andreas Gisalberti (identified as Guarneri’s teacher), on different schools of violin making, on the differences between Guarneri, Stradivari, and other luthiers, and on the use of wood by the Italian makers of the time. Many diagrams and illustrations.

303.

Hill, W. Henry, Arthur F. Hill, and Alfred E. Hill. The Violin Makers of the Guarneri Family (1626–1762): Their Life and Work. London: Hill and Sons, 1931. xxxvii, 181pp. R. London: Holland, 1965. xxxi, 173pp. New York: Dover, 1989. xxxvii, 173pp. An authoritative and profusely illustrated study of the five master luthiers of the Guarneri family. Chapters are devoted to the work of each (two are given to “del Gesù,” the most important member of the family), with

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additional chapters on the Guarneri house in Cermona, and the Guarneri labels. Appendices provide tables of instrument measurements. 304.

Green, Albert W. Sunset in Cremona: A Fanciful Tale Being the Romance of Joseph Guarnerius. Ann Arbor, MI: Edwards Brothers, 1954. 160pp. A novel based on the life and love of Guarneri “del Gesù.”

305.

“Giuseppe Guarneri, Son of Andrea.” Strad 72 (April 1962): 438–39, 465. A brief profile of the Giuseppe Giovanni Battista, with photographs and a description of a 1714 violin.

306.

“The ‘Hammig-Kortschak’ Guarnerius del Gesù of 1739.” Strad 74 (May 1963): 46–51. Profiles the Cremonese violin maker; includes a description and photographs of the 1739 violin known as the “Hammig-Kortschak.”

307.

“The ‘Wieniawski’ Guarneri.” Strad 73 (November 1963): 238–41. Recounts the history of the 1736 Guarneri up to its then-recent acquisition by Stanley J. Goodman, an American department store president and amateur violinist; includes a description and photographs of the instrument.

308.

“The ‘Kathleen Parlow’ Del Gesù, 1735.” Strad 73 (January 1964): 318–19. Recounts the history of the 1735 Guarneri violin owned by the recently deceased Canadian violinist.

309.

Hurst, P. G. “The Guarneri Puzzle.” Strad 75 (August 1964): 129–31. Posits that it was Guiseppe Giovanni Battista Guarneri (known as Filius Andrae) who used his father Andrea’s labels on his own violins in the late 1600s; this challenges the oft-proposed idea that it was his brother Pietro who used their father’s labels.

310.

Wibberley, Leonard. Guarneri: Story of a Genius. New York: Farrar, Straus, Giroux, 1974; London: Macdonald and Jane’s, 1976. viii, 151pp. A fictionalized biography of the Italian violin maker, intended for young readers.

311.

Chiesa, Carlo, et al. Giuseppe Guarneri del Gesù. 2 vols. London: Biddulph, 1998. 340pp. A study of the maker’s life and work. Includes essays by Carlo Chiesa, John Dilworth, Roger Hargrave, Peter Klein, Stewart Pollens, Duane Rosengard, and Eric Wen and 125 pages of life-size color photographs of Guarneri’s instruments by Stewart Pollens. The volume came out of a 1994 exhibition at New York’s Metropolitan Museum of Art.

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Dilworth, John. “True Voice of Guarneri.” Strad 110 (June 1999): 602–9. A detailed examination of the “Cannon” violin, made by Guarneri “del Gesù” and once owned by Paganini. Discusses its physical characteristics, history, and restoration, and compares it to Stradivari’s “Messiah” violin. Photographs.

Matthias Klotz (1653–1743) See also {1}, {2}, {212}, {214}, {259}, {263–65}. 313.

Denk, Victor Martin. Der Geigenmacher von Mittenwald. Regensburg: Nationale verlagsanstalt, 1896. 154pp. E. The Violin Maker. New York: Benziger Brothers, 1905. 156pp. A novel based on the life of German violin maker Matthias Klotz. The book was written under the pseudonym Otto von Schaching.

314.

Layer, Adolf. Matthias Klotz von Mittenwald: Ein berühmter Geigenbauer der Barockzeit. Feldafing: Brehm, 1959. 31pp. 2d ed., 1965. 31pp. A brief biography and appreciation of the German luthier; includes a bibliography and timeline.

John Frederick (Jack) Lott II (1804–70) and Family See also {1}, {147}, {220}. 315.

Reade, Charles. Jack of All Trades. London: Chatto & Windus, 1858. 50pp. A novella based on the life of Jack Lott. Republished many times, typically with other short works by Reade.

316.

“The Lott Family.” Strad 73 (October 1962): 198–99, 227. Profiles the English family of violin makers, particularly Jack Lott, considered the finest English violin maker of his time; includes a description and photographs of an undated Jack Lott violin.

Nicolas Lupot (1758–1824) See also {1}, {168}, {226}, {263}. 317.

“Nicolas Lupot, 1758–1824.” Strad 70 (July 1959): 86–87, 107. Reviews the life and work of Nicolas Lupot, generally considered to be the greatest French violin maker, with a photo and description of a Lupot violin from 1800. A 1797 Lupot is described in Strad 75 (August 1964).

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For similar articles, see Strad 81 (February 1971), Strad 83 (December 1972), and Strad 93 (February 1983). 318.

Milliot, Sylvette. “Nicolas Lupot and the Dawn of a Parisian Lutherie Dynasty.” Strad 104 (January 1993): 52–54. A brief biography of “one of the foremost violin makers of the 19th century” based on newly discovered documents. Includes photos and facsimiles.

Giovanni Paolo Maggini (1580–1630–31?) See also {1}, {296}, {409}. 319.

Berenzi, Angelo. Di Giovanni Paolo Maggini celebre liutaio bresciano. Brescia: Apollonio, 1890. 14pp. Unavailable for examination.

320.

Berenzi, Angelo. La patria di Giovanni Paolo Maggini. Cremona: Ghisani, 1891. 14pp. Unavailable for examination.

321.

Huggins, Margaret L. Gio. Paolo Maggini: His Life and Work. London: Hill; New York: Novello, Ewer, 1892. 90pp. A biography of the Brescian luthier, whose contributions to the violin, according to the author, include introducing the model of the modern violin and being among the first to use corner-blocks in the modern way. Appendices include tables of measurements and translations of various documents. Title page notes that the volume was “compiled and edited from material collected and contributed by William Ebsworth Hill and his sons…” Illustrated.

322.

Kennedy, George. “Story of My Violin.” Music 2 (1892): 291–97. Fictional account of the author’s Maggini violin.

323.

“Giovanni Paolo Maggini.” Strad 76 (June 1965): 46–47, 69. Profiles the Brescian luthier; includes a description and photographs of an undated Maggini violin from the early 1600s. Another undated Maggini is described in Strad 76 (March 1966) and a circa 1600 Maggini is discussed in Strad 90 (January 1980).

Samuel Nemessanyi (1837–81) 324.

Goodkind, Herbert K. “Samuel Nemessanyi: 19th-Century Violin Maker and Copyist.” Journal of the Violin Society of America 2 (Spring 1976): 12–15.

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A biography and appreciation of the Hungarian violin maker, whose copies of instruments by Stradivari and Guarneri the author considers to be the equal of those by Lupot and Vuillaume. Vincenzo Panormo (1734–1813) See also {1}, {259}, {263}. 325.

“Vincenzo Panormo.” Strad 73 (January 1963): 318–19, 341. Profiles the Sicilian-born luthier; includes a description and photographs of a violin Panormo made in Paris in 1788. Strad 76 (August 1965) has a description of circa 1760 Panormo made in Palermo.

François Pique (1758–1822) See also {1}, {263}. 326.

“François Pique.” Strad 78 (September 1967): 162–63, 175. Profiles the French luthier; includes a description and photographs of an 1809 Pique violin.

Giovanni Francesco Pressenda (1777–1854) See also {1}, {230}, {247}, {259}, {263}. 327.

“Giovanni Francesco Pressenda.” Strad 77 (April 1967): 450–51. Profiles the Italian luthier; includes a description and photographs of an 1826 Pressenda. An 1837 Pressenda is described in Strad 80 (March 1970).

328.

Kass, Philip J. “The Pressenda Family.” Journal of the Violin Society of America 15, no. 1 (1997): 45–99. Discusses the violin making of the Italian Pressenda family, from the 17th century to the 20th, with particular focus on the 19th-century maker Giovanni Francesco Pressenda.

Francesco Rugeri (1620–c. 1685) See also {1}, {157}, {259}, {263}, {265}. 329.

“Francesco Rugeri.” Strad 72 (June 1961): 46–47. Profiles the Cremonese luthier; includes a description and photographs of a 1689 Rugeri violin.

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Jacob Stainer (1621–83) See also {1}, {2}, {48}, {169}, {174}, {212}, {249}, {259}, {263}, {265}, {1295}. 330.

Lentner, Ferdinand. Jacob Stainer’s Lebenslauf im lichte archivalischer Forschung. Leipzig: de Wit, 1898. 24pp. A brief biography of the violin maker.

331.

Mertzanoff, C. E. “The Troubled Life of Jakob Stainer.” 5 parts. Violins and Violinists 5 (September 1943): 188–90; (October 1943): 250–54; (November 1943): 294–97, 306; (December 1943): 329–33; (January 1944): 368–71. Reviews the literature on Stainer and surveys the life, times, and work of the German violin maker. Photographs of several Stainer instruments.

332.

Skeaping, Kenneth. “Some Speculations on a Crisis in the History of the Violin.” Galpin Society Journal no. 8 (March 1955): 3–12. Notes that in the 18th century the violins of Jacob Stainer were widely held to be superior to those of Amati (a view that later changed), and argues that in their original condition (i.e., without modern modifications), Stainer’s violins are in fact superior.

333.

Rainalter, Erwin. Geigen Gottes. Hamburg: Zsolnay, 1956. 362pp. A novel based on the life of Jacob Stainer.

334.

“Jacob Stainer.” Strad 70 (March 1960): 358–59. Profiles the German violin maker, with photographs and a description of a 1671 Stainer violin.

335.

Salmen, Walter, ed. Jakob Stainer und seine Zeit. Innsbruck: Helbling, 1984. 216pp. The proceedings of a conference on the violin maker and his times. The 26 papers (mostly in German, with some in English and Italian) by a variety of European scholars are divided into four parts: on Stainer’s life, on 17th- and early 18th-century violin making, on violin playing and violin music of the period, and on the Trumscheit, or tromba marina, a one-stringed bowed instrument.

336.

Senn, Walter and Karl Roy. Jakob Stainer: Leben und Werk des Tiroler Meisters, 1617–1683. Frankfurt: Bochinsky, 1986. 484pp. Provides a trove of information on the Tyrolean violin maker. Includes a biography (with an English summary), transcriptions of 167 letters and

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other documents pertaining to Stainer’s life and work, a list of Stainer’s instruments (with information on dates, prices, owners, etc.), dozens of photographs of Stainer’s instruments, and tables of instrument measurements. Bib. See also the Senn’s earlier book, Jakob Stainer, der Geigenmacher zu Absam: Die Lebensgeschichte nach urkundlichen Quellen (Innsbruck: Wagner, 1951). 337.

Dilworth, John. “Under the Influence.” Strad 114 (July 2003): 732–43. Discusses the vast influence of Stainer’s work on the violin making of the 17th and 18th centuries, particularly in Italy. Includes photographs.

Lorenzo Storioni (1744–1816) See also {1}, {284}. 338.

Rosengard, Duane. “Cremona after Stradivari: The Bergonzi and Storioni Families.” Journal of the Violin Society of America 12, no. 1 (1992): 91–162. Draws on newly discovered documents to provide a fuller picture than had previously been available of the lives of the Bergonzi and Storioni families, luthiers who worked after the end of the so-called Golden Age, following the death of Stradivari. Includes a family tree and photos of various instruments.

Antonio Stradivari (1644–49?–1737) See also {1}, {2}, {48}, {82–84}, {88}, {89}, {108}, {145}, {167}, {182}, {188}, {226}, {228}, {229}, {231}, {239}, {269}, {302}, {312}, {409}, {415}, {416}, {423}, {1295}, {1419}, {1425}, {1574}. Biography and General Studies See also {1}, {2}, {145}. 339.

Petherick, Horace. Antonio Stradivari. London: Strad; New York: Scribner’s Sons, 1898. 82pp. 2d ed., 1913. 82pp. R. (of 1898 ed.) London: Orpheus, 1998. 82pp. A study of Stradivari’s life, career, and work from an expert who had studied many of the master’s instruments himself. Many diagrams and illustrations.

340.

Hill, W. Henry, Arthur F. Hill, and Alfred E. Hill. Antonio Stradivari: His Life and Work (1644–1737). London: Hill and Sons, 1902. xvi, 303pp. R. London: Macmillan, 1909. xvi, 319pp. New York: Dover, 1963.

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London: Hill, 1980. xviii, 402pp. F. Antoine Stradivarius: Sa vie et son Oeuvre. Trans. Maurice Reynold and Louis Césard. London: Hill, 1907. xvi, 313pp. G. Antonio Stradivari: Der Mesiter des Geigenbaues. Trans. Konrad Küster. Stuttgart: Deutsche Verlags-Anstalt, 1987. 350pp. A pioneering study of the Cremonese master luthier. The Hills were members of a prominent, centuries-old firm of London instrument makers, restorers, and dealers, and had the perhaps unique opportunity to examine and make detailed records of hundreds of Stradivari’s instruments. The first of 12 chapters provides a brief biography, and is followed by chapters examining the violins (including discussion of his early studies and his death), violas, and cellos. Chapter 5 considers the tonal characteristics of Stradivari’s instruments, and Chapters 6 and 7 explore his use of wood and varnish. Chapter 8 explains Stradivari’s methods of construction; Chapter 9 discusses his labels. Chapter 10 offers an educated guess on the number of Stradivari’s instruments and Chapter 11 lists prices paid for Strads over their long history. The final chapter considers the authenticity of a supposed portrait of Stradivari, concluding that it is in fact a hitherto unknown painting of the composer Claudio Monteverdi. Five appendices provide a Stradivari chronology, transcriptions of documents pertaining to the life of Stradivari, and measurements of particular instruments. Includes numerous photographs. The Dover reprint adds an introduction by Sydney Beck and a supplemental index. The 1980 Hill reprint incorporates Arnaldo Baruzzi’s work on Stradivari’s first home and workshop (see {343}). 341.

Abbado, Michelangelo. “Quando è nato Antonio Stradivari.” Musica d’oggi 19 (May 1937): 172–73. Notes that Stradivari’s birth date is far from certain. Argues that Stradivari was born around the end of 1643, citing as evidence a letter by Stradivari’s son stating that his father died in 1737 at the age of 94. Items {1} and {2} give the date as between 1644 and 1649. David Boyden has suggested 1648 or 1649 (see {539}, pp. 505–07).

342.

Bonetti, Carlo, Agostino Cavalcabò, and Ugo Gualazzini. Antonio Stradivari: notizie e documenti. Cremona: Cremona Nuova, 1937. 105pp. R. Cremona: Cremonabooks, 1999. xiii, 105pp. A documentary biography of the luthier, with many illustrations, photographs, facsimiles, and quotations from primary sources. Includes a fold-out Stradivari family tree. The reprint edition includes an introduction by Carla Almansi.

343.

Baruzzi, Arnaldo. La Casa Nuziale di Antonio Stradivari a Cremona. Brescia: Geroldi, 1959. E. La Casa Nuziale: The Home of Antonio Stradivari 1667–1680. Trans. Desmond Hill. London: Hill & Sons, 1962. 85pp.

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Based on extensive research, describes in detail the home and workshop that Stradivari occupied between 1667 and 1680. Numerous maps, diagrams, and photographs. 344.

Santoro, Elia. Antonius Stradivarius. Cremona: Liberia del Convegno, 1987. xii, 248pp. A well-researched Italian-language biography that draws extensively on archival documents to shed new light on the life of the luthier. Discusses, among other subjects, Stradivari’s apprenticeship, his relationship with luthier Andrea Guarneri, his two marriages, and his business affairs. Includes photographs, facsimiles, maps, and an extensive bibliography. See also the author’s article, “Antonius Stradivarius and his Time,” Journal of the Violin Society of America 9, no. 3 (1988): 136–44.

Working Methods and “Secret” See also {83}, {88}, {94}, {108}, {167}, {220}, {226}, {239}. 345.

Peluzzi, Euro. “Antonio Stradivari ha parlato.” Rivista Musicale Italiana 46 (1942): 30–61. Attempts to deduce the secret of Stradivari’s success through an interpretation of a cutout paper form that the luthier himself used and on which he wrote a series of numbers and concentric circles. Provides many complex diagrams.

346.

Sacconi, Simone F. I Segreti di Stradivari. Cremona: Libreria Del Convegno, 1972. xvi, 261pp. G. Die Geheimnisse Stradivaris. Frankfurt: Das Musikinstrument, 1976. xx, 238pp. E. The Secrets of Stradivari. Cremona: Libreria Del Convegno, 1979. xvii, 284pp. R. The Secrets of Stradivari. Cremona: Blot, 2000. xviii, 264pp. An important study of Stradivari’s working methods written by a respected luthier. Seeks to dispel the idea that there was any one “secret” to Stradivari’s success. Includes a catalog of Stradivari artifacts in the Civic Museum Ala Ponzone in Cremona. Illustrated.

347.

Vigdorchik, Isaak. The Acoustical Systems of Violins of Stradivarius and Other Cremona Makers. Westbury, NY: About Face, 1982. xi, 169pp. Attempts to explain the acoustical mysteries of the great Cremonese violin makers, particularly Stradivari. Research can be summarized as follows: (1) Italian makers used different acoustical systems in building instruments at different times, (2) acoustical characteristics of instruments from the different Italian schools vary greatly, (3) once the acoustical system of a particular school is known, it is possible to determine precise age

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and sound characteristics, (4) knowledge of acoustical systems makes it possible to restore old Italian instruments. 348.

Dipper, Andrew. “The Geometric Construction of the Violin Forms of Antonio Stradivari.” Journal of the Violin Society of America 10, no. 2 (1989): 163–98. Argues that Stradivari used a system of proportions, similar to that used at the time in making everything from cathedrals to urns, to generate the designs for his violins. Includes many complex diagrams.

349.

Budnik, Solomon. The Absolute Tone: The Secret of Stradivari. San Francisco: CEP International, 1990. ix, 117pp. Claims to have discovered, finally and definitively, the secret of Stradivari’s violin tone. Argues that it is not Stradivari’s varnish as is often asserted, but instead the “A-tone” (or absolute tone), a special kind of sound wave that is the key. Based on dubious science; should be read skeptically.

350.

Woodrow, David. The Shape of Stradivari Forms and Violins. Taynton: Taynton, 1991. 84pp. Collates and examines hundreds of (sometimes conflicting) measurements of Stradivari’s forms as a means to better understand his working methods. Includes many diagrams and illustrations.

351.

Pollens, Stewart. “The Violin Forms of Stradivari.” Journal of the Violin Society of America 13, no. 3 (1994): 88–120. Reprints a lecture on the forms, of which 23 survive, that Stradivari used in making his instruments. Stradivari’s forms were thin wooden slabs cut to the shape of the instrument’s body, and were used to bend the ribs into place and to position the f-holes. Includes several photos and diagrams. A transcript of a question-and-answer period follows. See also the author’s book on the subject, The Violin Forms of Antonio Stradivari (London: Biddulph, 1992), which includes an expanded text and life-size photographs of the forms.

Instruments See also {82–84}, {165}, {182}, {269}, {312}, {415}, {1295}, {1419}, {1425}. 352.

Doring, Ernest N. How Many Strads? Chicago: William Lewis & Son, 1945. 379pp. A landmark publication; inventories 501 instruments by Antonio Stradivari between 1666 and 1737, providing the history and ownership of each.

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Provides a good deal of commentary on the maker and on violins and violin collecting in general. Numerous photographs. Originally published serially in Violins and Violinists beginning with Volume 1 (April 1938). 353.

Reid, Joseph V. You Can Make a “Stradivarius” Violin. Chicago: Popular Mechanics, 1950. 48pp. Provides instructions for creating a copy of the 1716 “Messiah” violin attributed to Stradivari. Includes eight fold-out “plans” with diagrams and illustrations.

354.

Henley, William. Antonio Stradivari: Master Luthier, His Life and Instruments. Rev. and ed. Cyril Woodcock. Brighton, England: Amati, 1961. 98pp. Largely an annotated list of Stradivari’s instruments; entries are arranged chronologically with brief descriptions of the instrument and ownership history. Includes a foreword by Cyril Woodcock, a brief biography, and a large, unpaginated appendix (c. 100 pp.) with photographs of instruments and labels.

355.

Frisoli, Patrizia. “The Museo Stradivariano in Cremona.” Galpin Society Journal no. 24 (July 1971): 33–50. A comprehensive overview of the history and contents of the Stradivari Museum.

356.

Goodkind, Herbert K. Violin Iconography of Antonio Stradivari, 1644–1737. Larchmont, NY: Author, 1972. 782pp. Catalogs 712 Stradivari instruments with 1,500 photographs of 400 different instruments. Provides a trove of other material, including: records of instrument sales, instrument measurements, portraits of various string players, reprints of articles and poems on the violin, and an index of 3,600 names of those who have owned Strads.

357.

Beare, Charles. Capolavori di Antonio Stradivari. Milan: Mondadori, 1987. 127pp. A catalog of an exhibition of Stradivari instruments displayed in Cremona on the 250th anniversary of the luthier’s death. Forty-eight instruments are illustrated with accompanying descriptions and measurements. Includes a summary introduction. Text in Italian and English.

358.

Pollens, Stewart. “Le messie.” Journal of the Violin Society of America 16, no. 1 (1999): 77–101. Based on a study of the physical characteristics of the famous 1716 violin known as “Le Messie” (or “The Messiah”), argues that it may not be by Stradivari as had long been assumed. The author continues his case in

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“Messiah Redux,” Journal of the Violin Society of America 17, no. 3 (2001): 159–79. For other articles on the question of the violin’s provenance, see {82} and {259}. 359.

Whiteley, Jon. “Le Messie Stradivarius?” Galpin Society Journal, no. 55 (April 2002): 240–43. Reviews new dendrochronological (tree-ring analysis) studies of the violin known as “Le Messie” (or “The Messiah”), long thought to have been by Stradivari but then later ruled out as a Strad because the wood had been thought to have dated from after the maker’s death. The newest studies date the wood to 1686—within Stradivari’s lifetime—once again raising the possibility that the violin is a Strad. See also {82}.

Fiction 360.

Humphreys, Eliza Margaret J. Gollan. Countess Daphne. New York: Lovell, [1888]. 319pp. A sentimental novel on the life and loves of Daphne, as told from the point of view of her Stradivarius violin. Published under the pseudonym Rita.

361.

Falkner, J. Meade. The Lost Stradivarius. Edinburgh, London: Blackwood, 1895. 296pp. R. New York: D. Appleton, 1896. 239pp. New York: Dover, 1982. 93pp. Oxford: Oxford University Press, 1991. xxxii, 190pp. A Victorian ghost novel set in Oxford and Naples in the 1840s that features a haunted Strad. An excellent example of the genre of the supernatural violin tale. The Oxford reprint contains explanatory notes by Edward Wilson.

362.

Tinyanova, Helen. Stradivari, the Violin-Maker. Trans. Charles Angoff. New York, Knopf, 1938. 99pp. A fictionalized biography of the luthier; originally written in Russian.

363.

Narayn, Deane. The Small Stradivari. New York: Abelard-Schumann, 1961. 223pp. Clyde Small travels to New York looking to discover whether his violin is an authentic Strad and meets a variety of colorful characters in the process.

364.

Marrocco, W. Thomas. Memoirs of a Stradivarius. New York: Vantage, 1988. 158pp. The “memoirs” of a 1690 Strad, as told from the violin’s perspective.

365.

Hershey, John. Antonietta: A Novel. New York: Knopf, 1991. 304pp. Chronicles the history of a 1699 Stradivarius violin called Antonietta and its encounters with a variety of musicians, including Mozart, Berlioz, and Stravinsky.

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366.

83

Deverell, Catherine. Stradivari’s Singing Violin. Minneapolis: Carolrhoda, 1992. 47pp. A childhood biography of the famous violin maker written for young readers.

367.

Ladew, Donald P. Stradivarius. New York: Carroll & Graf, 1995. 291pp. Tells the history of a 1695 Strad as it passes through various hands and lands over the centuries until it ends up with Ailey Barkwood, a prodigy in West Virginia.

368.

Rice, Anne. Violin. New York: Knopf, 1997. 289pp. Triana, a modern-day woman and would-be musician, becomes supernaturally entangled with Stefan, the ghost of a Strad-playing Russian aristocrat.

Carlo Giuseppe Testore (1655–1716) See also {1}, {244}, {245}. 369.

“Carlo Giuseppe Testore.” Strad 73 (March 1963): 398–99, 419. Profiles the Milanese luthier; includes a description and photographs of a Testore violin from the 1690s. Other Testore violins are described in Strad 76 (February 1966), Strad 80 (February 1970), and Strad 87 (October 1976).

Tononi Family See also {1}, {249}. 370.

“Joannes Tononi.” Strad 72 (July 1961): 86–87, 105. Profiles the Cremonese luthier (d. 1713, also known as Giovanni), the father of the celebrated Carlo Tononi; includes a description and photographs of a circa 1700 Tononi violin with a decorated back.

371.

“Carlo Tononi.” Strad 78 (October 1967): 202–03. Profiles the Italian luthier (1675–1730); includes a description and photographs of a circa 1720 Tononi. A 1736 Tononi is described in Strad 106 (January 1995).

372.

Dilworth, John. “Bolognese Force.” Strad 114 (May 2003): 514–21. Discusses the Tononi family of violin makers active in northern Italy in the 18th century, particularly Carlo Tononi, the most important luthier in the family. Describes a 1725 Carlo Tononi violin made in Venice.

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Voigt Family 373.

“The Voigt Family.” Strad 71 (December 1960): 278–79, 305. Profiles the English family of violin makers active in lutherie since 1699.

Jean-Baptiste Vuillaume (1798–1875) See also {1}, {2}, {149}, {259}, {263}, {379}, {398}, {422}, {1425}. 374.

Doring, Ernest N. and Harvey S. Whistler. Jean Baptiste Vuillaume of Paris. Chicago: William Lewis & Son, 1961. 84pp. Surveys the life and work of the French luthier. Includes discussion of particular instruments (with accompanying photos) and his bows, as well as a list of known Vuillaume instruments. Originally published serially in Violins and Violinists between September 1947 and July–August 1948.

375.

Millant, Roger. J. B. Vuillaume: Sa Vie et son Oeuvre. London: Hill, 1972. 207 + 80pp. A brief and highly regarded study of the celebrated French violin maker, famous for his copies of instruments by Stradivari, Guarneri, Amati, and Maggini. Includes 80 photographic plates. The original French (pp. 13–67) is followed by English and German translations.

376.

Milliot, Sylvette. “The Pride and the Passion.” Strad 109 (August 1998): 806–10. Chronicles the life and work of the important French violin maker and dealer.

377.

Violins, Vuillaume: 1798–1875, un maître luthier français du XIXe siècle. Paris: Cité de la musique, 1998. 277pp. A beautifully illustrated exhibition catalog with essays from a variety of contributors on Vuillaume’s life and work.

Peregrino [Pellegrino] Zanetto (c. 1520–c. 1606–20) 378.

Foffa, Oreste. Pellegrino da Montachiari inventore del violino. Brescia: Appollonia, 1937. 48pp. 2d ed. Brescia: Pedrotti, 1940. 167pp. Argues that the Brescian maker Zanetto (also known as Pellegrino da Montachiari) should be considered the inventor of the violin, not Gasparo da Salò, as had been argued by many at the time, or various other candidates, such as Andrea Amati or Nicolò Tartaglia. Quotes extensively from earlier writers on the subject. CF. {159}.

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THE BOW GENERAL See also {1}, {2}, {38}, {45}, {50}, {51}, {52}, {56}, {146}, {148}, {151}. 379.

Saint-George, Henry. The Bow: Its History, Manufacture and Use. London: Strad, 1896. xii, 124pp. R. Boston: Longwood, 1977. 107pp. Chapters consider the predecessors of the violin bow and its early development, its important makers (including John Dodd, François Lupot, the Peccatte family, and Jean-Baptiste Vuillaume), its materials, manufacture, and repair (with discussion of rosin), and the art of bowing. Includes illustrations and musical examples.

380.

McLeod, Maurice. “Bows for Stringed Instruments.” The Cremona 1–5 (1907–11): passim. Traces the history of musical bows. This was a regular column that appeared in nearly every issue of the journal.

381.

Doring, Ernest. “Some Remarks on the Bow.” Violins and Violinists 6–7 (July–August 1943 to July–August 1946). A 28-part series on the history, materials, and construction of the bow.

382.

Roda, Joseph. Bows for Musical Instruments of the Violin Family. Chicago: William Lewis & Son, 1959. 335pp. A broad study of the bow. Part One covers the history and construction of the bow, with information on rosin and the care and selection of bows. Part Two provides brief biographical profiles of dozens of bow makers. Includes 241 photos of bows. Bib.

383.

Retford, William C. Bows and Bow Makers. London: Strad, 1964. 86pp. The first of two parts considers the art of bow making and restoration, with practical suggestions for the workshop; the second discusses bow makers, particularly from England and France. Numerous photos of bows and their makers. Written by an experienced bow maker.

PHYSICS 384.

AND

MECHANICS

Brick, M. J. “The Bow.” Strad 77 (June 1966): 57–61. The first in an 11-part series that sets out to explain the mechanics and design of the bow in language suitable for the nonscientist. Numerous diagrams.

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James, J. “Bow Hairs and String: A Vital Point of Contact in Tone Production.” Journal of the Violin Society of America 3 (Fall 1977): 131–50. A transcript of a lecture (and subsequent question-and-answer session) on the physical and mechanical properties of bow hair and violin strings and how they generate sound. With four figures.

386.

Rocaboy, Françoise. “The Structure of Bow-Hair Fibres.” Catgut Acoustical Society Journal 1 (November 1990): 34–36. Explains the structure of horse hair used for bows based on microscopic examination. Cites earlier articles on the subject, and provides highly magnified photographs of hair. Reprinted in {68}.

HISTORY See also {151}. 387.

Boyden, David D. “The Violin Bow in the 18th Century.” Early Music 8 (April 1980): 199–212. Reconsiders the pre-Tourte bow, suggesting that these bows were not as crude as is often thought. Describes the varieties of such bows and compares them in construction and sound to modern bows. Includes several detailed photographs of 18th-century bows. This article seems to have been adapted from the author’s earlier essay, “Der Geigenbogen von Corelli bis Tourte,” in Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz (Vienna: Universal Edition, 1975), 295–310.

388.

Der Meer, John Henry van. “Beiträge zur Kenntnis der Entwicklung des Streichbogens.” Studien zur Aufführungpraxis und Interpretation von Instrumentalmusik der 18. Jahrhunderts 29 (1986): 43–54. Discerns three phases in the history of the bow—Baroque, Classical, and Modern (or Tourte)—and discusses the physical characteristics of bows from each period.

CONSTRUCTION, REPAIR,

AND

MAINTENANCE

See also {38}, {56}, {145}, {170–72}, {174}, {181}, {184}. 389.

Wunderlich, Friedrich. Der Geigenbogen: seine Geschichte, Herstellung und Behandlung. Leipzig: Schuberth, 1936. 31pp. 2d ed. Der Geigenbogen: Eine Schrift für den Fachmann und alle Geiger. Wiesbaden: Schuberth, 1952. 43pp. Provides useful information to violinists and luthiers on the history, construction, and purchase of bows. Includes brief sections on hair and rosin.

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87

Pipe, R. E. “Synthetic Bow Hair: Some Tentative Suggestions.” Strad 71 (November 1960): 245–61. A technical article on the possibilities of using a thermoplastic subsitute for horse hair.

391.

Spicer, Peter S. “Re-Hairing and Repairing Bows for Stringed Istruments.” 4 parts. Strad 80 (August 1969): 159–65; (September 1969): 219–23; (October 1969): 259–62, 267–75; (December 1969): 373–77. A guide for teachers who want to maintain and repair “the more modest bows of their pupils” (159). Numerous diagrams and photographs.

392.

Salchow, William, Joseph Siegelman, Sergiu Luca, and Sonya Monosoff. “Symposium: The Performer and the Bow.” Journal of the Violin Society of America 3 (Fall 1977): 11–34. Experts discuss stiffness, weight, balance, and other matters pertaining to the bow.

393.

Salchow, William, Arnold Bone, Samuel Kolstein, and Vahakn Nigogosian. “Bow Repair and Maintenance.” Journal of the Violin Society of America 3 (Fall 1977): 105–30. A discussion of all aspects of repair and maintenance from a panel of bow makers and restorers. Includes several pages of photographs and diagrams.

394.

Salchow, William, Joseph Kun, Joseph Siegelman. “National Schools and Styles of Bow Making.” Journal of the Violin Society of America 3 (Fall 1977): 87–104. A discussion of the characteristics of French, German, Italian, and English styles of bow making from a panel of experts.

395.

Passa, Frank. “Bow Rehairing.” Journal of the Violin Society of America 7, no. 3 (1986): 39–52. Detailed and practical advice on bow rehairing from an expert. Includes a diagram of the various parts of the bow.

396.

Kass, Philip J. “Bow Making and Microphotography.” Journal of the Violin Society of America 13, no. 3 (1994): 169–96. Chronicles the history of and describes the technology responsible for what are known as picture bows, bows that have nearly microscopic images (often of the bow maker or of a famous violinist) embedded into the pearl eye of the frog. Includes several photos of picture bows.

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Reiß, Heinz. “Pernambouc-Holz als Bogenmaterial: Wie lässt sich seine Qualität bestimmen?, Ist es durch moderne Materialien ersetzbar?” Das Orchester 48, no. 12 (2000): 26–31. Discusses the history and physical characteristics of pernambuco, a Brazilian wood commonly used for bows; cites Tourte as the first to use it in bow making.

BOW MAKERS Collective Studies and Reference See also {37}, {38}, {45}, {207}, {220}, {222}, {224}, {265}, {266}, {268}, {382}, {383}. 398.

Vatelot, Étienne. Les archets français. 2 vols. Sernor, France: Dufour, 1976. 1025pp. 2d ed. Sernor, France: Dufour, 1976. 1024pp. An encyclopedia of French bow makers. Entries are alphabetically arranged and provide biographical information about the maker, an assessment of the maker’s work, and multiple photographs of the maker’s bows. The texted portion of the entries tends to be short and provides very general information. Includes introductory chapters on the origin and evolution of the bow, the value and choice of the bow, and the parts of the bow. Text is in French, German, and English. See also the author’s, “French Violin Makers from the Seventeenth Century up to and Including Vuillaume,” Journal of the Violin Society of America 10, no. 2 (1989): 150–62.

399.

Reindorf, Mark R. “Bow Makers in the United States.” Journal of the Violin Society of America 8, no. 2 (1987): 117–32. Provides an annotated listing of 19th- and 20th-century American bow makers.

STUDIES

OF

INDIVIDUAL MAKERS

AND

FAMILIES

John Dodd (1752–1839) See also {1}, {147}, {220}, {263}, {379}, {382}, {383}. 400.

Sheppard, Leslie. “The English Tourte.” The Strad 81 (April 1971): 574–80. Discusses the work and craftsmanship of the bow maker John Dodd, sometimes considered the equal of French colleague and contemporary, François Tourte. Notes the unusual materials Dodd used to make his bows, including wine casks, spoons, and oyster shells.

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Nicolaus Kittel (c. 1806–65) See also {382}, {383}. 401.

Whistler, Harvey and Georgeanna Whistler. “Nicolaus Ferder Kittel: The Russian Tourte.” 3 parts. Strad 80 (May 1969): 31–37; (June 1969): 81–87; (July 1969): 127–31. A biography and appreciation of the German-born bow maker Nicolaus Kittel of St. Petersburg; includes information on his son Nicolai Nicolai (c. 1828–c. 1890). Originally published in the May and September 1965 issues of Music Journal.

402.

Lee, Kenway. “Nicolaus Kittel: The Russian Tourte.” Journal of the Violin Society of America 14, no. 2 (1995): 183–209. Surveys the life and work of the German-born bow maker Nicolaus Kittel of St. Petersburg. Includes information on specific bows and their famous owners and several photographs of Kittel bows.

Etienne Pajeot (1791–1849) See also {1}, {382}, {398}. 403.

Bowden, Sidney. Pajeot: Bow Makers of the 18th and 19th Centuries. London: Ealing Strings, 1991. 263pp. A documentary biography of the Pajeot family of French bow makers. The book consists largely of the texts of the birth, marriage, and death certificates of various family members with minimal commentary from the author. Includes facsimiles of 15 documents and photographs of 20 bows. In English, French, and German.

Peccatte Family See also {1}, {379}, {383}, {398}. 404.

Childs, Paul. The Bowmakers of the Peccatte Family. Montrose, NY: Magic Bow, 1996. xxv, 286pp. A study of the renowned French family of bow makers, active in Mirecourt during the 19th century. Introductory material includes a chapter on Mirecourt as a violin-making center (written by Evelyn Bonétat) and a survey of the Peccatte family. The three main parts of the book focus on the work of Domique (1810–74), François (1821–55), and Charles (1850–1918), with dozens of detailed photos of representative bows. An appendix reproduces and translates a collection of historical documents pertaining to the Peccattes. In French and English text.

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François Tourte (1747–1835) See also {1}, {2}, {145}, {168}, {379–83}, {387}, {388}, {397}, {398}, {454}, {591}, {605}, {698}. 405.

Curry, Pat B. “The François Tourte Violin Bow: Its Development and Its Effect on Selected Solo Violin Literature of the Late Eighteenth and Early Nineteenth Centuries.” Ph.D. diss., Bringham Young U., 1968. viii, 293pp. Investigates the relationship between the development of the violin bow in the mid- and late 18th century, particularly through the work of François Tourte, and changes in the music of the same period. Concludes that the changes introduced by Tourte led to increases in: the use of dynamic and accent markings, the number of notes grouped within a slur, the use of sustained notes, and the use of off-the-string and martelé bow strokes. Conclusions are based on a study of violin concertos by Pierre Baillot, Pierre Gaviniés, Rodolphe Kreutzer, Pietro Nardini, Giuseppe Tartini, Giovanni Battista Viotti, and Pierre Rode. Mus. exx, bib.

406.

Millant, Bernard. “Tourte Bows.” Journal of the Violin Society of America 15, no. 2 (1997): 97–137. Surveys the work of the Tourte family of bow makers. Includes 73 figures.

407.

Pollens, Stewart. “The Man Behind the Bows.” Strad 110 (April 1999): 402–9. Considers the life and innovative work of the master bow maker.

COLLECTING AND DEALING See also {38}, {48}, {189}, {352}. 408.

Heron-Allen, Edward. “New Violins and Old.” Parts 1 and 2. Violin Times 1 (July 1894): 133–34; (August 1894): 150–51. Engages in the long-standing and, more than a century later, continuing debate over the value and quality of recently made violins versus those of the Italian masters (Amati, Guarneri, Stradivari, et al.). Questions the “mania” for old violins and advises violinists to seek out excellent modern instruments.

409.

Hadden, James Cuthbert. “The Romance of Violin Collecting.” Cornhill Magazine, o.s., 72 , n.s., 25 (July 1895): 34–47. Discusses trends in violin collecting, citing sales prices for instruments of a variety of makers, including Amati, Guarneri, Maggini, and particularly Stradivari.

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Sacchi, Federico. Count Cozio di Salabue: A Biographical Sketch of this Celebrated Violin Collector. Ed. A. Towry Piper. London: Dulau, 1898. 47pp. Provides a brief overview of the life of the violin collector and reproduces several of his letters.

411.

Fuchs, Albert. Taxe der Streichinstrumente: Anleitung zur Einschatzung von Geigen, Violen, Violoncelli, Kontrabassen usw. nach Herkunft und Wert. Leipzig: Merseburger, 1907. 177pp. 10th ed. Ed. Rudolf E. Pliverics. Hofheim: Hofmeister, 1978. 15th ed. Leipzig, Hofmeister, 2003. 285pp. A standard and oft-updated guide to the identification and appraisal of violins.

412.

Polonaski, Eugene. The Value of Old Violins. London: Reeves, 1912. 78pp. Provides a list of British, Italian, French, and German violin makers and the value of their violins.

413.

Laurie, David. The Reminiscences of a Fiddle Dealer. London: Laurie, 1924. xvii, 170pp. R. Boston, New York: Houghton Mifflin, 1925. xvii, 170pp. Cape Coral, FL: Virtuoso, 1977. xvii, 170pp. The engaging memoirs of an adventurous Scottish violin dealer who traveled extensively through Europe seeking rare instruments and met celebrated luthiers and violinists.

414.

Ballard, Francis Drake. The Appreciation of Rare Violins. Troy, PA: Ballard, 1945. xxiv, 103pp. Written by a violin collector, advises other collectors (or aspiring ones) on how to develop a critical eye toward violins; topics include national traits of violin schools, matters of construction, varnish, and repair.

415.

Cozio di Salabue, Ignazio Alessandro. Carteggio. Transcribed by Renzo Bacchetta, with notes and appendices by Giovanni Iviglia. Milan: Cordani, 1950. xxxiv, 515pp. An important collection of documents from the Count Cozio di Salabue (1755–1840), a famous early violin collector who acquired numerous instruments by the Cremonese masters, most notably the “Messiah” (1716), attributed to Stradivari. Documents include his memoirs, an encyclopedic manuscript on the art of violin making (from “Anima” [sound post] to “Vibrazione delle corde” [the vibrations of strings]), an inventory of his instruments, and numerous letters. Selected documents have been translated in Cozio di Salabue, Observations on the Construction of Stringed Instruments and their Adjustment: 1804, 1805, 1809, 1810, 1816, trans. and ed. Andrew Dipper and David Woodrow (Oxford: Taynton, 1987).

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Silverman, William Alexander. The Violin Hunter: The Life Story of Luigi Tarisio, the Great Collector of Violins. New York: Day, 1957. 256pp. R. London: Reeves, 1964. 256pp. Neptune City, NJ: Paganiniana, 1981. 256, [101] pp. Recounts the story of Luigi Tarisio (1790–1854), the Italian violin collector and dealer who acquired dozens of Strads and other examples of Cremonese “Golden Age” violins, including the celebrated 1716 instruments known as the “Messiah” (which the collector Cozio di Salabue had previously owned). One note of caution: the author does not document any of his sources and admits (256) that much of the dialogue is his invention. The 1981 reprint edition is augmented with more than 100 pages of photographs and illustrations.

417.

Narayn, Deane. “Investing in Art-Antiques: Violins Versus the Rest.” 2 parts. Strad 73 (December 1962): 281–85; (January 1963): 321–25. Discusses the market for old violins in comparison to other types of antiques (paintings, rugs, etc.). Notes the “unique position of stability that violins occupy in a market subject to fads and fashions” (281). Intended for readers “thinking of buying in the art-antique field with investment in mind” (325). Cites numerous prices for violins and other antiques.

418.

“Rembert Wurlitzer: An Appreciation.” Strad 73 (December 1963): 293–95. Obituary of the renowned American violin expert (1856–1963).

419.

Gingrich, Arnold. A Thousand Mornings of Music: The Journal of an Obsession with the Violin. New York: Crown, 1970. ix, 256pp. An engaging account of a successful businessman’s entry into the world of violin collecting, his acquisition of several fine instruments and bows, and a charity concert that he mounted and performed in. Appendices on the anatomy of the violin, the changing values of old violins, and the genealogy of famous makers.

420.

“Great Violin Dealers of the World—Jacques Francais.” Violexchange 1 (Summer 1986): 20–22. Profiles the New York dealer; largely in the words of Français himself.

421.

“Great Violin Dealers of the World—Michael Remenyi.” Violexchange 2, no. 1 (1987): 18–20. Profiles the Hungarian dealer; largely in the words of Remenyi himself.

422.

Beare, Charles. “Violin Dealing, Then and Now.” Journal of the Violin Society of America 10, no. 1 (1989): 183–202.

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Offers a history of violin dealing, beginning with the first recorded transaction in which Galileo’s nephew bought an Amati in 1638 up to the late 20th century, with some concluding thoughts on the future of violin dealing. Discusses some of the famous collectors and dealers, such as Cozio di Salabue, Luigi Tarisio, and J. B. Vuillaume (who was a dealer as well as violin and bow maker). This is a transcript of a lecture, and includes a substantial question and answer session. The author himself was at the time a well-known dealer. 423.

Ross, Myron H. and Scott Zondervon. “Capital Gains and the Rate of Return on a Stradivarius.” Economic Inquiry 27 (July 1989): 529–40. Analyzes price data of Stradivarius sales to determine the rate of return on a Strad. Determines that Strads are a good investment, and bring an average annual rate of return of 2.17 percent. Tables and graphs illustrate various data.

424.

Lang, George. “Fiddles in the Vault.” Connoisseur 220 (March 1990): 88–93, 134. Profiles the renowned New York violin dealer, Jacques Français, and his partner, restorer René Morel. Written for the general reader. Photographs.

425.

Huber, John. Der Geigenmarkt: ein Führer zum Instrumentenkauf. Frankfurt: Bochinsky, 1995. 184pp. A study of the violin market. Discusses the history and construction of the violin (with reference to the economic forces at work in these areas), the identification and appraisal of violins, the market for violins for students, orchestra players, and soloists, the value of bows, and the selection and purchase of violins. Lists values of instruments and includes photographs of rare instruments from the Royal Academy of Music in Stockholm. In German and English text. See also Huber’s earlier book on the subject, Geigen, Bestimmung der Preise: Geigen und Bogen, was bestimmt ihren Wert? (Frankfurt: Bochinsky, 1988).

AUTHENTICATION: FRAUDS AND FORGERIES See also {227}. 426.

Heron-Allen, Edward. “Old Violin Frauds.” 2 parts. Strad 1 (October 1890): 113–15; (November 1890): 133–35. Briefly relates the history of violin collecting in 19th-century England and recounts three famous cases of violin fraud.

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Heron-Allen, Edward. “Fiddle Forgeries.” Violin Times 1 (January 1894): 41–42. Discusses the art of a remarkable (and anonymous) Italian forger. Includes the translation of an 1885 letter from the forger to the author with 14 tips on “violin-swindling.”

428.

Alton, Robert. “Spurious Violins.” Musical Times 59 (1 February 1918): 73–74. Notes the distressing prevalence of fraudulent violins (ones with misleading labels that suggest an older or rarer instrument) and offers advice on how to identify faked fiddles.

429.

Doring, Ernest N. “How Can You Tell?” 2 parts. Violins and Violinists 1 (May 1938): 59–60; (June 1938): 110–11, 113, 115. Advice on authenticating rare violins; discusses using varnish, patterning, f-holes, scrolls, and so on as identifying features. Note that the first volume of this journal was originally called Violins.

430.

Berr, Albert. Geigen: Originale, Kopien, Fälschungen, Verfälschungen: Eine grundlegende Definition und Darstellung. Frankfurt: Das Musikinstrument, 1963. 71pp. Seeks to establish a typology of the violin based on originality of design. Distinguishes among originals, copies, forgeries, and frauds, and delineates subcategories of each.

431.

Harvey, Brian W. Violin Fraud: Deception, Forgery, Theft, and the Law. Oxford: Clarendon; New York: Oxford University Press, 1992. viii, 126pp. Discusses the history of violin fraud and the legal issues surrounding misleading descriptions, false labels, forgeries, and instrument theft. Includes practical guidelines for people in the violin trade industry and lists of relevant cases and legislation.

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HISTORY OF VIOLIN PLAYING GENERAL STUDIES See also {38}, {42}, {43}, {45–47}, {50–53}, {56}. 432.

Wasielewski, Wilhelm Joseph von. Die Violine und ihre Meister. Leipzig: Breitkopf & Härtel, 1869. xii, 428pp. 5th ed. rev. 1910. Rev. and enl. by Waldemar von Wasielewski, 1927. xvi, 745pp. R. (of 5th ed.) Wiesbaden: Sändig, 1968. xvi, 745pp. A thorough study of 17th-, 18th-, and 19th-century violinists and violin playing. The various national and regional schools (Italian, German, French, England, etc.) are each discussed in detail. Includes an introductory section on violin making and an extensive bibliography of violin methods and treatises. The author was both a scholar and a violinist, and served as a concertmaster under Robert Schumann.

433.

Moser, Andreas. Geschichte des Violinspiels. Berlin: Hesse, 1923. vii, 586pp. 2d ed. Ed. H. J. Nösselt. Tutzing: Schneider, 1966, 1967. 315pp.; 371pp. A broad study of violin playing from the early history of the instrument to the 20th century. Chapters proceed chronologically and by region (e.g., with separate chapters on Italian, French, and German 17th-century violin playing). Includes an introductory chapter on string instrument playing 95

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from the Middle Ages to the 16th century by Hans-Joachim Moser (the author’s son). Chapters generally focus on the playing of particular violinists and on the music of the time, and do not typically address specific performance practices separately. The second edition provides corrections and additional material. Includes portraits, genealogical tables, musical examples, and a bibliography. 434.

Babitz, Sol. The Violin: Views and Reviews. 2d ed. Urbana, IL: American String Teachers Association, 1959. 62pp. Reprints 78 brief articles by Babitz from International Musician on all aspects of violin technique, including fingering, portamento, vibrato, bowing, and the performance of Baroque and Classical music. Often strongly opinionated, Babitz frequently criticizes what he sees as problems in contemporary violin playing and teaching. Mus. exx.

435.

Druce, Duncan. “Historical Approaches to Violin Playing.” In Companion to Contemporary Musical Thought, vol. 2, ed. John Paynter, Tim Howell, Richard Orton, and Peter Seymour, 993–1018. London: Routledge, 1992. Examines the challenges of adapting earlier music to present-day playing, expressing skepticism about the possibility of truly “authentic” performance. Addresses the significance of changes in stringing and bow design. Cites numerous treatises and includes musical examples.

436.

Stowell, Robin. “Technique and Performing Practice.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 122–42. Cambridge: Cambridge University Press, 1992. Reviews changing ideas about violin technique from the mid-18th century to the early 20th century. Topics include posture and position, fingering, shifting, portamento, vibrato, and bowing. Many musical examples.

STUDIES

BY

PERIOD

16th Century See also {439}. 437.

Steblin, Rita. “Death as a Fiddler: The Study of Convention in European Art, Literature, and Music.” Basler Jahrbuch für Historische Musikpraxis 14 (1990): 271–323. Examines the long-standing association between the violin and the figure of death. Argues that the link arose in the mid-1500s when the violin became the preferred instrument to lead dancing, an activity viewed by many Christian religious authorities as sinful. Quotes from a variety of

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literary sources and reproduces 37 images of death as a fiddler from the art of the 1500s to the late 1900s. 438.

Baroncini, Rodolfo. “Contributo all storia del violino nel sedicesimo secolo: i ‘sonadori di violini’ della Scuola Grande di San Rocco a Venezia.” Recercare 6 (1994): 61–190. Provides a history of the violin ensemble established circa 1530 at the Scoula Grande di San Rocco in Venice, and in doing so explores the evolution of early violin music and performance practice. Appendices reprint archival documents related to various scuole grandi and provide a register of musicians. Summary in English.

17th Century See also {335}, {468}, {469}, {471}, {525}, {526}, {915}. 439.

Boyden, David D. The History of Violin Playing from its Origins to 1761. Oxford: Oxford University Press, 1965. xxiii, 569pp. An important, well-researched study of violin performance practice from the birth of the instrument to the publication of L’Abbé le fils’s 1761 treatise {591}. Although, as the title suggests, the focus is on violin playing, there is substantial discussion of violin music and the physical development of instrument, and their interrelationship with performance. The book is divided into four main parts, arranged chronologically (1520–1600, 1600–50, 1650–1700, and 1700–61). Each part begins with one or more chapters on the development of the violin and bow during the period and continues with chapters on contemporaneous literature. Only then does the author examine the violin playing of the time, drawing and building on the preceding chapters. Chapters on performance practices focus on particular techniques and include extensive discussion of violin treatises of the time. A final chapter offers advice to modern violinists on the performance of old music. Includes dozens of illustrations and musical examples, a glossary, and extensive bibliography, and a phonograph disc with brief musical examples played by Alan Lovejoy, violin. For a substantial review of Boyden’s book, see Boris Schwarz’s essay in Musical Quarterly 53 (January 1967): 109–22.

440.

Clarkson, Frank A. “Violin Technique in the Seventeenth Century.” Strad 77 (January 1967): 332–37. Discusses the changes in violin technique over the course of the 17th century, particularly in connection with contemporaneous developments in the instrument and bow.

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Walls, Peter. “Strings.” [“The Baroque Era.”] In Performance Practice. Vol. 2, Music After 1600, ed. Howard Mayer Brown and Stanley Sadie, 44–79. London: Macmillan, 1989; New York: Norton, 1990. Considers a variety of issues related to string performance practice during the Baroque era, including: instruction manuals, the physical characteristics of the instruments, strings, and bows, the position of the instrument, bowing, vibrato, and ornamentation. Cites liberally from period sources and includes several musical examples.

442.

Allsop, Peter. “Violinistic Virtuosity in the Seventeenth Century: Italian Supremacy or Austro-Hungarian Hegemony?” Saggiatore Musicale 3 (1996): 233–58. Challenges the view that in the 17th century the Italian school of violin playing lagged behind the German in terms of technique. Asserts that if manuscripts (and not solely published editions) of the solo sonatas of Italian violinists (esp. those by Giuseppe Columbi and Carlo Ambrogio Lonati) are examined, “it is inconceivable that these players would not have been at least of equivalent standard to the best players in the rest of Europe, and quite possibly better” (258).

443.

Drescher, Thomas. “‘Virtuoissima conversazione’: Konstituenten des solistischen Violinspiels gegen Ende des 17. Jahrhunderts.” Basler Jahrbuch für historische Musikpraxis 20 (1996): 41–59. Discusses virtuosity in late 17th-century violin playing, with particular reference to Heinrich Biber, Johann Heinrich Schmelzer, Johann Jakob Walther, and Johann Paul von Westhoff.

18th Century See also {439}, {467}, {482}, {521}, {523}, {534}, {535}, {581–98}, {696}, {697}, {742}. 444.

Rangoni, Giovanni Battista. Essai sur la goût de la musique avec le caractére des trois célèbres joueurs de violon messieurs Nardini, Lolli, & Pugnani. Saggio sul gusto della musica col carattere de’ tre celebri sonatori di violino i signori Nardini, Lolli, e Pugnani. Livorno: Masi, 1790. vii, 91pp. R. Milan: Bolletino bibliografico musicale, 1932. vii, 91pp. An essay on musical aesthetics, with discussion of expression and technique in the violin playing and music of the time, citing in particular the violinist-composers Pietro Nardini, Antonio Lolli, and Gaetano Pugnani. Notes, for example, the “excessive speed and abuse of shrill sounds” in modern violin playing (“une excessive vélocité & … l’abus des sons

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aigus”/“eccedente velocità, e nell’ abuso de’ soni acuti”) (46–47). Text in French and Italian. 445.

Boyden, David D. “The Violin and its Technique in the 18th Century.” Musical Quarterly 36 (January 1950): 9–38. Considers the physical characteristics of the 18th-century violin and surveys contemporaneous practices in bowing, fingering, ornamentation, vibrato, and interpretation. Draws on a variety of period violin methods and compositions as evidence; provides numerous illustrations and musical examples. Material is largely, but not completely, covered in the author’s The History of Violin Playing from its Origins to 1761 {439}.

446.

Rovighi, Luigi. “Problemi di Prassi Esecutiva Barocca negli Strumenti ad Arco.” Rivista Itialiana di Musicologia 8 (1973): 38–112. Explores a variety of issues in the performance of Baroque string music. Discusses rhythm, bowing, dynamics, the voice as model, articulation, and vibrato; also addresses post-Baroque performance practice. Quotes extensively from 17th- and 18th-century writings and includes many musical examples.

447.

Donington, Robert. String Playing in Baroque Music. New York: Scribner, 1977. 126pp. Offers practical advice on the performance and interpretation of Baroque string music. The first of four parts delineates the author’s general approach, stressing the need for transparency and crispness in performance and differentiating between Baroque and modern instruments. Part Two focuses on technique, mostly bowing, though one chapter addresses shifting, portamento, vibrato, and other left-hand techniques. Part Three addresses issues of expression, particularly through tempo, rhythm, phrasing, and ornamentation. Part Four provides commentary on the examples recorded by the author, George Malcolm, and Yehudi Menuhin on an accompanying phonograph record. Mus. exx., bib.

448.

Schröder, Jaap and Christopher Hogwood. “The Developing Violin: Jaap Schröder in conversation with Christopher Hogwood.” Early Music 7 (April 1979): 155–65. An interview with violinist Jaap Schröder on Baroque violin performance practice; topics include bowing, articulation, ornamentation, the differences between national styles, and the physical developments of the instrument. The following works are discussed (with accompanying musical examples): Marco Uccellini, Sonata in B-flat major op. 4, no. 2, Arcangelo Corelli, Sonata op. 5, no. 9, J. S. Bach, Sonata in G minor, BWV1001.

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Stowell, Robin. Violin Technique and Performance Practices in the Late Eighteenth and Early Nineteenth Centuries. Cambridge: Cambridge University Press, 1985. xv, 411pp. A thorough and well-researched study of violin playing in France, Italy, Germany, and Britain circa 1760–1840, with evidence drawn from contemporaneous pedagogical literature. Fourteen chapters cover issues related to the instrument, posture, left- and right-hand techniques, tuning, ornamentation, and improvisation. An appendix lists instruction books for the violin and a glossary reprints ornaments collected from the major treatises. More than 400 musical examples; extensive bibliography.

450.

Gartmann, Thomas. “Artikulationsprobleme in Violinspiel des 18. Jahrhunderts.” Ph.D. diss., University of Zurich, 1987. 112pp. Examines the development of Baroque violin bowing. Chapters discuss the physical development of the violin and bow, consider various types of bowing, and address issues of accentuation and dynamics. Mus. exx., bib.

451.

Stowell, Robin. “Strings.” [“The Classical Era”]. In Performance Practice. Vol. 2, Music After 1600, ed. Howard Mayer Brown and Stanley Sadie, 239–51. London: Macmillan, 1989; New York: Norton, 1990. Discusses what the author calls “a transitional era in string playing” (239), when the French violin school began to challenge Italy’s preeminence. Discusses modifications to the instrument and changes in a variety of techniques as evidenced by the treatises and manuals of the day. Mus. exx.

452.

Stowell, Robin. The Early Violin and Viola: A Practical Guide. Cambridge: Cambridge University Press, 2001. xv, 234pp. Surveys the challenges facing violinists and violists seeking to play early music “as close and as faithful as possible to the composer’s original conception” (xiii). Considers repertoire, treatises, equipment, technique, and style in the period between about 1700 and 1900. Includes analyses of Arcangelo Corelli, Sonata in A major, Op. 5, no. 9; J. S. Bach, Partita no. 3 in E major; Ludwig van Beethoven, “Kreutzer” Sonata; Felix Mendelssohn, Violin Concerto.

19th Century See also {449}, {452}, {467}, {470}, {475}, {482}, {523}, {599–607}. 453.

Wirsta, Aristide. L’enseignement du violon au XIXème siecle. Ph.D. diss., University of Paris, 1971. 305, 40pp. A broad study of 19th-century violin pedagogy based on the methods and treatises of the time. Examines in turn the Franco-Belgian, Italian,

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German, English, and Russian schools; within each section discusses the literature on tuning, the position of the violin, fingering, chords, pizzicato, harmonics, the use of the mute, vibrato, portamento, bowing, and so on, quoting liberally from relevant sources and providing many musical examples and illustrations. Provides a valuable annotated bibliography of the didactic literature. A set of addenda published in 1974 includes a biographical dictionary of the important pedagogues and an index. 454.

Stowell, Robin. “Strings.” [The 19th Century]. In Performance Practice. Vol. 2, Music After 1600, ed. Howard Mayer Brown and Stanley Sadie, 394–408. London: Macmillan, 1989; New York: Norton, 1990. A brief survey of developments in 19th-century violin performance practice, including the blurring of distinctions among the national schools, use of the chin rest, the acceptance of the Tourte bow, and the expansion of the technical possibilities of the violin through the work of Nicolò Paganini and others. Mus. exx.

455.

Milsom, David. Theory and Practice in Late Nineteenth-Century Violin Performance: An Examination of Style in Performance, 1850–1900. Aldershot, England: Ashgate, 2003. 287pp. Illuminates the performance practices and musical values of violin playing in the latter half of the 19th century, particularly from the German and Franco-Belgian schools. Draws on treatises and early recordings as evidence of phrasing, portamento, vibrato, and tempo and rhythmic practices. An appendix provides the scores of works discussed in the text with annotations indicating how they were performed on particular recordings. A 25-track CD with historic and modern recordings (the latter made by the author) accompanies the book. Mus. exx., bib.

20th and 21st Centuries See also {115}, {516}, {533}, {608–26}, {913}. 456.

Joachim, Henry. “Violin Aesthetics of To-Day: The Evil of Pedagogics.” Musical Times 74 (December 1933): 1079–81. Criticizes the “scientific” and “mechanical” approach to teaching the violin, particularly Otakar Ševcík’s method, whose purpose, according to the author, is to enable mediocre violinists to imitate naturally great players without actually developing their talent. Laments the sameness of sound in modern violin playing. Joachim’s stance toward Ševcík’s work here is quite different from the much more positive view taken in his earlier articles on his former teacher {1597}.

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Small, Arnold. “An Objective Analysis of Artistic Violin Performance.” Ph.D diss., University of Iowa, 1936. 112pp. Seeks to establish objective criteria for analyzing modern (i.e., early 20thcentury) violin playing, with the goal of improving performance and teaching. Examines vibrato, intonation, and rhythm in live performances and recordings by professional violinists (Adolf Busch, Mischa Elman, Fritz Kreisler, Yehudi Menuhin, Toscha Seidel, and Joseph Szigeti) and amateurs (including the author) of the Sonatas and Partitas by J. S. Bach, Maurice Ravel’s Tzigane, and Franz Schubert’s Ave Maria (transcribed for violin). Sound was analyzed through the use of strobophotography, a vacuum tube voltmeter, and an electrically driven tuning fork. Includes many data tables and graphs.

458.

Bonavia, Ferruccio. “Violin Playing During the Past Fifty Years.” Strad 50 (May 1939): 7–9. Discusses the dramatic changes in violin technique over the first half of the 20th century, particularly in the use of vibrato and portamento. Identifies Fritz Kreisler as a significant influence on violin playing over that period.

459.

Krasner, Louis, ed. String Problems, Players and Paucity: The Tanglewood String Symposia 1963 and 1964. Syracuse, NY: Berkshire Music Center, 1965. x, 98pp. Presents the proceedings of a 1964 symposium “dedicated to the problem of a diminishing interest in string instruments” (1). Includes 11 papers, many by noted violinists and teachers, such as Samuel Applebaum, John Corigliano, Sr., and Joseph Silverstein. Summary of the 1963 String Symposium also included.

460.

Adessa, Anthony Thomas. “Contemporary Violin Technique: Its Nature and Difficulties.” D.M.A. diss., Indiana University, 1981. 109pp. Explores the expansion of 20th-century violin technique through an analysis of the following works: Béla Bartók, Violin Concerto No. 2 (1938), Arnold Schoenberg, Violin Concerto (1936), Hans Werner Henze, Violin Concerto No. 2 (1971), Morton Feldman, Projection 4 (1959), Bruno Maderna, Widmung (1967), and Iannis Xenakis, Mikka (1972). Includes an interview with violinist Paul Zukofsky, a specialist in modern violin repertoire.

461.

Sarch, Kenneth. “The 20th-Century Violin: A Treatise on Contemporary Violin Technique.” D.M.A. diss., Boston University, 1982. 323pp. A guide to modern violin technique for performers, teachers, and composers. Topics include the unconventional use of the bow (col legno, sul

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ponticello, etc.), microtones, percussive and vocal effects, and electronic amplification. Provides etudes composed by the author that focus on particular effects or techniques. Mus. exx., bib. 462.

Pereira, Ernest. “Twentieth-Century Violin Technique.” D.M.A. diss., University of Texas, 1987. vi, 119pp. Investigates the development of violin technique in the 20th century. Part One surveys pre-20th-century technique and includes a review of the 20th-century pedagogical literature. Part Two focuses on technique as displayed in particular works, including sonatas by Claude Debussy, Maurice Ravel, Eugène Ysaÿe (No. 3, “Ballade”), Paul Hindemith (op. 31, no. 1), Sergei Prokofiev (for solo violin), Béla Bartók (for solo violin), Karol Szymanowski’s Romance, op. 23, Arnold Schoenberg’s Phantasy, Anton Webern’s op. 7, Igor Stravinsky’s Duo Concertant, and other works by Hans Werner Henze, John Cage, George Crumb, Krzysztof Penderecki, and Theodore Antoniou. Mus. exx.

463.

Zukofsky, Paul. “Aspects of Contemporary Technique (With Comments about Cage, Feldman, Scelsi and Babbitt).” In The Cambridge Companion to the Violin, ed. Robin Stowell, 143–47. Cambridge: Cambridge University Press, 1992. Discusses the distinctive technical demands of 20th-century music, which the author classifies under two headings: “the variety of timbral and dynamic demands made upon the bow arm” and “the intervallic demands made upon our left hand/arm” (143). Cites works by Milton Babbitt, John Cage, Morton Feldman, and Giacinto Scelsi as examples.

464.

Nelson, Suzanne. “Twentieth-Century Violin Technique: The Contributions of Six Major Pedagogues.” Ph.D. diss., University of South Carolina, 1994. vii, 242pp. Offers a comparative examination of the contribution to modern violin technique of the following violin teachers: Leopold Auer, Carl Flesch, Paul Rolland, Kató Havas, and Shinichi Suzuki. Considers the work of each from three perspectives: posture and violin hold, left-hand techniques, and right-hand techniques. Explores the possibility of a unified theory of violin technique derived from the work of these teachers, but concludes that one is not possible given the many contradictions among the different methods. Bibliography.

465.

Katz, Mark. “The Development of Twentieth-Century Violin Playing: Recording as Catalyst.” In “The Phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900–1940,” 114–91. Ph.D. diss., University of Michigan, 1999.

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Examines how early-20th-century classical violinists adapted their practices (particularly vibrato, tempo and rhythm, and portamento) in order to accommodate the limitations and unique characteristics of sound recording technology. Mus. exx., bib. 466.

Strange, Patricia and Allen Strange. The Contemporary Violin: Extended Performance Techniques. Berkeley and Los Angeles: University of California Press, 2001. xiii, 337pp. A comprehesive survey of 20th-century violin technique. Chapters cover bowing, fingering, percussion techniques, harmonics, tuning systems, modifications to and variations on the traditional instrument, signal processing, and MIDI. Includes numerous musical examples and an extensive bibliography and discography.

STUDIES

BY

REGION

Austria 467.

Moran, John Gregory. “Techniques of Expression in Viennese String Music (1780–1830): A Reconstruction of Fingering and Bowing Practices.” Ph.D. diss., King’s College, University of London, 2001. 240pp. Investigates the fingering and bowing practices of the string players in the circles of Haydn and Beethoven. Sources include Haydn’s and Beethoven’s original fingerings, the music of their lesser-known contemporaries, and the rarely examined studies and treatises of Viennese performers. Intended in part as a corrective to the tendency to apply the practices of other traditions (particularly the French) to the Viennese repertoire. Includes a marked set of parts for Beethoven’s String Quartet Op. 59, No. 3 and an extensive bibliography.

Canada See {498}, {851}. France See also {449}, {526}, {581}, {599}, {698}, {997}, {1443}. 468.

Pincherle, Marc. “La technique du violon chez les premiers sonatistes français.” 2 parts. La revue S.I.M. (August–September 1911): 1–32; (October 1911): 19–30. R. Geneva: Minkoff, 1974. 49pp. Discusses 18th-century violin technique as manifested in the sonatas of a variety of French composers. Discusses various left- and right-hand techniques with accompanying musical examples from works by François

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Duval, François Francoeur, Elisabeth Jacquet de La Guerre, Michele Mascitti, Jean-Baptiste Senaillé, and others. The first section of the article discusses 17th-century technique. 469.

Barnett, Dene. “Music and Dancing in the Grand Siècle.” Canon 17, no. 1 (1964): 15–25. Discusses French violin performance practices of the 17th and 18th centuries; cites numerous instruction manuals as evidence.

470.

Boyce, Mary. “The French School of Violin Playing in the Sphere of Viotti.” Ph.D. diss., University of North Carolina at Chapel Hill, 1973. 423pp. A study of late-18th- and early-19th-century violin teaching and playing in France. Considers the work of Italian Giovanni Battista Viotti (1755–1824), who had a great influence on French violin playing during his ten years in Paris (1782–92) and those in his circle, particularly Pierre Baillot (1771–1842), Rodolphe Kreutzer (1766–1831), and Pierre Rode (1774–1830). The author examines various methods and treatises by these composers and others, and argues that the French had a unified approach to technique and style. An appendix discusses the construction of violins of the day to better evaluate technique. Mus. exx., bib.

Germany See also {442}, {449}, {453}, {455}. 471.

Beckmann, Gustav. Das Violinspiel in Deutschland vor 1700. Leipzig: Simrock, 1918. 84pp. A study of violinists, violin playing, and violin music in Germany in the 17th century. Part one focuses on Italian violinist-composers in Germany up to 1650; the second part discusses German violinist composers. Featured composers include Carlo Farina, Marco Uccelini, Johann Heinrich Schmelzer, Johann Jakob Walther, and Heinrich Ignaz Franz von Biber. Includes an unpaginated appendix with numerous longer musical examples.

Great Britain See also {453}, {485} {487}. 472.

Adams, K. “Violin Classes: Their Part in English Adult Education.” 3 parts. Strad 70 (April 1960): 440–43; 71 (May 1960): 15–19; (June 1960): 73–79. A history of violin classes in England since the early 19th century.

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Holman, Peter. “Four and Twenty Fiddlers”: The Violin at the English Court 1540–1690. Oxford: Oxford University Press, 1989. xxii, 491pp. Charts the history of the royal string band at the English court from its inception to its disbanding, with particular focus on the changing musical functions and social contexts of the institution. The opening chapter considers the origins of the violin based on recent research. Numerous illustrations and musical examples. For a briefer treatment of the subject, see the author’s earlier article, “The English Royal Consort in the Sixteenth Century,” Proceedings of the Royal Musical Association 109 (1982–83): 39–59.

474.

Cyr, Mary. “Violin Playing in Late Seventeenth-Century England: Baltzar, Matteis, and Purcell.” Performance Practice Review 8 (Spring 1995): 54–66. Explores the “decisive changes” that violin playing underwent with the arrival of Thomas Baltzar and Nicola Matteis in England in the late 1600s, particularly on Henry Purcell’s sonatas for two violins and continuo (c. 1680). Discusses bow grip, the position of the violin, chordal playing, virtuosity, and the messa di voce. Reproduces several paintings of musicians for evidence of technique. Mus. exx.

475.

Golby, David J. “Violin Pedagogy in England During the First Half of the Nineteenth Century, or The Incompleat Tutor for the Violin.” In Nineteenth-Century British Music Studies, ed. Bennett Zon, 88–104. Vol. 1. Aldershot, England: Ashgate, 1999. Investigates late-18th- and early-19th-century English violin treatises as a means of understanding changing attitudes and practices. Argues that the quality of the pedagogical literature improved over this period, leading to “a general improvement in the standards and consistency of instrumental performance” (102). For an expanded discussion of the subject, see the author’s Instrumental Teaching in Nineteenth-Century Britain (Aldershot, England: Ashgate, 2004).

Hungary See also {485}. 476.

Szende, Ottó. “Daten zur Frühgeschichte der ungarischen Geigerschule.” Musikforschung 40 (April–June 1987): 116–19. Gives an overview of the development of the Hungarian school of violin playing in the 19th century. Briefly discusses important figures, such as Gustav Ellinger (1811–98), Jakob Grün (1837–1916), Joseph Böhm (1795–?), Joseph Joachim (1831–1907), and Leopold Auer (1845–1930).

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477.

107

Halász, Péter. “The Hungarian Violin School in the Context of Hungarian Music History.” Hungarian Music Quarterly 6, nos. 1–2 (1995): 13–17. Discusses the development and achievements of the Hungarian violin school, focusing particularly on the contributions of Jenö Hubay, who is identified as the school’s founder. Cites the influence of folk music traditions on Hungarian violin playing and violin music.

India 478.

Shankar, L. “The Art of Violin Accompaniment in South Indian Classical Music.” Ph.D. diss., Wesleyan University, 1974. 206pp. Discusses the role of the violin accompanist in South Indian classical (Carnatic) ensembles. A lengthy appendix provides brief biographies of celebrated Carnatic violinists. Includes a glossary, discography, and bibliography. Written by a established professional violinist in the Carnatic tradition.

479.

Swift, Gordon Nichols. “South Indian Gamaka and the Violin.” Asian Music 24 (1990): 71–89. Explores the role of the violin in South Indian classical music, particularly the violin’s adaptability to the performance of gamakas (ornaments). Provides an overview and classification of gamakas and discusses various fingering techniques by which they may be realized. For an expanded discussion of the topic, see the author’s dissertation, “The Violin as Cross Cultural Vehicle: Ornamentation in South Indian Violin and Its Influence on a Style of Western Violin Improvisation” (Ph.D. diss., Wesleyan University, 1989).

Norway See {501}. Poland See {485}. Russia/Soviet Union See also {453}, {1276}. 480.

Guth, Peter. “Die moderne russische Violinschule und ihre Methodik.” In Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz, 154–72. Vienna: Universal Edition, 1975. The first of two parts discusses the history and significance of the modern Russian school of violin playing, the beginning of which the author dates

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to 1868, when Leopold Auer arrived at the St. Petersburg Conservatory (where he taught many of world’s most celebrated violinists for nearly 50 years) and continued more than a century later with David Oistrakh, Leonid Kogan, and other Soviet violinists. The second part of the article discusses a variety of techniques, from bow grip to vibrato to articulation, and explains the characteristic Russian approach to them. 481.

Schwarz, Boris. “The Russian Violin School Transplanted to America.” Journal of the Violin Society of America 3, no. 1 (Winter 1977): 27–33. Chronicles the emigration of Russian violinists to the United States in the 20th century. Discusses the two main branches of the Russian school, the St. Petersburg Conservatory where Leopold Auer taught for almost 50 years, and the Moscow Conservatory. Mentions many of the famous violinists that left Russia, such as Mischa Elman, Jascha Heifetz, and Efrem Zimbalist.

Sweden See {491}. United States See also {481}, {484}, {488}, {491–96}, {498–500}, {508}, {1256}, {1257}, {1261}, {1264}, {1266}. 482.

Eddy, M. Alexandra. “American Violin Method-books and European Teachers, Geminiani to Spohr.” American Music 8 (1990): 167–209. Surveys the use of European violin tutors in the United States in the late 18th century and early 19th century. Suggests that their influence “persisted among American amateurs long after they had fallen out of fashion in mainstream professional playing in Europe” (170).

Yugoslavia See {501}. STUDIES

BY

STYLE

Folk See also {34}, {437}, {851}, {1245}, {1264–66}, {1312}, {1497}, {1687}. 483.

Burman-Hall, Linda. “The Technique of Variation in an American Fiddle Tune: A Study of ‘Sail Away Lady’ as Performed by Uncle Bunt Stephens.” Ethnomusicology 12 (January 1968): 49–71.

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Offers a detailed, quasi-Schenkerian analysis of a 1926 recording of the fiddle tune; also discusses ornamentation and bowing techniques. Includes a complete transcription (with bowings). 484.

Burman-Hall, Linda. “Southern American Folk Fiddle Styles.” Ethnomusicology 19 (January 1974): 47–65. Sets out to establish the common characteristics of the British-American fiddle tradition in the southern United States. Sections include: Conventions of Performance (and the differences between “fiddler” and “violinist”); The Fiddle Tune (typical scalar formations and modes, tempo and meter, form and structure); Research Procedures and Methodology; Results for the Tradition as a Whole; and discussions of regional styles: Blue Ridge, Southern Appalachian, Ozark, and Western. For more on the subject, see the author’s “Southern American Folk Fiddling: Context and Style” (Ph.D. diss., Princeton University, 1974).

485.

Deutsch, Walter and Gerlinde Haid, eds. Die Geige in der europäischen Volksmusik. Vienna: Schendl, 1975. 202pp. The proceedings of a conference on the place of the violin in European folk music. After a general introduction on the topic, articles from a variety of scholars follow on the violin in the folk music of Austria, Great Britain and Ireland, Greece, Hungary, Norway, Poland, and Yugolslavia. Two concluding articles discuss current issues in the field. An unpaginated section of photographs of violins and violinists follows the index. Mus. exx.

486.

Mendelson, Michael. “A Bibliography of Fiddling in North America.” Parts 1–6. JEMF Quarterly 11 (1975): 104–11, 153–60, 201–4; 12 (1976): 9–14, 158–64; 13 (1977): 88–95. An extensive and selectively annotated bibliography of the fiddling literature.

487.

Feldman, Allen and Eamonn O’Doherty. The Northern Fiddler: Music and Musicians of Donegal and Tyrone. Belfast: Blackstaff, 1979. London: Oak, 1985. 251pp. A study and collection of the solo fiddle music of County Donegal in Ireland and County Tyrone in Northern Ireland. Nearly half the book is given over to transcriptions of jigs, reels, marches, highlands, strathspeys, and barndances for solo violin. The text includes an introduction to the history of Irish folk music, a discussion of the collection of the tunes in the volume, interviews with fiddlers John Doherty, Con Cassidy, Mickey Byrne, Danny O’Donnell, Peter Turbit, and John Loughran, and an appendix delineating the fiddling styles discussed in the book. Well illustrated with photographs, drawings, and paintings.

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Zenger, Dixie Robison. “Violin Techniques and Traditions Useful in Identifying and Playing North American Fiddle Styles.” D.M.A. diss., Stanford University, 1980. 75pp. Seeks to establish criteria to differentiate and categorize different styles of North American folk fiddling, as well as to aid the fiddler in the performance of different traditions. Examines seven different styles: Cajun, French-Canadian, Irish, New England, Scottish-Canadian, Southeastern Mountain, and Texas.

489.

Daniel, Wayne W. “Fiddling in North America: A Selected Annotated Bibliography.” Devil’s Box 18 (Fall 1984): 35–39. Lists and comments on newspaper and magazine articles on fiddling written between 1915 and 1932. Cites articles not listed in Mendelson’s larger bibliography {486}.

490.

Goertzen, Chris. “American Fiddle Tunes and the Historic-Geographic Method.” Ethnomusicology 29 (Fall 1985): 448–73. Charts the history, dissemination, and changing musical features of the American fiddle tune “Billy in the Low Ground” through a study of 140 versions recorded between about 1923 and 1980. Proposes that this case study can aid in understanding the changes that tunes in the oral traditional generally undergo over long periods. Numerous tables, diagrams, and musical examples.

491.

Thomson, Ryan J. The Fiddler’s Almanac. Newmarket, NH: Captain Fiddle, 1985. 138pp. A compendium of useful information for the American fiddler. Provides information on fiddle playing, instrument buying, fiddle contests, recordings, books, and music. Includes a chapter on Swedish fiddle music by Matt Fichtenbaum. Illustrated.

492.

Frisch, Michael H. “Notes on the Teaching and Learning of Old-Time Fiddle.” Ethnomusicology 31 (Winter 1987): 87–102. Reports on a week-long beginning fiddling class at the Augusta Heritage Arts Workshop (Elkins, West Virginia, 1985); reflects on the experience of the largely cosmopolitan students and discusses the teaching of fiddler Gerry Milnes. Includes scale chart for fiddling music.

493.

Goertzen, Chris and Alan Jabbour. “George P. Knauff’s Virginia Reels and Fiddling in the Antebellum South.” American Music 5 (Summer 1987): 121–44. Discusses the career of American composer George P. Knauff and particularly his 1839 collection of 35 fiddle tune arrangements, which sheds

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light on southern fiddle repertoire and practice before the Civil War. An appendix provides an annotated list of Knauff’s compositons. Mus. exx. 494.

Goertzen, Chris. “The Transformation of American Contest Fiddling.” Journal of Musicology 6 (Winter 1988): 107–29. Explores changes in American fiddle music over the course of the 20th century. Concludes that “what had recently been primarily a folk music has acquired new performers, audiences, musical vocabularies, and technical standards, and has in many ways become an art music” (107). Musical examples.

495.

Cauthen, Joyce H. With Fiddle and Well-Rosined Bow: Old-Time Fiddling in Alabama. Tuscaloosa: University of Alabama Press, 1989. xii, 282pp. A scholarly history of folk violinists and violin-playing in Alabama, focusing on the early and mid-20th century; devotes particular attention to prominent performers known as “brag fiddlers” and the competitions, conventions, and social events at which fiddlers performed. Two appendices list old-time tunes played in Alabama and winners of fiddlers’ conventions. Many photographs, no musical examples.

496.

Missouri Folklore Society Journal 13–14 (1991–92). Special issue: “Fiddling in Missouri.” Eight articles address folk fiddling in Missouri (and Illinois) from a variety of musical and cultural perspectives. Contents: Richard Blaustein, “Jake and Lena Hughes: Grassroots Promoters of the Old-Time Fiddling Revival in Missouri and the Great Plains Region”; C. Thomas Cairney, “‘That Evil Fiddle’: Scotch-Irish Folk Religion and Ethnic Boundary Maintenance in Southern Missouri”; Loman Cansler, “The Fiddle and Religion”; Timothy J. Cooley, “When a Tune Becomes a Folk Tune: Fiddling in Southern Illinois”; Linda L. Danielson, “Oregon Fiddling: The Missouri Connection”; Howard W. Marshall, “‘Marmaduke’s Hornpipe’: Speculations on the Life and Times of a Historic Missouri Fiddle Tune”; Amy E. Skillman, “‘She Oughta Been a Lady’: Women Old-Time Fiddlers in Missouri”; Julie Youmans, “Warming the Cold Notes: Style and Boundaries in Old-Time Fiddling.”

497.

Cooke, Peter. “The Violin—Instrument of Four Continents.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 234–48. Cambridge: Cambridge University Press, 1992. Offers a brief survey of the violin in folk and popular musics of Europe, North America, Latin America, and the Arab world and South and Southeast Asia. Mus. exx.

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Mishler, Craig. The Crooked Stovepipe: Athapaskan Fiddle Music and Square Dancing in Northeast Alaska and Northwest Canada. Urbana: University of Illinois Press, 1993. xiv, 234pp. Explores the origins, development, performers, repertoire, and related dances and festivals of the Athapaskan fiddling tradition. Includes fiddle tune transcriptions and an annotated discography and videography.

499.

Blaustein, Richard Jason. “The Oldtime Fiddler’s Association Movement: A Grassroots Folk Revival.” Southern Folklore 51 (1994): 199–217. Summarizes the author’s decades-long ethnographic study of the revitalization of American fiddling; discusses the rise of the oldtime fiddlers association, and the contests and jam sessions sponsored by these organizations. For more on the subject, see the following works by the author: “Traditional Music and Social Change: The Old Time Fiddlers Association Movement in the United States,” Ph.D diss., Indiana University, 1975; and “Old-Time Fiddling and Country Dancing in North America,” in Communities in Motion: Dance, Community, and Tradition in America’s Southeast and Beyond, ed. Susan Eike Spalding and Jane Harris Woodside (Westport, CT: Greenwood, 1995), 191–202.

500.

Goertzen, Chris. “Balancing Local and National Approaches at American Fiddle Contests.” American Music 14 (Fall 1996): 352–81. Examines the tension within American old-time fiddling between a newer and more virtuosic national approach and an older, regionalized, and less flashy approach. An introductory section on early fiddle contests and the fiddle revival in America is followed by studies of four contests in Illinois, Minnesota, and North Carolina. Concludes that the fiddle revival has achieved a balance between the “museumization” (379) of older playing styles and repertoire on the one hand and innovation and standardization on the other. Tables, maps, and mus. exx.

501.

Goertzen, Chris. Fiddling for Norway: Revival and Identity. Chicago: University of Chicago Press, 1997. xv, 347pp. Explores modern Norwegian folk fiddling as a musical and cultural phenomenon. Part One (of two) is devoted to fiddlers, their clubs, and their contests, and includes discussion of late-19th- and early-20th-century performers. Part Two focuses on the music—repertoire, style, form, tuning, and performance practice—as well as on changes to fiddling contests. Includes transcriptions of 127 folk tunes. For related articles by the author, see “Defending Regional Identity at a Recent Fiddle Contest in ‘Norwegian’ America,” Studia Musicologica Norvegica 15 (1989): 175–94; and “The Norwegian Folk Revival and the Gammeldans Controversy,” Ethnomusicology 42 (Winter 1998): 99–127.

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502.

113

Wade, Stephen. “The Route of ‘Bonaparte’s Retreat’: From ‘Fiddler Bill’ Stepp to Aaron Copland.” American Music 18 (Winter 2000): 343–69. Traces the transformation of the fiddle tune “Bonaparte’s Retreat” as performed by William Stepp, into Aaron Copland’s “Hoe-Down” from his ballet Rodeo via intermediaries Alan Lomax and Ruth Crawford.

Jazz See also entries in the Violinists section for Regina Carter, Ornette Coleman, Stephane Grappelli, Leroy Jenkins, Didier Lockwood, Stuff Smith, Eddie South, and Joe Venuti. 503.

Morgenstern, Dan. “Jazz Fiddle.” Down Beat 34 (9 February 1967): 16–19, 38. Surveys the history of jazz violin playing. Discusses its origins and mentions a variety of performers, including Ornette Coleman, Stephane Grappelli, Ray Nance, Butch Paige, Arman J. Piron, Jean-Luc Ponty, Stuff Smith, Eddie South, and Joe Venuti. Photos.

504.

Schroedter, Ulrich. “Die Geige in Jazz und Rock.” 2 parts. Musikforum 26 (May–June 1981): 20–23; (July–August 1981): 22–27. Considers the new possibilities for the violin offered by jazz and jazzrock fusion. Discusses technique and transcribes riffs from various recordings. Mus. exx., photographs.

505.

Gläß, Susanne. Die Rolle der Geige im Jazz. Bern: Lang, 1991. 232pp. A broad study of the role of the violin in jazz. An introductory chapter discusses the violin in popular music before jazz and the use of stringed instruments in African and African-American musical traditions. The majority of the book’s eight chapters are devoted to particular eras in jazz history, discuss prominent violinists and their music, and provide transcriptions of recordings by the following violinists: Svend Asmussen, Ornette Coleman, Stephane Grappelli, Didier Lockwood, Ray Nance, Zbignew Seifert, Stuff Smith, Eddie South, and Joe Venuti. The role of the violin in “gypsy jazz,” rock, and jazz-rock is also considered. Mus. exx., bib.

506.

Harrison, Max. “The Violin in Jazz.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 148–67. Cambridge: Cambridge University Press, 1992. A sketch of the violin’s use as a solo and ensemble instrument in 20thcentury jazz. Cites numerous recordings.

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Dietrich, Johannes. “The Violin in Pre-Bebop Era Jazz.” D.M.A. diss., University of Cincinnati, 1996. ii, 113pp. Provides biographical sketches and analyses of the playing styles of the following jazz violinists: Svend Amussen, Stephane Grappelli, Ray Nance, Stuff Smith, Eddie South, and Joe Venuti. Two appendices offer an annotated discography and transcriptions of 15 different tunes. Mus. exx. and bib.

508.

Lieberman, Julie Lyonn. “A Brief History of Jazz Violin.” American String Teacher 52 (November 2002): 78–85. Discusses the history of jazz violin playing and its role in 20th-century American music. Profiles Stuff Smith, Eddie South, and Joe Venuti, among other jazz violinists. Includes photographs and illustrations.

STUDIES

BY

TECHNIQUE; PERFORMANCE PRACTICE

See also {38}, {43}, {45–47}, {50–56}. Holding the Violin See also the various treatises cited in {578–626}. 509.

Hartmann, Arthur. “Why All Chin Rests Should be Abolished.” Musical Times 56 (1 February 1915): 105–6. Argues that the chin rest should be abolished because it forces the violinist to hold the instrument in “an extremely slanting position” (12) that has a deleterious effect on left-hand technique. Also published in Violinist 19 (September 1915): 11–12.

510.

Todd, William Walker. “A Defense of the Chin Rest.” Violinist 19 (December 1915): 9–10, 36. Responds to Arthur Hartmann’s exhortation to abolish the chin rest {509}, arguing that chin rests need not be detrimental to technique and that the devices are necessary for performers with long necks or square shoulders.

511.

Babynchuk, A. A. “Violin Support: The Controversy.” Strad 71 (February 1961): 381–87. Discusses the challenges of properly holding the violin; advocates the use of a shoulder rest. A follow-up article by the author appears in the May 1961 issue of Strad, and the debate continues in letters to the editor in subsequent issues.

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512.

115

Liivoja, Jaak. “The Shoulder Rest.” Strad 92 (May 1981): 29–31. Notes the increasing popularity of shoulder rests among violinists and argues against its use, claiming that it “retard[s] and even eliminate[s] the sense of physical awareness that comes from direct contact with the violin” (31).

513.

Rônez, Marianne. “Die Violintechnik von ihren Anfangen bis zum Hochbarock.” Österreichische Musikzeitschrift 49 (February 1994): 114–23. Discerns a wide variation in violin position and bow grip in violin playing from the 16th to the 18th centuries.

514.

Okner, Marla Ann Olsen. “Chin Rest Pressure in Violin Playing: Music, Shoulder Pads, and Chin Rests as Possible Mediators.” Ph.D. diss., University of Minnesota, 1997. vii, 174pp. Investigates the variables that influence the amount of chin pressure violinists exert when performing. Measurements were taken of a variety of violinists using different kinds of chin rests and shoulder pads playing excerpts from Max Bruch’s Violin Concerto No. 1 and G. F. Handel’s Violin Sonata No. 1 in A major. Some of the author’s findings: that the amount of chin pressure changes with the type of music performed; that pressure varied with the type of chin rest used; that shoulder pads did not significantly affect chin pressure; and that shoulder width, but not neck length, significantly affected chin pressure. A series of appendices reproduces the data generated by the study. This study was conducted in the University’s Department of Kinesiology. See also Thomas Kernozek, Marla A. O. Okner, and Michael G. Wade, “Chin Rest Pressure in Violin Players: Musical Repertoire, Chin Rests and Shoulder Pads as Possible Mediators,” Medical Problems of Performing Artists 12 (December 1997): 112–21.

Right Hand (Bowing) See also {379}, {433}, {436}, {441}, {445–50}, {453}, {454}, {461}, {463}, {466}, {467}, {474}, {513}, {539}, and the various treatises cited in {578–626}. 515.

Steinhausen, Friedrich Adolf. Die Physiologie der Bogenführung auf den Streichinstrumenten. Leipzig: Breitkopf & Härtel, 1903. 113pp. 4th ed., ed. Arnold Schering. Leipzig: Breitkopf & Härtel, 1920. xviii, 166pp. A treatise on the physiology of bowing based on the idea that the motion of bowing consists of curved movements, not straight ones, as had traditionally been described in earlier methods. Includes numerous diagrams,

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anatomical illustrations, and musical examples. Remains an important and oft-cited work. 516.

“The Art of Bowing: Opinions of Twenty-Five Experienced Artists and Teachers.” 6 parts. Violinist 8 (November 1909): 9–15; (December 1909): 9–14; (January 1910): 9–13; (February 1910): 9–12; (March 1910): 9–15; 9 (April 1910): 9–12. A collection of brief responses from a variety of violinists to the following question: “What do you consider one of the fundamental difficulties in acquiring correct bowing; and how can this difficulty be overcome?” An interesting survey of early-20th-century practices and attitudes.

517.

Capet, Lucien. La technique supériere de l’archet. Paris: Senart, 1916. 144pp. Largely a bowing tutor; some text, but mostly musical examples.

518.

Schweitzer, Albert. “A New Bow for Unaccompanied Violin Music.” Musical Times 74 (September 1933): 792–95. Discusses the problems of playing unaccompanied Bach with the modern violin bow, and examines the “round bow” that Schweitzer erroneously claimed was used in Bach’s time. Introduces a new method that deals with the problem of playing polyphonic and monophonic music—a modified bow with a mechanical device worked by the thumb to increase and release tension. Cites several experimental bows and bow makers, especially the work of Ralph Schroeder. See also the author’s “Der runde Violinbogen,” Schweizerische Musikzeitung 73 (1937): 197–203.

519.

Hodgson, Percival. Motion Study and Violin Bowing. London: Strad, 1934. x, 106pp. R. Urbana, IL: American String Teachers Association, 1958. xii, 106pp. A study of the physiological, mechanical, and acoustic aspects of bowing with practical advice to the teacher and violinist. Follows Steinhausen’s {515} assertion that the motion of bowing consists of curved rather than straight movements. Numerous diagrams, graphs, and musical examples.

520.

Babitz, Sol. “Differences Between 18th-century and Modern ViolinBowing.” Score, no. 19 (March 1957): 34–55. Discusses the distinctive aspects of 18th-century bowing based on a study of treatises by Francesco Geminiani {583} and Leopold Mozart {587} and research on the physical characteristics of early bows. Diagrams, illustrations, and musical examples. Reprinted, with corrections and

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additional commentary, in Differences Between 18th-Century and Modern Violin Bowing, Los Angeles: Early Music Laboratory, 1970, 2d ed., 1974. 521.

Mackerras, Joan. “Problems of Violin Bowing in the Performance of 18thCentury Music.” Canon 17, no. 3 (1964): 25–30. Considers the challenges of the modern performance of string music from the Baroque period given the differences between 20th-century and 18thcentury bows.

522.

Pershing, Drora. “The Bach-Bow Controversy.” Journal of the Violin Society of America 3 (Spring 1977): 72–81. Discusses the performance of Baroque polyphonic music, and specifically the debate over the use of a curved bow (the so-called Bach bow) to perform three and four notes simultaneously. Provides a good overview of the literature on the subject. Illustrations.

523.

Stowell, Robin. “Violin Bowing in Transition: A Survey of Technique in Instruction Books, c. 1760–c. 1830.” Early Music 12 (August 1984): 317–27. Discusses historical changes and regional differences in bowing technique (particularly grip and arm position) in the late 18th and early 19th centuries, with reference to the treatises of Louis Spohr, Lepold Mozart, Francesco Geminiani, Bartolomeo Campagnoli, Georg Löhlein, and L’Abbé le fils.

524.

Palac, Judith Ann. “An Analysis of Contemporary Pedagogical Literature on Violin Bowing Technique According to the Principles of Human Movement.” D.M.A. diss., University Texas at Austin, 1987. 152pp. Examines 20th-century pedagogies of violin bowing “based on the concept that bowing is a holistic action of the entire body performed under changing environmental conditions.” (Author’s abstract.) Mus. exx., bib.

525.

Carter, Stewart. “The String Tremolo in the 17th Century.” Early Music 19 (February 1991): 43–59. Sketches the early history of the string tremolo, beginning with Biagio Marini’s Op. 1 (1617).

526.

Rônez, Marianne. “Der ‘franzosische’ Bogengriff und seine praktische Anwendung.” In Historische Aufführungspraxis im heutigen Musikleben, 94–111. Blankenburg am Harz, Germany: Institut für Aufführungspraxis der Musik des 18. Jahrhunderts, 1992.

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Contrasts French and Italian approaches to bowing and bow grip in the 17th and 18th centuries. 527.

Askenfelt, Anders and Knut Guettler. “The Bouncing Bow: An Experimental Study.” Catgut Acoustical Society Journal 2d ser., 3 (November 1998): 3–8. Reports on studies of the mechanics of spiccato and ricochet bowing using a bowing machine and bows made of wood, fiberglass, and carbon fiber composites, as well as a straight bow. See also the authors’ article in the same issue, “On the Kinematics of Spiccato and Ricochet Bowing.” Askenfelt has written extensively on bowing; see also his earlier articles, “Measurement of Bow Motion and Bow Force in Violin Playing”, Journal of the Acoustical Society of America 80 (October 1986): 1007–15 and “Measurement of the Bowing Parameters in Violin Playing: Bow-Bridge Distance, Dynamic Range, and Limits of Bow Force,” Journal of the Acoustical Society of America 86 (August 1989): 503–16.

Left Hand See also the various treatises cited in {578–626}. General 528. Neumann, Frederick. Violin Left Hand Technique: A Survey of the Related Literature. Urbana, IL: American String Teachers Association, 1969. ix, 141pp. Discusses a variety of historical and modern treatises and their treatment of left-hand techniques, including position, portamento, and vibrato. The essays in this volume were originally published in American String Teacher between 1953 and 1963. For a fuller treatment of the subject, see the author’s dissertation, “Survey of the Basic Doctrines of Violin Left Hand Technique (Including the Position of the Body),” (Ph.D. diss., Columbia University, 1952). Fingering and Shifting See also {434}, {436}, {445}, {467}, and the various treatises cited in {578–626}. 529.

Jarosy, Albert. Die Grundlagen der violinistischen Fingersätze. Berlin: Max Hesse, 1921. 113pp. F. Nouvelle Théorie du Doigte. Trans. Suzanne JoachimChaigneau. Paris: Eschig, 1924. 106pp. E. A New Theory of Fingering. Trans. Seymour Whinyates. London: Allen & Unwin, 1933. 70pp. Offers a method of fingering based on the author’s understanding of Paganini’s “secret” technique. The secret, he claims, is that “The fingering

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of the violin [is] based on the natural fall of the fingers” (27, Eng. ed.), meaning that the finger selected to play a note is determined by the structure of the hand and the way in which in the fingers incline when the hand is in the “accepted position” (a diagram of which is on p. 35). Includes diagrams and many musical examples. 530.

Babitz, Sol. Principles of Extension in Violin Playing. Los Angeles: Delkas, 1947. 32pp. Presents a method of fingering that relies heavily on the use of extensions and thus reduces the need for shifting. An introductory section discusses the history and development of violin fingering. Section II explains Babitz’s method, and Section III provides extended musical examples, with fingerings, including the first Double and the Corrente from Bach’s Partita No. 1.

531.

Flesch, Carl. Alta scuola di diteggiatura violinistica. Trans. Alberto Curci. Milan: Curci, 1960. 382pp. E. Violin Fingering: Its Theory and Practice. Trans. Boris Schwarz. London: Barrie and Rockliff; New York: Dover, 1966. vii, 389pp. G. Die Hohe Schule des Fingersatzes. Ed. Kathinka Rebling. Frankfurt: Peter Lang, 1995. 646pp. A systematic, encyclopedic, and authoritative study of violin fingering, largely intended for teachers and advanced performers. Organized in four main sections on the positions, on shifting, on chords, and on expressive possibilities of fingering. Includes more than 1,700 musical examples. Originally written in German, though first published in Italian.

532.

Yampolsky, I. M. The Principles of Violin Fingering. Trans. Alan Lumsden. London: Oxford University Press, 1967. 129pp. A guide to violin fingering. In many ways similar to Flesch’s study {531}, but smaller in scope and somewhat less technical. (The author criticizes Flesch’s approach to violin fingering in his Art of Violin Playing as being too complex.) Divided into 25 brief chapters with many musical examples.

533.

Macomber, Curtis James. “Principles of Fingering in Twentieth-Century Violin Music.” D.M.A. diss., The Juilliard School, 1978. v, 121pp. A study of fingering in 20th-century violin music; offers solutions to the challenges of fingering presented by modern violin repertoire, aiming toward the ideal of the “smooth, cleanly articulated phrase, in which fingerings are audible only when desirable” (3). Chapters focus on shifting, extensions, contractions, enharmonic conversions, preparatory fingerings, melodic skips, and double stops. Mus. exx., bib.

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Walls, Peter. “Violin Fingering in the 18th Century.” Early Music 12 (August 1984): 300–15. Surveys various 18th-century treatises and violin sonatas for evidence of fingering and shifting practices (and the related issue of holding the violin) in order to help modern violinists perform Baroque repertoire. Examines treatises by Francesco Geminiani and Leopold Mozart, and sonatas by Pietro Castrucci, Jean-Baptiste Cupis, François Duval, Michael Festing, Jean-Marie Leclair, Giovanni Antonio Piani, and Francesco Maria Veracini, among others. Mus. exx. and facs.

535.

Monosoff, Sonya. “Violin Fingering.” Early Music 13 (February 1985): 76–79. Takes issue with certain assumptions about 18th-century shifting practices that Peter Walls makes in {534}. Argues that contemporaneous paintings of violinists do not, as Walls asserts, provide conclusive evidence of how violinists held their instruments; contests other claims about fingering and identifies errors in musical examples. A counterresponse by Walls follows.

Harmonics See also {453}, {466}, {608}, {612}, {1340}, {1503}, {1527}. 536.

Jacomb, C. E. Violin Harmonics: What They Are and How to Play Them. London: Strad; New York: Scribner’s Sons, 1924. 75pp. A practical guide to the performance of harmonics on the violin. Includes musical examples, charts, and a chapter on the combination, or Tartini, tone (identified as “Tartini notes”), a third pitch that is perceived when two others of certain frequencies and intensities are played simultaneously.

537.

Zukofsky, Paul. “On Violin Harmonics.” Perspectives of New Music 6 (Spring–Summer 1968): 174–81. Seeks to clarify the variety of ways in which harmonics may be produced on the violin by providing “an easily accessible, standardized, and current chart” (174). This chart, on 11 staves indicating the notes as fingered and their resulting pitches, occupies pp. 177–81.

538.

Warfield, Gerald. “The Notation of Harmonics for Bowed String Instruments.” Perspectives of New Music 12 (Autumn 1973–Summer 1974): 331–43. Offers a new and unambiguous system for notating harmonics. Numerous charts and diagrams.

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121

Kimura, Mari. “How to Produce Subharmonics on the Violin.” Journal of New Music Research 28 (June 1999): 178–84. Explains how to produce subharmonics (notes below the range of the violin) by using special bowing techniques and by using twisted strings (but without changing the violin’s tuning).

Portamento See also {434}, {436}, {447}, {453}, {455}, {458}, {465}, {528}, {606}, {608}, {612}, {615}. 540.

“All ‘Sliders.’” Violinist 5 (February 1905): 3. Notes the overuse of portamento in violin playing; advises violinists not to slide with the finger to be used in the new position. Also relates an amusing piece of correspondence on the matter: “Not long ago I received a letter from a subscriber in Albert Lea, Minn., in which he wrote, ‘All the violin players here are sliders; every note above the third position they reach by sliding and feeling for the note. It sounds like a cat or dog trying to render ‘Carmen’.”

541.

Swihart, J. W. “Exceptional Uses of the Playing Finger in Portamento.” Violinist 12 (November 1911): 19–20. Advises when it is proper to break with the common teaching wisdom and use a same-finger slide. Provides illustrative musical examples with fingerings.

542.

Brombach, Edward William. “Portamento—The Audible Position Change Used for Expressive Purposes.” D.M.A. diss., University of Rochester, 1969. 135pp. A historical, technical, and musical study of portamento in instrumental and vocal performance. Includes a discussion of portamento in string playing and provides several musical examples in which the use of portamento as heard on recordings of famous violinists (Mischa Elman, Jascha Heifetz, Maud Powell, Pablo de Sarasate, Jacques Thibaud, Efrem Zimbalist, and others) is notated. Mus. exx., bib.

Vibrato See also {74}, {434}, {436}, {441}, {445–47}, {449}, {453}, {455}, {457}, {458}, {465}, {480}, {528}, {567}, {634}, {1210}, {1212}, {1267}, {1623}. See also many of the treatises cited between {583} and {626}.

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Heft, Arthur. “The Vibrato in Violin Playing.” Violinist 2 (February 1902): 11. Notes that vibrato “is not considered important enough by many teachers, even great teachers, to demand their proper attention” and urges that it be studied just as carefully as other techniques.

544.

Eberhardt, Siegfried. Der beseelte Violinton. Dresden: Keuthmann, 1910. 42pp. E. Violin Vibrato: Its Mastery and Artistic Uses. Trans. Melzar Chaffee. New York: Fischer, 1911. 32pp. Offers reflections and advice on good violin tone production, with particular emphasis on vibrato. Quotes from treatises throughout the ages and provides several vibrato exercises. Photographs and musical examples accompany the text.

545.

Bissing, Petrowitch. Cultivation of the Violin Vibrato Tone. Chicago: Central States Music, 1914. 24pp. A practical guide to the use of vibrato, which the author describes as “by far the most enchanting of violin tones” (10). Includes accompanying photographs and musical exercises.

546.

Rau, Fritz. Das Vibrato auf der Violine. Leipzig: Kahnt, 1922. 67pp. A theoretical and practical guide to vibrato; also includes discussion of other left-hand techniques. Includes illustrative photographs, diagrams, and musical examples.

547.

Bonavia, Ferruccio. “On Vibrato.” Musical Times 68 (December 1927): 1077–78. Laments the “curse” of excessive vibrato in violin playing, which the author believes results in “dead” or “insincere” performances. Concedes that some violinists have control over their vibrato (such as Eugène Ysaÿe and Fritz Kreisler), but argues that most fiddlers are actually controlled by their vibrato.

548.

Cheslock, Louis. Introductory Study on Violin Vibrato. Baltimore: Peabody Conservatory of Music, 1931. 79pp. A scientific investigation of violin vibrato; parameters studied include speed, amplitude, duration, and pitch range. Many illustrations.

549.

Seashore, Carl E., ed. The Vibrato. Iowa City: University of Iowa Press, 1932. 382pp. A valuable collection of articles on vibrato. Includes studies of rate and variability of vibrato as heard from live and recorded violin playing and a historical survey of string vibrato that quotes from dozens of writings spanning three centuries. Seashore also compiled an abridged and updated

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form of this study, published as Psychology of the Vibrato in Voice and Instrument (Iowa City: University of Iowa Press, 1936). 550.

Babynchuk, A. A. “Vibrato: A General Survey.” Strad 66 (July 1955): 90, 92. One of a series of articles examining the practice from a variety of perspectives. See also the author’s “Vibrato: A Physical Assessment,” Strad 66 (August 1955): 134–38; and “Vibrato: The Technique,” Strad 66 (September 1955): 168–70.

551.

Mark, Sigmund. “The ‘Vibrato Fixation.’” Strad 70 (November 1959): 241, 243. Based on a study of nearly 2,000 amateur and professional Austrian violinist, the author claims that the poor tone quality can be attributed to the overuse of vibrato.

552.

Niblock, James. “A Brief History of the Vibrato.” Parts 1–3. Violins and Violinists 21 (1960): 65–67; 103–05; 160–62. Draws on several treatises from the 16th century to the 20th to explain changes in the practice of and attitude toward vibrato.

553.

Berljawsky, Joseph. “The Evolution of the Vibrato.” Strad 78 (November 1967): 255–62. Explores the origins of vibrato, arguing that it arose out of the trill; cites several 17th- and 18th-century sources and includes 11 musical examples.

554.

Fletcher, Harvey and Larry C. Sanders. “Quality of Violin Vibrato Tones.” Journal of the Acoustical Society of America 41 (1967): 1534–44. A scientific analysis of the rate, intensity, and harmonic structure of violin vibrato. Includes tables, graphs, and charts. Reprinted in Hutchins, ed. Musical Acoustics {62}.

555.

Hauck, Werner. Das Vibrato auf der Violine. Cologne: Bosworth Edition, 1971. 116pp. E. Vibrato on the Violin. Trans. Kitty Rokos. London: Bosworth, 1975. 95pp. A study of violin vibrato, its history, critical reception, and technique. Cites many writings on the subject and offers suggestions on the effective use of vibrato, illustrated through diagrams and musical examples.

556.

Melkus, Eduard. “Das Vibrato im 17. und 18. Jahrhundert.” In Jakob Stainer und seine Zeit, ed. Walter Salmen, 191–94. Innsbruck: Helbling, 1984. Also published in Musikzentren: Konzertschaffen im 18. Jahrhundert, ed. Eitelfriedrich Thom, 66–72. Blankenburg/Harz: Die Kultur- und Forschungsstätte, 1984.

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Investigates the use of vibrato (and the variety of terms used to describe it) in the 17th and 18th centuries based on an examination of period sources. 557.

Meyer, Jürgen. ‘‘Zur klanglichen Wirkung des Streicher-Vibratos,’’ Acustica 76 (1992): 283–91. Considers the influence of vibrato on string tone. Reports on both the frequency and amplitude modulation that results from vibrato, and observes that the use of vibrato increases the perceived sound volume of an instrument. Includes numerous graphs and abstracts in English, French, and German. Reprinted in {68}.

558.

Yoo, Lilit, Stephan Moore, David Sullivan, and Ichiro Fujinaga. “The Effect of Vibrato on Response Time in Determining the Pitch Relationship of Violin Tones.” Proceedings of the International Conference on Music Perception and Cognition (1998): 477–81. Concludes that the use of the vibrato can help violinists mask imperfect intonation because it allows them time to find the center of the pitch before a listener can detect any deviation.

559.

Klopcoc, Rok. “Shaken and Stirred.” Strad 114 (June 2003): 628–29, 631. Surveys attitudes and opinions about vibrato from the great violinists and teachers.

560.

Katz, Mark. “Aesthetics out of Exigency: Violin Vibrato and the Phonograph.” In Capturing Sound: How Technology Has Changed Music, 85–98. Berkeley and Los Angeles: University of California Press, 2004. Argues that the shift to a more conspicuous, continuous vibrato in the early 1900s may be understood in large part as a response on the part of professional violinists to the demands and limitations of early recording technology. An earlier version of the essay was published in Music and Technology in the Twentieth Century, ed. Hans-Joachim Braun (Baltimore and London: Johns Hopkins University Press, 2002). Mus. exx.

Tuning and Intonation (Including Scordatura) See also {449}, {453}, {457}, {466}, {501}, {558}, {870}, {1503}. 561.

Moser, Andreas. “Die Violin-Skordatur.” Archiv für Musikwissenschaft 1 (1918–19): 573–89. Surveys the history of scordatura, or unconventional tunings, from its earliest appearances in 16th-century lute music to the height of the practice in the 17th century (especially in music of Heinrich Ignaz Franz von Biber, Biagio Marini, and Johann Heinrich Schmelzer) to its less frequent use

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in 18th- and 19th-century music (Paganini being a notable example of the latter). Quotes liberally from period sources and provides many musical examples. 562.

Gale, Albert. “Just Intonation in Violin Playing.” 2 parts. Etude 53 (March 1935): 180; (April 1935): 242. Advises on the use of just intonation, in which enharmonics (e.g., G sharp and A flat) are not equivalent. Mus. exx.

563.

Russell, Theodore. “The Violin Scordatura.” Musical Quarterly 24 (January 1938): 84–96. Chronicles the rise of scordatura in the 17th century (as used in works by Heinrich Ignaz Franz von Biber, Biagio Marini and others), its continued use in the 18th century (Pietro Locatelli, Antonio Lolli, Giuseppe Tartini, et al.), and its decline in the 19th century (Charles de Bériot, Jacques Mazas, Nicolò Paganini); also discuses the use of it in the 20th century and its possibilities for the future. Observes that scordatura was used in order to (1) make certain passages easier to play, (2) vary tone color, and (3) extend the range of an instrument. Mus. exx.

564.

Abbado, Michelangelo. “La scordatura negli strumenti ad arco e Niccolò Paganini.” La Rassegna Musicale 13 (1940): 213–26. Discusses a variety of alternate tunings (scordatora) used by various composers, including Marini, Schmelzer, Biber, Lolli, and Paganini.

565.

Boyden, David D. “Prelleur, Geminiani, and Just Intonation.” Journal of the American Musicological Society 4 (Fall 1951): 202–19. Examines scale systems and intonation as discussed in 18th-century violin treatises by Peter Prelleur, Francesco Geminiani, and Giuseppe Tartini. Provides comparative charts, examples, and illustrations.

566.

Barbour, J. Murray. “Violin Intonation in the 18th Century.” Journal of the American Musicological Society 5 (Fall 1952): 224–34. Responds to {565} by further examining 18th-century violin intonation and scale systems. Includes charts.

567.

Stüber, Jutta. Die Intonation des Geigers. Bonn: Verlag für systematische Musikwissenschaft, 1989. 371pp. A study of intonation in violin playing. Notes that because of the influence of the piano, which uses equal temperament, and the overuse of vibrato, violinists do not explore the subtle gradations in pitch (i.e., playing certain pitches slightly flat or sharp relative to equal temperament) possible with the instrument and which were used in earlier eras. Offers practical advice on expressive intonation and applies them to particular works. Includes

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scores of the following works with markings indicating deviations from equal temperament: the Allemande from J. S. Bach’s Partita in D Minor and the Prelude from the Partita in E Major; the second movement of Franz Joseph Haydn’s String Quartet Op. 76, No. 4; and Paganini’s Caprice in C Major. Mus. exx., bib. 568.

Barbieri, Patrizio. “Violin Intonation: A Historical Survey.” Early Music 19 (February 1991): 69–88. Considers the development of violin intonation up until the 18th century, discussing changes in tuning systems, regional variations in tuning, and the state of research on the topic. For a broader discussion of the topic, see the author’s “L’intonazione violistica da Corelli al Romanticismo,” Studi Musicale 19 (1990): 319–84.

569.

Loosen, Franz. “Intonation of Solo Violin Performance with Reference to Equally Tempered, Pythagorean, and Just Intonations.” Journal of the Acoustical Society of America 93 (1993): 525–39. Reports on an experiment in which eight professional violinists were asked to play C major scales without vibrato. Analysis of their playing revealed that the violinists tended to play in either Pythagorean or equal temperaments.

570.

Glüxam, Dagmar. Die Violinskordatur und ihre Rolle in der Geschichte des Violinspieles: Unter besonderer Berücksichtigung der Quellen der erzbischöflichen Musiksammlung in Kremsier. Tutzing: Schneider, 1999. 535pp. A study of scordatura in the violin playing of the 17th and 18th centuries based on an examination of manuscript sources, in particular an anonymous manuscript in Kromeríz, which reveals parallels to the “Rosary” (or Rosenkranz) sonatas of Heinrich Biber. Includes a catalog of the Carl Liechtenstein-Castelcorn collection to which the anonymous manuscripts belong. Mus. exx., bib.

PEDAGOGY For studies of the lives and works of particular teachers, see Individual Biographies, {1267} ff. HISTORY, GENERAL STUDIES,

AND

REFERENCE

See also {54}, {432}, {439}, {482}. 571.

Pulver, Jeffrey. “Violin Methods Old and New.” Proceedings of the Royal Musical Association 50 (1924): 101–27.

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Surveys the pedagogical literature for violin from the early 17th century to the early 20th century. Observes that early tutors make relatively modest technical demands, whereas the technique required by contemporaneous violin music is often much more advanced; suggests that violinists may not have wanted to divulge their “trade secrets.” Discusses many individual treatises in varying degrees of detail, from John Lenton to Joseph Joachim. Mus. exx. 572.

Cleeve, S. Montague. “The Teaching Repertoire for the Violin.” 10 parts. Strad 71 (January 1961): 325–31; (February 1961): 369–73; (March 1961): 417–21; 72 (May 1961): 13–17; (June 1961): 59–63; (October 1961): 203–7; (November 1961): 247–51; (March 1962): 407–9; 73 (May 1962): 19–23; (July 1962): 91–97. “The purpose of this study is to consider what should be taught, and when, to ensure that no aspect of technique is overlooked or left till too late” (325). Lists exercises and works from Grades I to VIII with a discussion of each stage.

573.

Kroemer, Marianne. “Die Violinschule in Geschichte und Gegenwart.” In Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz, 235–56. Vienna: Universal Edition, 1975. Surveys the development of violin pedagogy from the 16th to the 20th centuries. Discusses dozens of individual tutors and treatises. Includes illustrations and musical examples.

574.

Haun, Stephanie C. “An Annotated Bibliography for Violin Teachers.” D.M.A. diss., University of Miami, 1988. 66pp. An annotated list of 125 sources from the violin pedagogy literature organized in six chapters. Intended as a practical guide for teachers.

575.

Eales, Adrian. “The Fundamentals of Violin Playing and Teaching.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 92–121. Cambridge: Cambridge University Press, 1992. Addresses a variety of issues connected with the teaching and study of the violin in three main sections devoted to the teacher, the student, and the performer. Offers practical advice on teacher-student communication, student assessment, practicing, sight-reading, left- and right-hand technique, memorization, orchestral playing, and auditions, among other topics. Mus. exx.

576.

Stowell, Robin. “The Pedagogical Literature.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 224–33. Cambridge: Cambridge University Press, 1992.

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A brief survey of the principal treatises and etudes from the Baroque to the late 20th century. 577.

Kantorski, Vincent. “A Content Analysis of Doctoral Research in String Education, 1936–1992.” Journal of Research in Music Education 43 (1995): 288–97. Analyzes the state of research on string education based on a study of 252 dissertations written over more than 50 years. Notes several trends, including an increase in research up to the 1970s and a subsequent decline in the dominance of research on the violin over that of the other instruments.

MANUALS, METHODS,

AND

TREATISES (AND COMMENTARY THEREUPON)

16th and 17th Centuries 578.

Gerle, Hans. Musica Teusch auf die Instrument die grossen unnd kleynen Geygen [sic]. Nuremberg: Formschneider, 1532. 126pp. 2d ed. Musica und Tabulatur, auff die Instrument der kleinen und grossen Geygen, auch Lautten. Nuremberg: Formschneider, 1546. 104pp. R. (of 1546 ed.) Geneva: Minkoff, 1977. 104pp. An instructional guide to playing “Grossgeigen” (violas da gamba), “Kleingeigen” (rebecs or violins), and lutes. Includes solo and ensemble music. This may be the earliest printed work that mentions the violin.

579.

Lenton, John. The Gentleman’s Diversion or the Violin Explained. London: author, 1693. 29pp. Now considered the first tutor devoted solely to the violin. Intended for amateurs and beginners, and addresses only basic matters of technique. The first 13 pages are text, with the remainder consisting of 28 pieces for violin and bass or two violins. The tutor was long known only by references to it in other publications and was thought to be lost, until recently a copy (perhaps the only extant one) was discovered in the Cardiff Public Library in Wales. See {580}.

Commentary on Lenton 580.

Boyd, Malcom and John Rayson. “The Gentleman’s Diversion: John Lenton and the First Violin Tutor.” Early Music 10 (July 1982): 329–32. Describes and attempts to clear up the facts surrounding Lenton’s The Gentleman’s Diversion (1693), now considered the first tutor written specifically and solely for the violin.

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18th Century 581.

Lescat, Phillippe and Jean Saint-Arroman, eds. Violon: méthodes, traités, dictionnaires et encyclopédies, ouvrages généraux. 4 vols. Courlay, France: Fuzeau, 2003. 323pp.; 335pp.; 296pp.; 259pp. A collection of facsimiles of French pedagogical works (or those in French translation) for the violin, as well as dictionary and encyclopedia entries on the violin and a few works on violin making, written between 1636 and 1806. Includes works by Jean Baptiste Cartier {600}, Michel Corrette, L’Abbé le fils {591} and the French editions of treatises by Francesco Geminiani {583} and Leopold Mozart {587}.

582.

Prelleur, Peter, ed. “The Art of Playing on the Violin.” In The Modern Musick-Master, or The Universal Musician. London: [1731]. R. Kassel: Bärenreiter, 1965. A broad eight-part treatise that includes a history of music, a dictionary of musical terms, and instructions on singing as well as playing the flute, oboe, harpsichord, and violin. Part Five of the treatise is a 48-page violin tutor with elementary instructions on violin playing and a selection of pieces by Tomaso Albinoni, G. F. Handel, Michele Mascitti and others. Prelleur’s work is historically significant largely because it has the same title as Francesco Geminiani’s 1751 tutor {583}, a coincidence that has generated considerable confusion. It also should be noted that it is now commonly believed that Prelleur was not the author of the tutor but pirated it from an earlier publication. See {584} and {585} for a discussion of the issue.

583.

Geminiani, Francesco. The Art of Playing on the Violin. London: Johnson, 1751. 51pp. R. ed. by David D. Boyden. London: Oxford University Press, 1952. xii, 51pp. New York: Performers’ Facsimiles, [2001]. 51pp. F. L’art de jouer le violon. Paris: Chevardiere, [1752]. 55pp. R. In vol. 1 of Lescat, Phillippe and Jean Saint-Arroman, eds. Violon: méthodes, traités, dictionnaires et encyclopédies, ouvrages généraux. Courlay, France: Fuzeau, 2003. G. Gründliche Anleitung oder Violinschule. Vienna: Artaria, n.d. [Prob. between 1785 and 1805]. 45pp. An influential treatise by the Italian violinist-composer, published during his years in England. Intended not for beginners or amateurs, as many previous treatises had been, but for more advanced players. The first nine pages (of the first edition) consist of instructions for the musical examples that follow, and addresses the position of the violin, shifting, vibrato (called the “close shake”), ornamentation, bowing, and other matters. Twelve compositions for violin and bass (with figures) follow the exercises without comment from Geminiani. The facsimile by Oxford includes

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an informative introduction by David Boyden that discusses various editions of the treatise, violin technique as represented in the treatise, the influence of the Italian school on the treatise (and its opposition to the French), and its differences with earlier and later treatises. Commentary on Prelleur and Geminiani See also {482}, {520}, {523}, {534}, {565}, {1358}, {1359}. 584.

Boyden, David D. “Geminiani and the First Violin Tutor.” Acta Musicologica 31 (1959): 161–70; “A Postscript to ‘Geminiani and the First Violin Tutor.’” Acta Musicologica 32 (1960): 40–47. These two articles are less about Geminiani than about the search for the source material for the section on violin playing in Peter Prelleur’s The Modern Musick Master (1731). In the earlier article Boyden argues that Geminiani’s Art of Playing on the Violin was not the source, as was sometimes argued, and in the later article he claims that Prelleur essentially pirated Nolens Volens, or You Shall Learn to Play on the Violin Whether You Will or No (1695), which he identifies as the first tutor written exclusively for the violin. (Boyd and Rayson in {580}, however, identify Lenton’s The Gentleman’s Diversion from 1693 as the first.) The later article includes a list of English violin tutors, 1658–1731. See also Donington’s “Geminiani and the Gremlins” {585} for more on the confusion between the Prelleur and Geminiani treatises.

585.

Donington, Robert. “Geminiani and the Gremlins.” Music and Letters 51 (April 1970): 150–55. Seeks to clear up the long-standing confusion that has arisen from the fact that Geminiani’s The Art of Playing on the Violin (1751) has the same title as Part Five of the treatise Modern Musick-Master (1731), published anonymously but attributed to Peter Prelleur. Asserts that the two have very little in common, and “differ in scale, in treatment, and even in approach” (150–51), contrary to those who have claimed that Geminiani was influenced by Prelleur or even that the two treatises were both written by Geminiani. Cites reference works that have propagated this confusion.

586.

Hickman, Roger. “The Censored Publications of The Art of Playing on the Violin or Geminiani Unshaken.” Early Music 11 (January 1983): 73–76. Discusses the changes that Robert Bremner made to Geminiani’s treatise in his post-1777 reissue, particularly on the topic of vibrato. Geminiani had advocated for a more liberal use of vibrato than was customary; Bremner’s changes reflected the conservative view of the practice expounded in most 18th-century European treatises.

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Mozart, Leopold. Versuch einer gründlichen Violinschule. Augsburg: Lotter, 1756. 264pp. 2d ed., 1770. 268pp. 3d ed., 1787. 268pp. 4th ed., 1800. 268pp. Facsimile ed., ed. H. J. Moser. Leipzig: Breitkopf & Härtel, 1922 (1st ed.), 1956, (3d ed.). F. Méthode raisonner pour apprendre à jouer du violon. Trans. Valentin Roeser. Paris: Zurfluh, 1770. 89pp. R. In vol. 1 of Lescat, Phillippe and Jean Saint-Arroman, eds. Violon: méthodes, traités, dictionnaires et encyclopédies, ouvrages généraux. Courlay, France: Fuzeau, 2003. E. A Treatise on the Fundamental Principles of Violin Playing. Trans. Editha Knocker. London: Oxford University Press, 1948. xxxv, 231pp. 2d ed., 1951. xxxv, 234pp. A landmark treatise in the history of violin playing written by a wellregarded violinist, composer, teacher (and father of Wolfgang Amadeus Mozart). More detailed and comprehensive than earlier treatises, it was intended as a systematic survey of violin playing and a guide to musical style aimed at both students and violin teachers (perhaps particularly the latter, whom Mozart notes can do great damage through poor instruction). The treatise begins with a broad introduction to the history of the violin and to music in general. The body of the treatise (which consists of 12 chapters) begins with the basics (holding the violin, reading music, scales), continues with three chapters about bowing, one on the execution of the triplet, and others on positions, ornaments, interpretation and style. The treatise includes many musical examples and illustrations. The Oxford edition includes an introduction by Alfred Einstein that provides a biography of the elder Mozart and discusses the circumstances of its publication, as well as an index and explanatory notes from the translator.

Commentary on Mozart’s Treatise See also {520}, {523}, {534}, {596}, {1028}, {1044}. 588.

Gerhartz, Karl. “Die Violinschule von Leopold Mozart (1756).” Mozart Jahrbuch 3 (1929): 243–302. A comprehensive study of Leopold Mozart’s treatise. Discusses its publication history, its place in the pedagogical literature, and its approach to a variety of techniques. Quotes liberally from the treatise. Mus. exx.

589.

Fischer, Kurt von. “Eine Neuarbeitung von L. Mozarts Violinschule aus dem Jahre 1804: Eine Stilvergleich.” Musikforschung 2 (1949): 187–92. Compares an 1804 edition of the Violinschule published in Leipzig with 1756 and 1770 editions as evidence of stylistic changes taking place from the early Classical era to the beginning of the 19th century.

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Rosenthal, Albie. “Leopold Mozart’s Violinschule Annotated by the Author.” In Mozart Studies, ed. Cliff Eisen, 83–99. Oxford: Clarendon, 1991. Describes a hitherto unknown copy of the Violinschule annotated by Leopold Mozart and quotes from letters from Mozart to his printer on the preparation of the treatise for publication. ***

591.

L’Abbé le fils [Joseph Barnabe Saint-Sevin]. Principes du violon. Paris, 1761. 81pp. R. Paris: Centre de Documentation Universitaire et S.E.D.E.S, 1961. xx, 81pp. 2d ed. Paris, 1772. R. Geneva: Minkoff, 1976. 81pp. In vol. 2 of Lescat, Phillippe and Jean Saint-Arroman, eds. Violon: méthodes, traités, dictionnaires et encyclopédies, ouvrages généraux. Courlay, France: Fuzeau, 2003. Along with Geminiani and L. Mozart, this was one of the most significant treatises of the 18th century. As was typical, it begins with instructions on holding the violin and proceeds to progressively more difficult techniques, although its demands on the violinist are far more advanced than earlier pedagogical works. In its description of bowing and bow grip (based on the use of the Tourte bow) and fingering (for example, calling for the use of half position), it represented the latest advances in violin playing. Text is fairly minimal, and is largely interspersed among various exercises and pieces.

592.

Tartini, Giuseppe. Lettera del defonto Signor Giuseppe Tartini alla Signora Maddalena Lombardini. Venice: Europa Letteraria, 1770. R. Lettera per i suonatori di violino. Undine, Italy: Pizzicato, 1992. 31pp. E. A Letter from the Late Signor Tartini to Signora Maddalena Lombardini (now Signora Sirmen), Published as an Important Lesson to Performers on the Violin. Trans. Charles Burney. London: Bremner, 1771. 25pp. 2d ed. London: Bremner, 1779. 25pp. R. (of 1779 ed.) London: Reeves, 1913. 25pp. New York: Johnson Reprint, 1967. This publication reprints a 1760 letter from Tartini to his pupil, Maddalena Lombardini Sirmen (see {1602}, {1603}). The letter is essentially a written violin lesson, offering advice on bowing, left-hand position, and the execution of trills with accompanying musical examples. The English reprints have the text in Italian and English on opposite pages. The 1992 Pizzicato reprint has the original Italian, with English, French, and German translations. The letter also has been reprinted in {593}, {1259}, {1296}, {1297}.

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Tartini, Giuseppe. Traité des Agrémens de la musique. Trans. P. Denis. Paris, 1771. 2d ed. Paris: La Chevardière, 1782. New ed., ed. Erwin R. Jacobi. Celle & New York: Moeck, 1961. 139pp. A treatise on the performance of ornaments on the violin. Detailed instructions, with accompanying musical examples, are given on the proper execution and placement of appoggiaturas, trills, vibrato, mordents, turns, and cadential figures. The treatise was originally written in Italian sometime between 1752 and 1756 (according to Erwin Jacobi), but was circulated in manuscript. It was first published in French translation in 1771. The 1961 publication edited by Jacobi includes French, German, and English translations of the treatise, the original Italian (published as a supplement), Tartini’s letter to Maddalena Lombardini Sirmen {592}, in German, French, English, and Italian, as well as facsimiles and an informative introduction.

Commentary on Tartini’s Traité See also {565}. 594.

Boyden, David D. “The Missing Italian Manuscript of Tartini’s Traité des Agrémens.” Musical Quarterly 46 (July 1960): 315–28. Discusses an Italian manuscript version of Tartini’s treatise for violin, Traité des Agrémens, which had recently resurfaced at the University of California, Berkeley. Includes facsimiles of the Berkeley manuscript. Shortly after the publication of this article Erwin Jacobi reported on the discovery of a second Italian manuscript in Venice in {595}.

595.

Jacobi, Erwin R. “G. F. Nicolai’s Manuscript of Tartini’s Regole per ben suonar il Violino.” Musical Quarterly 47 (April 1961): 207–23. Discusses in depth the Italian text of Tartini’s treatise Traité des Agrémens, which was copied by Tartini’s pupil, Giovanni Francesco Nicolai, and contains material not in the published French version. Compares the various versions of the treatise and provides translations and facsimiles of sections of the manuscript. A year earlier, David Boyden reported on the discovery of a different Italian manuscript at the University of California, Berkeley in {594}. A facsimile of Nicolai’s ms. was published as a supplement to the 1961 publication of the Traité edited by Jacobi {593}. ***

596.

Löhlein, Georg Simon. Anweisung zum Violinspiel. Leipzig: Waysenhaus und Frommanischen Buchhandlung, 1774. 136pp. 2d ed. Leipzig: Way

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senhaus und Frommanischen Buchhandlung, 1781. [12], 140pp. 3d ed. Leipzig: Frommann, 1797. 123pp. A guide to violin playing, offering general advice and discussion of bowing, fingering, and virtuosity. The author distinguishes (and justifies) his method in that it addresses the needs of beginners more thoroughly than others (particularly Leopold Mozart’s). 597.

Reichardt, Johann Friedrich. Über die Pflichten des Ripien-Violisten. Berlin and Leipzig, 1776. 92pp. A treatise aimed at the orchestral violinist. Explains their responsibilities, and advises them on tone production, bowing, fingering, and keeping in time.

598.

Corrette, Michel. L’art de se perfectionner dans le violon. Paris: Castagnery, 1782. 91pp. R. in vol. 2 of Lescat, Phillippe and Jean Saint-Arroman, eds. Violon: méthodes, traités, dictionnaires et encyclopédies, ouvrages généraux. Courlay, France: Fuzeau, 2003. Largely a collection of exercises and violin pieces, with a brief introduction on bowing, fingering, and positions. The works are annotated with various symbols, which the author explains in the introduction. Reprinted in {581}.

19th Century 599.

Fromageot, Nicolas. Violon: les grandes méthodes romantiques de violon. 6 vols. Courlay, France: Fuzeau, 2001. A collection of 19th-century French violin treatises in facsimile. Includes works by François Baillot, Delphin Alard, Charles de Bériot, and others.

600.

Cartier, Jean Baptiste. L’art du violon. Paris: Decombe, 1798. iv, 287pp. 2d ed., 1801. 287pp. 3d ed., 1803. iv, 355pp. R. (of 3d. ed.) New York: Broude Brothers, 1973. iv, 355pp. Significant for its collection of more than 150 works (mostly sonatas) by 17th- and 18th- century French, German, and Italian composers, including Arcangelo Corelli, Jean-Marie Leclair, Giuseppe Tartini, Antonio Vivaldi, and other lesser-known figures. The brief introductory text lays out general principles and provides a few bits of specific advice, largely on bowing. Reprinted in {581}. For more on the treatise see {1149} and K. Marie Stolba, “J. B. Cartier’s L’art du violon and its Significance in the History of Violin Literature,” Pro musica 2 (February 1977): 6–15.

601.

Baillot, Pierre, Pierre Rode, and Rodolphe Kreutzer. Méthode de violon. Paris: Imprimerie du Conservatoire, 1803. 165pp. R. Geneva: Minkoff, 1974. 165pp.

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Created as the official violin method for Paris Conservatoire, collectively compiled by three important violinist-composers and faculty members. Largely consists of exercises for violin with bass-clef accompaniment, along with instructions on appoggiaturas, trills, and bowing. The text (about 15 pages) discusses how to hold the violin and bow, and discusses matters of expression, style, and taste. Commentary on the Baillot, Rode, and Kreutzer Méthode 602.

“Rode, Baillot and Kreutzer’s Method of Instruction for the Violin.” Quarterly Musical Magazine and Review 6 (1824): 527–31. A summary and critique of the Méthode, with biographical information on the authors and quotations from the work in English translation.

603.

Clarkson, Frank A. “The ‘Baillot, Rode and Kreutzer’ Method (1804).” Strad 80 (May 1969): 19–29. Offers a close reading and expounds on the significance of “what must be the most significant ‘method’ of all time” (19). ***

604.

Spohr, Louis. Violinschule. Vienna: Haslinger, 1832. 250pp. R. Munich: Katzbichler, 2000. 250pp. E. Spohr’s Violin School. Trans. Florence A. Marshall. London: Boosey, 1832. 230pp. [Many other editions as well.] An important treatise in the history of violin playing. Intended not as a manual for self-instruction but as a guide for teachers. The first and briefest of its three main parts addresses the construction and care of the violin and bow, with advice on the strings and rosin, and notes on the value of violins. The second and largest part of the book provides a stepby-step method for playing the violin, beginning with instructions on reading music and holding the violin and continuing with musical exercises of successive difficulty. The final part concerns style and interpretation, with particular attention to the performance of concertos and quartets. Includes the violin parts of Pierre Rode’s Violin Concerto No. 7, Op. 9 and Spohr’s Violin Concerto No. 9 with annotations and comments.

605.

Baillot, Pierre. L’Art du Violon. Paris: Au Dépôt Central de la Musique, G. Die Kunst des Violinspiels. Trans. H. Panofka. Berlin: Schlesinger, 1835. E. The Art of the Violin. Ed. and trans. Louise Goldberg. Evanston: Northwestern University Press, 1991. xxviii, 545pp.

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A comprehensive treatise that, along with Spohr’s Violinschule, was one of the most important 19th-century pedagogical works for the violin. The first of two main parts follows several short introductory chapters. Part One concerns technique, and provides very detailed instructions (with accompanying musical examples and diagrams) on everything from the distance between one’s heels to how to end a cadenza (illustrated with dozens of examples). Part Two, which is very brief, addresses issues of expression and interpretation. This treatise is also notable because it was likely the first to take into account the possibilities of the Tourte bow. The English translation includes an introduction on Baillot’s life and work and explanatory footnotes. 606.

Bériot, Charles de. Méthode de violon. Mainz: Schott, 1859. iv, 276pp. R. in vol. 6 of Violon: les grandes méthodes romantiques de violon, ed. Nicolas Fromageot. Courlay, France: Fuzeau, 2001. E. Ch. De Beriot’s Celebrated Method for the Violin. New York: Fischer, 1892. 276pp. [And many other editions.] An oft-reprinted method by the French violinist-composer. In three main parts, the first two of which address technical matters, the final devoted to style. Includes many exercises and works for violin (with several from the author), typically notated with fingerings, bowings, and symbols indicating the use of vibrato and portamanto.

607.

Courvoisier, Carl. The Technics of Violin Playing. London: Strad, 1894. 107pp. Offers a set of 27 rules that guide all aspects of violin playing. The first of two main parts, “Left Side—Tone Formation” includes rules on body, arm, and thumb positioning, intonation, and fingering. Part Two, “Right Side—Bowing” discusses bow grip and positioning and a variety of bow strokes. Includes diagrams and musical examples. Note that although the cover gives the title as Technics of Violin Playing on Joachim’s Method, Joachim is barely mentioned in the text. See also the author’s earlier treatises, Die Grundlage der Violin-Technik (Berlin: Bahn, 1873) and Die Violintechnik. (Cologne: Tonger, 1878).

20th Century See also {461}. 608.

Joachim, Joseph and Andreas Moser. Violinschule. 3 vols. Berlin: Simrock, 1905. 199pp.; 242pp.; 268pp. A comprehensive method for the violin. In the “Preface and Introduction” Moser explains that the goal of the Violinschule is to develop the “musician

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who makes his technical knowledge subservient to his artistic ends” (I: 5). The first of three volumes offers instructions to beginners, progressing from the positioning of the body through various scales and bowings. An appendix provides a brief history of violin playing. Volume II introduces the positions, and discusses intonation, harmonics, portamento, vibrato, pizzicato, and string crossing. (The musical examples in Volumes I and II, which Moser compiled, largely consist of arrangements of classical pieces and folk songs.) Volume III provides the violin parts to the following 16 “masterworks” edited and with cadenzas and prefatory remarks by Joachim: Bach, Concertos A minor and D minor (for two violins); Handel, Sonata in A Major; Tartini, “Devil’s Trill” Sonata; Viotti, Concerto No. 22; Kreutzer, Concerto No. 19; Rode, Concertos Nos. 10 and 11; Mozart, Concertos Nos. 4 and 5; Beethoven, Concerto and Two Romances; Spohr, Concerto No. 8; Mendelssohn, Concerto; Brahms, Concerto. A substantial introduction to the volume offers advice on execution and interpretation. Much, but not all of the German is accompanied by a parallel English text translated by Alfred Moffat. 609.

Berger, Achille. Théorie scientifique du violon. Paris: Demets, 1910. 120pp. Offers a “scientific” approach to violin playing based on physiological principles. Includes many musical examples, diagrams, and photographs.

610.

Gruenberg, Eugene. Violin Teaching and Violin Study. New York: Fischer, 1918. 2d ed. New York: Fischer, 1919. xii, 150pp. R. (of 2d ed.) New York: Fischer, 1965. A manual for the violin teacher. Does not present a radical rethinking of violin playing, but offers a synthesis of past methods, drawing on the work of Pierre Baillot, Charles de Bériot, Louis Spohr, and many others. Chapters cover all aspects of technique, as well as practical issues such as practicing and stage fright. Mus. exx., illus., bib. See also the author’s earlier and more modest work, The Violinist’s Manual (New York: Schirmer, 1896).

611.

Grimson, Samuel B. and Cecil Forsyth. Modern Violin-Playing. New York: Gray, 1920. 98pp. A guide to violin technique. Claims to offer a new approach to violin playing based on “an accurate study of the physical laws that govern violin-playing” (1). Includes both theoretical and practical chapters on left- and right-hand techniques. Mus. exx., illus.

612.

Auer, Leopold. Violin Playing as I Teach It. New York: Stokes, 1921. vi, 225pp. Philadelphia: Lippincott, 1960. xii, 99pp. R. (of the 1960 ed.) New York: Dover, 1980. xii, 99pp.

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A guide to violin playing from one of the great teachers of the late 19th and early 20th centuries, based on nearly 60 years’ experience. Chapters provide advice on holding the violin, vibrato and portamento, bowing, fingering and shifting, double-stops and trills, pizzicato, and harmonics. Also includes discussion of style, repertoire, “nerves and violin playing,” and a brief autobiography. The various editions only differ in their typesetting. Commentary on Auer See also {464}, {480}, {481}. 613.

Fuller, Alan Riggs. “Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein Violin Methods.” D.M.A. diss., Louisiana State University, 1974. vii, 124pp. Describes and compares the violin methods of Auer (1845–1930) and Doflein (1900–77), two important 20th-century pedagogues. Notes a variety of marked differences in their approaches from the standpoint of the choice of musical examples, the presentation of technique, the use of scales, and the order in which materials are presented, among other things. Offers advice on the use of these methods and points out their strengths and weaknesses. Appendices list the contents and works excerpted in each of the methods. Mus. exx., bib. ***

614.

Rivarde, Achille. The Violin and its Technique. London: Macmillan, 1921. ix, 48pp. Advises violinists on bowing, fingering, vibrato, practicing, and interpretation. Seeks to “free violin playing from the rut of tradition” by focusing on the “imaginative and poetical side of violin playing” (vii); often anecdotal and opinionated.

615.

Flesch, Carl. Die Kunst des Violinspiels. 2 vols. Berlin: Ries & Erler, 1923, 1928. 148pp.; 222pp. E. The Art of Violin Playing. 2 vols. Trans. Frederick H. Martens. New York: Fischer, 1924, 1930. 171pp.; 237pp. 2d ed., 1939. Trans. and ed. Eric Rosenblith. New York: Fischer, 2000. I. L’arte del violino. 2 vols. Naples: Curci, 1930. ?pp. An important 20th-century treatise that, according to the author, attempts to “raise the art of violin-playing from mere crude experience to a higher plane of logically formed experience” (foreword to the first ed., 5). Addressed to violin teachers and advanced players, specifically “reasoning” players. The first volume has two main parts: “Technique

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in General” and “Applied Technique.” The first part addresses the mechanical aspects of the position of the body, and right- and left-hand techniques, and tone production, and takes the perspective of “violin playing as a craft” (8). The second part takes the perspective of “violin playing as a science” (8), and whereas the first part saw technique in and of itself, here it is applied to musical problems. This part addresses practicing, fingering, bowing, and memorization. In Volume II, “Artistic Realization and Instruction,” Flesch now takes the perspective of violin playing as an art. This volume discusses matters of interpretation, personality, and programming, and addresses various “hindrances,” including physical limitations and stage fright. The final section of the book offers advice on the execution and interpretation of the following works (with accompanying musical examples): J. S. Bach, Chaconne, from Partita No. 2; Pietro Nardini, Sonata di Camera in D Major (first movement); Giovanni Battista Viotti, Concerto No. 19 (first mvt.), Ludwig van Beethoven, Sonata No. 10, Op. 96 (first mvt.), Louis Spohr, Concerto No. 8, Op. 47 (Recitative), Felix Mendelssohn, Concerto, Op. 64 (second mvt.), Henry Vieuxtemps, Concerto No. 4 (first mvt.), Robert Schumann, Sonata No. 2 Op 121 (third mvt.), Johannes Brahms, Sonata No. 1, Op. 78 (third mvt.), Arthur Schnabel, Five Pieces. Also includes a short section on rubato in Hungarian folk-influenced music. For commentary on Flesch’s treatise, See {464} and {1342} 616.

Cremer, Oscar. How to Become a Professional Violinist. London: Strad: 1924; New York: Scribner’s Sons, 1924. 114pp. Offers advice to the aspiring professional violinist of the 1920s. Provides practical tips on qualifying for and performing in theater, music hall, and silent film ensembles, as well as in symphony orchestras. Further chapters are devoted to sight-reading, rehearsing, teaching, and musical terms.

617.

Trendelenburg, Wilhelm. Die natürlichen Grundlagen der Kunst des Streichinstrumentspiels. Berlin: Springer, 1925. xix, 300pp. Seeks to establish a physiological basis for the art of string playing. (The author was medical doctor and a professor of physiology.) The first main section examines in detail (with accompanying diagrams and photographs) the variety of motions involved in playing and includes a brief chapter on physical exercise and massage. The following sections focus on violin, viola, cello, and bass playing. A thorough, well-documented, and influential work. Mus. exx., bib.

618.

Flesch, Carl. Das Klangproblem in Geigenspiel. Leipzig: Peters, 1931. 23pp. Problems of Tone Production in Violin Playing. Trans. Gustav Saenger. New York: Fischer, 1934. 23pp.

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Seeks to remedy a problem the author observes in violin playing of the day, namely that “the centre of gravity of tone-production has been transferred from the right arm to the left hand” giving way to a “tempered, lukewarm, watery uniformity” (5). To right the situation the author offers advice on bowing techniques, left-hand position, vibrato, and chord playing, along with musical examples and exercises. The author sees this slim volume as a complement to his earlier treatise, The Art of Violin Playing {615}. 619.

Cook, Clifford. String Teaching and Some Related Topics. Urbana, IL: American String Teachers Association, 1957. 101pp. Advises on all aspects of pedagogy to the teacher of stringed instruments. Includes sections on the selection and care of instruments, on teaching left- and right-hand techniques, on solo vs. ensemble vs. orchestral playing, and on the preparation of scores and parts for performance. Mus. exx., bib. See also the author’s later book, Essays of a String Teacher: Come Let us Rosin Together (New York: Exposition Press, 1973).

620.

Havas, Kató. A New Approach to Violin Playing. London: Bosworth, 1961. 71pp. A popular and influential method that seeks to eliminate the physical stress and tension of violin playing so that “all mechanical problems disappear and there is nothing left for [the violinist] to do but to give full vent to his imagination” (2). After an introduction, chapters follow on holding the violin, bowing, left-hand techniques, tone production generally, teaching, and a final one on sight reading, memorizing, and stage fright. Havas’s method generated a great deal of discussion and debate in the pages of Strad, particularly in Volumes 72 and 73 (see {1384}), and in a series of articles in vol. 80 by F. A. Hellebrandt. Many of the articles are reprinted in Havas’s The Violin and I {1386}. See also the author’s follow-up books, The Twelve Lesson Course (London: Bosworth, 1964) and Stage Fright: Its Causes and Cures with Special Reference to Violin Playing (London: Bosworth, 1973). See also {464}.

621.

Galamian, Ivan. Principles of Violin Playing and Teaching. Ed. Elizabeth A. H. Green. Englewood Cliffs, NJ: Prentice Hall; London: Faber & Faber, 1962. x, 116pp. 2d ed. Englewood Cliffs, NJ: Prentice Hall, 1985. 144pp. 3d ed. Ann Arbor, MI: Shar, 1999. 144pp. F. (based on 2d ed.) Enseignement et technique du violon. Paris: Van de Velde, 1993. 183pp. A system of violin playing based on the teachings of the AmericanArmenian violinist and pedagogue. The first of four chapters considers general matters of technique and interpretation. Chapter 2 focuses on the left-hand, beginning with body position and progressing through shifting,

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vibrato, intonation, and fingering. Chapter 3—the longest—addresses all aspects of bowing. The final chapter offers advice on the efficient use of practice time. Overall, Galamian’s system stresses flexibility of approach, the importance of gaining mental control over physical movement, and the crucial role of bowing (which had been neglected in previous decades in favor of left-hand techniques). Provides many accompanying photographs and musical examples. Considered one of the most important 20thcentury violin methods. 622.

Polnauer, Frederick F. and Morton Marks. Senso-Motor Study and its Application to Violin Playing. Urbana, IL: American String Teachers Association, 1964. xv, 211pp. Sets out to establish formal scientific principles to guide violin performance, offering a “gestalt” approach that considers the body as a whole rather than isolated right-hand and left-hand functions. Also surveys the history of violin technique and reviews research on the physiology of violin playing, providing translations from writings by Steinhausen {515} and Trendelenburg {617}. Includes many diagrams and photographs. The author summarizes the book in an article in Strad 75 (February 1965), and expands on these theories in Total Body Technique of Violin Playing (Bryn Mawr, PA: Presser, 1974).

623.

Szigeti, Joseph. The Violinist’s Notebook. London: Duckworth, 1964. xiv, 161pp. A compilation of more than 200 excerpts from the violin and chamber music repertoire with brief comments on their execution and interpretation. Intended to “help counteract the unthinking habit which makes us separate technical study from musical ends” (xi). In parallel English and German text.

624.

Szende, Ottó and Mihaly Nemessuri. The Physiology of Violin Playing. Trans. I. Szomdis. London: Collet’s, 1971. 202pp. Applies the science of physiology to the art of violin playing in order to understand and improve practice, technique, and performance. Original in Hungarian. Mus. exx., bib.

625.

Rolland, Paul and Maria Mutschler. The Teaching of Action in String Playing. Urbana: Illinois String Research Associates, 1974. ix, 214pp. 2d ed. [United States]: Boosey & Hawkes, 1986. xvi, 214pp. Urbana: Illinois String Research Associates, 2000. xi, 228pp. Offers a comprehensive guide for the teaching of violin and viola. The method stresses the importance of “movement training,” which develops a physical awareness of the various functions of the body. In addition to the traditional coverage of violin hold and left- and right-hand techniques,

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includes chapters on rhythm training and developing flexibility. Includes an essay “Control and Regulation of Voluntary Movement” by F. A. Hellebrandt, M.D. Designed as a companion to the film series of the same name. Mus. exx., bib. For other writings by Rolland, see Basic Principles of Violin Playing (Washington, DC: Music Educators National Conference, 1959) and Movement in String Playing: As it Relates to Violin Hold, Bowing, Shifting and Vibrato (Urbana, IL: American String Teachers Association, 1978). See also {464}. 626.

Menuhin, Yehudi and William Primrose. Violin and Viola. New York: Schirmer, 1976. xiii, 256pp. A guide to violin and viola technique and interpretation. The part on the violin, written by Yehudi Menuhin, offers advice on physical conditioning (including exercises, relaxation techniques, and diet), holding the violin, left- and right-hand techniques, practicing, how to approach the different roles of the violinist (orchestral musician, chamber, musician, soloist), and on repertoire and interpretation. Includes specific discussion of Bach’s Partita in D Minor and Beethoven’s Violin Concerto. A final chapter, contributed by Denis Stevens, surveys Bach’s Sonatas and Partitas. Mus. exx., photographs, illustrations. For further instruction from Menuhin see his Violin: Six Lessons with Yehudi Menuhin (New York: Viking, 1971) and The Compleat Violinist: Thoughts, Exercises, Reflections of an Itinerant Violinist, ed. Christopher Hope (New York: Summit, 1986).

COMPETITIONS See also {491}, {494}, {499–501}, {1220}, {1223}, {1435}, {1550}, {1692}. 627.

Gingold, Josef. “In Defense of Competitions.” Ovation 3 (March 1982): 8. On the eve of the first International Violin Competition of Indianapolis, the violinist, teacher, and event founder Josef Gingold touts the virtues of competitions, most generally that they “help the most talented young musicians at a critical time in their transformation from brilliant students to acknowledged artists.”

628.

Blechta, Rick. The Lark Ascending. Toronto; Scarsdale, NY: Castlefield, 1993. 299pp. Fiction. Violin virtuoso Victoria Morgan discovers that her life is in danger when a friend and fellow competitor at a prestigious competition is murdered.

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629.

143

Flores, Renato G., Jr. and Victor A. Ginsburgh. “The Queen Elizabeth Musical Competition: How Fair is the Final Ranking?” Statistician 45, no. 1 (1996): 97–104. Examines the fairness of the final ranking in the Queen Elizabeth Musical Competition, a competition for violinists and pianists held every four years in Belgium. Finds that the day on which a competitor performs affects his or her ranking, namely, that those who perform first have a lower chance of being ranked among the top, whereas those who appear on the fifth day have a better chance. The authors suggest changes in the organization of the competition to avoid this bias.

630.

Dossa, Elizabeth. “Competing Interests.” Strings 12 (January–February 1998): 64–73. Examines the influence of competitions on young string players. Offers the case study of a 20-year-old violinist who entered a 1997 competition.

631.

Frommer, Sara Hoskinson. The Vanishing Violinist: A Joan Spencer Mystery. New York: St. Martin’s Minotaur, 1999. 229pp. Fiction. A violinist competing at the International Violin Competition of Indianapolis (see {627}) and her Strad disappear before the final round, arousing suspicion of foul play.

HEALTH ISSUES See also {514}. 632.

Rieder, C. E. “Possible Premature Degenerative Temporomandibular Joint Disease in Violinists.” Journal of Prosthetic Dentistry 35 (June 1976): 662–64. Notes that violinists may suffer from premature degenerative jaw disease arising from the constant pressure of the jaw against the chin rest. Discusses a case study of a 20-year-old female violinist with such problems.

633.

Dawley, Robert Michael. “Vertebral Subluxation and Pain in Violin-Viola Playing.” Dialogue in Instrumental Music Education 5 (Winter 1981): 36–44. Explains various neural-muscular disorders found among violinists and violists, including carpal tunnel syndrome, tendonitis, arthritis, and bone dislocation (subluxation). Stresses the importance of proper spinal position and prescribes exercises to promote flexibility, balance, and coordination.

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Bejjani, F. J., L. Ferrara, and L. Pavlidis. “A Comparative Electromyographic and Acoustic Analysis of Violin Vibrato in Healthy Professional Violinists.” Medical Problems of Performing Artists 4 (December 1989): 168–75. Reports on the authors’ ongoing work to discover and describe the precise musculoskeletal process involved when violinists use vibrato. The larger goal of the study is to help musicians avoid injury through discovering which motions may contribute to muscular and neurologic disorders. Numerous charts and tables. See also Bejjani’s biomedical engineering dissertation, “A Comparative Electromyographic and Acoustic Analysis of Violin Vibrato in Healthy Professional Violinists.” Ph.D. diss., New York University, 1987.

635.

Moreno, José C. et al. “Fiddler’s Neck.” American Journal of Contact Dermatitis 8 (March 1997): 39–42. Reports on two case studies of “fiddler’s neck,” the rash that many violinists and violists have where the violin comes into contact with the neck. Suggests that fiddler’s neck may be caused either by an allergic reaction or through constant rubbing and friction. Photographs. The journal Contact Dermatitis published further case studies of fiddler’s neck in volumes 49 (July 2003) and 50 (April 2004).

636.

Ackermann, Bronwen and Roger Adams. “Physical Characteristics and Pain Patterns of Skilled Violinists.” Medical Problems of Performing Artists 18 (June 2003): 65–71. Reports on a study of 32 violinists, whose arm lengths and ranges of motion were measured and who completed questionnaires on performance-related pain. The authors conclude that violinists with shorter arms are more apt to develop pain problems and should compensate by adjusting the position of their instrument. Includes photographs and data tables.

VIOLIN PLAYING AND RECORDING TECHNOLOGY See also {465}, {1356}, {1413}. 637.

Meyer, Otto. “Use of the Phonograph for Recording Violin.” Violinist 18 (March 1915): 24–26. Touts the benefits of home recording for the violinist.

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638.

145

Green, Lewis G. “The Violin and Early Recording.” Violins and Violinists 20 (July–August 1959): 138–43. Chronicles the early history of violin recording. Discusses some of the challenges of recording in those days and mentions early recording artists such as Charles D’Alamaine, Maud Powell, and Albert Spalding. Includes a list of Powell’s recordings.

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IV Violin Music

REFERENCE: LISTS AND GUIDES See also {38}, {45}, {149}, {675}, {704}, {714}, {676}, {1252}. 639.

Tottmann, Albert. Führer durch den Violinunterricht. Leipzig: Schuberth, 1873. xi, 312pp. 4th ed., ed. Wilhelm Altmann. Leipzig: Schuberth, 1935. xv, 472pp. A guide to the violin literature. Provides selectively annotated lists of etudes and caprices, solo violin music, violin music with piano and orchestra accompaniment, and violin ensemble music. Entries provide publication information and date, and for some, short descriptions of the works.

640.

Baudet-Maget, A. Guide du violoniste. Lausanne: Foetisch, [19–]. xvi, 295pp. A graded list of methods, etudes, and works for violin alone and in combination with other instruments.

641.

Grünberg, Max. Führer durch die Literatur der Streichinstrumente. Leipzig: Breitkopf und Härtel, 1913. xii, 218pp. R. Wiesbaden: Sändig, 1971. xii, 218pp. A lightly annotated, classified list of violin, viola, and cello literature. Organized by pedagogical works, solo works, and chamber music.

147

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Letz, Hans. Music for the Violin and Viola. New York: Rinehart, 1948. viii, 107pp. Lists violin and viola music. Organized into four sections: violin music (solo and with piano accompaniment), a graded course of teaching material for the violin, viola music (solo and with piano accompaniment), and technical material for the viola. Entries in the first and third sections provide title, key, opus number, level of difficulty, and brief remarks by the author. The book provides a rather narrow selection of works, and many well-known composers are not listed.

643.

Sartori, Claudio. Bibliografia della Musica Strumentale Italiana stampata in Itlaia fino al 1700. 2 vols. Florence: Olschki, 1952, 1968. xxiv, 652pp.; xii, 261pp. A chronological list of instrumental music published in Italy between 1517 and 1700, including many works for violin. Entries provide instrumentation and publication information, dedications and other frontipiece text, and note libraries (mostly European) that own copies of the music. The second volume provides additional entries, lists corrections, and supplies a new index.

644.

Farish, Margaret K. String Music in Print. New York: Bowker, 1965. xii, 420pp. 2d ed., 1973. xv, 464pp. R. Philadelphia: Musicdata, 1980. xv, 464pp. Lists music for the violin, viola, cello, bass, viola d’amore, and viola da gamba, accompanied or unaccompanied and in various combinations. Also includes a brief section listing books on violin playing and provides a list of publishers. Although generally reliable, it reproduces the factual errors (concerning dates, opus numbers, names, etc.) in the publishers’ catalogs from which the author drew her information. The author’s Supplement to String Music in Print (New York: Bowker, 1968) includes a list of corrections to the first edition.

645.

Basart, Ann P. “Finding String Music.” Cum notis variorum 57 (November 1981): 6–16. A classified, annotated 47-item bibliography of guides to string music repertoire. Works cited include catalogs of particular collections, graded repertoire lists, discographies and bibliographies. Organized into eight categories: chamber music, music for bowed strings, violin music, viola music, violoncello music, double bass music, viol and viola d’amore, and music for plectral instruments. Includes an index.

646.

Johnson, Rose-Marie. Violin Music by Women Composers. New York: Greenwood, 1989. 253pp.

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An annotated list of violin music of all genres by women composers and violinist-composers from the Baroque to the late 20th century. Includes brief biographies of the composers, as well as a discography and bibliography. 647.

Horne, Aaron. String Music of Black Composers. New York: Greenwood, 1991. xx, 327pp. A guide to the string music of selected African, African-American, Afro-European, and Afro-Latino composers. Entries provide brief biographies of the composers and list the relevant works with date and publisher of each. Includes a discography and bibliography.

648.

Baron, John H. Chamber Music: A Research and Information Guide. New York: Garland, 1987. xvii, 500pp. 2d ed. New York and London: Routledge, 2002. xx, 656pp. An annotated bibliography of writings on chamber music. Categories include the history of chamber music, analytic studies, performers, and performance practice. Annotations provide concise summaries and often critical assessments of the items. A valuable source of information on chamber music, including chamber music for violin.

GENERAL SURVEYS 649.

Hart, George. The Violin and Its Music. London: Dulau, 1881; New York: Diston, 1883; London: Dulau, 1885. xi, 484pp. R. (of 1881 ed.) Boston: Longwood, 1977. xi, 484pp. A wide-ranging survey of violin music up to the late 19th century. In nine sections: the first five are devoted to the viol, the final four consider, in turn, violin music (and violinists) in France, Germany, and Italy. Pieces are discussed rather briefly and generally. Mus. exx., illus.

650.

Auer, Leopold. Violin Master Works and Their Interpretation. New York: Fischer, 1925. xii, 166pp. Offers advice on the execution and interpretation of dozens of concertos, sonatas, character pieces, and other works for the violin from the Baroque to the late 19th century. A final chapter addresses transcriptions and the matter of memorizing music. Includes 360 musical examples.

651.

Reuter, Florizel von. Führer durch die Solo-Violinmusik. Berlin: Hesse, 1926. 272pp. Surveys the violin literature from the 17th century to the early 20th century. (Note that Solo-Violinmusik in the title refers not to music for

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unaccompanied violin, but more broadly to music that features the violin.) The first of five main parts considers the emergence of violin music and includes chapters on the form and development of the duo sonata (violin and piano), the violin concerto, character pieces, and etudes. The subsequent three parts survey, in turn, the violin music of Italy (from Corelli to Paganini), Germany (from Bach to Brahms), and France and Belgium. The final section considers music from the Slavic countries, Scandanavia, Spain, Switzerland, and England, and considers “modern” violin music (i.e., from the late 19th and early 20th centuries) in Germany and France. The works of Bach, Beethoven, Mozart, and Paganini are each given individual and relatively substantial chapters. Mus. exx. STUDIES BY GENRE CONCERTOS See also {639–48}, {681}, {692}, {694}, {696}, {778}, {849}. 652.

Schering, Arnold. Geschichte des instrumental-(violin)-Konzerts bis Ant. Vivialdi. Leipzig: Breitkopf & Härtel, 1903. 115pp. Explores the early history of the violin concerto up to and including the work of Vivaldi. The first and smaller of two sections considers the development of the concerto and discusses concertante elements in 17th-century instrumental music. The second section devotes chapters to what Schering calls the concert-symphony (orchestral works that have solo elements), the concerto grosso, and the solo concerto. Mus. exx.

653.

Emery, Frederic B. The Violin Concerto. 2 vols. Chicago: Violin Literature, 1928. 615, xl pp. R. Da Capo, 1969. 615, xl pp. An encyclopedia of the violin concerto, listing approximately 3,300 concertos by about 1,000 composers. In general, its 23 chapters progress chronologically and by region (e.g., “Early Italy, from 1640 to 1750” and “France, after 1813”) with entries on individual composers and their works within each chapter. Also includes chapters on cadenza composers, and concerto dedicatees (e.g., Fritz Kreisler, Pablo de Sarasate). Ten appendices provide a wealth of additional information, including publication dates, dates of first performances, and teacher-pupil relationships. With illustrations and a bibliography. Although Toskey’s later Concertos for Violin and Viola: A Comprehensive Encyclopedia {661} lists many more works, it does not completely replace Emery’s work.

654.

Engel, Hans. Das Instrumentalkonzert: eine musikgeschichtliche Dartstellung. Leipzig: Breikopf & Härtel, 1932. xiv, 612pp. 2d ed. 2 vols. Wiesbaden: Breitkopf & Härtel, 1971, 1974. vii, 393pp.; x, 481pp.

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Largely a catalog of the concerto repertoire (including the violin concerto repertoire). Proceeds chronologically with program-note-like entries for individual works. An opening section discusses the history of the concerto and the use of the term before the 18th century. 655.

Tovey, Donald Francis. Essays in Musical Analysis, Volume III: Concertos. London: Oxford University Press, 1936. ix, 226pp. Includes analyses of works for violin and orchestra by Ludwig van Beethoven, Johannes Brahms, Max Bruch (Concerto No. 1), Frederick Delius, Edward Elgar, Joseph Joachim (Variations and No. 3, “Hungarian”), Felix Mendelssohn, Wolfgang Amadeus Mozart (Nos. 4–5, Adagio in E), Ottorino Respighi (Concerto Gregoriano), Jean Sibelius, Arthur Somervell, and Louis Spohr (No. 8). Analyses are brief but reliably insightful. Mus. exx.

656.

Swalin, Benjamin F. The Violin Concerto: A Study in German Romanticism. Chapel Hill: University of North Carolina Press, 1941. viii, 172pp. Offers stylistic and formal analyses of (mostly) German violin concertos composed between 1802 and 1885 (excluding Beethoven’s). Concertos by the following composers are discussed: Joseph Böhm, Anton Bohrer, Johannes Brahms, Max Bruch, Ignaz Brüll, Leopold Damrosch, Ferdinand David, Albert Dietrich, Heinrich Wilhelm Ernst, Friedrich Gernsheim, Herman Goetz, Karl Goldmark, Joseph Hellmesberger, Ferdinand Hiller, Joseph Joachim, Karol Lipinski, Ludwig Maurer, Joseph Mayseder, Felix Mendelssohn, Wilhelm Bernard Molique, Nicolò Paganini, Joseph Joachim Raff, Karl Reinecke, Philippe Rüfer, Robert Schumann, Hans Sitt, Louis Spohr, and Richard Strauss.

657.

Foss, Hubert. “The Virtuoso Violin Concerto.” In The Concerto, ed. Ralph Hill, 143–53. London: Penguin, 1952. A survey of the 19th-century virtuoso violin concerto, with particular focus on Henry Vieuxtemps’s Violin Concerto No. 5, Max Bruch’s Violin Concerto No. 1, and Edouard Lalo’s Symphone Espagnole. Mus. exx.

658.

Nunamaker, Norman K. “The Virtuoso Violin Concerto before Paganini: The Concertos of Lolli, Giornovichi, and Woldemar.” Ph.D. diss., Indiana University, 1968. vii, 258pp. Provides an analytical survey of the violin concertos of three 18th-century violin-composers whose work had been largely neglected by scholars: Antonio Lolli (1725–1802), Giovanni Giornovichi (also known as Jarnowick and similar variants) (1747–1804), and Michel Woldemar (1750–1815). Also includes biographical sketches of each figure and a brief chapter on the relationships among them, a discussion of virtuosity in their concertos, excerpts from contemporary reports concerning Lolli

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and Giornovichi, and the incipits of the violin concertos discussed in the dissertation. Mus. exx, bib. 659.

Heldt, Gerhard. Das deutsche nachromantische Violinkonzert von Brahms bis Pfitzner. Regensberg: Gustav Bosse, 1973. v, 205pp. A study of the German post-Romantic violin concerto from Brahms to Pfitzner, 1878–1923. Focuses on the variety of forms used in these concertos with little sustained discussion of individual works. An appendix provides information on the violin concertos of more than 80 composers.

660.

Krummacher, Friedheim. “Virtuosität und Komposition im Violinkonzert: Probleme der Gattung zwischen Beethoven und Brahms.” Neue Zeitschrift für Musik 135 (1974): 604–13. Examines the conflict between the virtuosic and symphonic elements in the 19th-century violin concerto, in particular the thematic integration of the solo parts in concertos by Beethoven, Brahms, Dvo ák, Mendelssohn, and Tchaikovsky. Mus. exx.

661.

Toskey, Burnett R. Concertos for Violin and Viola: A Comprehensive Encyclopedia. Seattle: Author, 1983. xx, 992pp. Lists more than 8,400 concertos for solo violin or viola (including double and triple concertos) composed by about 3,100 composers. Entries provide basic biographical information on the composers, as well as dates, publication data, orchestration, names of dedicatees, timings, and grade level, among other information. Approximately 2,600 entries have brief reviews of the works. Includes a variety of indexes and a bibliography. Although Toskey lists many more works than Emery’s The Violin Concerto, it does not completely replace the earlier work.

662.

Stowell, Robin. “The Concerto.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 148–67. Cambridge: Cambridge University Press, 1992. A broad survey of the concerto repertoire from the Baroque to the 20th century, organized chronologically (Baroque, Classical, etc.) with geographical subdivisions (Italy, France, etc.).

663.

White, Chappell. From Vivaldi to Viotti: A History of the Early Classical Violin Concerto. Philadelphia: Gordon and Breach, 1992. xxviii, 375pp. Surveys the development of the violin concerto during the transition from the Classical to the Baroque era, filling a significant gap in the literature. The first of three main parts “Background and History,” examines the

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early history of the violin concerto, its reception, uses, and dissemination, as well as matters of sonority, texture, and form. The second and largest part of the book surveys the concerto repertoire from the 1740s to the 1780s, discussing dozens of works and composers from England, France, Germany, and Italy, although it gives the greatest attention to the music of Franz Benda, Pierre Gaviniés, Wolfgang Amadeus Mozart, and Giuseppe Tartini. The final and briefest part focuses on the work of Giovanni Battista Viotti. Includes many musical examples and a bibliography. 664.

White, Chappell. “The Early Classical Violin Concerto in Austria.” In Music in Eighteenth-century Austria, ed. David Wyn Jones, 70–85. Cambridge: Cambridge University Press, 1996. Surveys the Austrian violin concerto repertoire of circa 1750–80; seeks to contextualize it within the classical violin concerto repertoire generally, to determine its distinctive characteristics, and to understand why the genre was not more favored by Austrian composers. Discusses works by Mozart, Haydn, Dittersdorf, and others. Mus. exx.

665.

Steinberg, Michael. The Concerto: A Listener’s Guide. New York and Oxford: Oxford University Press, 1998. xv, 506pp. A collection of essays on more than 100 concertos, including many for the violin. The essays (which are revised and expanded versions of program notes) provide information on the scoring and compositional and performance history of the works, and describe the music in largely nontechnical language. A valuable resource. Violin concertos by the following composers are discussed: John Adams, Bach (for two violins), Samuel Barber, Béla Bartók (No. 2), Ludwig van Beethoven, Alban Berg, Johannes Brahms (Violin Concerto and Concerto for Violin and Cello), Benjamin Britten, Max Bruch, Elliott Carter, Ernest Chausson, Edward Elgar, Erich Korngold, Edouard Lalo, György Ligeti, Frank Martin (Polyptyque for violin and two string orchestras), Felix Mendelssohn, Wolfgang Amadeus Mozart (Concertos 3–5, Sinfonia Concertante), Sergei Prokofiev (Nos. 1 and 2), Arnold Schoenberg, William Schuman, Robert Schumann, Roger Sessions, Dmitri Shostakovich, Jan Sibelius, Igor Stravinsky, Pyotr Ilich Tchaikovsky, and William Walton.

666.

Thierbach, Sue Ellen Puyear. “A Pedagogical Guide to Selected Violin Concertos by Bach, Viotti, Goldmark, and Khachaturian.” D.M.A. diss., University of Northern Colorado, 1999. xxii, 285pp. Provides brief analyses of and offers advice on teaching violin concertos by Bach (No. 2), Viotti (No. 23), Goldmark, and Khachaturian. Mus. exx., bib.

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Kawabata, Maiko. “Drama and Heroism in the Romantic Violin Concerto.” Ph.D. diss., UCLA, 2001. x, 276pp. Interprets the Romantic violin concerto as a type of musical drama with the solo violin as hero. To make this case, the author examines five concertos—those of Ludwig van Beethoven, Nicolò Paganini (No. 1), Felix Mendelssohn, Johannes Brahms, and Edouard Lalo (Symphonie Espagnole)—with particular attention to the relationship between solo and orchestral parts and the tension between virtuosity and artistry.

SONATAS

AND

OTHER KEYBOARD-ACCOMPANIED WORKS

See also {639–48}, {648}, {693}, {695}, {700}. 668.

Cobbett, W. W., ed. Cobbett’s Cyclopedic Survey of Chamber Music. 3 vols. London: Oxford University Press, 1929, 1963. xiv, 585pp.; 641pp.; viii, 211pp. A guide to chamber music and its repertoire, including the violin sonata literature. Organized alphabetically by composer and topic. Includes numerous essays on important works. The third volume, published long after the first two, collects several essays on chamber music by noted scholars, a bibliography, and a list of additions and corrections to the earlier volumes. Although Cohn’s guide {674} is more up to date, Cobbett’s pioneering encyclopedia will not be superseded because of its many insights.

669.

Newman, William S. The Sonata in the Baroque Era. Chapel Hill: University of North Carolina Press, 1959. xvi, 447pp. 2d ed. 1966. xvi, 463pp. 3d ed. New York: Norton, 1972. xiv, 468pp. The Sonata in the Classic Era. Chapel Hill: University of North Carolina Press, 1963. xxii, 917pp. The Sonata Since Beethoven. Chapel Hill: University of North Carolina Press, 1969. 2d ed. New York: Norton, 1972. 3d ed. 1983. xxvi, 870pp. This three-volume set forms the standard scholarly study of the sonata literature, or as the author calls it, “a history of the sonata idea.” Each volume begins with several chapters devoted to the concept of the sonata, its forms, dissemination, practices, and social meaning. Subsequent chapters focus on the sonata literature, with chapters organized by region and period (e.g., “Italy from 1597 to about 1650,” “Central Germany from about 1735 to 1780”) or particular composers (e.g., “Beethoven,” “Liszt and Others in Germany”). Although the books discuss sonatas for many different instruments, the violin is (almost) given its due. Whole sections are rarely devoted to the violin (the violin sonatas of Beethoven and Schumann are exceptions), but the detailed indexes will point readers to the many brief discussions of

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violin sonatas sprinkled throughout the text. Includes many musical examples and extensive bibliographies. A valuable resource. 670.

Freywald, Volker. Violinsonaten der Generalbass-Epoche in Bearbeitungen des späten 19. Jahrhunderts. Hamburg: Wagner, 1973. 273pp. A study of late-19th-century editions of Baroque violin sonatas. Examines and compares editions of works by Pietro Nardini, Arcangelo Corelli, Giuseppe Tartini, George Frederic Handel, and Francesco Maria Veracini. Mus. exx., bib.

671.

Loft, Abram. Violin and Keyboard: The Duo Repertoire. 2 vols. New York: Grossman, 1973. xiv, 360pp.; xii, 417pp. R. Portland, OR: Amadeus, 1991. xiv, 360pp.; xii, 417pp. A performer’s guide to the violin-keyboard repertoire from the early 17th century to the late 20th. Engaging and opinionated, it offers advice on phrasing, tempo, dynamics, articulation, and balance, and often outlines the forms of various works. Provides many musical examples, an extensive list of editions cited, and a bibliography. Although avowedly not a musicological book (see p. xiii), it draws liberally on the work of many scholars, and provides useful historical information about the music and composers under discussion. The works of the following composers are discussed in detail (many more, not named here, are mentioned more briefly). Vol. I: J. S. Bach, Heinrich Ignaz Franz von Biber, Arcangelo Corelli, Francesco Geminiani, Georg Frederic Handel, Jean-Marie Leclair, Pietro Locatelli, Jean-Joseph Mondonville, Wolfgang Amadeus Mozart, Johann Heinrich Schmelzer, Giuseppe Tartini, Georg Philip Telemann, Francesco Maria Veracini, Antonio Vivaldi, and Johann Jakob Walther. Vol. II: Béla Bartók, Ludwig van Beethoven, Johannes Brahms, Benjamin Britten, Aaron Copland, Claude Debussy, Antonín Dvo ák, Gabriel Fauré, Irving Fine, César Franck, Edvard Grieg, Paul Hindemith, Charles Ives, Leon Kirchner, Felix Mendelssohn, Carl Nielsen, Sergei Prokofiev, Maurice Ravel, Erik Satie, Arnold Schoenberg, Franz Schubert, Robert Schumann, Mátyás Seiber, Dmitri Shostakovich, Richard Strauss, Igor Stravinsky, William Walton, Ben Weber, and Anton Webern.

672.

Pedigo, Alan. International Encyclopedia of Violin-Keyboard Sonatas and Composer Biographies. Booneville, AR: Arriaga, 1979. ii, 179pp. 2d ed. Booneville, AR: Arriaga, 1995. ii, 341pp. A broad survey of the violin-keyboard literature. The bulk of the book is devoted to brief profiles of composers, most of which mention the composer’s works for violin and keyboard. A good deal of other material (of varying relevance and usefulness) is also included, such as lists of

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composers from various countries who have written violin sonatas, profiles of eminent musicologists, a discography, and a list of publishers. Includes dozens of portraits of musicians, composers, and even musicologists. 673.

Stowell, Robin. “The Sonata.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 168–93. Cambridge: Cambridge University Press, 1992. A broad survey of the sonata repertoire from the Baroque to the 20th century, organized chronologically (Baroque, Classical, etc.) with geographical subdivisions (Italy, France, etc.).

674.

Cohn, Arthur. The Literature of Chamber Music. 4 vols. Chapel Hill, NC: Hinshaw Music, 1997. xviii, 3075pp. A massive guide to the chamber music repertoire, including the violin sonata literature. Organized alphabetically by composer, with descriptive entries (many amounting to small essays) on each work. No bibliography.

UNACCOMPANIED VIOLIN See also {639–48}, {687}, {703}, {705}, {870}. 675.

Gates, Willis C. “The Literature for Unaccompanied Violin.” Ph.D. diss., University of North Carolina at Chapel Hill, 1949. 347pp. A broad study of the solo violin repertoire, with chapters devoted to each of the 17th, 18th, 19th, and 20th centuries. Particular works examined in detail include those of Thomas Baltzar, Nicola Matteis, Heinrich Biber, Johann Georg Pisendel, Francesco Geminiani, J. S. Bach, Pietro Nardini, F. W. Rust, Nicolò Paganini, and Max Reger. The appendices provide a bibliography of works for solo violin, reprint several movements and complete works discussed in the text, and provide an annotated list of 20th-century solo violin works.

676.

Petrovitsch, Brigitte. Studien zur Musik für Violine solo: 1945–1970. Regensberg: Bosse, 1972. 182pp. Examines the solo violin music of the mid-20th century. After an introduction on pre-1945 solo violin music, the first of four chapters focuses on tonal music, with particular attention given to form and structure. Chapter 2 considers serial violin music, and discusses techniques particularly favored in such music and analyzes several works. The third and fourth chapters explore aleatoric or indeterminate music, and the influence of exotic and folk music. Over the course of the four chapters, works by the following composers are briefly analyzed: Richard Rodney Bennett,

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Sylvano Bussotti, John Cage, Johann Nepomuk David, Werner Heider, Giselher Klebe, Ton de Leeuw, Anestis Logothetis, Elizabeth Luytens, Roger Sessions, Henk Stam, Milan Stibilj, Bernd Alois Zimmermann, and Paul Zonn. Two appendices list solo violin music published between 1900 and 1945 and 1945 and 1970. Mus. exx., bib. 677.

Geesaman, Virginia. “20th Century Literature for Unaccompanied Violin: 1900–1970.” Ph.D. diss., University of Iowa, 1973. xiv, 213pp. Surveys the 20th-century solo violin repertoire based on a study of 112 works written between 1900 and 1970. The five main chapters discuss harmony, form, motive, rhythm, and texture in solo violin sonatas, partitas, suites, and other works. Among the pieces examined are sonatas by Henk Badings, Béla Bartók, Ernest Bloch, Ross Lee Finney, Roberto Gerhard, Paul Hindemith, Donald Martino, Carl Nielsen, Robert Parris, Willem Pipjer, Max Reger, Roger Sessions, and Eugène Ysaÿe.

678.

Gleam, Elfreda Sewell. “A Selected, Graded List of Compositions for Unaccompanied Violin, with Preparatory Exercises.” D.M.A. diss., Ball State University, 1979. 130pp. A guide to the performance of music for solo violin. Technical and interpretive suggestions are offered for the performance of selected works since the late 17th century, among them pieces by Heinrich Biber, Vinko Globokar, Paul Hindemith, Otto Luening, Michel Paul Philippot, Georg Philip Telemann, and Evzen Zamecnik. Also includes exercises written by the author to help performers prepare for those pieces. Mus. exx.

679.

Stolba, K. Marie. A History of the Violin Etude to about 1800. New York: Da Capo, 1979. xvi, 274pp. Chronicles the development and subsequent history of the violin etude as a specific form of pedagogical violin literature from 1523 to circa 1800. Examines specific etudes from England, France, Germany, Italy, and elsewhere, aims to clarify ambiguous terminology, and includes musical examples and a bibliography of treatises devoted to violin.

680.

Sciannemeo, Franco. “Music for Unaccompanied Violin Currently in Print.” Violexchange 1 (Summer 1986): 27–34. In two parts, Part One briefly surveys the solo violin repertoire from Bach to Bartók; Part Two provides an annotated list of numerous solo works.

681.

Whitmore, Philip. “Towards an Understanding of the Capriccio.” Journal of the Royal Musical Association 113 (1988): 47–56. Examines the virtuosic solos interpolated in the outer movements of violin concertos by Locatelli, Tartini, and Vivaldi—known as capriccios—and

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explains their functions and characteristics and differentiates them from cadenzas. Mus. exx. 682.

Marcan, Peter. Music for Solo Violin Unaccompanied: A Catalogue of Published and Unpublished Works from the Seventeenth Century to 1989. High Wycombe, England: Marcan, 1989. 34pp. Lists solo violin music written since the mid-1600s; provides dates of composition and publication (when known), the composer’s dates, and brief comments.

683.

Ruhe, Pierre. “Dumbfounding the Masses.” Strad 107 (November 1996): 1168–75. Discusses the demands and function of the Classical-era violin cadenza. Quotes Joshua Bell, Itzhak Perlman, and Ruggiero Ricci on the qualities of a good cadenza and the question of whether modern violinists should write their own.

OTHER 684.

Kellog, Virginia Katherine. “A New Repertoire: Works for Solo Violin and Tape.” D.M.A. diss., University of Rochester, Eastman School of Music, 1975. viii, 101pp. Investigates the repertoire for violin and prerecorded magnetic tape, with particular focus on four works: Henk Badings, Capriccio (1959), Otto Luening, Gargoyles (1961), Ilhan Mimaroglu, Music Plus One (1970), and Larry Austin, Quadrants: Event/Complex Number Three (1972). Chapters devoted to each work examine the relationship between violin and tape, the articulation of melodic material, and the technical demands on the violinist. Includes a glossary and a list of works for violin and tape. Graphs, mus. exx., bib., disc.

685.

Mellado, Daniel. “A Study of 20th-Century Duets for Violin and Violoncello.” Ph.D. diss., Michigan State University, 1979. 121pp. Offers analyses of several 20th-century violin-cello duets, grouped into two categories, “Nationalistic and Impressionistic Duets” and “Neoclassical and Twelve-Tone Duets.” Examines works by Reinhold Glière, Arthur Honegger Zoltan Kodaly, Bohuslav Martin°u, Maurice Ravel, George Rochberg, Ernst Toch, and Heitor Villa-Lobos. Mus. exx., bib.

686.

Mazurowicz, Ulrich. Das Streichduett in Wien von 1760 bis zum Tode Joseph Haydns. Tutzing: Schneider, 1982. 366pp. A thorough scholarly study of the late-Classical-era Viennese string duet. Explores matters of style, genre, social context, influence, and pedagogy.

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Discusses works by nearly 70 composers, including Karl Ditters von Dittersdorf, Giovanni Giornovichi, Franz Joseph Haydn, Leopold and Wolfgang Amadeus Mozart, Ignaz Joseph Pleyel, and Johan Vanhal. Includes an extensive bibliography and a substantial (150+ pp.) thematic catalog of dozens of works. 687.

Stowell, Robin. “Other Solo Repertory.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 194–209. Cambridge: Cambridge University Press, 1992. A brief survey of violin music outside the concerto and sonata literature from the Baroque to the late 20th century, including unaccompanied works, variations, short genre pieces, transcriptions, and fantasias.

STUDIES BY PERIOD 17TH CENTURY See {439}, {649}, {694}, {703}, {705}, {707}, {870}, {915}. 18TH CENTURY See also {439}, {468}, {534}, {649}, {663}, {664}, {686}, {692}, {696}, {700}. 688.

Careri, Enrico. “Dopo l’opera quinta evoluzione stilistica della sonata per violino nella prima metà del settocento.” Saggiatore Musicale 7 (2000): 243–79. Examines 23 sets of post-Corelli sonatas for violin and continuo written between 1700 and 1750, including works by Antonio Vivaldi, Tomaso Albinoni, Francesco Geminiani, and Francesco Maria Veracini. Observes a gradual coalescence of stylistic features following a period in which many approaches coexisted, and suggests that Corelli’s Op. 5 (1700) was not followed as a strict compositional blueprint as is sometimes thought.

19TH CENTURY See {649}, {656}, {657}, {659}, {660}, {667}, {669}, {698}, {715}. 20TH CENTURY See also {460}, {462}, {463}, {533}, {676}, {677}, {684}, {685}, {693}, {714}. 689.

Scott, Marion M. “A Complaint of the Decay of Violin Solos.” Music and Letters 6 (October 1925): 330–43.

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Laments the lack (or perceived lack) of then-recent high-quality works for violin and piano. 690.

Carlson, Paul Bollinger. “An Historical Background and Stylistic Analysis of Three Twentieth Century Compositions for Violin and Piano.” D.M.A. diss., University of Missouri-Kansas City, 1965. 71pp. Provides historical background on and stylistic analyses of Stravinsky’s Duo Concertant, Webern’s Four Pieces for Violin and Piano, Op. 7, and Ives’s Violin Sonata No. 2. Mus. exx.

691.

Stephan, Rudolf. “Die Violinmusik des Zwanzigsten Jahrhunderts.” In Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz, 60–79. Vienna: Universal Edition, 1975. 333pp. Surveys 20th-century violin music, with particular interest in the works from the first decades (especially those of Max Reger and Igor Stravinsky) that revealed a renewed interest in older traditions. Also includes brief discussion of post-1945 music, citing works by Hans Werner Henze and Luigi Nono as examples. Mus. exx.

STUDIES BY REGION AUSTRIA See also {467}, {664}, {686}. 692.

Neurath, Herbert. “Das Violinkonzert in der Wiener klassichen Schule.” Studien zur Musikwissenschaft 14 (1927): 125–42. A study of the 18th-century Viennese violin concerto, with particular attention given to form. Discusses works by F. J. Haydn, Franz Krommer, W. A. Mozart, Joseph Starzer, and Christoph Wagenseil, among others. Includes charts illustrating the forms of several Mozart concerto movements. See also the author’s dissertation on the same subject, “Das Geigenkonzert der Wiener Klassiker,” Diss., University of Vienna, 1926.

CANADA See also {498}, {851}. 693.

Lister, William Warwick. “The Contemporary Sonata for Violin and Piano by Canadian Composers.” D.M.A. diss., Boston University, 1970. ix, 234, 23pp. Analyzes twelve 20th-century violin sonatas written between 1941 and 1961 by the following Canadian composers: Murray Adaskin, Istvan

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Anhalt, Jean Coulthard, Oskar Morawetz, Jean Papineau-Couture, Barbara Pentland, André Prévost, Harry Somers (two sonatas), Robert Turner, Jean Vallerand, and John Weinzweig. After an introduction that provides biographical sketches of the composers, five chapters examine form, melody and harmony, rhythm, counterpoint, and technique in the works. Includes diagrams, musical examples, a bibliography, and the 23-page text of the author’s lecture-recital document on the works. ENGLAND See also {432}, {453}, {474}, {475}, {485}, {651}, {663}, {679}, {1248–52}. 694.

Edwards, Owain. “English String Concertos Before 1800.” Proceedings of the Royal Musical Association 95 (1968–69): 1–13. Discusses the history and characteristics of the English string concerto in the second half of the 18th century, most notably those by John Alcock, Charles Avison, William Corbett, John Abraham Fischer, and John Stanley. An appendix lists works by 18 English composers.

695.

Kidd, Ronald R. “The Emergence of Chamber Music with Obligato Keyboard in England.” Acta Musicologica 44 (January–June 1972): 122–44. Surveys the accompanied keyboard literature—largely consisting of keyboard with violin accompaniment—in England from the 1750s to the 1770s. Argues that the English tradition differed from that of the French, and was characterized by a variety of styles bearing the influence of Italian and German composers. Discusses works by Jean-Joseph Cassanéa de Mondonville (French precursor, op. 3, 1734), Felice Giardini (op. 3, 1751), Charles Avison (op. 3, 1751), William Jackson (op. 2, c. 1760), Franz Xavier Richter (no op., 1763), C. F. Abel (op. 2, c. 1762, op. 5, 1764), J. C. Bach (op. 2, 1764, op. 10, 1773), George Rush (op. 5, c. 1770), C. A. Campioni (Sonata 6, 1763), Francesco Zanetti (op. 1, 1762), F. P. Ricci (op. 6, 1770), among others. Mus. exx. For a fuller treatment of the subject, see the author’s dissertation, “The Sonata for Keyboard with Violin Accompaniment in England (1750–1790),” (Ph.D. diss., Yale University, 1967).

696.

Milligan, Thomas B. The Concerto and London’s Musical Culture in the Late 18th Century. Ann Arbor: UMI, 1983. 376pp. Includes two chapters on the violin concerto in late-18th-century London. The first chapter discusses a variety of foreign-born violinist-composers who wrote and performed their concertos in London, particularly Felice Giardini, Giovanni Gironovichi, Felix Janiewicz, and Giovanni Battista Viotti, and discusses issues of sources and chronology. The second chapter is analytical, and discusses style and form in a variety of works, though largely those of Gironovichi and Viotti. The other chapters of the book

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examine musical life in London and consider concertos for other instruments; appendices provide a thematic catalog and lists of performances. Mus. exx., bib. FRANCE See also {453}, {468}, {470}, {649}, {651}, {653}, {663}, {679}, {1246}. 697.

La Laurencie, Lionel de. L’école française de violon de Lully á Viotti. 3 vols. Paris: Delagrave, 1922–24. R. Geneva: Minkoff, 1991. 440pp.; 516pp.; 319pp. A monumental and scrupulously researched study of the works of seventysix 18th-century French violinist-composers. (Note that the study is of music and musicians between Lully to Viotti—these two figures are not discussed in great detail.) Volumes I and II are arranged chronologically; each of the 13 chapters treats a group of related composers, providing biographies and surveying repertoire. Volume III includes a study of the 18th-century pedagogical literature, a survey of the French instrumental repertoire of the time, and an extensive bibliography and index. Many illustrations and musical examples. This remains an oft-cited and influential work. The following composers are discussed in detail: Jean-Baptiste Anet, Jacques Aubert, Louis Aubert, Antoine Bailleux, François-Hippolyte Barthélemon, Bertheaume, Michel-Gabriel Besson, François Bouvard, Charles-Antoine Branche, Emile-Robert Brijon, Sébastian de Brossard, Joseph Canavas, Nicolas Capron, Charles-Placide Caraffe, Jean Baptiste Cartier, Joachim-Michau Chamborn, Louis-Nicolas Clerambault, Michel Corrette, François Couperin, Jean-Baptiste Cupis, Etienne-Grégoire Damoreau l’aîné, Jean-François Dandrieu, Antoine Dauvergne, Martin Denis, Louis-Antoine Dornel, Pierre Dupont, François Duval, AndréJoseph Exaudet, Antoine Favre, François Francoeur, Louis Francoeur, Pierre Gaviniés, Marie-Alexandre Guénin, Jean-Pierre Guignon, LouisGabriel Guillemain, François Hanot, Jacques-Christophe Hugenot, L’Abbé le Fils, Charles-François-Grégoire de La Ferté, Elisabeth Jacquet de La Guerre, Jacques Philippe Lamoninary, Le Blanc, Jean-Marie Leclair l’aîné, Jean-Marie Leclair le second, Simon Le Duc, Jean Lemaire, Etienne Mangean, Joseph Marchand le fils, Michel Mascitti, JulienAmable Mathieu, Jean-Baptiste Miroglio le cadet, Pierre Miroglio l’aîné, Jean-Joseph Cassanéa de Mondonville, Jean-Joseph Cassanéa de Mondonville le juene, Michel Pinolet Montéclair, Guillaume and Julien Navoigille, André-Noël Pagin, Paisible, Papavoine, Piani dit Desplanes, Piffet le cadet, Bertin Quentin l’aîné, Jean-Baptiste Quentin le cadet, Jean-Philippe Rameau, Jean-Fery Rebel, Alexandre-Auguste Robineau, Rougeon l’aîné, Joseph Bologne de Saint-Georges, Jean-Baptiste Senaillé,

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Charles-Joseph-Balthazar Sohier, Théodore-Jean Tarade, Joseph Touchemoulin, de Tramais, Louis-Antoine Travenol, Pierre Vachon, and Nicolas Vibert. 698.

Gelrud, Paul Geoffrey. “A Critical Study of the French Violin School, 1782–1882.” 2 vols. Ph.D. diss., Cornell University, 1941. 651pp. A thorough study of what the author describes as the first century of modern violin playing, from Giovanni Battista Viotti’s Paris debut (1782) to the death of Henry Vieuxtemps (1881), though the first half of the century is treated more exhaustively than the second. The first of five chapters in Vol. 1 offers a general study of the life, work, and role of the musician in French society, 1782–1848. The second chapter examines what is called “eighteenth-century renaissance of French violin playing,” with particular attention given to the impact of the Tourte bow and the technique and style of Viotti’s music for violin (the chapter includes the score of the first movement of Viotti’s Violin Concerto No. 2). The third chapter surveys the contributions of Viotti’s pupils, specifically Jean Baptiste Cartier, Auguste Frederic Durand (aka Duranowski), Louis Julien Castels de Labarre, Pierre Jean Vacher, Paul Alday, Philippe Libon, Friedrich Wilhelm Pixis, Nicolas Mori, George Frederick Pinto, and André Robberechts. Chapter four studies the work of violinist-composer-peadagogues Pierre Rode (also a Viotti student), Rodolphe Kreutzer, and Pierre Baillot, who carried on the work of Viotti. The final chapter considers the work of violinists in the latter half of the century, namely Charles Philippe Lafont, Auguste Kreutzer (brother of Rodolphe), Jacques Mazas, Charles Dancla, Delphin Alard, Charles de Bériot, Hubert Léonard, and Henry Vieuxtemps. The second volume of the dissertation is a 246-page thematic catalog of the composers discussed in Vol. 1. Mus. exx., bib. This substantial and well-researched work essentially forms a sequel to Laurencie’s L’Ecole française de violon {697}.

699.

Seagrave, Barabara Ann Garvey. “The French Style of Violin Bowing and Phrasing from Lully to Jacques Aubert (1650–1750): As Illustrated in Dances from Ballets and Dance Movements from Violin Sonatas of Representative Composers.” Ph.D. diss., Stanford University, 1959. xviii, 291pp. Examines the violin music of the French Baroque period, with particular focus on the influence of the 17th- and early-18th-century dance styles and genres. Part One considers notation, the influence of the physical characteristics of violin and bow on technique, bowing, rhythm, and the relationship between music and dance. Part Two devotes a chapter to each of several dance types—including the pavane, galliarde, menuet, sarabande, chaconne, passacaille, courante, gigue, gavotte, bourée, and allemande—as exemplified in the works of various composers, including

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Jacques Aubert, Michel Corrette, François Couperin, Jean-Baptiste Lully, Michel Mascitti, and Jean-Baptiste Senaillé. Includes many mus. exx., a glossary of dance terms, and an extensive bibliography. 700.

Beckmann, Gisela. Die französische Violinsonate mit Basso Continuo von Jean-Marie Leclair bis Pierre Gaviniés. Hamburg: Wagner, 1975. 353pp. An analytical study of the French violin sonata with basso continuo accompaniment composed between about 1720 and 1770. Works are grouped according to formal type. Numerous musical examples. Includes facsimiles of early editions of French violin sonatas. The works of the following composers are discussed: Charles Antione Branche, Louis-Joseph Canavas, Charles Chabran, Jean-Baptiste Cupis, Antione Dauvergne, Martin Denis, François Francoeur, Pierre Gaviniés, Jean-Pierre Guignon, Gabriel Guillemain, L’Abbé le Fils, Jean-Marie Leclair l’aîné, Jean-Marie Leclair le second, Etienne Mangean, JeanJoseph Cassanéa de Mondonville, Joseph Cassanéa de Mondonville le juene, Jean-Baptiste Miroglio, Pierre Miroglio l’aîné, André-Noël Pagin, Jean-Baptiste Quentin, Charles-Joseph-Balthazar Sohier, and Pierre Vachon.

701.

Schwarz, Boris. French Instrumental Music Between the Revolutions (1789–1830). New York: Da Capo, 1987. xi, 303pp. Examines “a rather neglected phase of French music” (ix). Of particular interest here is the chapter on the French violin concerto (163–223), which begins with an overview of its general musical characteristics and stylistic influences. The majority of the chapter examines the concertos of Pierre François Baillot, Charles de Bériot, Rodolphe Kreutzer, Charles Philippe Lafont, Pierre Rode, and Giovanni Battista Viotti. Includes chapters on orchestral, piano, and chamber music, as well as on the musical life of the period. This is a revision of the author’s 1950 Ph.D. dissertation in musicology from Columbia University. Mus. exx., bib.

702.

Bates, Carol Henry. “The Early French Sonata for Solo Instruments.” Recherches sur la Musique française classique 27 (1991–92): 71–99. Surveys trends in the solo sonata literature in France between 1692 and 1710, focusing principally on composers whose work was directly influenced by Corelli. Discusses violin sonatas by François Duval, Michele Mascitti, Elisabeth Jacquet de La Guerre, Joseph Marchand (le fils), Michel de La Barre, and Jean-Baptiste Senaillé.

GERMANY See also {453},{651}, {656}, {659}.

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703.

165

Brooks, Brian Paul. “The Emergence of the Violin as a Solo Instrument in Seventeenth-Century Germany.” Ph.D. diss., Cornell University, 2002. 746pp. Examines the development of solo violin music in 17th-century Germany. Drawing on manuscript and printed sources dating from between the 1610s and 1630s, the author finds a rich repertoire of fantasias, variations, and ornamented versions of vocal and dance music for solo violin that suggests a keen interest in virtuosity and improvisation. Provides complete transcriptions of two of the manuscripts. Mus. exx., bib.

ICELAND 704.

Gudnadottir, Greta. “An Annotated List and Survey of Violin Music by Icelandic Composers.” D.M.A. diss., Florida State University, 1995. 132pp. Lists and discusses 70 works for solo violin, violin and piano, violin and tape, and violin and orchestra by 70 Icelandic composers written up to 1994. Each entry provides biographical data on the composer, and analyzes and describes the difficulty level of each work. The first such document of its kind.

ITALY See also {442}, {453}, {643}, {651}, {688}, {1016}, {1073}, {1144}, {1154}, {1157}, {1608}. 705.

Mishkin, Henry G. “The Solo Violin Sonata of the Bologna School.” Musical Quarterly 29 (January 1943): 92–112. Traces the history and development of the solo violin sonata in 17thcentury Bologna, addressing issues such as style, form, instrumentation, and key relationships and clarifying ambiguous terminology (e.g., sonata, sinfonia, canzona, concerto, capriccio, and ricercata). Provides a chronological list of the relatively few solo sonatas published in Italy before 1670 (the 1610 sonata by Giovanni Paolo Cima is identified as the first published example of the genre), as well as the Bologna solo sonatas.

706.

Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Oxford: Blackwell, 1975. xxv, 351pp. 3d ed. New York: Dover, 1994. xxvi, 411pp. Examines, within a larger study of the instrumental music of Baroque Venice, the violin sonatas and concertos of a variety of composers, including Albinoni, Corelli, and Vivaldi. Mus. exx., bib.

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Apel, Willi. Die italienische Violinmusik im 17. Jahrhundert. Wiesbaden: Steiner, 1983. viii, 244pp. E. Italian Violin Music of the Seventeenth Century. Trans. author. Ed. Thomas Binkley. Bloomington: Indiana University Press, 1990. ix, 306pp. Surveys the violin music of sixty-one 17th-century Italian composers. Each composer receives an entry with a brief biography followed by a discussion of the composer’s works for violin with illustrative musical examples and list of editions and manuscripts of the works. Entries are organized more or less chronologically by composer, beginning with Giovanni Gabrieli and ending with Tomaso Albinoni. This volume is a revision and expansion of a nine-part series, “Studien über die frühe Violinmusik” published in Archiv für Musikwissenschaft between 1973 and 1981. The following composers each receive an entry: Pirro Albergati, Tomaso Albinoni, Giovanni Battista Degli Antonii, Pietro Degli Antonii, Giulio Cesare Arresti, Adriano Tomaso Banchieri, Giovanni Battista Bassani, Giulio Belli, Bartolomeo Bernardi, Antonio Bertali, Giovanni (Battista) Bononcini, Giovanni Maria Bononcini, Giovanni Battista Buonamente, Giorgio Buoni, Antonio Caldara, Dario Castello, Francesco Cavalli, Maurizio Cazzati, Giovanni Martino Cesare, Andrea and Giovanni Paolo Cima, Gioseppe Colombi, Arcangelo Corelli, Andrea Falconiero, Carlo Farina, Marco Antonio Ferro, Giovanni Battista Fontana, Girolamo Frescobaldi, Giovanni Gabrieli, Ottavio Maria Grandi, Andrea Grossi, Giuseppe Iacchini, Nicolao à Kempis, Giovanni Legrenzi, Giovanni Antonio Leoni, Guglielmo Lipparino, Biagio Marini, Carlo Antonio Marini, Giovanni Battista Mazzaferrata, Tarquinio Merula, Bartolomeo Mont’ Albano, Giulio Mussi, Marc’ Antonio Negri, Massimiliano Neri, Giovanni Antonio Pandolfi, Giovanni Picchi, Giovanni Battista Riccio, Salomone Rossi, Giovanni Maria Ruggieri, Giuseppe Scarani, Francesco and Gabriel Sponga, Alessandro Stradella, Giuseppe Torelli, Francesco Turini, Marco Uccellini, Antonio Veracini, Lodovico Viadana, Giovanni Battista Vitali, Tomaso Antonio Vitali, Innocento Vivarino, Giovanni Buonaventura Viviani, and Pietro Andrea Ziani.

708.

McCrickard, Eleanor. “The Roman Repertory for Violin Before the Time of Corelli.” Early Music 18 (November 1990): 563–73. Considers the work of little-discussed Roman composers Giovanni Antonio Leoni (c. 1600–after 1652) and Lelio Colista (1629–80) and their influence on Corelli and Purcell. Reprints a Leoni sonata.

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LATIN AMERICA 709.

Cabán-Vales, Francisco J. “The Violin and Piano Repertoire of TwentiethCentury Latin America: A Bibliography with Annotations of Selected Compositions.” D.M.A. diss., University of Texas, 2003. viii, 112pp. Surveys and lists violin-piano works by 20th-century composers from Mexico, Central America, the Caribbean, and South America. Part One consists of eight chapters each devoted to a different country. Each chapter discusses one or more works of a composer from that particular country, and provides biographies of each composer. Part Two is a list of dozens of Latin American violin works. The works of the following composers are discussed in Part One: Juan José Castro, Jacobo Ficher, Alberto Ginastera, Astor Piazzolla (Argentina), Oscar Lorenzo Fernández, M. Camargo Guarneri, Heitor Villa-Lobos (Brazil), Carlos Isamitt, Juan Orrego-Salas, Enrique Soro (Chile), Carlos Chávez, Blas Galindo, Rodolfo Halffter, Silvestre Revueltas, Luis Sandi (Mexico), Roque Cordero (Panama), Andrés Sas (Peru), Héctor Campos-Parsi, José I. Quintón, Roberto Sierra (Puerto Rico), Modesta Bor (Venezuela). Mus. exx., bib.

POLAND See also {1191}. 710.

Greive, Tyrone. “Music from Poland: A Blending of Eastern and Western Europe.” Strings 11 (May–June 1997): 96–101. Surveys the string music of a variety of Polish composers, including Grazyna Bacewicz, Józef Elsner, Felix Janiewicz, and Wladyslaw Zelenski.

RUSSIA See also {453}, {991}. 711.

Schwarz, Boris. “Early Russian Violin Music: A Link Between Folk and Art Music.” In International Musicological Society, Report of the Twelfth Congress Berkeley 1977, 35–39. Kassel: Bärenreiter, 1981. Discusses the use of the violin in Russian folk-inspired classical music, particularly in the works of Ivan Khandoshkin (1747–1804), known as the father of Russian violin playing. Includes a list of Khandoshkin’s violin variations.

SPAIN See also {251}.

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Klugherz, Laura. “A Performer’s Analysis of Three Works for Violin and Piano by Contemporary Spanish Composers.” D.M.A. diss., University of Texas, 1981. 159pp. Analyzes and discusses issues of technique in three 20th-century works for violin and piano by Spanish composers, works that the author describes as challenging but playable: Joaquin Rodrigo’s Sonata Pimpante (1966), Xavier Montsalvatge’s Parafrasis Concertante (1972), and José Luis Turina’s Movimento (1978). Mus. exx, bib.

713.

Klugherz, Laura. A Bibliographical Guide to Spanish Music for the Violin and Viola, 1900–1997. Westport, CT: Greenwood, 1998. xiv, 102pp. Provides an annotated list of 20th-century works for violin and viola. Entries include biographical information on each composer, a description of the piece with timings and difficulty level, and publication information. Two introductory chapters discuss Spanish music generally and the violin and viola in Spain. Appendices list relevant publishers, libraries, and festivals.

UNITED STATES See also {484}, {486}, {488}, {489}, {490}, {493–96}, {647}. 714.

Landsman, Jerome L. Annotated Catalogue of American Violin Music Composed Between 1947–1961. Urbana, IL: American String Teachers Association, 1968. 55pp. Lists violin music written by American composers arranged alphabetically by composer. Provides dates of composition, publication information, and approximate timings for the works, and biographical information on the composers. Based on the author’s dissertation, “An Annotated Catalog of American Violin Sonatas, Suites, and Works of Similar Character: 1947–1961, with a Survey of Traditional and Contemporary Technique,” (Ph.D. diss., University of Southern California, 1967).

715.

Starr, James Alfred. “A Critical Evaluation of Performance Style in Selected Violin Works of Nineteenth-Century American Composers.” D.M.A. diss., University of Illinois at Urbana-Champaign, 1978. ix, 272pp. Surveys the neglected repertoire of 19th-century American violin music, with individual chapters devoted to sonatas, concertos, miscellaneous larger works, and smaller works with piano. Twenty-four works are profiled, with each profile discussing the role of the violin in relationship to the piano or ensemble, the technical challenges of the work, the work in comparison with European violin literature, and the compositional and performance merits of the music. Works by the following composers are

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discussed: Amy Beach, Felix Borowski, George Bristow, Howard Brockway, Dudley Buck, Benjamin Carr, Leopold Damrosch, Arthur Farwell, Arthur Foote, Sam Franko, Anthony P. Heinrich, Uri K. Hill, Henry Holden Huss, Bruno Oscar Klein, Ernst Richard Kroeger, Fritz Listemann, Charles M. T. Loeffler, Horace Wadham Nicholl, John Knowles Paine, Horatio Parker, and Oscar G. Sonneck. Includes a facsimile and performance edition of Nicholl’s Violin Sonata in D Major, Op. 21 (1880s), and a list of selected 19th-century American violin works. Mus. exx., bib. STUDIES BY COMPOSER Tomaso Albinoni (1671–1750) See also {582}, {688}, {706}, {707}, {1554}. 716.

Giazotto, Remo. Tomaso Albinoni: Musico di Violino Dilettante Veneto (1671–1750). Milan: Fratelli Bocca, 1945. 361pp. Explores the composer’s instrumental works, making the case that Albinoni, long neglected, was a major figure in the chamber music of the Italian Baroque. Includes analyses of the 18 solo sonatas. Mus. exx., bib.

717.

Newman, William S. “The Sonatas of Albinoni and Vivaldi.” Journal of the American Musicological Society 5 (Summer 1952): 99–113. A comparative examination of phrasing, counterpoint, and style in the chamber and solo violin sonatas by Albinoni and Vivaldi. The authenticity of some of the works discussed, however, is now in question. Mus exx.

718.

Shapiro, Martin Lewis. “The Treatment of Form in the Violin Concertos of Tomaso Albinoni.” Ph.D. diss., University of Michigan, 1971. xvii, 292pp. Examines Albinoni’s unusual treatment of form in his more than two dozen violin concertos composed between about 1700 and 1722. Focuses in particular on the first movements, which did not follow the typical ritornello form used by Vivaldi and others, but a four-part form consisting of what the author refers to as the “opening statement,” the “central section,” the “reprise,” and the “coda.” Chapters also examine Albinoni’s formal procedures in the second and third movements of the concertos. Mus. exx., bib.

719.

Talbot, Michael. Tomaso Albinoni: The Venetian Composer and his World. Oxford: Clarendon; New York: Oxford University Press, 1990. vi, 308pp. A life-and-works study of the Venetian composer. Discusses Albinoni’s violin concertos and sonatas throughout the book. Note that this volume

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is not a translation of Talbot’s earlier, German-language study, Albinoni: Leben und Werk (Adliswil: Kunzelmann, 1980), but a substantially different book. Georg von Albrecht (1891–1976) 720.

Antokoletz, Elliott. “From Russian Folk Music to Serialism in Violin Works of Georg von Albrecht.” International Journal of Musicology 5 (1996): 323–57. Illustrates Albrecht’s synthesis of serialism with the modalism of Eastern European folk music through an analysis of three works for violin: the Andante from Drei Spiegelungen fur Zwei Violinen, Op. 75, no. 2, the Variationen und Fughetta auf ein Zwolftonthema from Sonata for Violine allein Op 56a, and the Improvisation from Improvisation, Passacaglia, und Quodlibet auf Zwei Russiche Volksweigen fur Violine allein, Op 44.

Jacques Aubert (1689–1753) See {697}, {699}. Grazyna Bacewicz (1909–69) See also {710}. 721.

Dickson, Linda Diane. “Violin Timbre as a Structural Element in the Music of Grazyna Bacewicz.” D.M.A. diss., University of Texas, 1992. 203pp. Explores Bacewicz’s varied and innovative use of violin timbre, particularly in her Four Caprices for solo violin (1968). An introductory chapter surveys her life and times; appendices provide a work list and discography. Mus. exx., bib.

722.

Greive, Tyrone. “The String Works of Bacewicz.” Instrumentalist 52 (April 1998): 58, 60, 62, 64. Discusses Bacewicz’s string music—including her Violin Concerto No. 7, Easy Pieces for Violin and Piano, the Concertino for violin and piano, and Easy Duets on Folk Themes for two violins—from a performer’s perspective.

J. C. Bach (1735–82) See {695}, {1041}.

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J. S. Bach (1685–1720) General 723.

Bach Bibliography. http://www.npj.com/bach/ A regularly updated database, established and maintained by Yo Tomita of Queen’s University Belfast, of approximately 21,500 records (as of mid-2005) of books, articles, dissertations, reviews, facsimiles, and unpublished conference papers relating to all aspects of Bach.

724.

Vogt, Hans. Johann Sebastian Bachs Kammermusik. Stuttgart: Philipp Reclam, 1981. E. Johann Sebastian Bach’s Chamber Music. Trans. Kenn Johnson. Portland, OR: Amadeus, 1988. 262pp. A guide, aimed at performers and scholars, to Bach’s solo works and accompanied sonatas for violin, cello, viola da gamba, and flute. Part One, “The Background,” discusses the instruments and performance practices of Bach’s time, considers questions of dating and authenticity, and provides a historical and social context for the music. Part Two, “Analyses,” discusses formal and stylistic elements common to the works. Part Three, “Individual Works,” provides brief analyses of the chamber works, including the Sonatas and Partitas (BWV 1001–1006), the Sonatas for Violin and Harpsichord (BWV 1014–1019, 1022), and the Sonatas for Violin and Basso Continuo (BWV 1021 and 1023). Mus. exx, bib.

Violin Concertos A Minor, BWV 1041 (c. 1730), E Major, BWV 1042 (< 1730), D Minor, for two violins, BWV 1043 (1731) See also {608}, {650}, {665}, {666}. 725.

Engel, Hans. “Johann Sebastian Bachs Violinkonzerte.” In Festschrift zum 175 jahrigen Bestehen der Gewandhauskonzerte 1781–1956, ed. Hermann Heyer, 40–62. Leipzig: Deutsche Verlag für Musik, 1956. A study of Bach’s violin concertos, with particular attention to the influence of Vivaldi.

726.

Pook, Wilfrid. “Bach’s E Major Violin Concerto Reconsidered.” Music and Letters 38 (January 1957): 53–65. Compares the Violin Concerto to Bach’s D major arrangement of it for harpsichord (BWV 1054). Suggests that since the manuscript of the Violin Concerto is lost, while the ms. of the harpsichord version survives, the

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violinist can gain valuable information by consulting the latter, particularly in the use of ornaments. 727.

Del Mar, Norman. “Confusion and Error III.” Score, no. 23 (July 1958): 37–45. Notes mistakes and inconsistencies in various editions of Bach’s Violin Concerto in E and Beethoven’s Violin Concerto.

728.

Botelho, Mauro. “Rhythm, Meter, and Phrase: Temporal Structures in Johann Sebastian Bach’s Concertos.” Ph.D. diss., University of Michigan, 1993. xvii, 589pp. Investigates Bach’s complex and masterful use of rhythm—in particular, rhythmic grouping, tonal grouping, phrase structure, meter, and hypermeter—through a detailed study of his concertos. Challenges the image of rhythm in Baroque music as relentless clockwork, arguing that “meter and hypermeter in Bach’s music are supple and malleable, and indeed carefully manipulated by the composer” (3). Includes a substantial discussion of the first movement of the E major Violin Concerto (157–247). Mus. exx., bib.

729.

Metz, Günther. Johann Sebastian Bach: Konzerte für Violine, Streicher und Basso continuo a-Moll (BWV 1041) und E-Dur (BWV 1042): Ein vorwiegend analytischer Versuch. Saarbrücken: Pfau, 1996. 88pp. An analytical study of the A minor and E major violin concertos, with discussion of their history and reception. Mus. exx., bib.

Violin Sonatas with Harpsichord, BWV 1014–19 (< 1725) See also {671}, {724}, {1047}. 730.

Eppstein, Hans. “Zur Problematik von J.S. Bachs Sonate für Violine und Cembalo G-dur (BWV 1019).” Archiv für Muiskwissenchaft 3–4 (1964): 217–42. The author, editor of the accompanied violin sonatas for Henle, discusses the stylistic traits, movement order, sources, dating, and versions of the G major sonata. Mus. exx.

731.

Eppstein, Hans. Studien über J.S. Bachs Sonaten für ein Melodieinstrument und obligates Cembalo. Uppsala: Almqvist & Wiksells, 1966. 199pp. Includes a study of the chronology of Bach’s accompanied violin sonatas, suggesting that they were finished in Cöthen (c. 1720–23). Notes that some may originally have been conceived as trio sonatas in which the

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keyboard originally just served as continuo and may thus have begun life while Bach was concertmaster in Weimar (1714–17). 732.

Asmus, Jürgen. “Die langsamen Sätze der Sonaten für Violine und obligates Cembalo (BWV 1014–1019): Ein Beitrag zur Sonatenkonzeption J. S. Bachs.” Ph.D. diss., Karl-Marx-Universität, 1979. 172pp. A thorough analytical study of the slow movements from the six accompanied violin sonatas. Topics include form, theme, harmony, rhythm, phrasing, the function of the accompaniment, and instrumentation. Includes many musical examples and charts and a bibliography. See also the author’s later article on the subject, “Zur thematischen Arbeit und Formbildung in Bachschen langsamen Sonatensatzen (Sonaten für Violine und obligates Cembalo, BWV 1014–1019),” Beiträge zur Musikwissenschaft 25 (1983): 83–96.

Solo Sonatas and Partitas, BWV 1001–6 (1720) See also {38}, {448}, {452}, {457}, {518}, {522}, {530}, {567}, {615}, {626}, {650}, {651}, {675}, {680}, {724}, {870}, {1086}, {1224}, {1225}, {1230}, {1637}. 733.

Woodard, Guy. “Bach’s First Sonata for Violin Alone.” Violinist 10 (November 1910): 13–16. Offers advice on the performance and interpretation of Bach’s Sonata in G minor. Mus. exx.

734.

Moser, Andreas. “Zu Joh. Seb. Bachs Sonaten und Partiten für Violin allein.” Bach-Jahrbuch 17 (1920): 30–65. A broad study of the Sonatas and Partitas. Discusses the surviving manuscripts and copies of the work, issues of performance practice (such as the execution of triple and quadruple stops and the question of whether to arppegiate beginning with the top or bottom note), the approach of violinist Joseph Joachim to the performance of the works, and the theories of Arnold Schering and Albert Schweitzer about the type of bow and bridge violinists of Bach’s time used. Mus. exx. A brief excerpt of the article in English translation is reprinted in Eiche {747}.

735.

Schenker, Heinrich. “Johann Sebastian Bach: Sechs Sonaten für Violine, Sonate III, Largo.” In Das Meisterwerk in der Musik 1: 63–73. Munich: Drei Masken, 1925. E. “The Largo of J.S. Bach’s Sonata No. 3 for Unaccompanied Violin.” Trans. John Rothgeb. Music Forum 4 (1976): 141–59. Analyzes the Largo from the C major Sonata movement in terms of form, harmony, and motive. Considers the movement a binary form that essentially elaborates an F-major chord. Also discusses Schumann’s piano accompa-

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niment to the movement, which he depicts in a positive light. (Compare this to Lester’s generally negative assessment in {754}.) Provides reductive graphs and musical examples. 736.

Joachim, Henry. “Bach’s Solo Violin Sonatas and the Modern Violinist.” Musical Times 72 (1 March 1931): 221–22. Laments that the polyphonic beauty of this music can never be appreciated when played with a modern bow. The author (erroneously) points out that Baroque bow allowed violinists to play three or four notes simultaneously and hopes that modern violinists will try to “revive” this practice.

737.

Telmányi, Emil. “Some Problems in Bach’s Unaccompanied Violin Music.” Musical Times 96 (January 1955): 14–18. The author, a violinist, relates his experiences playing the Bach Sonatas and Partitas using the Vega-Bach bow, a modern rounded bow that allows three and four strings to be played simultaneously. Refers to a 1933 article by Albert Schweitzer on an earlier version of the “round” bow {518}.

738.

Hausswald, Günter. “Zur Stilistik von Johann Sebastian Bachs Sonaten und Partiten für Violine allein.” Archiv für Muiskwissenchaft 14 (1957): 304–23. Offers a detailed discussion of stylistic matters in the Sonatas and Partitas. Argues that the works were conceived of as a single entity rather than being composed individually and collected into a set. Includes a detailed review of the literature on the sonatas and partitas and considers their relationship to works for solo violin by various earlier composers: Johann Paul von Westhoff, Johann Adam Birkenstock, Johann Jakob Walther, Samuel Peter Sidon, and Johann Georg Pisendel.

739.

Boyajian, Howard N. “The Implication of Polyphony in the Performance of Representative Movements from the Unaccompanied Sonatas and Partitas for Violin by J. S. Bach.” D.M.A. diss., Boston University, 1964. 77pp. Explores the ways in which Bach suggested the presence of multiple lines in various single-line passages in the Sonatas and Partitas. Advises the performer and teacher on the effective projection of polyphony. Draws on a variety of editions, and includes numerous musical examples in which the implied voices are written on different staves.

740.

Ulrich, Homer. “The Nationality of Bach’s Solo-Violin Sonatas.” In Paul A. Pisk: Essays in His Honor, ed. John M. Glowacki, 96–102. Austin: University of Texas Press, 1966.

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Suggests that the three Partitas “disclose national differences” (100): Partita I in B minor represents the English style, Partita II in D minor French, and Partita III in E major Italian. 741.

Spivakosky, Tossy. “Polyphony in Bach’s Works for Solo Violin.” Music Review 28 (1967): 277–88. Discusses the execution of multiple stops in the solo Sonatas and Partitas. Challenges traditional assumption that four-part chords should be arpeggiated. Recommends the use of a modern curved bow by Kurt Vestergaard for playing chords in Bach.

742.

Babitz, Sol. The Six Solos for Violin without Bass Accompaniment by Johann Sebastian Bach. Los Angeles: Early Music Laboratory, 1972. xxviii, 45pp. A scholarly edition of the Sonatas and Partitas with 28 pages of prefatory material offering advice on the performance of the works and discussing Baroque performance practice, notation, and violins more generally.

743.

Lester, Joel. “Problems in the Neue Bach Ausgabe of the E Major Partita for Violin Alone.” Current Musicology, no. 13 (1972): 64–67. Notes several instances in which the Neue Bach Ausgabe does not follow the autograph manuscript of the Partita, and does so without acknowledgment or explanation.

744.

Curti, Martha. “J.S. Bach’s Chaconne in D minor: A Study in Coherence and Contrast.” Music Review 37 (1976): 249–65. Argues that the unifying element in the Chaconne is the descending tetrachord, discusses its variety of forms, and explains how it generates large-scale structure in the movement. Includes many musical examples and charts. Reprinted in Eiche {747}.

745.

Eppstein, Hans. “Chronologieprobleme in Johann Sebastian Bachs Suiten für Soloinstrumente.” Bach-Jahrbuch 62 (1976): 35–57. Speculates on the ordering of Bach’s instrumental suites based on the composer’s choices of movement types, the key relationships between these movements, and general style characteristics. He concludes that the most likely order of composition is: English Suites, Cello Suites, Violin Sonatas and Partitas, French Suites, and the Partitas for keyboard.

746.

Braunlich, Helmut. “Johann Peter Kellner’s Copy of the Sonatas and Partitas for Solo Violin by J.S. Bach.” Bach 12 (April 1981): 2–10. Notes the differences between Bach’s 1720 autograph manuscript of the Sonatas and Partitas and a copy made in 1726 by J. P. Kellner. Suggests

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that Kellner’s copy was based on a version of the works that predates the 1720 ms., and thus provides a rare glimpse into Bach’s compositional process. Some of Braunlich’s conclusions were later challenged by Stinson {749}. 747.

Eiche, Jon F., ed. The Bach Chaconne for Solo Violin: A Collection of Views. Urbana, IL: American String Teachers Association, 1985. 156pp. A compilation of writings on the Chaconne, divided into three categories: history, analysis, and interpretation. Among the writings are excerpts from books by Carl Flesch (Art of Violin Playing 2 {615}), Albert Schweitzer, Philipp Spitta, and Joseph Szigeti {1637}, as well as new essays by Jon Eiche, Eduard Melkus, and Jaap Schröder. Includes a facsimile of the manuscript of the Chaconne, a list of 44 editions published between 1802 and 1971, a bibliography, and many musical examples. A useful compendium.

748.

Sevier, Zay David. “Bach’s Solo Violin Sonatas and Partitas: The First Century and a Half.” 2 parts. Bach 12 (April 1981): 11–19; (July 1981): 21–29. Chronicles the history of the Sonatas and Partitas from 1720 to c. 1870. Notes various performances, publications, transcriptions, and arrangements of the music.

749.

Stinson, Russell. “J. P. Kellner’s Copy of Bach’s Sonatas and Partitas for Violin Solo.” Early Music 13 (1985): 199–211. Compares an incomplete 1726 copy of the Sonatas and Partitas with Bach’s 1720 manuscript; speculates on the reasons for the copy and the differences between it and the original. Disagrees with some of the conclusions in an article on the same subject by Braunlich {746}.

750.

Schachter, Carl. “The Gavotte en Rondeaux from J.S. Bach’s Partita in E Major for Unaccompanied Violin.” Israel Studies in Musicology 4 (1987): 7–26. A study of form and tonality in the Gavotte en Rondeaux movement that draws upon both poetry and Schenkerian analysis. The author offers a reading of the movement that may “suggest minor revisions in the way we think about rondo procedure in general” (24). Mus. exx.

751.

Stowell, Robin. “Bach’s Violin Sonatas and Partitas.” Musical Times 128 (May 1987): 250–56. Surveys 11 editions of the Sonatas and Partitas, noting problems with earlier editions (which tended not to consider the practices of Bach’s time) and observing the more historically informed approach of recent editions.

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Includes a guide to the editions with notes on the sources used, bowings, fingerings, tempo, ornamentation, and other matters. 752.

Rattalino, Piero, ed. La “Ciaccona” di Bach: saggio di storia dell'interpretazione. Milan: Unicopli, 1988. 208pp. The proceedings of a 1986 symposium on the Chaconne. In two main parts, covering text and interpretation. Articles from a variety of scholars address diverse matters, including the manuscript, structure, symbolism, editions, recordings, accompaniments, arrangements, and transcriptions. Provides numerous musical examples and a facsimile of the manuscript.

753.

Nowak, Adolf. “Bachs Werke für Violin allein: Ihre Rezeption durch Aufführung, Theorie und Komposition.” In Rezeptionsästhetik und Rezeptionsgeschichte in der Musikwissenschaft, ed. Hermann Danuser and Friedhelm Krummacher, 223–37. Laaber, Germany: Laaber, 1991. Considers the demands of the polyphonic nature of Bach’s solo violin works, and discusses how theorists, performers, and composers have responded to this aspect of the music.

754.

Lester, Joel. “Reading and Misreading: Schumann’s Accompaniments to Bach’s Sonatas and Partitas for Solo Violin. Current Musicology, no. 56 (1994): 24–53. Considers how Schumann’s piano accompaniments to the Sonatas and Partitas reveal the later composer’s understanding of (and, according to the author, misconceptions about) the works. Mus. exx.

755.

Neumann, Frederick. “Some Performance Problems of Bach’s Unaccompanied Violin and Cello Works.” In Eighteenth-Century Music in Theory and Practice: Essays in Honor of Alfred Mann, ed. Mary Ann Parker, 19–48. Stuyvesant, NY: Pendragon, 1994. Addresses challenges to the performer of Bach’s solo string works arising from mistakes and ambiguities in the manuscript. Topics include rhythm, bowing, articulation, ornamentation, and implied polyphony. Offers numerous suggestions on correcting and resolving such difficulties. Mus. exx.

756.

Field, Elizabeth Imbert. “Performing Solo Bach: An Examination of the Evolution of Performance Traditions of Bach’s Unaccompanied Violin Sonatas from 1802 to the Present.” D.M.A. diss., Cornell University, 1999. 194pp. Explores the changes in approach to the performance of the Sonatas and Partitas through a comparative study of 15 editions of the music, from

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the first edition in 1802 by Simrock to Ivan Galamian’s 1971 edition. Includes musical examples, a bibliography, and a discography. 757.

Lester, Joel. Bach’s Works for Solo Violin: Style, Structure, Performance. Oxford: Oxford University Press, 1999. x, 186pp. Largely a study of the Sonata in G Minor, “this book is in part a performance guide for violinists, in part an analytic study, in part a rumination on aspects of Bach’s style, and in part an investigation of notions of musical form and continuity” (v). The first of seven chapters provides an overview of the works; each of the next four is devoted to one of the movements of the G Minor Sonata (although each chapter also addresses similar movements from the Sonatas); the sixth chapter briefly discusses the three partitas, and the final chapter offers some closing thoughts. Mus. exx, bib.

758.

Silbiger, Alexander. “Bach and the Chaconne.” Journal of Musicology 17 (Summer 1999): 358–85. Argues, within a larger article, that for the Chaconne movement of the D minor Partita “the basic template was provided by chaconne and passacaglia scenes in Lully’s tragédies lyriques” (363) and explores the Chaconne’s improvisational and virtuosic qualities. Mus exx.

759.

Cumming, Naomi. The Sonic Self: Musical Subjectivity and Signification. Bloomington and Indianapolis: Indiana University Press, 2000. xviii, 370pp. Includes, within a larger study of musical semiotics, a sustained discussion of gesture, affect, and voice-leading in the Sonata in G minor. (See esp. 225–37.) Mus. exx.

760.

Wollny, Peter. Preface to J. S. Bach, Drei Sonaten und drei Partiten für Violine solo BWV 1001–1006, ed. Günter Hausswald and Peter Wollny, iii–xii. Bärenreiter: Kassel, 2001. Offers an account of what is known of the genesis of the Sonatas and Partitas and their possible relationship to the solo violin suites of German violinist-composer Johann Paul von Westhoff (1656–1705). Chronicles the history of these pieces and discusses each of the nine primary sources in detail, with new interpretations of some important sources. This essay is the preface to the Neue Bach Ausgabe edition of the Sonatas and Partitas. In German and English text.

Other 761.

Mackerness, E. D. “Less-Known Violin Works of J. S. Bach.” Musical Times 88 (February 1947): 52–55.

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Discusses several works attributed to Bach but now of questioned authorship, including the Suite in A for violin and harpsichord (BWV 1025) and the Sonata for violin and harpsichord in G minor (BWV 1020). 762.

Mackerness, E. D. “Bach’s Sinfonie-Satz für Violine Concertirende.” Music Review 9 (1948): 161–65. Discusses Bach’s Sinfonia in D (BWV 1045), an orchestral work with solo violin most likely a movement of an unfinished cantata, which the author describes as “second rate Bach” and violinistically “unmanageable.”

763.

Mackerness, E. D. “Bach’s F Major Violin Sonata.” Music Review 11 (1950): 175–79. Discusses the Sonata in F for violin and harpsichord (BWV 1022), which Bach (or more likely a son or pupil) arranged from the Trio (or Sonata) in G for flute, violin, and continuo (BWV 1038, itself of questioned authorship).

Henk Badings (1907–87) See {677}, {684}. Pierre Marie François de Sales Baillot (1771–1842) See {405}, {601–3}, {605}, {701}, {793}, {1279}. Samuel Barber (1910–81) Violin Concerto, Op. 14 (1939) See also {665}, {1380}. 764.

Diehl, George K. “A Tale of Three Movements.” Strad 106 (November 1995): 1116–19. Recounts the compositional and early performance history of Barber’s Violin Concerto. Discusses the story behind its commission, and argues that the virtuosic character of the final movement was not prompted by complaints from the commissioning violinist, Iso Briselli, that the first two movements weren’t brilliant enough, as has been reported by Barber’s biographers.

Ethel Barns (1873–1948) 765.

Englesburg, Barbara J. “The Life and Violin Music of Ethel Barns: British Violinist-Composer (1873–1948).” D.M.A. diss., Boston University, 1984. 317pp.

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Explores the life and works of the violinist and composer. The first three chapters offer a biography and survey her performance career in London. The bulk of the dissertation (four chapters) is devoted to a study of the 87 extant works of Barns (the manuscripts of 15 of which were brought to light by this study), which include many virtuosic violin works in the late-Romantic tradition. Béla Bartók (1881–1945) General See also {1632}. 766.

Seiber, Mátyás. “Béla Bartók’s Chamber Music.” Tempo, no. 14 (Autumn 1949): 19–31. An overview of the chamber works, including the two violin-piano sonatas and the solo sonata. Mus exx.

767.

Gillies, Malcolm, ed. The Bartók Companion. London: Faber and Faber, 1993; Portland, OR: Amadeus, 1994. xviii, 586pp. A guide to Bartók’s life, career, and music. Includes the following essays on Bartók’s music for violin: Paul Wilson, “The Violin Sonatas,” Vera Lampert, “Violin Rhapsodies,” Malcolm Gillies, “Violin Duos and Late String Quartets,” Günter Weiss-Aigner, “The ‘Lost’ Violin Concerto,” and Vera Lampert, “Second Violin Concerto.” Mus. exx., bib.

768.

Kárpáti, János. Bartók’s Chamber Music. Stuyvesant, NY: Pendragon, 1994. viii, 508pp. Devotes a chapter to the two sonatas for violin and piano, explaining their genesis, providing movement-by-movement analyses, and considering their similarities. Includes a briefer discussion of the 44 Duos for Two Violins, the sonatas for piano and violin, and the two Rhapsodies.

Violin Concerto No. 1 (1908) See also {767}. 769.

Mason, Colin. “Bartók’s Early Violin Concerto.” Tempo, no. 49 (Autumn 1958): 11–16. Analyzes Bartók’s first violin concerto, completed in 1908, but first performed only in 1958. Discusses its rediscovery and its connection with violinist Stefi Geyer, an early love interest of Bartók’s. Mus. exx.

770.

Usarek, Alicja Irena. “The Genesis and Fate of Béla Bartók’s 1907 Violin Concerto.” D.M.A. diss., University of Texas, 2000. x, 109pp.

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An analytical, historical, and biographical study of the Violin Concerto. Explores its connection with violinist Stefi Geyer, the composer’s abandonment of the work, and the late-Romantic idiom in which the Concerto is written, especially its indebtedness to Wagner’s Tristan und Isolde. Mus. exx., bib. Violin Concerto No. 2 (1937–38) See also {460}, {665}, {767}. 771.

Cowell, Henry. “Bartók and his Violin Concerto.” Tempo, no. 8 (September 1944): 4–6. A brief appreciation by an American composer of Bartók’s work generally and his Violin Concerto No. 2 specifically. Compares Bartók to Charles Ives, Arnold Schoenberg, and Igor Stravinsky.

772.

Herbage, Julian. “Bartók’s Violin Concerto.” Music Review 6 (1945): 85–88. A brief program-note-like description of the Violin Concerto No. 2 (1938), prefaced by a discussion of Bartók’s interest in folk music.

773.

Ujfalussy, J. “Is Bartók’s Concerto for Violin Really his Second?” Studia Musicologica Academiae Scientarium Hungaricae 13 (1971): 23–24. Argues that the violin concerto Bartók composed in 1937–38 should not be called the Violin Concerto No. 2, even though an earlier concerto, composed in 1907–08 and published in 1959, had come to light because, according to the author, the composer had “annulled” the earlier work. Suggests that the later concerto simply be known as the Violin Concerto and that the earlier one be called the Violin Concerto 1907–08 (or suchlike). Despite the author’s solid reasoning, the present volume refers the work composed in 1937–38 the Violin Concerto No. 2, as is common in the United States and elsewhere outside Hungary.

774.

Michael, Frank. Béla Bartóks Variationstechnik: Dargestellt im Rahmen einer Analyse seines 2. Violinkonzertes. Regensburg: Bosse, 1976. 48pp. Analyzes the Concerto in terms of motivic transformation, the tonal and harmonic relationships among the movements, and the pervasive symmetries (formal, melodic, harmonic, etc.) in the music. Mus. exx.

775.

Somfai, László. “Strategics of Variation in the Second Movement of Bartók’s Violin Concerto 1937–1938.” Studia Musicologica Academiae Scientarium Hungaricae 19 (1977): 161–202. Presents a technical and complex analysis of the second movement of the Violin Concerto No. 2 and argues that, despite its intricacies, it still should

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be understood as an example of the symmetrical bridge or arch form that Bartók had used in earlier works. Moreover, emphasizes both the influence of folk music on the movement and its foreshadowing of postwar compositional techniques. Numerous musical examples and diagrams. 776.

Nagy, Alexander. “Béla Bartók’s Violin Concerto No. 2: An Analysis of the Creative and Compositional Process Through a Study of the Manuscripts.” Ph.D. diss., City University of New York, 1992. 86pp. Examines the sketches and manuscripts of the Concerto in order to shed light on the composer’s working methods. Mus. exx., bib.

777.

Weiss-Aigner, Günter. “Zwischen Ost und West: Zur Thematik von Bartóks zweitem Violinkonzert.” Neues Musikwissenschaftliches Jahrbuch 1 (1992): 119–48. A study of the synthesis of folk, popular, and modernist elements in the concerto’s three main themes. Mus. exx.

778.

Weiss-Aigner, Günter. “Das zweite Violinkonzert von Béla Bartók im Spektrum der gattungsgeschichtlichen Entwicklung.” Studia Musicologica Academiae Scientarum Hungaricae 35 (1993–94): 303–39. Considers the Concerto in the context of the violin concerto genre; offers a comparative analysis of the work against many other previous violin concertos.

779.

Somfai, László. “Invention, Form, Narrative in Béla Bartók’s Music.” Studia Musicologica Academiae Scientarium Hungaricae 44 (2003): 291–303. Investigates Bartók’s compositional process in the Violin Concerto No. 2, and the influence of violinist Zoltán Székely (see {1632}), who proposed and first performed the Concerto. Reveals how the work started life as a single-movement Konzertstück and only later developed into its final three-movement form.

Sonatas for Violin and Piano See also {671}, {767}. General 780.

Groth, Clause Robert Jr. “A Study of the Technical and Interpretive Problems Inherent in Bartok’s Violin Sonatas.” D.M.A. diss., University of Oregon, 1971. 147pp. Analyzes the sonatas with the goal of aiding performers in the execution and interpretation of the works. Mus. exx., bib.

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Sonata No. 1 (1921) See also {671}. 781.

Hirota, Yoko. “Past and Present Perspectives on Bartók’s Sonata for Violin and Piano No. 1 (1922): Intervallic Profiles in the Works of Experimentalism.” Acta Musicologica 69 (July–December 1997): 101–19. Presents an overview of the sonata, providing a compositional and performance history, a review of the literature on the work, and the author’s own analysis, which focuses on Bartók’s experimentalism.

782.

Morrison, Charles D. “Formal Structure and Functional Qualities in the First Movement of Bartók’s Violin Sonata No. 1 (1921).” Music Analysis 20 (October 2001): 327–45. Argues that the first movement of the Sonata can be understood in terms of sonata form, despite the absence of tonality, without the form itself losing its “vitality as a dynamic, processive design” (327). In doing so, the author takes issue with Paul Wilson’s analysis in {784}. Mus. exx. Sonata No. 2 (1922) See also {671}.

783.

Szentkiralyi, Andras. “Bartok’s Second Sonata for Violin and Piano.” Ph.D. diss., Princeton University, 1976. 236pp. A detailed analysis of the Sonata. The two parts of the dissertation focus on form and tonality. Includes a discussion of the relationship of the music to the Golden Section and the Fibonacci series. Mus. exx., bib.

784.

Wilson, Paul Frederick. “Atonality and Structure in Works of Bela Bartók’s Middle Period.” Ph.D. diss, Yale University, 1982. 255pp. Examines Bartók’s use of atonal techniques in works written between 1917 and 1922, including his Second Sonata for Violin and Piano (1922). Mus. exx, bib. Solo Sonata (1944) See also {462}, {677}, {680}, {766}, {767}, {1469}.

785.

Nordwall, Ove. “The Original Version of Bartók’s Sonata for Solo Violin.” Tempo, no. 74 (Autumn 1965): 2–4. Discusses Bartók’s use of quarter-tones in the manuscript version of the Sonata’s finale, which became more conventional (and playable) semitones in the first edition. Argues that the microtones are “by no means

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simply a curiosity, but are of structural, as well as coloristic significance” (3). (An edition with the quarter-tones restored was published in 1994.) 786.

Lenoir, Yves. “Contributions à l’ètude pour Violin Solo de Béla Bartók (1944).” Studia Musicologica Academiae Scientarum Hungaricae 23 (1981): 209–60. A thorough study of the Sonata. Part One chronicles the compositional history of the work, and quotes from correspondence among Bartók, his publisher, and violinist Yehudi Menuhin, who commissioned the work. Part Two examines the various sketches, manuscripts, and editions, noting omissions, errors, and mistakes. Part Three provides a detailed sectionby-section analysis. Many musical examples.

787.

Coonce, Philip R. “The Genesis of the Béla Bartók Sonata for Solo Violin.” D.M.A. diss., Manhattan School of Music, 1992. v, 116pp. Traces the history of the Sonata from the first contact between the composer and Yehudi Menuhin, who commissioned the piece, in October 1942, to Bartók’s death in September 1945. The bulk of the document examines the sketches of Sonata, with further discussion devoted to a variety of other sources, including correspondence between the composer and Menuhin, Menuhin’s writings on the Sonata, and violinist Rudolf Kolisch’s (mostly unpublished) writings about the work. Mus. exx., bib.

Rhapsodies for Violin and Piano No. 1 (1929), No. 2 (1928, rev. 1945) See also {767}. 788.

Mason, Colin. “Bartók’s Rhapsodies.” Music and Letters 30 (January 1949): 26–36. Analyzes the Rhapsodies, considers later arrangements, and the composer’s revision of No. 2 (for violin and piano). Mus. exx.

789.

Hwang, Hae-Joung. “Transformation of Rumanian Folk Sources into Abstract Pitch Formations in Bartok’s Violin Rhapsodies.” D.M.A. diss., University of Texas, 1995. 137pp. Explores the influence of Romanian folk music on the tonal and formal structures of the Rhapsodies. Two early chapters provide background on the Rhapsodies and on the folk music that Bartók collected and which influenced the Rhapsodies. The remaining chapters provide technical analyses of the works. Mus. exx., bib.

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Amy Marcy Beach (1867–1944) See also {715}. 790.

Brush, George Mortimer. “A Modern Sonata for Piano and Violin.” Violinist 14 (October 1912): 11–13. An appreciation and brief analysis of Amy Beach’s Sonata in A minor, Op. 34 (1896), described as “one of the beautiful and strong things that reposes in our Temple of Delight” (11).

791.

Block, Adrienne Fried. Amy Beach: Passionate Victorian. New York: Oxford University Press, 1998. xiii, 409pp. Includes an analysis and discussion of the performance and reception history of the 1896 Violin Sonata (113–22). Mus. exx.

Ludwig van Beethoven (1770–1827) General 792.

Matthews, John. The Violin Music of Beethoven. London: Strad, 1902. 101pp. Provides brief descriptive analyses of the violin sonatas, the Romances for violin and orchestra, and the Violin Concerto. Includes a chapter on Beethoven’s sketches for the sonatas. Mus. exx.

793.

Schwarz, Boris. “Beethoven and the French Violin School.” Musical Quarterly 44 (October 1958): 431–47. Explores the influence of the violinist-composers Giovanni Battista Viotti, Rodolphe Kreutzer, Pierre Rode, and Pierre Baillot on Beethoven’s oeuvre, including the sonatas Op. 24 and Op. 47, and particularly the Violin Concerto.

794.

Scheneman, Thomas K. and Louis Biancolli, eds. The Beethoven Companion. Garden City, NY: Doubleday, 1972. xi, 1230pp. Includes brief descriptive entries on the works for violin and piano and violin and orchestra, many of them reprinted from earlier publications.

795.

Philip, Robert. “Traditional Habits of Performance in Early TwentiethCentury Recordings of Beethoven.” In Performing Beethoven, ed. Robin Stowell, 195–204. Cambridge: Cambridge University Press, 1994. Examines early recordings of Beethoven’s music, including recordings of the Violin Concerto and the Violin Sonatas Op. 24 (“Spring”) and Op. 47 (“Kreutzer”). Observes that the recordings are characterized by “flexibility, informality, and expressive irregularities” (203) that distinguish them from

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modern approaches to the music. Mus. exx. For further discussion of performance practice as revealed on recordings of Beethoven’s music (and those of many other composers as well), see the author’s Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900–1950 (Cambridge: Cambridge University Press, 1992). Romances, Op. 40 (1801–2) and Op. 50 (c. 1798) See also {608}, {650}, {792}, {794}, {841}. 796.

Del Mar, Norman. “Two Romances for Violin and Orchestra, Op. 40 and Op. 50.” In Conducting Beethoven. Vol. 2, 126–30. Oxford: Clarendon, 1993. Advises conductors and violinists on the performance of Beethoven’s Romances for Violin, with particular attention to tempo and dynamics.

Violin Concerto in C Major, WoO 5 (1790–92) 797.

Hess, Willy. “Beethovens C-dur Violinkonzertsatz und seine Erganzungen.” In Beethoven: Studien zu seinem Werk, 19–23. Winterthur: Amadeus, 1981. Argues that the fragmentary Violin Concerto in C major is not a sketch, as some have held, but the final version of a work the remainder of which has been lost.

Violin Concerto in D Major, Op. 61 (1806) See also {38}, {608}, {626}, {650}, {655}, {660}, {665}, {667}, {727}, {793}, {794}, {795}, {822}, {841}, {1095}, {1162}, {1222}, {1230}, {1316}, {1647}, {1658}. 798.

Grove, George. “Beethoven’s Violin Concerto.” Musical Times 46 (1 July 1905): 459–60, 469–71. Analyzes each movement of the concerto, focusing primarily on thematic issues; briefly mentions Beethoven’s arrangement of the work for piano and examines the original manuscripts to show Beethoven’s extensive corrections and revisions. Mus. exx.

799.

Pincherle, Marc. “Le Concerto de Violon de Beethoven.” Revue Musicale 8 (April 1927): 191–97. Discusses the Concerto’s first performance, its first soloist (Franz Clement), and important 19th-century interpreters of the work, notably Joseph Joachim.

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800.

187

Flesch, Carl. “Re the Kadenzen to the Beethoven Violin Concerto.” Trans. H. E. Fritsch and Herbert Kirschner. Violinist 42 (May 1928): 182–87. Considers various cadenzas to Beethoven’s Violin Concerto, particularly his own, which are printed with the article.

801.

Jonas, Oswald. “Das Autograph von Beethovens Violinkonzert.” Zeitschrift für Musikwissenschaft 13 (1930–31): 443–50. Discusses the manuscript of the Concerto and compares it to the published editions.

802.

Schilling-Trygophorus, Otto. “Das Ethos des Klanges in Beethovens Violinkonzert.” Neues Beethoven-Jahrbuch 5 (1933): 154–58. Contrasts the relationship between solo and orchestra in the Violin Concerto with that found in Beethoven’s piano concertos.

803.

Jarosy, Albert. “Three Editions of Beethoven’s Violin Concerto.” Trans. Herma E. Fiedler. Music and Letters 15 (October 1934): 329–35. Examines three editions of the Violin Concerto—by Ferdinand David, Joseph Joachim, and Henri Marteau—in the process charting “the development of the art of editing violin music” (331) since the Concerto’s publication.

804.

Küdzö, Victor. “The Beethoven Concerto.” Violins and Violinists 1 (August 1938): 189, 191, 200. A brief analysis of the Concerto. Notes the similarity between the opening of the violin solo and certain etudes by the Italian violinist-composer Federigo Fiorillo (1755–after 1823). Note that the first volume of this journal was originally called Violins.

805.

Moser, Andreas. “Die Form des Beethovenschen Violinkonzerts.” Neues Beethoven-Jahrbuch 9 (1939): 16–25. Offers a section-by-section formal analysis of the Concerto, with particular emphasis on identifying and comparing themes. Mus. exx.

806.

Tyson, Alan. “The Text of Beethoven’s Op. 61.” Music and Letters 43 (April 1962): 104–14. Cites numerous errors and questionable passages in modern scores of the Concerto, suggests their origin, and proposes corrections. For more on the same subject, see the author’s “The Textual Problems of Beethoven’s Violin Concerto,” Musical Quarterly 53 (October 1967): 482–502.

807.

Hess, Willy. “Die verschiedene Fassungen von Beethovens Violinkonzert.” Schweizerische Musikzeitung 109 (July–August 1969): 197–201.

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Examines manuscripts of the Concerto, preserved in the Austrian National Library, as evidence of the stages in Beethoven’s composition of the solo part. Discusses the addition of four bars to the published version of the concerto not found in the manuscripts. Mus. exx. 808.

Ginsburg, Marc. “An Evaluation of Cadenzas for Beethoven’s Violin Concerto, Provided by Nine Violinists and Composers.” D.M.A. diss., The Julliard School, 1971. 75pp. Analyzes the cadenzas of Ferdinand David, Henri Vieuxtemps, Joseph Joachim, Jacques Dupuis, Camille Saint-Saëns, Ferdinand Laub, Jenö Hubay, Wilhelm Bernhard Molique, and August Molique. Mus. exx.

809.

Kojima, Shin. “Die Solovioline-Fassungen und -Varianten von Beethoven’s Violinkonzert Op. 61: Ihre Entstehung und Bedeutung.” Beethoven Jahrbuch 8 (1971–72): 97–145. Offers a detailed comparison of the different autograph versions of the solo part of the Concerto. Refutes arguments that the violinist Franz Clement collaborated with Beethoven on the violin part to produce the later variant; dates the final version of the manuscript to April 1807. Mus. exx.

810.

Goldschmidt, Harry. “Motivvariation und Gestaltmetamorphose: zur musikalischen Entstehungsgeschichte des Violinkonzerts.” In Erscheinung Beethoven, 138–51. Leipzig: Deutscher Verlag für Musik, 1974. Compares motivic development in Beethoven’s Violin Concerto with that found in his opera, Fidelio. Discusses the Concerto’s lyricism, and suggests that the work is motivated by the idea of conjugal love.

811.

Palmer, Fred E. “A Comprehensive Performance Project in Violin Literature and an Essay on Selected Cadenzas for the Beethoven Violin Concerto in D-Major, Opus 61.” D.M.A. diss., University of Iowa, 1974. 289pp. Analyzes selected cadenzas written for the Concerto, including four written by Beethoven for the piano version. Provides reproductions of 58 cadenzas.

812.

Jander, Owen. “Romantic Form and Content in the Slow Movement of Beethoven’s Violin Concerto.” Musical Quarterly 69 (Spring 1983): 159–79. Posits the influence of the Romanze, a musical and poetic form, on the composition of the slow movement; observes the use of an unorthodox chaconne bass; and suggests a “quasi-programmatic dialogue” (161) between the soloist and orchestra. Mus. exx.

813.

Del Mar, Norman. “Violin Concerto in D, Op. 61.” In Conducting Beethoven. Vol. 2, 100–114. Oxford: Clarendon, 1993.

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A movement-by-movement guide to the performance of Beethoven’s Violin Concerto. Offers advice on tempo, dynamics, phrasing, and the choice of cadenza (Fritz Kreisler’s), and notes errors in certain editions. 814.

Stowell, Robin. “The Violin Concerto Op. 61: Text and Editions.” In Performing Beethoven, ed. Robin Stowell, 150–94. Cambridge: Cambridge University Press, 1994. Reviews the errors in various editions of the Concerto dating to the first edition of 1808 and seeks to show how “subsequent editions of (or commentaries on) the solo violin part have reflected the technical and interpretative practices of their respective eras” (152).

815.

Dubiel, Joseph. “Hearing, Remembering, Cold Storage, Purism, Evidence, and Attitude Adjustment.” Current Musicology, nos. 60–61 (1996): 26–50. Uses the example of the D-sharps in the opening of Beethoven’s Violin Concerto and their later resolution as the basis for a discussion of musical memory and perception.

816.

Hopkins, Antony. “Violin Concerto in D Major, Op. 61.” In The Seven Concertos of Beethoven, 73–86. Aldershot: Scolar, 1996. A guide to the Concerto for uninitiated listeners.

817.

Stowell, Robin. Beethoven: Violin Concerto. Cambridge: Cambridge University Press, 1998. xi, 126pp. A broad scholarly guide to the Concerto. Explores the Concerto in the context of Beethoven’s oeuvre and the music (particularly French music) of his time, discusses its performance since its premiere by Franz Clement, documents its textual history from the sketches to its published editions, offers stylistic and structural analyses, and describes various cadenzas written for the Concerto. Includes a selected discography, a list of errors that still appear in modern editions, and many musical examples.

818.

Plantinga, Leon. “Of Purest Ray Serene: The Violin Concerto in D, Op. 61.” In Beethoven’s Concertos: History, Style, Performance, 217–50 New York: Norton, 1999. A perceptive and elegantly written survey of the Concerto. Includes a movement-by-movement analysis (with tables illustrating key, theme, and form) and discusses violin writing in the Concerto, the various textual versions of the work, and Beethoven’s transcription of the Concerto for piano.

819.

Katz, Mark. “Beethoven in the Age of Mechanical Reproduction: The Violin Concerto on Record.” Beethoven Forum 10 (Spring 2003): 38–55.

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Examines 33 recordings of Beethoven’s Violin Concerto made between 1922 and 1998. Observes a general trend toward slower performances with more consistent tempos, less portamento, and a narrower range of articulation. Concludes that a Classical conception of the work has largely replaced a Romantic one. Mus. exx. Violin Sonatas General Studies See also {671}, {792}, {794}, {963}, {1046}. 820.

Franchet, Paul. “Les sonates des Beethoven pour piano et violon.” 7 parts. Revue Musicale de Lyon 1 (1903–1904): 171–75; 182–85; 194–96; 206–9; 220–22; 241–46; 253–56. Provides descriptive analyses of the 10 sonatas. Mus. exx.

821.

Midgley, Samuel. Handbook to Beethoven’s Sonatas for Violin and Piano. London: Breitkopf & Härtel, 1911. 68pp. A descriptive guide to the violin sonatas. Provides basic information (date, opus, dedication, key) and musical examples illustrating the main themes interspersed with often fanciful narrative (one passage is “as gay and lighthearted as if sung by a youth out for a holiday amid the lovely scenery of the Siebengebirge” [21]). Also includes a section explaining the various forms used in the sonatas.

822.

Wetzel, Justus Hermann. Beethovens Violinsonaten nebst den Romanzen und dem Konzert analysiert. Berlin: Hesse, 1924. 402pp. A systematic and very detailed analysis of the violin sonatas, romances, and concerto with respect to form, rhythm, meter, and phrasing. Numerous mus. exx., tables, and diagrams. Note that only the first of two projected volumes was published.

823.

Herwegh, Marcel. Technique d’interpretation sous forme d’essai d’analyse psychologique expérimentale appliquée aux sonates pour piano et violon de Beethoven. Paris: Magasin musical, 1926. 254pp. A thorough and idiosyncratic guide to the execution and interpretation of the sonatas. Provides very detailed analyses of phrase structure, rhythm, accentuation, and form in the sonatas as well as more general discussions of interpretation and form. Many musical examples.

824.

d’Aranyi, Jelly. “The Violin Sonatas.” Music and Letters 8 (April 1927): 191–97.

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Discusses Beethoven’s violin sonatas, especially the “Kreutzer,” from the violinist’s perspective. 825.

Engelsmann, Walter. Beethoven’s Kompositionpläne dargestellt in den Sonaten für Klavier und Violine. Augsburg: Filser, 1931. 208pp. An analytical study of the violin sonatas based on the theoretical work of Hugo Riemann. Seeks to discover the unifying elements in the music, and identifies a main motive for each sonata. Often highly technical. Mus. exx.

826.

Schering, Arnold. “Zu Beethovens Violinsonaten.” 4 parts. Zeitschrift für Musik 103 (1936): 1041–48, 1307–18; 104 (1937): 374–81; 105 (1938): 121–30. Claims that Goethe’s poetry served as the stimulus for several of Beethoven’s violin sonatas. Examines the sonatas Op. 12, no. 3, Op. 23, Op. 24, and Op. 30, no. 3, and suggests specific poems as the inspiration for each, going so far as to underlay passages in the sonatas with text from the poems. Highly speculative.

827.

Szigeti, Joseph. The Ten Beethoven Sonatas for Piano and Violin. Ed. Paul Rolland. Urbana: American String Teachers Association, 1965. 55pp. G: Beethovens Violinwerke: Hinweise fur Interpreten und Horer. Trans. Brigitte und Helmut Kaufmann. Zurich: Atlantis, 1965. 111pp. The sonatas are not discussed systematically or comprehensively, but instead come up in the course of a broad essay on the performance and history of the works. Includes a section on the sketches for Op. 47 (“Kreutzer”) and an appendix, “Some Practical Hints to the Performer.” Mus. exx.

828.

Rostal, Max. Ludwig van Beethoven—die Sonaten fur Klavier und Violine: Gedanken zu ihrer Interpretation. Munich: Piper, 1981. 194pp. E. Beethoven: The Sonatas for Violin and Piano. Trans. Horace and Anna Rosenberg. London: Toccata, 1985. 219pp. A guide to the performance and interpretation of the sonatas. Provides basic data about each work (dates of composition and first publication, location of manuscript, and dedication) and a brief overview followed by a more detailed discussion of each movement with suggestions on the execution of certain passages (and accompanying musical examples). An opening section on “General Principles” addresses issues such as dynamics, ornamentation, repeats, fingering, bowing, and tempo. Includes a chapter on the sonatas from the pianist’s viewpoint by Günter Ludwig and one on problems of performance practice in Classical and Romantic music by Paul Rolland, as well as a brief bibliography.

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Lockwood, Lewis and Mark Kroll, eds. The Beethoven Violin Sonatas: History, Criticism, Performance. Urbana and Chicago: University of Illinois Press, 2004. 164pp. A collection of seven scholarly essays on the violin sonatas, covering a variety of analytical, historical, and performance practice issues. Contents: Sieghard Brandenburg, “Beethoven’s Opus 12 Violin Sonatas: On the Path to His Personal Style”; Lewis Lockwood, “On the Beautiful in Music: Beethoven’s ‘Spring’ Sonata for Violin and Piano, Opus 24”; Richard Kramer, “‘Sonate, que me veux-tu?’: Opus 30, Opus 31 and the Anxieties of Genre”; Suhnne Ahn, “Beethoven’s Opus 47: Balance and Virtuosity”; William Drabkin, “The Introduction to Beethoven’s ‘Kreutzer’ Sonata: A Historical Perspective”; Maynard Solomon, “The Violin Sonata in G Major, Opus 96: Pastoral, Rhetoric, Structure”; Mark Kroll, “As If Stroked with a Bow: Beethoven’s Keyboard Legato and the Sonatas for Violin and Piano.” Solomon’s essay was published previously as {846}. Mus. exx., bib. Sonatas Op. 12, nos. 1–3 in D Major, A Major, and E-flat Major (1797–98) See also {792}, {794}, {820–29}.

830.

Johanson, Gail Nelson. “Beethoven’s Sonatas for Piano and Violin, Op. 12, No. 1 and Op. 96: A Performance Practice Study.” D.M.A. diss., Stanford University, 1981. 120pp. Examines late-18th- and early-19th-century violin treatises as well as concurrent changes in the violin bow and in the piano repertoire in order to provide a historically informed approach to the performance of the Op. 12, no. 1 and Op. 96 sonatas. Mus. exx., bib. Sonata Op. 23 in A Minor (1800) See also {792}, {794}, {820–29}.

831.

Hatch, Christopher. “Thematic Interdependence in Two Finales by Beethoven.” Music Review 45 (August–November 1984): 194–207. Considers the relationship between contrasting themes in the finales of the Violin Sonata, Op. 23 and the String Quintet, Op. 29. Mus. exx. Sonata Op. 24 in F Major, “Spring” (1800–1801) See also {792–94}, {795}, {820–29}.

832.

Schachter, Carl. “The Sketches for the Sonata for Piano and Violin, Op. 24.” Beethoven Forum 3 (1994): 107–126. Examines the sketches for the first movement, focusing on the opening theme and development section. Concludes that the sketches reveal “how

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much of the piece was already implicit in his initial inspiration—a sculpture already partially visible in the block of marble” (125). Sonatas Op. 30, nos. 1–3 in A Major, C Minor, and G Major (1801–2) See also {792}, {794}, {820–29}. 833.

Kramer, Richard A. “The Sketches for Beethoven’s Violin Sonatas, Opus 30: History, Transcription, Analysis.” 3 vols. Ph.D. diss., Princeton University, 1974. 659pp. Offers an in-depth study of the sketches for the three Op. 30 sonatas. Volume I discusses the history and contents of the Op. 30 sketchbook; Volume II offers a movement-by-movement study of the sketches; Volume III provides facsimiles of the sketches.

834.

Reynolds, Christopher. “Ends and Means in the Second Finale to Beethoven’s Op. 30, no. 1.” In Beethoven Essays, ed. Lewis Lockwood and Phyllis Benjamin, 127–45. Cambridge, MA: Harvard University Department of Music, 1984. Identifies the finale of Op. 30, no. 1 as a turning point in Beethoven’s treatment of variation form, in which Beethoven begins to relate individual variations to one another rather than solely to the theme.

835.

Hurwitz, Emanuel. “Symphony for Piano and Violin.” Strad 106 (September 1995): 50–57. Discusses the symphonic character of Beethoven’s Violin Sonata Op. 30, no. 2; examines editions of the work by Max Rostal, David Oistrakh, and Fritz Kreisler. Sonata Op. 47 in A minor, “Kreutzer” (1802–3) See also {38}, {452}, {650}, {792–95}, {820–29}, {1290}.

836.

Reti, Rudolph. “The Thematic Pitch of the Kreutzer Sonata.” In Thematic Patterns in Sonatas of Beethoven, ed. Deryck Cooke, 145–65. New York: Macmillan, 1967. Examines the “ingenious evolution and variation of one basic thematic idea” (145)—the interval of the second—in Beethoven’s Violin Sonata, op. 47. Mus. exx.

837.

Hollander, Hans. “Das Finale-Problem in Beethoven ‘Kreutzersonate.’” Neue Zeitschrift fur Musik 130 (1969): 182–84. Discusses the original placement of the Op. 47 finale as the closing movement of the Violin Sonata, Op. 30, no. 1, and examines melodic connections between the two. Mus. exx.

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Hollander, Hans. “Tektonische Probleme in Beethovens Kreutzersonate.” Schweizerische Musikzeitschrift 27 (1972): 71–75. Considers the degree to which the interval of the second acts as a unifying melodic-thematic structure in the sonata. Disputes aspects of Rudolph Reti’s article on the same subject {836}.

839.

Brandenburg, Sieghard. “Zur Textgeschichte von Beethoven’s Violinsonate op. 47.” In Musik, Edition, Interpretation: Gedenkschrift Günter Henle, ed. Martin Bente, 111–24. Munich: Henle, 1980. Seeks to create a stemma for Op. 47, a family tree that shows the relationships among the various manuscripts and early printed versions of the work. Discusses discrepancies between early and later sources.

840.

Jander, Owen. “The ‘Kreutzer’ Sonata as Dialogue.” Early Music 16 (1988): 34–49. Discusses the interaction between violin and piano as a form of dialogue, relating the work to the broader contexts of Beethoven’s times and compositional strategies. Mus. exx.

841.

Ahn, Suhnne. “Genre, Style, and Compositional Procedure in Beethoven’s ‘Kreutzer’ Sonata.” Ph.D. diss., Harvard University, 1997. viii, 275pp. A broad study of the “Kreutzer” sonata. Part One offers a movement-bymovement analysis with particular attention given to the ways in which the first two movements are derived from the finale (which was composed first and was originally intended as the finale to Op. 30, no. 1). Part Two examines the compositional evolution of the work through a study and comparison of sketches, an autograph fragment, and the engraver’s copy. Part Three addresses issues of style and genre in the “Kreutzer,” discussing the French influence on the work (notably by Rodolphe Kreutzer), its concertante style, and its connections with other works by the composer, including the Violin Concerto and the Romances. Mus. exx., bib. Sonata Op. 96 in G Major (1812, probably rev. 1815) See also {792}, {794}, {820–30}.

842.

Jonas, Oswald. “Bemerkungen zu Beethoven’s op. 96.” Acta musicologica 37 (1965): 87–89. Notes that a page found with the sketches of Beethoven’s song, “An die Hoffnung,” Op. 94 is an attempted fair copy of the finale of the Violin Sonata, Op. 96. Compares the manuscript page found with Op. 94 to the final version of Op. 96.

843.

Obelkevich, Mary R. “The Growth of a Musical Idea: Beethoven’s Opus 96.” Current Musicology 11 (1971): 91–114.

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Traces the composition of the G major sonata from an apparently borrowed melody to a complete work through an examination of the manuscript sources. Provides facsimiles of sketches and drafts. 844.

Brandenburg, Sieghard. “Bermerkungen zu Beethovens op. 96.” Beethoven Jahrbuch 9 (1973–77): 11–25. Expands upon the discussion of Op. 96 by Oswald Jonas {842}, focusing on the chronology of the work’s composition.

845.

Newman, William S. “The Opening Trill in Beethoven’s Sonata for Violin and Piano, op. 96.” In Musik, Edition, Interpretation: Gedenkschrift Günter Henle, ed. Martin Bente, 384–93. Munich: Henle, 1980. Notes that there is no specification in the score as to the trill’s execution. Concludes that a trill beginning with the main-note and ending without a suffix would be most appropriate.

846.

Solomon, Maynard. “Pastoral, Rhetoric, Structure: The Violin Sonata in G, Op. 96.” In Late Beethoven: Music, Thought, Imagination, 71–91. Berkeley and Los Angeles: University of California Press, 2003. Suggests that “each of the movements of the G-major sonata elaborates a distinctive version of the pastoral” (76), and notes various pastoral tropes, including birdsong, horn calls, bagpipe drones, and folk-like dance music. Mus. exx. Also published as “The Violin Sonata in G, Op. 96: Pastoral, Rhetoric, Structure” in Lockwood {829}.

Franz Benda (1709–86) See also {663}, {1047}, {1286}, {1287}. 847.

Berten-Jörg, Francis. Franz Benda, sein Leben und seine Kompositionen. Essen: Haarfield, 1928. 64pp. A brief life-and-works treatment of the violinist-composer. Part One is in three sections—a chronicle of his life, an assessment of his character and personality, and a brief discussion of his family (includes a family tree). The two sections of Part Two treat his chamber music (including his violin sonatas) and his orchestral works. Mus. exx., bib.

848.

Nissel-Nemenoff, Elfriede. Die Violintechnik Franz Bendas und seiner Schule. Kassel: Bärenreiter, 1930. 103pp. Focuses on Benda’s many Caprices for violin. The author defines the term “caprice” in the introduction, assesses the surviving sources in Chapter 1, considers the artistic and pedagogical goals of these works in Chapter 2, considers various caprices individually in Chapter 3

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according to their content and form (single section, through-composed, two-part sonata form, or three part da-capo form), and offers an assessment of the historical importance of the caprices in Chapter 4. Mus. exx., bib. 849.

Murphy, Therese C. “The Violin Concertos of Franz Benda and Their Use in Violin Pedagogy.” 2 vols. D.M.A. diss., University of Southern California, 1968. vi, 379pp.; 152pp. A thorough study of Benda’s 17 violin concertos. Chapters cover Benda’s biography, the early-18th-century violin concerto, and the chronology, structure, style, and pedagogical aspects of the concertos. The second volume is an edition of concertos by Benda in G, B flat, and E flat major. Mus. exx., bib.

850.

Lee, Douglas A. “Some Embellished Versions of Sonatas by Franz Benda.” Musical Quarterly 62 (January 1976): 58–71. Examines notated embellishments in a manuscript of Benda’s sonatas for violin and bass, which the author argues is “a major source of information on performance practices of the mid-eighteenth century” (62). Includes a discussion of Benda’s life and times, as well as musical examples and facsimiles of the manuscript.

Emile Benoit (b. 1913) 851.

Quigley, Colin. “Catching Rhymes: Generative Musical Processes in the Compositions of a French Newfoundland Fiddler.” Ethnomusicology 37 (1993): 155–200. Examines the music of Emile Benoit, which exemplifies the fiddling tradition in a small region of French-speaking Newfoundland. Includes transcriptions and excerpts of author-conducted interviews with Benoit. The author also discusses Benoit in “‘Melodizing’ as Generative Process in Music: A Case Study of Fiddle Tune Composition,” in Ethnomusicology in Canada, ed. Robert Witmer (Toronto: Institute for Canadian Music, 1990), 166–75 and Music from the Heart: Compositions of a Folk Fiddler (Athens: University of Georgia Press, 1995).

Alban Berg (1885–1935) Violin Concerto (1935) See also {665}, {1095}. 852.

Berger, Arthur. “A Requiem for the Twelve-tone System: Alban Berg’s Violin Concerto.” Musical Mercury 4 (April 1937): 1–10.

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An analysis and critique of Berg’s Violin Concerto. Describes the Concerto as harmonically and emotionally monotonous, and criticizes the 12-tone method generally as lacking in harmonic variety. This attitude is quite different from those of later commentators, who typically hail the work as a masterpiece. Mus. exx. 853.

Carner, Mosco. “Alban Berg (1885–1935).” In The Concerto, ed. Ralph Hill, 362–79. London: Penguin, 1952. An analytical and historical essay on the Violin Concerto. Although somewhat technical, it explains basic concepts, such as 12-tone music and the tone row, for the layreader. Mus. exx.

854.

Rostal, Max and Hans Keller. “Berg’s Violin Concerto: a Revision.” Musical Times 95 (February 1954): 87–88. Proposes changing a passage in the second movement in an attempt to make it both more playable and more faithful to the spirit of the music.

855.

Knaus, Herwig. “Studien zur Alban Bergs Violinkonzert.” In Da Ratione in Musica: Festschrift Erich Schenk, ed. Theophil Antonicek, Rudolf Flotzinger, and Othmar Wessely, 255–74. Basel: Bärenreiter, 1975. R. In Die Wiener Schule, ed. Rudolf Stefan, 256–78. Darmstadt: Wissenschaftliche Buchgesellschaft, 1989. Considers Berg’s combination of tonal and serial techniques and his use of musical symbolism; also compares the Concerto to the first movement of Beethoven’s Symphony No. 3 and suggests Berg’s indebtedness to Beethoven’s approach to motivic elaboration.

856.

Knaus, Herwig. “Berg’s Carinthian Folk Tune.” Trans. Mosco Carner. Musical Times 117 (June 1976): 487. Discusses Berg’s use of a Carinthian folk tune in the first movement of the Violin Concerto, which the author identifies as “A Vögele af’n Zweschpmbam” (“A Bird on the Plum Tree”).

857.

Floros, Constantin. “Die Skizzen zum Violinkonzert von Alban Berg.” In Alban Berg Symposion Wien 1980, ed. Rudolf Klein, 118–35. Vienna: Universal Edition, 1981. Examines the sketches of the Violin Concerto for insights into Berg’s compositional technique, creative process, and extramusical intentions. The author is particularly interested in five areas: Berg’s outline of the work, the relationship between the 12-tone row and the Chorale tune “Es ist genug” that Berg quotes, the work’s quasi-tonality, the conception of the work in two main parts, and the concerto’s extramusical program. Includes musical examples and facsimiles.

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Green, Douglass M. “Cantus Firmus Techniques in the Concertos and Operas of Alban Berg.” In Alban Berg Symposion Wien 1980, ed. Franz Grasberger and Rudolf Stephan, 56–68. Vienna: Universal Edition, 1981. Discusses Berg’s use of preexisting melodies to create unity within a complex contrapuntal texture, one example being the incorporation of Bach’s chorale, “Es ist genug” into the Violin Concerto.

859.

Krasner, Louis. “The Origins of the Alban Berg Violin Concerto.” In Alban Berg Symposion Wien 1980, ed. Rudolf Klein, 107–17. Vienna: Universal Edition, 1981. Provides an account of the author’s interactions with Berg concerning the Violin Concerto that he, a concert violinist, urged him to compose. Quotes correspondence and conversations between Berg and the author, and discusses the Concerto’s premiere (Vienna, 1936) and other early performances.

860.

Knaus, Herwig. “Die Reihenskizzen zu Bergs Violinkonzert.” Österreichische Musikzeitschrift 37 (1982): 105–08. Discusses Berg’s sketches of the 12-tone rows used in his Violin Concerto; includes facsimiles of the sketches.

861.

Jarman, Douglas. “Alban Berg, Wilhelm Fließ und das geheime Programm des Violinkonzert.” Österreichische Musikzeitschrift 40 (1985): 12–21. E. “Alban Berg, Wilhelm Fliess and the Secret Programme of the Violin Concerto.” In The Berg Companion, ed. Douglas Jarman, 181–94. Houndmills: Macmillan, 1989. Speculates on the programmatic nature of the Violin Concerto. Explores the influence of pioneering psychoanalyst Wilhelm Fliess on Berg’s thinking, the composer’s interest in numerology, and the quotation of folksong and Bach as well as references to the women in Berg’s life in the concerto. A shorter English version of this essay was published in Musical Times 124 (April 1983): 218–23.

862.

Conridge, Graham. “A Wrong Note in Berg’s Violin Concerto?” Musical Times 130 (April 1989): 205–07. Reveals that the G that appears in the bass clarinet part on m. 143 of the second movement of the Concerto is incorrect, and should be an A. Bases this conclusion on an examination of Bach’s chorale “Es ist genug,” which Berg quotes in this section of the Concerto, and of a manuscript in Berg’s own hand. Mus. exx.

863.

Lorkovic, Radovan. “Berg’s Violin Concerto: Discrepancies in the Published Score.” Musical Times 130 (May 1989): 268–71.

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Drawing on a study of manuscripts and a thorough 12-tone analysis of Berg’s Violin Concerto, identifies and discusses a variety of both unequivocal and probable errors in the published score. 864.

Lorkovic, Radovan. Das Violinkonzert von Alban Berg: Analysen, Textkorrekturen, Interpretationen. Winterthur: Amadeus, 1991. 220pp. Analyzes the concerto with particular emphasis on Berg’s use of the 12tone method and his departures therefrom; suggests corrections to the score and discusses their implications for the performance and interpretation of the work.

865.

Pople, Anthony. Berg: Violin Concerto. Cambridge: Cambridge University Press, 1991. ix, 121pp. Provides a broad introduction to the Concerto. The first two chapters contextualize the work within the concerto genre and the previous work of the composer. Chapter 3 offers a history of the Concerto’s commission, composition, and early performances. Chapter 4 analyzes the work and explicates its program. Chapter 5 explores issues of harmony and tonality, and the final chapter considers the Concerto’s reception. 22 mus. exx.

866.

Krämer, Ulrich. “Quotation and Self-Borrowing in the Music of Alban Berg.” Journal of Musicological Research 12 (1992): 53–82. Analyzes and categorizes Berg’s practice of musical quotation; includes a discussion of Berg’s quotations in the Violin Concerto.

867.

Fiedler, Achim. “Is this Enough?” Musical Times 134 (August 1993): 444–45. Discusses the controversy over Berg’s use of Bach’s chorale “Es ist genug” in his Violin Concerto, particularly the question of when in the compositional process Berg incorporated the chorale.

868.

Kratochwil, Heinz. “Violinkonzert von Alban Berg: Semantik und Struktur.” Österreichische Musikzeitschrift 50 (1995): 379–96. Offers a detailed, movement-by-movement motivic and harmonic analysis of the Concerto; also discusses the work’s program, the tonal and dodecaphonic characteristics of the row, and Berg’s use of number symbolism in the work. Mus. exx.

Charles de Bériot (1802–70) See also {563}, {599}, {606}, {610}, {698}, {701}.

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Hammill, Nicole de Carteret. “The Ten Violin Concertos of CharlesAugust de Bériot: A Pedagogical Study.” D.M.A. diss., Louisiana State University, 1994. 143pp. Analyzes de Bériot’s 10 violin concertos, particularly from a technical standpoint; suggests that these works can serve as prepatory material for violinists seeking to study the concertos of Felix Mendelssohn, Max Bruch, Henry Vieuxtemps, Henryk Wieniawski, Heinrich Wilhelm Ernst, and others. Includes a brief biography of de Bériot. Mus. exx., bib. See also the author’s article, “The Other Eight Violin Concertos of CharlesAugust de Bériot,” American String Teacher 46 (Spring 1996): 51–54.

Heinrich Ignaz Franz von Biber (1644–1704) See also {443}, {471}, {561}, {563}, {564}, {570}, {671}, {675}, {678}. 870.

Dann, Elias. “Heinrich Biber and the Seventeenth Century Violin.” Ph.D. diss., Columbia University, 1968. 406pp. A detailed and well-researched study of Biber’s works for violin and their influence on violin literature and technique. In addition to careful analyses of the works, the dissertation includes chapters on Biber’s life, the development of the violin and violin playing in the 17th century, polyphony in Bach’s violin sonatas and partitas, and the origins and use of alternate tunings on the violin (scordatura). Mus. exx., bib.

871.

Berger, Christian. “Musikalische Formbildung im Spannungsfeld nationaler Traditionen des 17. Jahrhunderts: Das ‘Lamento’ uas Heinrich Ignaz Franz Bibers Rosenkranzsonate Nr. 6.” Acta Musicologica 64 (January– June 1992): 17–29. Explores Biber’s innovative combination of different musical traditions, particularly the French tombeau and the Italian lamento in the Lamento movement of the sixth of his “Rosary” (or “Mystery”) sonatas for violin (c. 1674).

872.

Kubitschek, Ernst. “Die ‘Sonatae à violino solo, Salzburg 1681’ von Heinrich Ignaz Franz Biber. In Musik des 17. Jahrhunderts und Pavel Vejvanovský, ed. Jirˆí Sehnal, 153–62. Brno: Österreichisches Ost- und Südosteuropa-Institut, 1994. Provides an overview of Biber’s eight sonatas for violin and continuo from 1681, discussing in particular their extensive use of variations; also summarizes their differences with the earlier “Mystery” or “Rosary” sonatas. Mus. exx., bib.

873.

Lutz, Michael. “Die Sonata violino solo representativa von Heinrich Ignaz Franz Biber (1644–1704) und ihre musikalischen Vorbilder.” In Musik des

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17. Jahrhunderts und Pavel Vejvanovský, ed. Jirˆí Sehnal, 193–200. Brno: Österreichisches Ost- und Südosteuropa-Institut, 1994. Discusses Biber’s 1669 Sonata Violino Solo Representiva, a work that imitates the sounds of various animals, and the influence of works by Johann Heinrich Schmelzer and others on it. Ernest Bloch (1880–1959) See also {677}. 874.

Jacobi, Frederick. “Bloch’s Violin Concerto.” Modern Music 17 (January–February 1940): 81–83. A generally positive critique of the Concerto (1938).

875.

Sharp, Geoffrey. “Ernest Bloch’s Violin Concerto.” Music Review 1 (February 1940): 72–78. Discusses the history and early reception of the Concerto (1938) and analyzes the work as a narrative passing through phases of defiance, resignation, and withdrawal. Mus. exx.

876.

Berkley, Harold. “The Ernest Bloch Sonata.” Etude 72 (October 1954): 25, 51. Briefly discusses the Sonata No. 1 (1920), calling it one of the greatest sonatas of the 20th century.

877.

Raditz, Edward. “The Analysis and Interpretation of the Violin and Piano Works of Ernest Bloch (1880–1959).” Ph.D. diss., New York University, 1975. 230pp. Offers Schenkerian analyses of Melodie (1929), the Baal Shem Suite (1923), the Violin Sonata No. 1 (1920), and the Poème Mystique (Violin Sonata No. 2) (1924) with the goal of aiding performers in their interpretation of the works. Includes charts, graphs, and musical examples.

878.

Velickovic, Ljubomir. “Musical Style and Language of Ernest Bloch’s Poème Mystique.” D.M.A. diss., University of Texas, 1997. xi, 97pp. Examines the “multiplicity of stylistic sources” (vi) in the Poème Mystique for violin and piano (1924), including Romanticism, Neoclassicism, Impressionism, and Folklorism. Discusses Bloch’s musical style generally and offers a detailed analysis of the work. Mus. exx., bib.

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Luigi Boccherini (1743–1805) See {1041}, {1047}, {1676}. William Bolcom (b. 1938) 879.

Baldwin, Philip Richard. “An Analysis of Three Violin Sonatas by William Bolcom.” D.M.A. diss., Ohio State University, 1996. 161pp. Examines Bolcom’s eclectic style and compositional techniques in the three violin sonatas (1956, rev. 1984, 1978, and 1992). Draws on extensive interviews with Bolcom as well as the violinist Sergiu Luca, for whom Bolcom wrote several of his violin works. Mus. exx, bib.

880.

Lim, Tze Yean. “Works for Violin and Piano by William Bolcom: A Study in the Development of his Musical Style.” D.M.A. diss., University of Cincinnati, 2002. xi, 138pp. Explores how nine works for violin and piano written over a 39-year span reflect Bolcom’s compositional development. Works include Pastorale (1962), Graceful Ghost Rag (1990), the Sonatina for violin and piano (2001), and the four violin sonatas. Mus. exx., bib.

Johannes Brahms (1833–97) General 881.

Knepler, Georg. “Die Form in den Instrumentalwerken Johannes Brahms’.” Diss., University of Vienna, 1930. 171pp. Discusses the variety of forms Brahms used in his instrumental works; includes brief entries on the works for violin. Mus. exx.

882.

McVeigh, Simon. “Brahms’s Favourite Concerto.” Strad 105 (April 1994): 343–47. Discusses Brahms’s interest in Viotti’s Violin Concerto No. 22 and his allusion to it in his violin concerto, double concerto, and clarinet trio.

883.

Musgrave, Michael. The Music of Brahms. London, Boston: Routledge & Kegan Paul, 1985. 329pp. Oxford: Clarendon, 1994. 329pp. Includes brief analyses of much of the violin music. Mus. exx.

Violin Concerto in D Major, Op. 77 (1878) See also {38}, {608}, {650}, {655}, {656}, {659}, {660}, {665}, {667}, {1126}, {1225}, {1403}, {1579}.

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203

Weiss-Aigner, Günter. “Komponist und Geiger: Joseph Joachims Mitarbeit am Violinkonzert von Johannes Brahms.” Neue Zeitschrift für Musik 135 (April 1974): 232–36. Discusses Joachim’s contributions to the composition of the Concerto through an examination of the manuscript of the solo violin part, which has markings by both Brahms and Joachim. Mus. exx., facs.

885.

Weiss-Aigner, Günter. Johannes Brahms, Violinkonzert D-Dur. Munich: Fink, 1979. 56pp. A guide to the Violin Concerto. Three main sections discuss the origins and early performance history of the Concerto, provide a movement-bymovement analysis, and reproduce various commentaries on the work. Illustrations and musical examples.

886.

Schwarz, Boris. “Joseph Joachim and the Genesis of Brahms’s Violin Concerto.” Musical Quarterly 69 (Fall 1983): 503–26. Chronicles the collaboration between violinist Joseph Joachim and Brahms on the Violin Concerto from the early stages of its composition to well after its premiere. Summarizes and quotes from the 33 items of correspondence between the two concerning the Concerto. Discusses the various manuscripts of the Concerto and concludes that Joachim had, in fact, less influence on the violin part than might be thought. Includes musical examples comparing Joachim’s suggestions to Brahms’s various scores.

887.

Del Mar, Norman. “Violin Concerto in D, Op. 77.” In Conducting Brahms, 137–53. Oxford: Clarendon, 1993. Advises conductors and violinists on the performance of the Concerto, with particular attention to tempo and dynamics.

Concerto for Violin and Cello in A Major, Op. 102 (1887) See also {665}. 888.

Daverio, John. “Brahms, The Schumann Circle, and the Style Hongrois: Contexts for the ‘Double’ Concerto, Op. 102.” In Crossing Paths: Schubert, Schumann, and Brahms, 191–242. New York: Oxford University Press, 2002. Sketches a “musical family tree” (192) of the Brahms Concerto for Violin and Cello and traces the influence of Robert Schumann’s aesthetics and late works as well as that of the style hongrois, or gypsy style. Also discusses Joachim’s “Hungarian” Concerto.

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Violin Sonatas Scherzo to FAE Sonata (1853), No. 1 in G major, Op. 78 (1878–79), No. 2 in A major, Op. 100 (1886), No. 3 in D minor, Op. 108 (1886–88) See also {615}, {671}, {955}, {963}, {1088}, {1095}, {1116}, {1118}, {1119}, {1221}, {1222}. 889.

Mason, Daniel Gregory. The Chamber Music of Brahms. New York: Macmillan, 1933. ix, 276pp. Includes chapters devoted to each of the three violin sonatas, with analyses generally focusing on motive and form. Mus. exx.

890.

Valentin, Erich. “Die FAE Sonate: Das Dokument einer Freundschaft.” Neue Zeitschrift für Musikwissenschaft 102 (December 1935): 1337–40. Provides a history and analysis of the so-called F-A-E violin sonata (1853), collectively composed by Brahms, Schumann, and Albert Dietrich for Joseph Joachim. Mus. exx. In a response in the same journal, Heinrich Düsterbehn offers a different account of the work’s history. See “Ein Beitrag zur Enstehung der F-A-E-Freundschaft-Sonate,” Neue Zeitschrift für Musikwissenschaft 103 (1936): 284–86.

891.

Szigeti, Joseph. “A Note about Brahms Sonatas.” Strad 72 (August 1961): 121–23. Mentions hearing the Brahms violin sonatas by Jenö Hubay, Henri Marteau, and Eugène Ysaÿe; emphasizes the importance of following Brahms’s indications concerning dynamics, tempo, and expression in the violin sonatas.

892.

Fischer, Richard S. “Brahms’ Technique of Motive Development in his Sonata in D minor, Opus 108 for Violin and Piano.” D.M.A. diss., University of Arizona, 1964. viii, 178pp. Discusses Brahms’s use of motivic development in the Sonata; identifies a variety of melodic and rhythmic motives in the first four measures that return throughout the work. Mus. exx., bib.

893.

Hollander, Hans. “Der melodische Aufbau in Brahms’ ‘Regenlied’ Sonata.” Neue Zeitschrift für Musik 125 (1964): 5–7. Discusses Brahms’s self-borrowing of materials from his song Op. 59, no. 3 in the Op. 78 Violin Sonata.

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894.

205

Fellinger, Imogene. “Brahms’s Sonate für Pianoforte und Violine op. 78: ein Beitrag zum Schaffensprozess des Meisters.” Musikforschung 18 (January–March 1965): 11–24. Investigates Brahms’s compositional process by comparing the manuscript of the Sonata with the published edition, with particular attention to passages crossed out in the ms. Facs., mus. exx.

895.

Beythien, Jürgen. “Die Violinsonate in G-Dur, op. 78, von Johannes Brahms—ein Beitrag zum Verhältnis zwischen formaler und inhalticher Gestaltung.” In Bericht über den Internationalen Musikwissenschaftlichen Kongress, Leipzig 1966, ed. Carl Dalhaus et al., 325–32. Kassel: Bärenreiter; Leipzig: VEB Deutscher Verlag für Musik, 1970. Discusses various aspects of the Op. 78 Sonata, including its use of motifs from earlier songs by Brahms, the song-like character of the slow movement, and its possible extramusical connections with Clara Schumann.

896.

Mohr, Wilhelm. “Johannes Brahms’ formenschöpferische Originalität, dargestellt am ersten Satz seiner Violinsonate, Op. 108, und seiner Rhapsodie, Op. 79, Nr. 2.” Bericht über den Internationalen musikwissenschaftlichen Kongress Leipzig 1966, ed. Carl Dalhaus et al., 322–25. Kassel: Bärenreiter; Leipzig: VEB Deutscher Verlag für Musik, 1970. Includes a brief discussion of the structural characteristics of the first movement of the Op. 108 Violin Sonata.

897.

McKinney, Timothy R. “Beyond the Rain-drop Motif: Motivic and Thematic Relationships in Brahms’s Opera 59 and 78.” Music Review 52 (May 1991): 108–22. Identifies a descending motive in Brahms’s song Op. 59 no. 3 that appears in the Violin Sonata. Argues that this motive is more significant than the dotted motive usually discussed. Expands on Hans Hollander’s article on the same subject {893}.

898.

Notley, Margaret Anne. “Brahms’s Chamber-Music Summer of 1886: A Study of Opera 99, 100, 101, and 108.” Ph.D. diss., Yale University, 1992. iv, 294pp. Examines the Cello Sonata in F major, the Violin Sonatas in A major and D minor, and the Piano Trio in C minor from a variety of perspectives: analytically, and in terms of their place in Brahms’s output, their reception by critics and the public, and their classicism. Mus. exx., bib.

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Charles-Antoine Branche (1722–after 1779) See {697}, {700}. Benjamin Britten (1913–76) See also {665}, {671}. 899.

Weiss-Aigner, Günter. “Zum Violinkonzert von Benjamin Britten: Eine ungewöhnliche thematische Konzeption im Brennpunkt melodischer Entwicklungslinien und rhythmischer Profile.” Neues musikwissenschaftliches Jahrbuch 4 (1995): 159–206. Identifies a scalar passage in the final movement (Passacaglia) of the Violin Concerto, Op. 15 (1938–39, rev. 1950) as a unifying gesture in the Concerto, appearing in varied form in the other two movements. Moreover, finds that elements of this motive are discernable in Britten’s earlier works. Mus. exx.

Max Bruch (1838–1920) See also {38}, {514}, {650}, {655–57}, {665}, {869}, {1126}. 900.

Lauth, Wilhelm. Max Bruchs Instrumentalmusik. Cologne: Volk, 1967. 155pp. A broad analytical study of Bruch’s instrumental works, including the three violin concertos, the Scottish Fantasy, the Romance for violin and orchestra, and other smaller works.

901.

Lauth, Wilhelm. “Entstehung und Geschichte des ersten Violinkonzertes Op. 26 von Max Bruch.” In Max Bruch-Studien, ed. Dietrich Kämper, 57–66. Cologne: Volk, 1970. Explores the origins and compositional history of the Violin Concerto No. 1 in G minor, Op. 26 (1868). Quotes extensively from correspondence between Bruch and Joachim, the dedicatee of the concerto, and to others, concerning the Concerto.

902.

Niemöller, Klaus Wolfgang. “Der Recitativo-Satz in Max Bruchs Zweitem Violinkonzert.” In Max Bruch-Studien, ed. Dietrich Kämper, 67–79. Cologne: Volk, 1970. Discusses the recitative-like movement in Bruch’s Violin Concerto No. 2 in D Minor, Op. 44 (1878), as well as the history of the instrumental recitative and the influence works by Felix Mendelssohn, Robert Schumann, and Franz Liszt had on Bruch.

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903.

207

Fifield, Christopher. Max Bruch: His Life and Works. New York: Braziller, 1988. 351pp. A biography of the composer with extensive discussion of his works for violin. Draws liberally on Bruch’s correspondence with Joseph Joachim and other musical figures on the subject of the violin music. Mus. exx., bib.

904.

Niemöller, Klaus Wolfgang. “Bruch—Joachim—Sarasate: Ein neue autographe Quelle zum Solo-Violinpart der Schottischen Fantasie op. 46 von Max Bruch.” In Festschrift Klaus Hortschansky zum 60. Geburtstag, ed. Axel Beer und Laurenz Lütteken, 477–96. Tutzing: Schneider, 1995. Discusses the manuscript of Bruch’s Scottish Fantasy, Op. 46 (1880), with its handwritten alterations by Joseph Joachim, who premiered the work in Liverpool in 1881, and annotations by Pablo de Sarasate, who first performed it in Bonn in 1883.

Ole Bull (1810–80) See also {1301}. 905.

Bonus, Daniel. “Saetenjenten’s Sondag (Shepherdess’ Longing).” Violinist 8 (March 1910): 22–23. Advice on the performance of a short work for violin and piano by Ole Bull.

Ferruccio Busoni (1866–1924) 906.

Riethmüller, Albrecht. “Bach in Busonis 2. Violinsonate.” Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2 (1995): 51–65. Considers the influence of Bach on Busoni’s Sonata No. 2 in E minor for violin and piano. See also the author’s Ferruccio Busoni’s Poetik (Mainz: Schott, 1988).

John Cage (1912–1992) See also {462}, {463}, {676}. 907.

Zukofsky, Paul. “John Cage’s Recent Violin Music.” In A John Cage Reader, ed. Paul Gena and Jonathan Bent, 101–6. New York: Peters, 1982. The author, a violinist and specialist in modern music, relates his close collaboration with Cage on the violin version of Cheap Imitation (1977; originally written for piano in 1969) and on the Freeman Etudes (1977–80).

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Zukofsky, Paul and John Cage. “Freeman Etudes.” In Writings about John Cage, ed. Richard Kostelanetz, 225–28. Ann Arbor: University of Michigan Press, 1993. Discusses Zukofsky’s work with Cage on the Freeman Etudes (1977–80). Consists of a reprint of part of the violinist’s earlier essay on the Etudes {907} interpolated with brief comments by Cage.

909.

Pritchett, James. “The Completion of John Cage’s Freeman Etudes.” Perspectives of New Music 32 (1994): 264–70. Explains how Cage abandoned his plan to write 32 solo violin etudes after completing 17 when he felt that the compositional process he had developed led him to create unplayable music, and further, how Cage, with the help of the author, broke through this impasse. Draws on the author’s work with the composer.

910.

Gardiner, Michael. “Ideal Transformations: John Cage ‘Freeman Etude III,’ Book 1.” Sonus 23 (Spring 2003): 59–81. Presents a detailed analysis of one of Cage’s Freeman Etudes. Explains how Cage used a star map to determine every aspect of the music. Provides musical examples, graphs, and spectrographs.

Joseph Canavas (1714–76) See {697}, {700}. Elliott Carter (b. 1907) See also {665}. 911.

Derby, Richard. “Carter’s Duo for Violin and Piano.” Perspectives of New Music 20 (Autumn 1981–Summer 1982): 149–68. Offers a detailed analysis of Carter’s complex, atonal Duo (1974), taking as a starting point Carter’s own observation on the differences between the violin and the piano. Notes that the violin part is mercurial and asymmetrical, while the piano part is steadier and more regular; that the two instruments use different intervals, for the most part sharing only the tritone; and that the two instruments typically avoid playing the same pitches.

Pietro Castrucci (1679–1752) See {534}, {918}, {1213}.

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Ernest Chausson (1855–99) See also {650}, {665}, {1691}. 912.

Del Mar, Norman. “Poème, for Violin and Orchestra, Op. 25, Ernest Chausson.” In Conducting Favourite Concert Pieces, ed. Jonathan Del Mar, 66–74. Oxford: Calrendon, 1998. Advises conductors and violinists on the performance of the Poème (1896), with particular attention to tempo and dynamics.

913.

Haupt, Laura D. “The Legacy of Chausson’s Poème.” D.M.A. diss., University of Nebraska, 2003. vi, 131pp. Offers a multifaceted study of the Poème for violin and orchestra (1896, dedicated to Eugène Ysaÿe). Chapters provide a historical background for the work, a detailed analysis, a description of Ysaÿe’s playing style, a discussion of changing performance practices in the 20th century, and a comparison of 20 recordings of the work. Includes a detailed discography. Mus. exx., bib.

Lelio Colista (1629–80) See {708}, {1254}. Giuseppe Colombi (1635–94) See {402}, {707}. Aaron Copland (1900–90) See also {502}, {671}. 914.

Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. New York: Holt, 1999. xi, 690pp. Includes a discussion of the Violin Sonata (1943), its reception, early performances, and recordings (see esp. 383–86). Also briefly discusses the “Nocturne” and “Ukelele Serenade” for violin and piano (1926) (pp. 136–37).

William Corbett (1680–1748) See also {694}. 915.

Edwards, Owain. “Espionage, a Collection of Violins, and Le Bizzarie Universali: A Fresh Look at William Corbett.” Musical Quarterly 73 (1989): 320–43.

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Traces the unusual life and career of the virtually unknown English violinist and composer who, among other things, composed concerti with the title Le Bizzarie Universali (1728) and was suspected of being a spy. Explains the changes in the musical and social status of the violin in England over the 17th century and addresses the Italian influence on Corbett’s works. Roque Cordero (b. 1917) See also {709}. 916.

Brawand, John. “The Violin Works of Roque Cordero.” D.M.A. diss., University of Texas, 1985. 114pp. A study of Cordero’s three works for violin, Dos Piezas Cortas (1945), the Sonatina for Violin and Piano (1946), and the Violin Concerto (1962), each of which represents different compositional styles and approaches. Provides biographical information on the Panamanian composer and advice on the performance of the works.

Arcangelo Corelli (1653–1713) Violin Sonatas, Op. 5 (1700) See also {39}, {201}, {448}, {452}, {600}, {650}, {651}, {670}, {671}, {688}, {702}, {706–8}, {1074}, {1130}, {1157}, {1159}, {1160}, {1317–19}. 917.

Boyden, David D. “Corelli’s Solo Violin Sonatas ‘Grac’d’ by Dubourg.” In Festskrift Jens Peter Larsen, ed. Nils Schiørring, 113–25. Copenhagen: Hansen, 1972. Examines the ornaments (“graces”) in an edition (c. 1723–28) of Corelli’s Op. 5 sonatas by Matthew Dubourg (1703–67), a student of Geminiani, who in turn was a student of Corelli. Notes that Dubourg’s ornaments are more elaborate than Corelli’s own, and that he ornamented not only the slow movements (as Corelli), but the fast and dance-like ones as well. Includes musical examples and a facsimile of the Dubourg edition.

918.

Marx, Hans-Joachim. “Some Unknown Embellishments of Corelli’s Violin Sonatas.” Trans. Laurence Dreyfus. Musical Quarterly 61 (January 1975): 65–76. Describes a c. 1750 manuscript discovered in Manchester, England, with previously unknown embellishments of the Sonatas, Op. 5, which the author speculates were written by Pietro Castrucci (1679–1752), a pupil

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of Corelli. Includes musical examples and facsimiles of pages from the manuscript. 919.

Edwards, Owain. “The Response to Corelli’s Music in Eighteenth-Century England.” Studia Musicologica Norvegica 2 (1976): 51–96. A thorough discussion of the reception of Corelli’s music (especially his Op. 5 sonatas) in England and its deep influence on musical life there, circa 1693–1848. Draws on numerous primary sources for its evidence. Includes introductory sections on Corelli’s influence generally and on the rise of the Italian style in England.

920.

Donington, Robert. “Authenticity and Showmanship in Corelli’s Op. 5.” Early Music 10 (April 1982): 225–29. Based on the author’s publication of an edition of the sonatas, offers advice on their performance, particularly with respect to the ornaments.

921.

Dalmonte, Rossana “La melodia del violino solista nella Sonata Opera V di Corelli.” In Studi Corelliani V: Atti del quinto congresso internazionale, ed. Stefano La Via, 251–79. Florence: Olschki, 1996. Discusses four types of melodic writing in Corelli’s sonatas: vocal-like, monophonic virtuoso passagework in 16th notes, 16th-note runs with an underlying sustained melody, and implied polypnony of two or three unsustained parts.

922.

Zaslaw, Neal. “Ornaments for Corelli’s Violin Sonatas, Op. 5.” Early Music 24 (February 1996): 95–115. Surveys the through-composed ornaments written for the slow movements of the sonatas by a variety of musicians in the early to mid-18th century. Building on the work of Hans-Joachim Marx {918}, Zaslaw provides a list of manuscript and printed sources of these ornaments with additions and corrections to Marx’s list, and considers how these sources might illuminate performance practice of the era. Includes comparative musical examples.

923.

Seletsky, Robert E. “18th-Century Variations for Corelli’s Sonatas, Op. 5.” Early Music 24 (February 1996): 119–30. A companion to {922}, this article discusses sets of variations based on the sonatas’ fast movements written by Matthew Dubourg, Johan Roman, Michel Blavet, Giuseppe Tartini, and others. Mus. exx. and facs. See also the author’s thesis, “Improvised Variation Sets for Short Dance Movements in Violin Repertory, circa 1680–1800, Exemplified in Period Sources for Corelli’s Violin Sonatas Op. 5” (D.M.A. diss., Cornell University, 1989).

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Johnstone, Harry Diacke. “Yet More Ornaments for Corelli’s Violin Sonatas, Op. 5.” Early Music 24 (November 1996): 623–33. Discusses the recently discovered ornaments (c. 1735) for Corelli’s Op. 5 sonatas by English violinist-composer Michael Christian Festing (d. 1752). Provides a brief biography of Festing and extensive musical examples.

925.

Walls, Peter. “Performing Corelli’s Op. 5.” Early Music 25 (February 1997): 133–42. Surveys and evaluates period instrument recordings of the sonatas, addressing a variety of performance practice issues.

926.

Cook, Nicholas. “At the Borders of Musical Identity: Schenker, Corelli, and the Graces.” Music Analysis 18 (July 1999): 179–233. Uses the various ornamented versions of the slow movements of Corelli’s Op. 5 violin sonatas as the basis for a philosophical investigation into the ontology of musical works, that is, the study of what is essential to the identity of a work and what is not. Employs and adapts Schenkerian analysis to offer detailed readings of the sonatas and their ornamentations. Mus. exx.

Michel Corrette (1707–95) See {697}, {700}. François Couperin (1668–1733) See {697}, {700}. Ruth Crawford (Seeger) (1901–53) 927.

Tick, Judith. Ruth Crawford Seeger: A Composer’s Search for American Music. New York and Oxford: Oxford University Press, 1997. xiv, 457pp. Includes an analysis and discussion of the compositional and early performance history of the Violin Sonata (1926) (see esp. pp. 68–73). Mus. exx.

Jean-Baptiste Cupis (1711–88) See {534}, {697}, {700}.

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Leopold Damrosch (1832–85) See {656}, {715}. Antoine Dauvergne (1713–97) See {697}, {700}. Claude Debussy (1862–1918) See also {462}, {671}, {952}, {1691}, {1692}. 928.

Lewin, David. “Some Instances of Parallel Voice-Leading in Debussy.” 19th-Century Music (1987): 59–72. Briefly discusses (pp. 59–62) voice-leading in Debussy’s Violin Sonata (1917) within a larger analytical essay. Mus. exx.

929.

Davidian, Teresa Maria. “Debussy’s Sonata Forms.” Ph.D. diss., University of Chicago, 1988. iii, 222pp. Includes a discussion of the compositional history and analysis of the form of the first movement of Debussy’s Violin Sonata (pp. 181–207).

930.

Kwon, Yohee. “Tradition and Innovation in the Late Sonatas of Claude Debussy.” Ph.D. diss., University of Minnesota, 1997. x, 226pp. Considers matters of melody and form in Debussy’s late sonatas, including the Violin Sonata. Mus. exx., bib.

Frederick Delius (1862–1934) See also {655}. 931.

Hutchings, A. J. B. “The Chamber Works of Delius.” 4 parts. Musical Times 76 (January 1935): 17–20; (March 1935): 214–16; (April 1935): 310–11; (May 1935): 401–5. Surveys and analyzes the composer’s chamber music. The Violin Sonata No. 1 (1892) is discussed on pp. 19–20, the Violin Sonata No. 2 on pp. 214–15, and the Violin Sonata No. 3 (1930) on pp. 310–11.

932.

Foss, Hubert. “The Instrumental Music of Frederick Delius.” Tempo, no. 26 (Winter 1952–53): 30–37. A general overview of the violin sonatas and the cello sonata; compares them to the string sonatas of Brahms.

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The Violin: A Research and Information Guide

Threlfall, Robert. “Delius’s Violin Sonata (no. 1).” Delius Society Journal, no. 74 (January 1982): 5–12. Identifies discrepancies between various manuscripts of the work and the 1917 first edition. Mus. exx.

Norman Dello Joio (b. 1913) 934.

Whang, Un-Yong. “An Analysis of Dello Joio’s Chamber Music for Piano and Strings with Strings with Performance Suggestions.” Ed.D. diss., Columbia University Teachers College, 1986. 261pp. Provides stylistic and interpretive analyses of the American composer’s Fantasia on a Gregorian Theme (1942), Variations and Capriccio (1948), and Colloquies (1963), all for violin and piano.

Martin Denis (late 17th century–mid-18th century) See {697}, {700}. Albert Dietrich (1829–1908) See {656}, {890}. Carl Ditters von Dittersdorf (1739–99) See {664}, {686}. François Duval (1672/3–1728) See {468}, {532}, {669}, {697}, {702}. Antonín Dvo”rák (1841–1904) See also {650}, {660}, {671}. 935.

Sourek, Otakar. The Chamber Music of Antonín Dvo ”rák. Trans. Roberta Finlayson Samsour. Prague: Artia, [195-?]. 177pp. R. Westport, CT: Greenwood, 1978. 177pp. Provides descriptive analyses of the Violin Sonata in F major, op. 57 (1880) and the Violin Sonatina in G major, op. 100 (1893). See pp. 169–77. Mus. exx.

936.

Layton, Robert. Dvo”rák Symphonies and Concertos. Seattle: University of Washington Press, 1978. 68pp.

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Includes a brief history and descriptive analysis of the Violin Concerto in A minor, Op. 53 (1879–82) (see pp. 60–63). 937.

Tibbets, John C. “Sonatina for Violin and Piano.” In Dvor”ák in America: 1892–1895, ed. John C. Tibbetts, 279–83. Portland, OR: Amadeus, 1993. A brief analysis of the Sonatina, Op. 100, composed in the United States in 1893 for his children. Defends the work against commentators who have written dismissively of it.

938.

Kim, Jinyoung. “The Compositions for Violin and Piano of Antonin Dvo ák.” D.M.A. diss., Boston University, 1999. vii, 153pp. Analyzes and offers advice on the performance of Dvo ák’s. violin-piano duos: the Nocturne (1875), the Romance (1877), Mazurek (1879), the Sonata in F major (1880), and the Sonatina in G major (1893). An introductory chapter surveys the composer’s musical development. Mus. exx., bib.

George Dyson (1883–1964) 939.

Anderson, W. R. “Dyson’s Violin Concerto: an Appreciation.” Music Review 3 (1942): 115–24 Provides a movement-by-movement analysis of the concerto, completed in 1941 and premiered in 1942. Mus. exx.

940.

Bonavia, Ferruccio. “Dyson’s Violin Concerto.” Musical Times 84 (June 1943): 169–71. Analyzes the four movements of the recently published violin concerto by the English composer. Mus. exx.

Edward Elgar (1847–1934) General 941.

Rawlinson, Harold. “Edward Elgar—Violinist.” 6 parts. Strad 65 (May 1954): 8–12; (June 1954): 44–48; (July 1954): 76–80; (August 1954): 110–14; (October 1954): 176–80; (November 1954): 220–22. Surveys Elgar’s early career as a violinist and violin teacher as well as his works for violin, including the Violin Concerto, the Violin Sonata, and many character pieces. Mus. exx.

Violin Concerto in B minor, Op. 61 (1905, 1909–10) See also {650}, {655}, {941}, {1689}.

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Newman, Ernest. “Elgar’s Violin Concerto.” Musical Times 51 (1 October 1910): 631–34. Discusses and analyzes each movement of the concerto, focusing primarily on thematic issues. Published shortly before Fritz Kreisler’s premiere of the concerto on 10 November 1910. Mus. exx.

943.

Reed, William Henry. “The Violin Concerto.” Music and Letters 16 (January 1935): 30–36. Relates the history of Elgar’s working relationship with the author, a violinist, during the composition of the Violin Concerto. Reprinted in An Elgar Companion, ed. C. Redwood (Ashbourne, England: Sequoia, 1982).

944.

Anderson, Robert. Elgar in Manuscript. Portland, OR: Amadeus, 1990. xii, 204pp. Includes discussion of the manuscripts of the Violin Concerto (113–19 and elsewhere) and the Violin Sonata in E minor, op. 82 (esp. 51–53). Facsimiles.

945.

Kennedy, Michael. “The Soul Enshrined: Elgar and his Violin Concerto.” In Edward Elgar: Music and Literature, ed. Raymond Monk, 72–82. Aldershot, England: Scolar, 1993. Discusses the early history and reception of the Concerto. Argues that the inscription at the beginning of the score “Here is enshrined the soul of ..... ” refers to Alice Stuart Wortley, a close friend.

946.

Del Mar, Norman. “Violin Concerto in B minor, Op. 61.” In Conducting Elgar, ed. Jonathan Del Mar, 84–105. Oxford: Clarendon, 1998. Advises conductors and violinists on the performance of the Concerto, with particular attention to tempo and dynamics.

947.

Elgar, Edward. “Elgar and the Boy Violinist: A Batch of Letters.” Elgar Society Journal 11 (July 1999): 111–15. Reprints letters from Edward Elgar to Yehudi Menuhin in 1932–33 concerning the recording and performance of Elgar’s Violin Concerto.

Violin Sonata in E minor, Op. 82 (1918) See also {941}, {944}. 948.

Colton, Andrew. “Characteristics of Edward Elgar’s Late Style.” D.M.A. diss., Peabody Conservatory, 1995. ix, 156pp. Includes an analysis (pp. 62–81) of the Sonata for Violin and Piano in E minor, Op. 82; observes that its “melodic terseness, harmonic wandering

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and irresolute codettas” (80) are characteristic of Elgar’s late music generally. Georges Enesco (also George Enescu) (1881–1955) See also {1228}, {1336–38}. 949.

Ritz, Lynette. “The Three Violin Sonatas of George Enesco.” D.M.A. diss., University of Kentucky, 1991. 245pp. A study of Enesco’s three violin sonatas—Op. 2 in D major (1897), Op. 6 in F minor (1899), and Op. 25 in A minor (1926), subtitled “In the Romanian Folk Character.” The first two chapters offer an overview of Enesco’s life and varied career; the next three chapters provide analyses of each of the sonatas. The final two chapters focus on the influence of folk music on and performance issues in the third sonata. Includes a discography, a comparative study of editions of the third sonata, a summary of idiomatic techniques used in No. 3, and a discussion of the posthumously discovered one-movement sonata from 1911. Mus exx., bib.

950.

Zlateva, Maria Zlateva. “Romanian Folkloric Influences on George Enescu’s Artistic and Musical Development as Exemplified by His Third Violin Sonata.” D.M.A. diss., University of Texas, 2003. iii, 92pp. Analyzes the Violin Sonata No. 3, Op. 25 (1926) with particular attention to its indebtedness to Romanian folk music. Includes an introductory chapter on Enesco’s life and music. Mus. exx., bib.

Heinrich Wilhelm Ernst (1814–65) See {650}, {656}, {869}, {1340}, {1341}. Carlo Farina (1604–39) See {471}, {669}, {707}. Gabriel Fauré (1845–1924) See also {671}, {1691}. 951.

Tubergen, David Gene. “A Stylistic Analysis of Selected Violin and Piano Sonatas of Fauré, Saint-Saëns, and Franck.” Ph.D. diss, New York University, 1985. 274pp. Analyzes Gabriel Fauré’s Violin Sonata in A Major, op. 13 (1876), Camille Saint-Saëns’s Violin Sonata in D minor (1885), and César Franck’s Violin

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Sonata in A Major (1886) and offers suggestions on their performance. Notes links among the composers and their works. Mus. exx. Michael Christian Festing (d. 1752) See {534}, {924}. César Franck (1822–90) See also {671}, {951}, {1225}, {1691}. 952.

Schneider, Herbert. “Analyse der Violinsonate von C. Franck.” Revue Belge de Musicologie 45 (1991): 127–44. Investigates Franck’s use of cyclic procedures in the sonata, in particular the reuse and transformation of motives and the recurrence of an unusual cadence in multiple movements. Suggests that Franck anticipated Debussy’s use of thematic transformation. Mus. exx.

953.

Stockhem, Michel. “La sonate de César Franck: Interprétation et tradition.” Revue Belge de Musicologie 45 (1991): 145–52. Discusses the early performance history of the Sonata, particularly the influence of notable performers of the work, such as Eugène Ysaÿe (who premiered it in 1886), Lucien Capet, Achille Rivarde, and Jacques Thibaud.

954.

Denton, David. “Going to Extremes.” Strad 111 (April 2000): 404–6, 409. Surveys 30 recordings of Franck’s Violin Sonata. Differentiates between those performers who offer a “symphonic” interpretation and those who take a more relaxed and intimate view of the work. Also notes the influence of Schumann on the Sonata.

955.

Keym, Stefan. “César Francks Violinsonate und ihre Stellung in der Geschichte der zyklischen Sonate.” In César Franck: Werk und Rezeption, ed. Peter Jost, 112–30. Stuttgart: Steiner, 2004. Analyzes the Sonata’s cyclicism and places it in the context of earlier cyclical sonatas by Beethoven and Brahms. Mus. exx.

François Francoeur (1698–1787) See {468}, {697}, {700}, {1207}. Pierre Gaviniés (1728–1800) See also {405}, {663}, {697}, {700}, {1208}, {1357}.

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956.

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Ginter, Robert Leon. “The Sonatas of Pierre Gaviniès.” Ph.D. diss., Ohio State University, 1976. xi, 374pp. A study of French violinist-composer’s 15 sonatas for violin and continuo and six sonatas for two violins, and an assessment of their place in the literature. Mus. exx., bib.

Francesco Geminiani (1687–1762) See {482}, {520}, {523}, {534}, {581}, {583}, {565}, {566}, {1236}, {1358}, {1359}. Felice Giardini (1716–96) See also {695}, {696}, {1253}, {1360}. Roberto Gerhard (1896–1970) See also {677}. 957.

Del Mar, Norman. “Gerhard as an Orchestral Composer.” Score, no. 17 (September 1956): 13–19. Includes a brief analysis of Roberto Gerhard’s Violin Concerto (1942–43).

Giovanni Giornovichi (also known as Jarnowick and similar variants) (1747–1804) See also {658}, {686}, {1310}. 958.

White, Chappell. “The Violin Concertos of Giornovichi.” Musical Quarterly 58 (January 1972): 24–43. Discusses Giornovichi’s surviving 17 violin concerti (pub. between c. 1773 and 1795) as examples of early Classicism, analyzing key relationships, thematic material, style, orchestration, form, and so on. Contextualizes the works within the musical life of Paris, where Giornovichi was a popular violinist. Includes musical examples and facsimiles.

Alexander Glazunov (1864–36) See also {650}. 959.

Keller, Hans. “The Sentimental Violin.” In Hans Keller on Music: Selected Essays, ed. Christopher Wintle, 71–73. Cambridge: Cambridge University Press, 1994.

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An appreciation of Alexander Glazunov’s Violin Concerto in A Minor, Op. 82 (1904), which the author calls a “minor masterpiece.” Karl Goldmark (1830–1915) Violin Concerto in A minor, Op. 28 (1877) See {656}, {666}. Edvard Grieg (1843–1907) See also {671}. 960.

Yarrow, Anne. “An Analysis and Comparison of the Three Sonatas for Violin and Piano by Edvard Grieg (1843–1907).” Ph.D. diss., New York University, 1985. 404pp. Offers a stylistic and comparative analysis of the three sonatas. Discovers both common elements (e.g., the inventive use of rhythm or the reliance on sonata and ABA forms exclusively) and unique characteristics (e.g., greater contrasts and deeper emotionality in the Op. 45) among the pieces. Includes a biography of the composer and performance suggestions. Mus. exx., bib. See also the author’s “Grieg and the Violin Tradition: His Three Violin Sonatas for Violin and Piano in Perspective,” Studia Musicologica Norvegica 19 (1993): 191–202.

961.

Erdahl, Rolf Christian. “Edvard Grieg’s Sonatas for Stringed Instrument and Piano: Performance Implications of the Primary Source Materials.” 2 vols. D.M.A. diss., Peabody Conservatory, 1994. xxii, 392pp. A study of the three violin sonatas and the cello sonata. A chapter is devoted to each sonata, and chronicles the compositional history of the work, discusses manuscripts and editions of the works (and discrepancies between them), analyzes the music, and offers performance suggestions. The second volume provides annotated scores of the music, as well as a bibliography and discography.

962.

Dinslage, Patrick. “Zu Edvard Griegs dritter Violinsonate opus 45 in C-moll: Anmerkungen zu Harmonik und Form.” Studia Musicologica Norvegica 25 (1999): 108–23. An analytical discussion of key, harmony, form, and style in the Sonata in C Minor (1887).

963.

Bruch, Axel. “Verborgene Harmonien”: Satzstruktur und Gattungstradition in Griegs Duosonaten. Kassel: Bärenreiter, 2002. 336pp.

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A study of form and genre in Grieg’s violin and cello sonatas. In addition to detailed analyses of the sonatas, the book considers the violin sonata tradition before Greig, discussing the works of Ludwig van Beethoven, Johannes Brahms, Niels Gade, Felix Mendelssohn, Robert Schumann, and Franz Schubert. Mus. exx., bib. Louis Gruenberg (1884–1964) 964.

Nisbett, Robert. “Louis Gruenberg’s American Idiom.” American Music 3 (Spring 1985): 25–41. Discusses Gruenberg’s stylistic borrrowing from American jazz, spirituals, and folk music. Includes a brief discussion of the Concerto for Violin, Op. 47 (1944).

Jean-Pierre Guignon (1702–74) See {1}, {39}, {663}, {669}, {697}, {700}, {1253}. Louis-Gabriel Guillemain (1705–70) See {697}, {700}. George Frederic Handel (1685–1759) See also {514}, {582}, {608}, {650}, {670}, {671}. 965.

J. W. S. “An Analysis of a Handel Sonata.” Violinist 14 (February 1913): 17–18, 32. A brief analysis of Handel’s Sonata in A Major, Op. 1 no. 14.

966.

Pook, Wilfrid. “Notes on the Violin Sonatas of G. F. Handel.” Strad 65 (October 1954): 186–96. Discusses the publication history of the sonatas (up to the then-recent Schott edition by Erich and Elma Doflein, which prompted this article), and how the various editors of the sonatas have dealt with matters of bowing, dynamics, ornamentation, and the realization of the figured bass.

967.

Rutherford, Michael F. “Further Notes on the Violin Sonatas of G. F. Handel.” Strad 76 (May 1965): 13–17. Expanding on an article by Wilfrid Pook {966}, discusses the existing autographs and early editions of Handel’s Op. 1 Sonatas.

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Best, Terence. “Handel’s Chamber Music: Sources, Chronology and Authenticity.” Early Music 13 (November 1985): 476–99. Draws on recent manuscript studies to straighten out issues of authenticity and chronology in Handel’s chamber music (16 sonatas and 16 trio sonatas). Reports that only three violin sonatas are known to be authentic: in G minor (Op. 1, no. 6, c. 1724), in D minor (Op. 1, no. 1, c. 1724), and D major (Op. 1, no. 13, c. 1750). Includes charts, facsimiles, and musical examples. See also Best’s earlier articles on the subject, “Handel’s Solo Sonatas,” Music and Letters 58 (1977): 430–38 and “Further Studies on Handel’s Solo Sonatas” Händel-Jahrbuch 30 (1984): 75–79.

969.

Melkus, Eduard. “Zur Auszierung der Händel-Violinsonaten.” Das Orchester 33 (1985): 453–68. A detailed discussion of ornamentation in Handel’s violin sonatas, with 80 musical examples. Also discusses ornamentation more broadly in Baroque and Classical music.

970.

Redder, Jutta. “Georg Friedrich Händel’s Violinsonate E-Dur aus der Sicht der Interpretation.” In Zur Aufführungspraxis und Interpretation der Musik von Johann Sebastian Bach und Georg Friedrich Händel, ed. Eitelfriedrich Thom and Frieder Zschoch, 18–21. Blankenburg: Kultur- und Forschungsstätte Michaelstein, 1985. Offers suggestions for ornamenting the solo part of the sonata.

Roy Harris (1898–1979) 971.

Bargmann, Theodore. “The Solo and Instrumental Chamber Music for Piano by Roy Harris.” Ph.D. diss., American Conservatory of Music, 1986. ii, 152pp. Includes a movement-by-movement analysis of the Sonata for Violin and Piano (1942) (pp. 86–100). Mus. exx., bib.

Lou Harrison (1917–2003) 972.

Burwasser, Daniel A. “A Study of Lou Harrison’s Concerto for Violin and Percussion Orchestra and Concerto for Organ and Percussion Orchestra.” Ph.D. diss., City University of New York, 1993. 122pp. Analyzes the Concerto for Violin and Percussion Orchestra (1949/50) “in terms of the composer’s approach to orchestration, with particular attention to the interaction between the solo/melodic instruments and the solely percussion accompaniments of these two works” (Author’s abstract).

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Franz Joseph Haydn (1732–1809) See also {663}, {664}, {686}, {692}. 973.

Alwyn, Geoffrey. “Haydn’s Sonatas for Violin and Piano.” 4 parts Strad 20 (April 1910): 456–58; 21 (May 1910): 33–34; (June 1910): 56–57; (July 1910): 89–90. Brief descriptive analyses of various sonatas with accompanying musical examples, with particular focus on the Sonata No. 1 in G Major. Note: the music discussed in this article is likely not by Haydn, and was erroneously attributed to him. (Although it had long been thought otherwise, it seems that Haydn wrote no violin sonatas. For discussion of his authentic violin music, see the cross-referenced items above.)

Hans Werner Henze (b. 1926) See {460}, {462}, {691}. Paul Hindemith (1895–1963) See also {462}, {671}, {677}, {678}, {1086}. 974.

Hambourg, Klement Main. “Three Sonatas for Violin and Piano by Paul Hindemith: A Stylistic and Interpretive Study.” D.M.A. diss., University of Oregon, 1977. 270pp. Provides an analytical and historical study of Hindemith’s Violin Sonata Op. 11, no. 1 (1918), the Violin Sonata in E (1935), and the Violin Sonata in C (1939). Mus. exx., bib.

975.

Metz, Günther. “Paul Hindemith: Kammermusik Nr. 4 op. 36 Nr. 3 für Solo-Violine und größeres Kammerorchester.” Hindemith-Jahrbuch 16 (1987): 175–211. Analyzes Hindemith’s concerto for violin and large chamber orchestra from the Kammermusik Nr. 4 (1925), asserting that the work represents the composer’s mature style in terms of its treatement of counterpoint, orchestration, and rhythm. Mus. exx.

Jenö Hubay (1858–1937) See also {650}, {808}, {1394}. 976.

Gombos, László. “Verzeichnis der Werke von Jenö Hubay anhand von gedruckten und handschriftlichen Quellen in Ungarn.” Studia Musicologica 38 (1997): 65–134.

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A detailed catalog of Hubay’s compositions (many of them for violin). Includes a list of writings on Hubay and his music. John Ireland (1879–1972) 977.

Platt, Rosemary. “John Ireland’s First Sonata for Violin and Piano: An Introduction to its Study.” D.M.A. diss., Ohio State University, 1992. 98pp. Discusses the history, form, harmony, melody, and technical challenges of the English composer’s Violin Sonata No. 1 in D Minor (1909, rev. 1917 and 1944). (The author gives 1911 as its original composition date; New Grove dates it earlier.) Also offers a sketch of the composer’s life and his role in the so-called English Musical Renaissance. Mus. exx., bib.

Charles Ives (1874–1954) Violin Sonatas See also {671}, {690}. The dating of the violin sonatas (there are four numbered sonatas and one called the “Pre-First Sonata”) is problematic. Individual movements of a sonata were often composed years apart and assembled at a later date into a whole work. According to the New Grove Dictionary, the movements of the “Pre-First Sonata” were composed between 1908 and 1913; No. 1 was composed between 1910 and 1914, assembled circa 1914 or circa 1917, and revised circa 1924–25; No. 2 was composed and assembled circa 1914–17 and revised circa 1920–21; No. 3 was composed in 1914; and No. 4 was composed circa 1911–16 and assembled circa 1914–16. 978.

Gratovich, Eugene. “The Sonatas for Violin and Piano by Charles E. Ives: A Critical Commentary and Concordance of the Printed Editions and the Manuscripts at Yale University.” D.M.A. diss., Boston University, 1968. 242pp. A study of the four violin sonatas with particular attention given to sources, revisions, compositional process, style, borrowing, and early performances. Mus. exx., bib. See also two brief articles by the author, “The Violin Sonatas,” Music Educator’s Journal 61 (October 1974): 58–63 and “Ives Second Violin Sonata: Performance Alternatives,” American String Teacher 29 (Spring 1979): 46–49.

979.

Mendel, Alan, et al. “On Performing the Violin Sonatas.” In An Ives Celebration: Papers and Panels of the Ives Centennial Festival-Conference,

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ed. H. Wiley Hitchcock and Vivian Perlis, 127–40. Urbana: University of Illinois Press, 1977. Transcript of a panel discussion of three pairs of violinists and pianists (Nancy and Alan Mendel, Eugene Gratovich and Regis Benoit, and Daniel Stepner and John Kirkpatrick). The musicians discuss Ives’s unidiomatic violin writing, his quotations of American fiddle music and hymn tunes, and matters of performance and interpretation. Mus. exx. 980.

Gingerich, Lora Louise. “A Technique for Melodic Motivic Analysis in the Music of Charles Ives.” Music Theory Spectrum 8 (1986): 75–93. Defines 15 different techniques of “motivic transformation” and discusses their uses in several Ives works, including all four violin sonatas. Focuses particularly on the transformation of the hymn tune by Robert Lowry, “Shall We Gather at the River” in the third movement of the Fourth Violin Sonata (85–93). See also Chapter 3 of the author’s dissertation, “Processes of Motivic Transformation in the Keyboard and Chamber Music of Charles E. Ives” (Ph.D. diss., Yale University, 1983).

981.

Forte, Allen. “The Diatonic Looking Glass, or An Ivesian Metamorphosis.” Musical Quarterly 76 (Fall 1992): 355–82. Explores the relationship between the beginning of the third movement (“The Revival”) of Ives’s Second Violin Sonata and the hymn tune “Nettleton,” on which it draws material, in the attempt to “shed some light on Ives’s complex and idiosyncratic motivic usage” (380). At times highly technical; numerous musical examples and tables.

982.

Mumelter, Martin. “Zu den Violinsonaten von Charles Ives.” Osterreichische Musikzeitschrift 48 (March–April 1993): 147–51. Discusses the innovative aspects of the sonatas, including polytonality, atonality, and polyrhythm. Mus. exx.

983.

Hepokoski, James. “Temps perdu.” Musical Times 135 (December 1994): 746–51. Using Charles Ives’s violin sonatas as examples, discusses the composer’s practice of alluding to and paraphrasing preexisting works with strong public or private implications (patriotic tunes, hymns, classical masterpieces, etc.), and links the practice to the composer’s anti-elitist views and interest in transcendentalism. Mus. exx.

984.

Thompson, William Curt. “The Fourth Sonata for Violin and Piano, ‘Children’s Day at the Camp Meeting’ by Charles Ives: Contextual, Structural, and Stylistic Considerations.” D.M.A. diss., Rice University, 2002. 110pp.

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An analytical and historical study of the violin sonata. Chapters 1–4 contextualize the Sonata with Ives’s life and times; Chapter 5 provides an analysis of the music, focusing on Ives’s use of American vernacular music as compositional material. Mus exx., bib. 985.

Theodore, Mary. “The Violin and Piano Sonatas of Charles Ives: A Methodical Appoach to Performance using Motivic Analysis.” D.M.A. diss., University of Washington, 2003. iii, 120pp. A guide to performers of the violin sonatas, with particular attention to melody and motive: “the primary focus … is to present a method by which to discover the melodic line in an often thick and confusing texture” (1). Also provides historical information and a discussion of the various musical styles encountered in the sonatas. Includes more than 40 pages of annotated musical examples in which the main melodic lines are circled. Bib.

Elisabeth Jacquet de La Guerre (1665–1729) See also {467}, {697}, {702}. 986.

Bates, Carol Henry. “The Instrumental Music of Elisabeth-Claude Jacquet de la Guerre.” 3 vols. Ph.D. diss., Indiana University, 1978. 899pp. Includes a discussion and modern editions of the French composer’s works for violin: the six sonatas for violin and basso continuo (1707) and the 14 pieces for harpsichord “which can also be played on the violin” according to the title (1707). Mus. exx., bib.

Leos Janácek (1854–1928) 987.

Knaus, Jakob. “Leos Janáceks Violinkonzert: Die späte Entdeckung eines bemerkenswerten Werkes.” Neue Zeitschrift für Musik 152 (January 1991): 41–45. Discusses the single-movement concerto Janácek composed in 1925, but that was first performed only in 1988. Compares the Concerto to the prelude to his later opera Z mrtvého domu (“From the House of the Dead”) in which he drew material from the Concerto. Mus. exx.

988.

Prcik, Ladislav. “Stylistic Evolution of Leos Janácek’s Lesser-Known Compositions for Violin.” D.M.A. diss., Arizona State University, 1996. xii, 121pp. Charts Janácek’s stylistic development through a study of several of the composer’s works for violin, notably two studies for four violins, both titled Znelka (1875), the Romance (1879) and Dumka (c. 1879–80), both

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for violin and piano, the Violin Sonata (1916) and the Violin Concerto (1925). Mus. exx., bib. Felix Janewicz (1762–1848) See {696}, {710}. Joseph Joachim (1831–1907) See also {650}, {655}, {656}, {808}, {888}, {1038}, {1405}. 989.

Maas, Gary L. “The Instrumental Music of Joseph Joachim.” Ph.D. diss., University of North Carolina, 1973. xi, 316pp. A detailed study of Joachim’s instrumental music, which includes three violin concertos, several works for violin and orchestra, and violin and piano. Separate chapters are devoted to form, melody, harmony, rhythm, and orchestration and texture. Includes an annotated work list. Mus. exx., bib.

990.

Skelton, Robert. “Joseph Joachim’s Hungarian Concerto in D Minor, Opus 11.” D.M.A. diss., Indiana University, 1976. ix, 105pp. Provides a movement-by-movement analysis of the Concerto. Also discusses Joachim’s life and career. Mus. exx., bib.

Aram Khachaturian (1903–78) Violin Concerto (1940) See {666}, {1222}. Ivan Khandoshkin (1747–1804) See also {711}. 991.

Mischakoff, Anne. Khandoshkin and the Beginning of Russian String Music. Ann Arbor: UMI Research Press, 1983. xx, 197pp. Examines the life, work, and times of the Russian violinist-composer. Discusses his early training and career in the Russian court, his music for violin (which includes unaccompanied sonatas in the style of Bach and sets of virtuosic variations on Russian folk tunes), as well as the broader context in which he worked. Includes a work list, musical examples, and a bibliography.

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Earl Kim (1920–98) 992.

Marks, Kent. “The Interior Monologue: Earl Kim’s Violin Concerto.” Perspectives of New Music 34 (Summer 1996): 106–31. Analyzes the relationship between text and music in Kim’s Violin Concerto (1979), whose rhythms and textures were derived from the texts of James Joyce’s Ulysses and Samuel Beckett’s radio play, Cascando. Also discusses Kim’s use of octatonic material and palindromic forms in the work. Draws upon personal discussions with the composer.

Leon Kirchner (b. 1919) See also {671}. 993.

Copland, Aaron. “Leon Kirchner: Duo for Violin and Piano.” Notes 7 (June 1950): 434. A positive review of the publication of Kirchner’s Duo (1947), which Copland describes as belonging to “the Bartók-Berg axis of contemporary music.”

Fritz Kreisler (1875–1962) See also {39}, {813}, {1038}, {1421}, {1422}, {1429}. 994.

Wen, Eric. “Miniature Masterpieces.” Strad 98 (January 1987): 51–59. Surveys Fritz Kreisler’s work as composer, transcriber, and editor of violin music.

995.

Scheidemantle, Cheryl Range. “The Violin Works of Fritz Kreisler: An Analysis and Performance Guide.” Ph.D. diss., New York University, 1999. ix, 611pp. A systematic and thorough study of Kreisler’s violin music, the first analytical work of its kind. After a biography of Kreisler and an overview of his oeuvre, detailed analyses are provided for Praeludium and Allegro, Liebesfreud, Recitativo and Scherzo, Schön Rosmarin, Caprice viennois, and Liebesleid, with a chapter devoted to each work. Mus. exx., Schenkerian graphs, bib.

Rodolphe Kreutzer (1766–1831) See also {405}, {470}, {601–3}, {698}, {701}, {793}, {841}. 996.

Winn, Edith, L. How to Study Kreutzer. New York: Fischer, 1910. viii, 61pp. R. 1916, 1926.

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A practical guide, aimed at teachers and performers, to Kreutzer’s 42 etudes for solo violin, first published in 1796, and still used today for pedagogical purposes. (In the first edition only 40 etudes were included; the additional two found in most editions may or may not be by Kreutzer.) Each etude is discussed in turn with suggestions on bowing, fingering, phrasing, and so on, with accompanying musical examples. Includes a general overview of the works. 997.

Williams, Michael Day. “The Violin Concertos of Rodolphe Kreutzer.” Ph.D. diss., Indiana U., 1973. xiii, 361pp. A stylistic study of Kreutzer’s 19 violin concertos. Chapters 1 and 2 explore musical life in general and violin playing in particular in France, circa 1770–1830. Chapter 3 provides a substantial biography of the violinist-composer. Chapters 4 and 5 focus on the concertos themselves and discuss form, melody, harmony, instrumentation, and technique. The concluding chapter considers the periodization of the concertos and the position of the works in the violin repertoire and their standing in the late 20th century. An appendix provides a thematic catalog. Mus. exx., bib.

998.

Jarvis, Martin. “Kreutzer Uncovered.” Strad 112 (October 2002): 1132–37. Discusses Kreutzer’s etudes for solo violin. Examines Kreutzer’s original markings in Etudes 1, 3, and 7 to those published in later editions and offers advice on their performance.

Edouard Lalo (1823–92) See {38}, {650}, {657}, {665}, {667}, {1223}. Jean-Marie Leclair (l’aîné) (1697–1764) See also {534}, {600}, {671}, {697}, {700}, {1443}, {1444}. 999.

Appia, Edmund. “The Violin Sonatas of Leclair.” The Score, no. 3 (June 1950): 3–19. Discusses harmony, technique, ornamentation, form, and style in Leclair’s four books of sonatas for violin and bass, published between 1723 and 1738. Includes a modern edition of Sonata X from Book III, with a continuo realization.

1000. Preston, Robert. “The Treatment of Harmony in the Violin Sonatas of Jean-Marie Leclair.” Recherches sur la Musique française classique 3 (1963): 131–44.

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Explores Leclair’s approach to harmony, noting that it is “bold and imaginative and constitutes one of the most original and ingenious aspects of his style” (131). Mus. exx. 1001. Preston, Robert. “Leclair’s Posthumous Solo Sonata: An Enigma.” Recherches sur la Musique française classique 7 (1967): 155–64. Questions the authorship of the sonata published in 1767 as Leclair’s Op. 15, observing that the work differs strikingly from the composer’s 48 known works in the genre. Raises the possibility that Leclair’s wife, who published the sonata, may have knowingly passed off another composer’s work as her husband’s. Mus. exx. See also the author’s dissertation on Leclair’s sonatas, “The Sonatas for Violin and Figured Bass by Jean-Marie Leclair L’aine,” (Ph.D. diss., University of Michigan, 1959). 1002. Schwarze, Penny. “Styles of Composition and Performance in Leclair’s Concertos.” Ph.D. diss., University of North Carolina at Chapel Hill, 1983. 361pp. Explores both form and performance practice in Leclair’s 12 concertos for solo violin, strings, and continuo (pub. 1737 and 1745), and proposes that they represent a subtle union of French and Italian style. Mus. exx. Jean-Marie Leclair (le second) (1703–77) See {697}, {700}. Giovanni Antonio Leoni (c. 1600–after 1652) See {1}, {707}, {708}. György Ligeti (b. 1923) See also {665}. 1003. Gawriloff, Saschko. “Ein Meisterwerk von Ligeti: Marginalien zur Entstehung des Violinkonzerts.” Neue Zeitschrift fur Musik 154 (January 1993): 16–18. Notes from the dedicatee of the Ligeti’s Violin Concerto (1989–93) on the origin, revision, and premieres of the work’s two versions. Karol Lipinski (1790–1861) See {656}, {1448}.

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Franz Liszt (1811–86) 1004. Walker, Alan. “Liszt’s Duo Sonata.” Musical Times 116 (July 1975): 620–21. Discusses the Duo Sonata, which was discovered only in the late 1950s and published in 1963. Notes that it is based on Chopin’s Mazurka Op. 6, no. 2 in C-sharp minor, and argues that it dates from 1851–52, not from 1832 as had been earlier suggested. Pietro Locatelli (1695–1764) See also {563}, {650}, {671}, {681}, {1236}, {1449}. 1005. Calmeyer, John Hendrik. “The Life, Times and Works of Pietro Antonio Locatelli.” Ph.D. diss., University of North Carolina at Chapel Hill, 1969. 465pp. Discusses Locatelli’s career and works, with particular emphasis on the innovative aspects of the composer’s caprices for solo violin from L’Arte del violino (1733). Includes an iconography, discography, thematic index, and facsimiles of items from Locatelli’s correspondence. Mus. exx. 1006. Luce, Joan. “The Virtuosity and Unique Role of the Caprices for Solo Violin in Pietro Locatelli’s L’Arte del Violino.” Ph.D. diss., University of Michigan, 1975. ix, 235pp. A thorough study of the technically pioneering 24 caprices for solo violin that Locatelli included with the 1733 publication of his 12 violin concertos, Op. 3 (called L’Arte del Violino). The first of four chapters provides an overview of Locatelli’s life and career. Chapter 2 discusses the manuscripts and printed sources for Op. 3. Chapter 3 investigates the technical aspects of the caprices, and the final and longest chapter considers the “curious mixture of independence from, as well as dependence on, their allied concerto movements” (85). An appendix reproduces the first edition of the caprices. Mus. exx., bib. 1007. Dunning, Albert. Pietro Antonio Locatelli, der Virtuose und seine Welt. 2 vols. Buren, The Netherlands: Knuf, 1981. 346pp.; 260pp. The standard work on Locatelli’s life, times, and music. Volume 1 provides a detailed biography of the violinist-composer (including a complete transcription of the correspondence between Locatelli and composer Padre Martini), as well as chapters on Locatelli’s music (with particular attention given to the cadenza-like caprices attached to the Op. 3 concertos [1733]). Also discusses Locatelli’s playing and the concept of the virtuoso at the time. Volume 2 includes a section on iconography, a thematic catalog, a

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list of modern editions of Locatelli’s music, an inventory of his estate, and profiles of his teachers. Mus. exx., bib. 1008. Cantù, Alberto. “I tre Locatelli e Paganini.” Nuova Rivista Musicale Italiana 22 (1988): 221–29. Discusses three stylistic phases of Locatelli’s compositional career, comparing his work with that of Paganini. 1009. Dunning, Albert, ed. Intorno a Locatelli: Studi in occasione del tricentenario della nascita di Pietro Antonio Locatelli, 1695–1764. 2 vols. Lucca: Libreria musicale italiana, 1995. xiv, 1250pp. A collection of 20 substantial Italian-language essays on the life, times, and contemporaries of the violinist-composer. Essays on Locatelli’s violin music: Alberto Cantù considers the influences on and influence of Locatelli’s violin writing; Enzo Porta addresses violin technique in the concertos and caprices of L’arte del violino (1733); Margherita Canale Degrassi deals with Tartini’s violin concertos as performed in Padua. Antonio Lolli (1725–1802) See {444}, {563}, {564}, {658}, {1452}, {1453}. Otto Luening (1900–96) See {678}, {684}. Jean-Baptiste Lully (1632–87) See {699}, {758}. Witold Lutosawski (1913–94) 1010. Rae, Charles Bodman. “Lutoslawski’s Late Violin Works.” Musical Times 131 (October 1990): 530–33. Discusses the Partita for violin and piano (1984) and its arrangement for violin and orchestra (1988) and Chain 2 for violin and orchestra (1985) as examples of the composer’s late style and considers the connections between the pieces. Etienne Mangean (1710–56) See {697}, {700}.

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Biagio Marini (1594–1663) See also {525}, {561}, {563}, {564}, {707}, {1236}, {1457}, {1458}. 1011. Iselin, Dora Julia. Biagio Marini: Sein Leben und seine Instrumentalwerke. Hildburghausen: Gadow, 1930. 50pp., 23pp. A brief study of Marini’s instrumental works, particularly opp. 1, 3, 8, and 22, among them several works for violin. Includes a brief biographical sketch, a work list, and several complete works by Marini (in a separately paginated appendix). 1012. Dunn, Thomas D. “The Sonatas of Biagio Marini: Structure and Style.” Music Review 36 (1975): 161–79. Concerns Marini’s sonatas Op. 1 (1617), Op. 8 (1629), and Op. 22 (1655), among which are several violin sonatas. Considers their stylistic evolution. Three tables provide the formal outlines for each work. Many musical examples. For more on the subject, see the author’s dissertation, “The Instrumental Music of Biagio Marini” (Ph.D. diss., Yale University, 1969). Frank Martin (1890–1974) See also {665}. 1013. Baltensperger, Andre. “Fragen des Metiers bei Frank Martin: Untersuchungen zu den Skizzen des Violinkonzerts.” In Quellenstudien. I: Gustav Mahler—Igor Strawinsky—Anton Webern—Frank Martin, ed. Hans Oesch, 157–234. Winterthur, Switzerland: Amadeus, 1991. A study of Martin’s working methods and aesthetics through an examination of the sketches of the Violin Concerto (1950), with particular attention to the composer’s treatment of form and dodecaphony. See also the author’s “Untersuchungen zu den Skizzen von Frank Martins Violinkonzert,” in Frank Martin: Das kompositorische Werk—13 Studien, ed. Dietrich Kamper (Mainz: Schott, 1993), 111–32. Donald Martino (b. 1931) See also {677}. 1014. Boros, James. “Donald Martino’s Fantasy Variations: The First Three Measures.” Perspectives of New Music 29 (Summer 1991): 280–93. A technical analysis of the first three measures of Martino’s work for solo violin (1962). In two parts: the first considers the opening in isolation as a “multidimensional, miniature musical composition” (280), and the second investigates how the composer’s use of serial techniques in these

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measures relates to the rest of the work. Includes numerous examples, diagrams, and pitch matrices. Bohuslav Martinu· (1890–1959) See also {685}. 1015. Perry, Richard Kent. “The Violin and Piano Sonatas of Bohuslav Mar. tinu ”. D.M.A. diss., University of Illinois at Urbana-Champaign, 1973. vii, 119pp. Examines the five sonatas for violin and piano Martinu· composed between 1919 and 1944. The opening chapter discusses the composer’s stylistic development; the remaining five chapters consider each sonata in turn, providing a compositional history of each work and a movement-bymovement analysis. Mus. exx., bib. Michele Mascitti (1663 or 1664–1760) See also {468}, {582}, {697}, {699}, {702}. 1016. Dean, Robert Henry, Jr. “The Music of Michele Mascitti (ca. 1664–1760): A Neapolitan Violinist in Paris.” 2 vols. Ph.D. diss., University of Iowa, 1970. xi, 348pp.; x, 291pp. A broad and detailed study of the works of the Italian-born violinistcomposer who spent much of his career in France. The first chapter puts Mascitti in context with a study of Italian music and Italian violinists in France to circa 1740. Chapter 2 surveys the composer’s life and publications (Op. 1–9, c. 1704–1738). Chapter 3 explores Mascitti’s musical style, particularly in his works for violin, and his use of violin technique in his compositions. A conclusion offers an appraisal of Mascitti’s place in music history. A series of appendices reprint various prefaces and dedicatory notes in his publications, list editions of Mascitti’s music, and provide a thematic index. Volume two consists of editions of works by Mascitti, including several violin sonatas and concertos. Mus. exx., bib. Nicola Matteis (late 1670s–1737) See {474}, {675}, {1254}, {1462}, {1463}. Jacques Féréol Mazas (1782–1849) See {563}, {698}.

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Felix Mendelssohn (1809–47) See also {38}, {452}, {608}, {615}, {650}, {655}, {656}, {660}, {665}, {667}, {671}, {869}, {963}, {1126}, {1162}, {1228}, {1324}, {1325}. 1017. Grove, George. “Mendelssohn’s Violin Concerto.” Musical Times 47 (1 September 1906): 611–15. Discusses and analyzes each movement of the Violin Concerto, Op. 64 (1844), focusing primarily on thematic issues; notes differences between the autograph manuscript and published versions. Includes excerpts of correspondence between Mendelssohn and Ferdinand David, the violinist to whom the work is dedicated and who premiered it. Mus. exx. 1018. Worbs, H. C. “Die Entwürfe zu Mendelssohns Violinkonzert e-moll.” Musikforschung 12 (1959): 79–81. Considers little-known sketches of the first movement of the Concerto. Mus. exx. 1019. McDonald, John Allen. “The Chamber Music of Felix Mendelssohn-Bartholdy.” 2 vols. Ph.D. diss., Northwestern University, 1970. vii, 333pp.; 159pp. Includes analyses of Mendelssohn’s works for violin and piano, including the violin sonatas. 1020. Gerlach, Reinhard. “Mendelssohns Kompositionsweise: Vergleich zwischen Skizzen und Letztfassung des Violinkonzerts, op. 64.” Archiv für Musikwissenschaft 28 (1971): 119–33. Traces the evolution of the first movement’s main theme through a study of various sketches of the Concerto. The author broadens the discussion of Mendelssohn’s compositional process in the Concerto in a follow-up essay: “Mendelssohns Kompositionsweise (II): Weitere Vergleiche zwischen den Skizzen und der Letztfassung des Violinkonzerts, op. 64,” in Das Problem Mendelssohn, ed. Carl Dahlhaus (Regensburg: Bosse, 1974), 149–68. Mus. exx. 1021. Targan, Barry. “Harry Belten and the Mendelssohn Violin Concerto.” In Harry Belten and the Mendelssohn Violin Concerto (Iowa City: University of Iowa Press, 1975), 1–31. Fiction. A middle-aged hardware store clerk and amateur violinist mounts an ambitious public concert, whose highlight is Mendelssohn’s Violin Concerto. Originally published in Esquire 66 (July 1966).

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1022. Grey, Thomas. “The Orchestral Music.” In The Mendelssohn Companion, ed. Dougalss Seaton, 395–550. Westport, CT: Greenwood, 2001. Includes, within a survey of Mendelssohn’s complete orchestral output, discussion of the famous Violin Concerto in E minor and the lesser-known Concerto in D minor. Jean-Baptiste Miroglio (c. 1725–85) See {1}, {697}, {700}. Pierre Miroglio (c. 1715–63) See {1}, {697}, {700}. E. J. Moeran (1894–1950) 1023. F. B. [probably Ferrucio Bonavia]. “Moeran’s Violin Concerto.” Musical Times 83 (August 1942): 239–40. Offers a brief analysis and positive assessment of the recently premiered concerto. 1024. Evans, Edwin. “Moeran’s Violin Concerto.” Musical Times 84 (August 1943): 233–34. Provides a brief analysis of the 1941 concerto of the English composer with musical examples of its main themes; notes the history of its composition and the circumstances of its 1942 premiere. Bernhard Molique (1802–69) See also {656}, {808}, {1311}. 1025. Schröder, Fritz. Bernhard Molique und seine Instrumentalkompositionen. Stuttgart: Berthold und Schwerdtner, 1923. ix, 125pp. Surveys the instrumental music of Molique, which included six violin concertos and a number of duos for violin and piano. Jean Cassanéa de Mondonville (le jeune) (1716–after 1769) See {697}, {700}. Jean-Joseph Cassanéa de Mondonville (1711–72) See also {671}, {695}, {697}, {700}, {1047}.

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1026. Borroff, Edith. “The Instrumental Style of Jean-Joseph Cassanéa de Mondonville.” Recherches sur la Musique française classique 7 (1967): 165–205. Discusses the stylistic and technical aspects of Mondonville’s instrumental works, including his violin sonatas with basso continuo, Op. 1 (1733) and Op. 4 (1738), and his pieces for harpsichord with violin accompaniment, Op. 3 (1738) and Op. 5 (1748). Wolfgang Amadeus Mozart (1756–91) See also {686}. General 1027. Möller, Max. “Mozart and Bow Technique.” Violins and Violinists 17 (May–June 1956): 105–6, 139. Discusses the type of bows used in Mozart’s time and argues that when playing Mozart’s music the bowing should be bold and strong rather than subdued as is often suggested. 1028. Melkus, Eduard. “Zur Ausführung der Stricharten in Mozarts Werken.” Mozart-Jahrbuch 15 (1967): 244–66. Offers advice on the execution of bowings in Mozart’s music based on the discussion of bowings in the 1756 treatise by Leopold Mozart, the composer’s father and violin teacher, and the consideration of the physical aspects of 18th-century bows, which were lighter and more agile than those of modern times. Mus. exx. 1029. Zaslaw, Neal, ed. The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart. New York: Norton, 1990. 351pp. Lists and provides brief entries on Mozart’s concerted works for violin (135–47) and works for violin and keyboard (285–98). A useful reference, with information on date and place of composition, historical context, style, form, and questions of authenticity. 1030. Schröder, Jaap. “A Performer’s Thoughts on Mozart’s Violin Style.” In Perspectives on Mozart Performance, ed. R. Larry Todd and Peter Williams, 117–25. Cambridge: Cambridge University Press, 1991. Offers advice on the performance of Mozart’s music for the violin (largely using the string quartets as examples). Urges the use of period techniques and argues that “intensity can and must be achieved without the tension that became customary in the performance of nineteenth- and twentiethcentury music” (125).

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1031. Walls, Peter. “Mozart and the Violin.” Early Music 20 (February 1992): 7–30. Considers the changing physical and tonal characteristics of the violin and bow during Mozart’s time and the impact of these changes on contemporaneous performance practice, as well as how knowledge of such may aid in the performance of Mozart’s music. Also describes the two violins Mozart himself owned. Includes illustrations, musical examples, and tables of the changing dimensions of bows and violins. Violin Concertos Concertone for two violins in C K. 190 (1774); Violin Concertos in B-flat major, K. 207 (1773), in D major, K. 211 (1775), in G major K. 216 (1775), in D major K. 218 (1775), K. 219 in A (1775). See also {608}, {650}, {655}, {663–65}, {692}, {1029}. 1032. Colton, Winfred R. “Special Violin Fingerings: Mozart’s Concerto in D Major.” Violinist 10 (April 1911): 13–16. Suggests the use of fingerings by Eugène Ysaÿe in the Allegro; includes musical examples with fingerings. 1033. Saint-Foix, Georges de. “La fin d’une controverse.” Revue de Musicologie 8 (November 1925): 173–80. Renews and reiterates the author’s argument for the authenticity of the E-flat major violin concerto by Mozart, claiming that it was written in 1785. Cites earlier literature on the subject. The authenticity of this concerto remains in dispute. 1034. Oldman, C. B. “Mozart’s Violin Concerto in E Flat.” Music and Letters 12 (April 1931): 174–83. Considers the history and reception of the Violin Concerto in E-flat, originally attributed to Mozart but whose authorship has long been in question. Suggests that Mozart wrote the solo part in Salzburg between 1779 and 1781, but did not compose the orchestral accompaniment. In {1037} Boris Schwarz cites Oldman and disagrees with his conclusion. 1035. Weising, Klaus. Die Sonatenform in den langsamen Konzertsatzen Mozarts. Hamburg: Wagner, 1970. vii, 191pp. Includes analyses of Mozart’s use of sonata form, particularly in the slow movements, in the five violin concertos and the Concertone. See pp. 15–71. Mus. exx.

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1036. King, A. Hyatt. Mozart Wind and String Concertos. Seattle: University of Washington Press, 1978. 76pp. Surveys Mozart’s concerted music for strings and winds, including the Concertone for two violins, the violin concertos, and the single-movement works for violin and orchestra. Written in largely nontechnical language. Mus. exx. 1037. Schwarz, Boris. “Violinists Around Mozart.” Music in the Classic Era: Essays in Honor of Barry Brook, ed. Allan Atlas, 233–48. New York: Pendragon, 1984. Discusses Mozart’s encounters with a variety of violinist-composers and speculates on their influence on Mozart’s violin concertos of 1775. Figures include Pietro Nardini, Pierre Gavinés, Thomas Linley, Michael Haydn, Johann Baptiste Vanhal, Josef Myslivecek, and Regina Strinasacchi. Also describes Mozart’s short-lived career as a professional violinist. This essay is a translation and expansion of “Geiger um Mozart,” Mozart-Jahrbuch (1978–79): 228–35. 1038. Melkus, Eduard. “On the Problem of Cadenzas in Mozart’s Violin Concertos.” Trans. Tim Burris. In Perspectives on Mozart Performance, ed. R. Larry Todd and Peter Williams, 74–91. Cambridge: Cambridge University Press, 1991. Considers the challenges of creating stylistically and historically appropriate cadenzas for Mozart’s violin concertos. (Mozart left no written cadenzas for the concertos.) Discusses three classical period collections of violin cadenzas by Ignaz Schweigl, Luigi Borghi, and Ferdinand Kauer; offers suggestions for adapting Mozart’s cadenzas for his piano concertos and critiques later cadenzas by Joseph Joachim, Sam Franko, and Fritz Kreisler. For an earlier article by Melkus on the same topic, see “Die Kadenzen in Mozart-Violinkonzerten,” Musica 36 (January 1982): 24–30. 1039. Feil, Arnold. “Anmerkungen zu Mozarts Satztechnik: Anhand von Beobachtungen am 1. Satz des A-Dur-Violinkonzerts (KV 219).” In Studien zur Musikgeschichte: Eine Festschrift für Ludwig Finscher, ed. Annegrit Laubenthal and Kara Kusan-Windweh, 365–71. Kassel: Barenreiter, 1995. Discusses form, phrasing, and themes in the opening movement of the concerto; provides musical examples and detailed charts. Violin Sonatas Thirty-five sonatas with keyboard accompaniment, composed between 1762 and 1788. See {1029} for full listing. See also {651}, {671}, {1029}.

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1040. Engländer, Richard. “Die Echtheitsfrage in Mozarts Violinsonaten KV 55–60.” Musikforschung 8 (1955): 292–98. Argues that the violin sonatas attributed to Mozart as K. 55–60 were in fact written by Joseph Schuster (1748–1812). See also the author’s “Les sonates de violon de Mozart et les ‘Duetti” de Joseph Schuster,” Revue de Musicologie 23 (1939): 6–19. 1041. Forsberg, Carl Earl. “The Clavier-Violin Sonatas of Wolfgang Amadeus Mozart.” Ph.D. diss., Indiana University, 1964. 312pp. Analyzes 44 violin sonatas (including some, such as the former K. 55–60, that are no longer attributed to Mozart); identifies the influence of earlier composers (including Leopold Mozart, J. C. Bach, Francesco Maria Veracini, and Luigi Boccherini) and categorizes the sonatas into chronological and stylistic groups. 1042. Newman, William S. “The Duo Texture of Mozart’s K. 526: An Essay in Classic Instrumental Style.” In Essays in Musicology in Honor of Dragan Plamenac on his 70th Birthday, ed. Gustave Reese and Robert J. Snow, 191–206. Pittsburgh: University of Pittsburgh Press, 1969. R. New York: Da Capo, 1977. Considers the relationship between the two instruments in the sonata in terms of balance, counterpoint, voice-leading, and idiomatic writing, and compares the work to sonatas for and with the violin from the Baroque and early Classical eras. Mus. exx. 1043. Hunkemöller, Jürgen. W.A. Mozarts frühe Sonaten für Violine und Klavier. Bern: Francke, 1970. 144pp. An analytical study of the sonatas K. 6–15, 26–31, and 304. Examines texture, form, technique, style, and the role of the piano, and considers the works within the context of Mozart’s output and the violin repertoire of the time. Also addresses their reception and issues of authenticity and authorship. Mus. exx., bib. 1044. Cherubini, Ralph. “Leopold Mozart’s ‘Violinschule’ as a Guide to the Performance of W.A. Mozart’s Sonatas for Piano and Violin.” Ph.D. diss., Case Western Reserve University, 1976. 327pp. Considers issues of performance practice in the sonatas from the standpoint of Leopold Mozart’s treatise; focuses particularly on the sonata K. 296. 1045. Kamien, Roger. “Subtle Enharmonic Relationships in Mozart’s Music.” Journal of Music Theory 30 (Fall 1986): 169–83.

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Discusses enharmonic transformation in the Adagio of Mozart’s Sonata for Piano and Violin in E-flat, K481, in which a dominant seventh chord is reinterpreted as an augmented sixth chord. See esp. 170–74. 1046. Riggs, Robert Daniel. “Articulation in Mozart’s and Beethoven’s Sonatas for Piano and Violin: Source-Critical and Analytic Studies.” Ph.D. diss., Harvard University, 1987. 461pp. Makes the controversial assertion that, contrary to received opinion, neither Mozart nor Beethoven intended the articulation markings of the dot and the stroke to indicate two different types of staccato bowings in their violin sonatas. In the three parts of the dissertation, the author examines articulation generally in the classical style, explains his solution to the “staccato problem,” and considers issues of performance practice. Mus. exx., bib. See also the author’s later article “Mozart’s Notation of Staccato Articulation: A New Appraisal,” Journal of Musicology 15 (Spring 1997): 230–77. 1047. Heinzel, Mark Alexander. Die Violinsonaten Wolfgang Amadeus Mozarts. Karlsruhe: author, 1996. 220pp. An analytical guide to Mozart’s violin sonatas. An initial chapter addresses the writings on the sonata as a genre in the 18th century and briefly discusses violin sonatas written before Mozart by Vivaldi (op. 2), J. S. Bach (BWV 1014–19), J. J. Mondonville (op. 3), Luigi Boccherini, (op. 5), C. P. E. Bach (Wq 76), J. C. Bach (op. 10), and Franz Benda. Chapter 2 discusses various sonata types in the Baroque and Classical eras. The bulk of the book, Chapters 3 and 4, considers Mozart’s sonatas from a variety of perspectives—melody, form, style, technique, and so on. Numerous musical examples. Josef Myslivec”ek (1737–81) See {1037}. Pietro Nardini (1722–93) Six violin concertos, numerous violin sonatas and duets. See also {405}, {444}, {615}, {650}, {670}, {675}, {1037}, {1208}, {1213}, {1236}, {1492}. 1048. Pfäfflin, Clara. Pietro Nardini: Sein Leben und seine Werke. Stuttgart: Find Söhne, 1935. xx, 96pp. R. Wolfenbüttel: Kallmeyer, 1936. xx, 96pp. A life-and-works treatment of the violinist-composer. The first half of the book, after a brief chapter of the development of the violin sonata before Nardini, examines Nardini’s output including (but not limited to) his sonatas, duos, and concertos for violin. The second half of the book discusses

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Nardini’s life and quotes extensively from the writings of others on Nardini’s music and violin playing. Includes a bibliography and thematic catalog. 1049. Strava, Robert Edward. “A Comprehensive Performance Project in Violin Literature and an Essay on the Concerto in C Major for Violin and Strings (It. 315, University of California at Berkeley) by Pietro Nardini.” D.M.A. diss., University of Iowa, 1977. iv, 238pp. Offers an analysis of the concerto and a discussion of the author’s preparation of an edition of the work. Includes a biography of Nardini, as well as an edition of the Concerto and an arrangement for violin and piano. Mus. exx., bib. 1050. Marri, Federico, ed. Pietro Nardini, violinista e compositore: atti del convegno, Livorno, 12 febbraio 1994. Livorno: Comune di Livoro, 1996. 118pp. Collects selected papers on the life and music of the violinist-composer delivered at a 1994 conference. Carl Nielsen (1865–1931) See also {671}, {677}, {1646}. 1051. Hiatt, James Smith. “Form and Tonal Organization in the Late Instrumental Works of Carl Nielsen.” Ph.D. diss., Indiana University, 1986. 131pp. Offers “a broad stylistic picture” of Nielsen’s late works, including the Sonata No. 2 for violin and piano (1912), with particular attention to form and tonality. Mus. exx., bib. 1052. Lester, Joel. “Continuity and Form in the Sonatas for Violin and Piano.” In The Nielsen Companion, ed. Mina Miller, 495–533. Portland, OR: Amadeus, 1994. Examines the stylistic traits of the two violin sonatas (1895 and 1912), two works that exemplify different stages of Nielsen’s career. Concludes that Nielsen “juxtaposes … traditional aspects with new approaches” (532). Mus. exx. 1053. Miller, Mina. “Ink v. Pencil: Implications for the Performer.” In The Nielsen Companion, ed. Mina Miller, 489–94. Portland, OR: Amadeus, 1994. Examines the manuscript sources of the Violin Sonata No. 1 (1895), both as evidence of Nielsen’s compositional process and as a means to suggest to performers “an interpretation not readily apparent from [its] published edition” (494). 1054. Grimley, Daniel. “Organicism, Form, and Structural Decay: Nielsen’s Second Violin Sonata.” Music Analysis 21 (July 2002): 175–205.

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Argues that Nielsen’s Violin Sonata No. 2 (1912), which seems to resist systematic analysis, may be understood as a coherent whole, and one that moves “between vegetative and dynamic states of musical material” (200). Includes musical examples (the whole of the Sonata’s finale is reprinted), and Schenker graphs. Nicolò Paganini (1782–1840) Five violin concertos, numerous works for violin and orchestra, violin and guitar, and violin and other instrumental combinations. See also {45}, {52}, {454}, {529}, {561}, {563}, {564}, {567}, {650}, {651}, {656}, {667}, {675}, {1008}, {1162}, {1222}, {1503}, {1506}, {1513}, {1519}, {1521}, {1526}, {1527}, {1529}, {1530}. 1055. Bonaventura, Arnaldo. Gli autografi musicali di Niccolò Paganini. Florence: Olschki, 1910. 31pp. A descriptive catalog of 91 autographed Paganini manuscripts of all genres. Includes a preface and several facsimiles. 1056. Zacharevitch, Michael. “A Paganini Manuscript.” Music and Letters 21 (April 1940): 179–80. Discusses the discovery of a fantasia for solo violin by Paganini. 1057. Mertzanoff, C. E. “Paganini’s Compositions.” 19 parts. Violins and Violinists 5 (March–April 1943): 10–14; (May 1943): 56–60; (June 1943): 108–11; (July–August 1943): 158–62; (September 1943): 201–4; (October 1943): 241–43; (November 1943): 277–82; (December 1943): 320–22; (January 1944): 376–78; (February–March 1944): 424–26; (April 1944): 450–54; (May 1944): 493–97; 6 (June–July 1944): 16–21; (August 1944): 58–62; (September 1944): 102–6; (October 1944): 174–76; (November 1944): 199–201; (January 1945): 248–49; (February 1945): 294–96. Provides a chronological survey of Paganini’s music, with additional information on his violins. Cites and reviews a good deal of the literature on Paganini. Includes a 249-item bibliography. Facsimiles and musical examples. 1058. Moretti, Maria Rosa and Anna Sorrento. Catalogo tematico delle musiche di Niccolò Paganini. Genoa: Comune, 1982. xxvi, 420pp. A thematic catalog of Paganini’s music. Each entry provides one or more incipits, a bibliography, and information on the date of composition, the existence, location, and history of manuscripts, and the publication of the first edition.

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1059. Prefumo, Danilo and Alberto Cantù. Le Opere di Paganini. Genoa: Sagep, 1982. 207pp. An analytical study of Paganini’s music. The first part of the book, by Prefumo, considers the chamber music, including the 24 Caprices, the works for violin and piano and violin and guitar. The second part, by Cantù, discusses the works for violin and orchestra. Mus. exx. 1060. Revue Musicale de Suisse Romande 46, no. 2 (1993). The entire issue is devoted to Paganini. Includes articles by Philippe Borer on the influence of Paganini’s Caprices and Edward Neill on Paganini as a composer, as well as book and recording reviews. 1061. Borer, Philippe. The Twenty-Four Caprices of Niccolò Paganini: Their Significance for the History of Violin Playing and the Music of the Romatic Era. Genoa: Civico Istituto di Studi Paganiniani, 1997. vii, 299pp. Examines the compositional and technical aspects of the Caprices and their vast and profound influence on violin technique and musical composition up to the present day. Chapters discuss the Caprices’ reception, the significance of their dedication “to the artists,” Paganini’s violinistic and compositional training and style, and the development of the caprice as a genre. Appendices include analyses of selected Caprices and facsimiles. Mus. exx., bib. André-Noël (c. 1719–20–c. 1787–99) See {697}, {700}. Krzysztof Penderecki (b. 1933) See also {462}, {1229}. 1062. Foy, Randolph. “Textural Transformations: The Instrumental Music of Krzysztof Penderecki, 1960–1973.” D.M.A. diss., Peabody Conservatory, 1994. xvi, 350pp. Analyzes the Capriccio for Violin and Orchestra (1967) in terms of its motivic and structural use of texture (pp. 33–50). Hans Pfitzner (1869–1949) See also {659}. 1063. Cahn, Peter. “Hans Pfitzners Violinkonzert.” In Musik der zwanziger Jahre, ed. Werner Keil, 59–85. Hildesheim: Olms, 1996.

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Provides a thematic and formal analysis of Pfitzner’s single movement Violin Concerto, op. 34 (1923). George Frederick Pinto (1785–1806) See also {698}. 1064. Temperley, Nicholas. “George Frederick Pinto.” Musical Times 106 (April 1965): 265–70. Discusses the early-19th-century English violinist-composer and his three violin sonatas (c. 1806). Provides musical examples and a work list. Ildebrando Pizzetti (1880–1968) 1065. Castelnuovo-Tedesco, Mario. “La sonata per violino e pianoforte di I. Pizzetti.” Pensiero musicale 2 (March 1922): 46–49. A brief discussion of the Violin Sonata in A (1918–19) by a fellow Italian composer. Johann Georg Pisendel (1687–1755) See also {675}, {738}, {1554}. Manuel Ponce (1882–1948) 1066. Barron Corvera, Jorge. “Three Violin Works by Mexican Composer Manuel Maria Ponce (1882–1948): Analysis and Performance.” D.M.A. diss., University of Texas, 1993. 203pp. Examines the style and musical idiom of three works that represent different stages of Ponce’s career: the Trio Romantico for violin, cello, and piano (1905–11), the Sonata Breve for violin and piano (1932), and the Violin Concerto (1942–43). Includes a discussion of Ponce’s life and career. Mus. exx., bib. Francis Poulenc (1889–1963) 1067. Stringer, Mary Ann. “Diversity as Style in Poulenc’s Chamber Works with Piano.” D.M.A. diss., University of Oklahoma, 1986. 226pp. Examines the diversity of styles among and within Poulenc’s eight chamber works with piano; includes an analysis of the Violin Sonata (1943, rev. 1949). Mus. exx., bib.

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Sergei Prokofiev (1891–1953) See also {462}, {665}, {671}, {1224}, {1500}, {1501}. Violin Concertos, No. 1, Op. 19 in D Major (1917) and No. 2, Op. 63 in G Minor (1935); Violin Sonatas, No. 1, Op. 80 in F Minor (1946) and No. 2, Op. 94bis in D Major (1944); Solo Violin Sonata, Op. 115 in D Major (1947). 1068. Kaufman, Rebecca S. “Expanded Tonality in the Late Chamber Works of Sergei Prokofiev.” Ph.D. diss., University of Kansas, 1987. 455pp. Using Schenkerian analysis, explores Prokofiev’s extensions of and additions to traditional tonality in his late chamber works, including his Violin Sonatas, Op. 80 and 94. Mus. exx., graphs. 1069. Henderson, Lyn. “The Violin Concertos of Prokofiev.” Music Review 54 (August–November 1993): 257–64. A brief study of the two concertos with particular attention to form and theme. 1070. Woodley, Ronald. “Strategies of Irony in Prokofiev’s Violin Sonata in F Minor Op. 80.” In The Practice of Performance: Studies in Musical Interpretation, ed. John Rink, 170–93. Cambridge: Cambridge University Press, 1995. Explores elements of irony in the Violin Sonata, a specific kind of irony that is connected to what the author describes as an internal struggle, “unmanifested, yearning to break out, and constantly finding its attempts at emergence blocked” (171). Examines both the “internal workings” of the Sonata as well as several recordings of the piece in order to understand “the composer’s harnessing of the ironising process” (174). Mus. exx. 1071. Minturn, Neil. The Music of Sergei Prokofiev. New Haven: Yale University Press, 1997. xiii, 241pp. Provides analyses of the third movement of the Sonata No. 1 for Violin and Piano, Op. 80 (140–45) and the second movement of the Violin Concerto No. 1 (152–57), with brief discussion of the other works for violin. Mus. exx. 1072. Zimmerman, Daniel J. “Families Without Clusters in the Early Works of Sergei Prokofiev.” Ph.D. diss., University of Chicago, 2002. xiii, 240pp. Investigates Prokofiev’s non-traditional harmonic practices in his early works; includes an analysis of the Violin Concerto No. 1, which “circumvents several traditional norms of harmonic organization” (138). Mus. exx., bib.

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Gaetano Pugnani (1731–98) See also {444}, {1422}, {1561}. 1073. Bertolotti, A. Gaetano Pugnani e altri musicisti di Torino al secolo XVIII. Milan: Ricordi, 1891. 47pp. A brief life-and-works study of Pugnani, with chapters on other Turinese musicians as well, including Viotti. 1074. Müry, Albert. “Die Instrumentalwerke Gaetano Pugnanis.” Basel: Krebs, 1941. vii, 109pp. Surveys Pugnani’s instrumental music, including his violin sonatas, violin duets, and violin concertos. Includes a brief biography and a discussion of the development of the violin sonata from Arcangelo Corelli to Pugnani. Analyses are descriptive and go into little detail. Bib., mus. exx. Henry Purcell (1659–95) See {474}, {608}. Jean-Baptiste Quentin (1718–c. 1750) See {697}, {700}. Maurice Ravel (1875–1937) Tzigane for Violin and Orchestra (1924); Sonata for Violin and Cello (1922); Sonata for Violin and Piano (1927). See also {457}, {462}, {671}, {685}, {1184}, {1271}, {1272}, {1365}. 1075. Sannemüller, Gerd. “Die Duosonate für Violine und Violoncello von Maurice Ravel.” Musikforschung 28 (1975): 408–19. Offers a close reading of the Sonata for Violin and Cello, with particular attention to motive and rhythm. Mus. exx. 1076. Pfann, Walter. Zur Sonatengestaltung im Spätwerk Maurice Ravels. Regensburg: Bosse, 1991. 181pp. Chapters 1 and 2 consist of movement-by-movement formal analyses of the Sonata for Violin and Cello and the Violin Sonata in G major. 1077. Baer, Susan Irene. “The Virtuoso Violin Works of Maurice Ravel: An Analysis of Structural, Technical, and Interpretive Features.” Ph.D. diss., Texas Tech University, 1992. 243pp.

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A performer’s guide to Ravel’s Sonata for Violin and Cello, the Violin Sonata, and Tzigane. Analyzes each work from structural, stylistic, and performance perspectives. Mus. exx., bib. 1078. Keil, Werner. “Zwischen l’art pour l’art und Folklorismus: Maurice Ravels Tsigane.” In Musik der zwanziger Jahre, ed. Werner Keil, 244–60. Hildesheim: Olms, 1996. Examines Ravel’s Tzigane for violin and orchestra, noting that while it sounds authentically Gypsy in many ways, its nine melodies are original to the composer and its use of a ten-note symmetrical scale is uncharacteristic of Gypsy music. Max Reger (1873–1916) Violin Concerto, Op. 101 (1907–8); Violin Sonatas, Op. 1 (1890), Op. 3 (1891), Op. 41 (1899), Op. 42, nos. 1-4 (1900), Op. 72 (1903), Op. 84 (1905), Op. 91, nos. 1–7 (1905), Op. 122 (1911), Op. 139 (1915); Preludes and Fugues, Op. 117 (1909–12), Op. 131a (1914); Suites, Op. 93 (1906), Op. 103 (1908); other shorter works. See also {675}, {691}, {1306}, {1460}, {1461}. 1079. Gess, Wolfgang Friedrich. “Max Regers Werke für Violine und Klavier.” 2 parts. Neue Musik-Zeitung 43 (1 December 1921): 70–72; (15 December 1921): 86–89. Provides descriptive analyses of several of Reger’s violin-piano works, including the Sonatas Op. 3, Op. 41, Op. 72, and Op. 84, which the author laments are not well enough known. 1080. Gess, Wolfgang Friedrich. “Max Regers Werke für die Violine allein.” Neue Musik-Zeitung 44 (15 March 1923): 189–92. A companion piece to the author’s earlier article, here discussing Reger’s solo violin works, including the Sonatas Op. 42 and 91 and the Preludes and Fugues Op. 117 and 131a. 1081. Taylor, Paul Garvin. “Thematic Process and Tonal Organization in the First Movement Sonata Forms of Max Reger’s Nine Sonatas for Violin and Piano.” Ph.D. diss., The Catholic University of America, 1982. 417pp. Examines nine movements from selected violin sonatas covering the career of the composer from the perspective of thematic process and tonal organization. Argues that Reger’s harmonic practices in his sonata forms are logical and coherent, contrary to previous commentary, and observes that the composer’s approach to sonata form is “one of pouring new wine into old bottles” (author’s abstract).

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1082. Cadenbach, Rainer. “‘Das Werk will nur Musik sein’: Zitate in Max Regers Kompositionen.” In Reger-Studien 2: Neue Aspekte der Regerforschung, ed. Susanne Shigihara, 73–104. Wiesbaden: Breitkopf & Härtel, 1986. Examines Reger’s use of quotations and musical mottos throughout his oeuvre, including the Violin Sonata in C major, Op. 72. 1083. Mauser, Siegfried. “Chromatik und Klangfarbung: Satztechnische Uberlegungen zum Beginn von Max Regers Violinsonate in c-moll op. 139.” In Reger-Studien 2: Neue Aspekte der Regerforschung, ed. Susanne Shigihara, 59–66. Wiesbaden: Breitkopf und Härtel, 1986. Examines Reger’s use of melodic chromaticism in the opening of the first movement of the Op. 139 sonata. Cites his use of chromaticism as an important reason his music was highly regarded by members of the Second Viennese School. 1084. Sachs, Klaus-Jurgen. “Analytische Beobachtungen zum ‘ganz neuen Stil’ in Regers Violinsonate c-moll op. 139.” Reger-Studien 3: Analysen und Quellenstudien, ed. Susanne Popp and Susanne Shigihara, 105–25. Wiesbaden: Breitkopf & Hartel, 1988. Considers Reger’s compositional process in the Violin Sonata in C Minor, Op. 139 to illuminate Reger’s self-proclaimed “entirely new style.” 1085. Shigihara, Susanne Elizabeth. “Pladoyer fur ein Monstrum: Zur Rezeption von Max Regers Violinkonzert A-dur op. 101.” In Reger-Studien 5: Beiträge zur Regerforschung, ed. Susanne Shigihara, 73–83. Wiesbaden: Breitkopf & Hartel, 1993. Considers the reception of Reger’s Concerto, which has been criticized as too long and difficult; discusses the history of the autograph and the many attempts to shorten the work. 1086. Märker, Michael. “‘Musikalischer Keuschheitsgürtel’ oder provokante Musik? Zu den Soloviolinwerken von Max Reger.” Archiv für Musikwissenschaft 54 (1997): 120–36. A study of Reger’s works for solo violin, which he composed over a 15-year span and occupied an important place in his output. Discusses their relationship to the solo violin works of J. S. Bach, as well as issues of form, genre, motive, and dynamics. Although these works may be considered backward-looking (Reger chracaterized them as “musical chastity belts”), the author sees them as a “hinge,” connecting the Baroque and Modern eras and paving the way for the solo violin works of Béla Bartók, Paul Hindemith, and others.

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1087. Bittmann, Antonius. “Max Reger and Fin-de-siècle Modernisms.” Ph.D. diss., Eastman School of Music, 2000. xv, 620pp. Includes a discussion (pp. 392–443) of Reger’s Violin Sonata in C major, Op. 72, as a “modernist manifesto” (439), in which Reger inscribes himself as hero and casts his critics as “sheep” and “apes” (two prominent themes spell out these words in German). Mus. exx., bib. 1088. Weiss-Aigner, Günter. “Max Regers frühe Sonatensatzgestaltung.” 2 parts. Neues musikwissenschaftliches Jahrbuch 9 (2000): 177–201; 10 (2001): 133–58. Discusses the formal characteristics of and musical influences on Reger’s early violin sonatas. The first part analyzes the 17-year-old composer’s Violin Sonata in D Minor, Op. 1 and describes the influence of Ludwig van Beethoven and Johannes Brahms. The Violin Sonata in D Major, Op. 3, is the focus of the second installment. Mus. exx. Steve Reich (b. 1936) 1089. Cohn, Richard. “Transpositional Combinations of Beat-Class Sets in Steve Reich’s Phase-Shifting Music.” Perspectives of New Music 30 (Summer 1992): 146–77. Argues that Reich’s music is not resistant to analysis, as is sometimes said and, borrowing from the language and approach of set theory, examines “beat-classes” in Violin Phase (1967) and other works with the goal of a stylistic and aesthetic reevaluation of Reich’s phase-shifting works. Mus. exx., charts. Nicolai Rimsky-Korsakov (1844–1908) See {650}. Pierre Rode (1774–1830) See {1}, {2}, {405}, {470}, {601–4}, {608}, {698}, {701}, {793}, {1208}, {1234}, {1236}, {1571–73}. Johan Helmich Roman (1694–1758) See also {923}.

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1090. Read, Thomas L. “A Stylistic Analysis of Six Assaggi for Unaccompanied Violin by Johan Helmich Roman (1694–1758).” D.M.A. diss., Peabody Conservatory, 1971. xii, 340pp. Provides detailed analyses of six works for solo violin by the Swedish composer, compositions that were first published only in 1958 and whose dates of composition are unknown. Preliminary chapters discuss 17thand 18th-century solo violin music and the life and career of Roman. The sonatas are then examined from a variety of perspectives. Includes a bibliography and many musical examples. Friedrich Wilhelm Rust (1739–96) See also {675}. 1091. Straeten, Edmund van der. “Some Unpublished Compositions of F. W. Rust.” Strad 6 (March 1896): 336–37. Discusses recently discovered unpublished works by Rust, including the manuscript of the D minor violin sonata previously only known in an arrangement by Ferdinand David. 1092. Straeten, Edmund van der. “The Violin Sonatas of Frederic Wilhelm Rust.” Violinist 39 (November 1926): 206–8. A brief biography of the German composer and discussion of his sonatas, particularly the “Sonata Seria” in B minor. Camille Saint-Saëns (1835–1921) See also {38}, {650}, {808}, {951}. 1093. MacDonald, Hugh. “Saint-Saëns’s Caprice Brillant.” In Échos de France et d’Italie: Liber amicorum Yves Gérard, ed. Marie-Claire Mussat et al., 233–41. Paris: Société Française de Musicologie, 1997. Compares three versions of the finale of the Violin Concerto No. 3 in B minor, Op. 61(1880). The earlier versions, for violin and piano, were called Caprice Brillant (1859) and Allegro de Concert (1913). Lazare Saminsky (1882–1959) 1094. Goldsmith, Barry D. “A Style Analysis of the Piano Compositions and Two Works for Violin and Piano by Lazare Saminsky.” D.M.A. diss., Peabody Institute of the Johns Hopkins University, 1987. 197pp.

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A life and works treatment of the Russian-born composer, conductor, and scholar; includes stylistic analyses of the Hebrew Rhapsody for Violin and Piano and the Chasidic Suite for Violin and Piano. Pablo de Sarasate (1844–1908) See {650}, {1583–88}. Johann Heinrich Schmelzer (1620–23–1680) See {1}, {2}, {443}, {471}, {561}, {564}, {669}, {671}, {873}. Alfred Schnittke (1934–98) 1095. Hansberger, Joachim. “Alfred Schnittke’s Kadenz zum ersten Satz des Violinkonzertes von Ludwig von Beethoven.” Zeitschrift für Musikpädagogik 10, no. 29 (1985): 28–40. Discusses Schnittke’s unconventional 1974 cadenza to Beethoven’s Violin Concerto, which not only develops themes from Beethoven Concerto, but also quotes from the violin concertos of Brahms and Berg as well as other works by Beethoven. Mus. exx. 1096. Smirnov, Dmitri. “Marginalia quasi una Fantasia: On the Second Violin Sonata by Alfred Schnittke.” Tempo, no. 220 (April 2002): 2–10. An analysis of the Sonata No. 2 (1968). The first part of the article reprints and comments on various writings on the work; the second part provides the author’s own analysis of the work as “a free rhapsodic form with features of sonata-rondo” (10). Also discusses Schnittke’s use of the BACH (B-flat–A–C–B) motive in the work. Mus. exx. 1097. Chen, Ting-Lan. “The Development of Alfred Schnittke’s Polystylism as Seen in His Three Violin Sonatas.” D.M.A. diss., University of Cincinnati, 2003. 126pp. Explores polystylism—“the juxtaposition of heterogeneous styles in a single composition” (4)—in Schnittke’s three violin sonatas (1963, 1968, and 1994), which represent the three periods of the composer’s career. Three introductory chapters explore postmodernism and polystylism in music generally and Schnittke’s music specifically, before each sonata is analyzed in turn. Mus. exx., bib.

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Arnold Schoenberg (1874–1951) Violin Concerto, Op. 36 (1936) See also {460}, {665}. 1098. Hall, Anne Carothers. “A Comparison of Manuscript and Printed Score of Schoenberg’s Violin Concerto.” Perspectives of New Music 14 (Autumn–Winter 1975): 182–96. Examines inconsistencies in Schoenberg’s use of serial procedures in the Violin Concerto; sets out to determine which were intentional and which were caused by error by comparing the printed score with several manuscripts of the work. Finds that 46 of 65 serially inconsistent notes in the printed score are mistakes; examines other inconsistencies as well. Includes many musical examples and three tables identifying problematic pitches. 1099. Mead, Andrew W. “Set Structure and Extended Form.” Ph.D. diss., Princeton University, 1981. iv, 114pp. Seeks to demonstrate how Schoenberg’s use of pitch sets in the 12-tone method generates large-scale form in the Wind Quintet, Op. 26, and the Violin Concerto, Op. 36. Challenges the criticism leveled at Schoenberg that his large-scale forms are “superficial imitations of the forms of tonal music” (108). The first movement of the Concerto is analyzed in great detail in pp. 73–107. Mus. exx., charts. 1100. Watrous, John. “Harmonic and Transpositional Logic in the First Movement of the Schoenberg Violin Concerto.” Ph.D. diss., Brandeis University, 1986. 152pp. Explains the harmonic unity Schoenberg achieves in the opening movement of the Concerto, particularly through the transposition of subsets of the 12-tone row. Often highly technical; numerous charts and musical examples. 1101. Pfau, Marianne Richert. “The Potential and the Actual: Process Philosophy and Arnold Schoenberg’s Violin Concerto, Op. 36.” Theory and Practice 14/15 (1989–90): 123–37. Applies four fundamental concepts (Process, Relation, Creativity, and Novelty) from the philosophy of Alfred North Whitehead to an understanding of Schoenberg’s Violin Concerto. From this perspective, each row contains an inherent potential (connected to Schoenberg’s Grundgestalt) that undergoes a creative process, or method, until achieving novelty in its actuality as a piece.

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1102. Earle, Ben. “Taste, Power, and Trying to Understand Op. 36: British Attempts to Popularize Schoenberg.” Music and Letters 84 (2003): 608–43. Discusses the “proselytizing activity” of the British musical establishment on behalf of the music of Arnold Schoenberg, taking the Violin Concerto as a case study. Examines the Concerto itself and various apologias for it, in the process offering a critque of the ideology behind the (failed) efforts to popularize Schoenberg. Phantasy for Violin and Piano, Op. 47 (1949) See also {462}, {671}. 1103. Lewin, David. “A Study of Hexachord Levels in Schoenberg’s Violin Fantasy.” Perspectives of New Music 6 (Fall–Winter 1967): 18–32. Reveals how Schoenberg’s manipulation of hexachords (a six-pitch collection—half of a row in 12-tone music) helps delineate a three-part structure in the Fantasy; notes and speculates on the reasons for discrepancies between the structure suggested by the hexachords and formal cues arising from use of texture, tempo, and thematic material. 1104. Raab, Claus. “‘Fantasia quasi una sonata’: Zu Schönbergs ‘Phantasy’ for Violin with Piano Accompaniment Op. 47.” Melos/Neue Zeitschrift für Musik 2 (May–June 1976): 191–96. Analyzes the Phantasy in terms of form and motive; sees the work as dividing into a four-section sonata-like structure. Includes a set of musical examples showing the “metamorphoses” of motives from the work’s opening. 1105. Friedman, Michael L. “A Methodology for the Discussion of Contour: Its Application to Schoenberg’s Music.” Journal of Music Theory 29 (Fall 1985): 223–48. Analyzes contour relationships in several Schoenberg works, most significantly the Phantasy for Violin and Piano, Op. 47, using analytic tools such as Contour Adjacency Series (CAS), which “describes a series of moves between pitches,” and Contour Class (CC), which “describes the position of pitches relative to one another.” Concludes that Schoenberg uses contour as a means to convey both expressive and structural associations. Includes a glossary of technical terms, numerous diagrams, and musical examples. Franz Schubert (1797–1828) Violin Concerto (Konzertstück) in D Major, D. 345 (1816), Rondo for Violin and Strings, D. 438 (1816); Violin Sonatas in D Major, D. 384

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(1816), A Minor, D. 385 (1816), G Minor, D. 408 (1816), A Major, D. 574 (1817), Fantasy in C Major, D. 934 (1827), and other shorter works. See also {457}, {671}, {963}, {1620}. 1106. Chusid, Martin. “The Chamber Music of Schubert.” Ph.D. diss., University of California, Berkeley, 1961. xv, 425pp. Includes analyses of the sonatas for violin and piano in A Minor, D. 385 (134–43), A Major, D. 574 (187–95 and 354–58), and D Major, D. 384 (344–46). Mus. exx. 1107. Norden, James Clarence. “A Comprehensive Performance Project in the Performance of Piano Chamber Music with an Essay on Franz Schubert’s Sonata in D major for Piano and Violin, D. 384, A Text-Critical Study.” D.M.A. diss., University of Iowa, 1976. 131pp. Compares the textual variations among the manuscript, the first edition, and a selection of later editions of the Sonata (composed in 1816) published between 1886 and 1973. After an introductory chapter on the historical background of the Sonata, chapters are devoted to a discussion of variations in pitch and rhythm, articulation, and dynamics. Concludes that the Henle edition is the most faithful to the manuscript. Includes a photocopy of the first edition of the Sonata and an excerpt from Martin Chusid’s dissertation on Schubert’s chamber music that discusses the Sonata {1106}. Mus. exx., bib. 1108. Schwarz, Boris. “Die Violinbehandlung bei Schubert.” In Zur Aufführungspraxis der Werke Franz Schuberts, ed. Roswitha Karpf, 87–96. Munich: Katzbichler, 1981. Discusses Schubert’s writing for the violin. Considers Schubert’s own experience with the instrument, the frequently unidiomatic technical demands of his works for violin, and the often negative reception of these works since the time of their composition. Mus. exx. 1109. Hilmar, Ernst. “Überlegungen zu Schuberts Violinkonzert D 345.” Schubert durch die Brille no. 5, (June 1990): 57–59. A brief discussion of Schubert’s Concerto (Konzertstück) in D and its sources. 1110. Sly, Gordon. “The Architecture of Key and Motive in a Schubert Sonata.” Integral 9 (1995): 67–89. Explores the relationship between key and motive in Schubert’s G minor Violin Sonata, D. 408.

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1111. Dürr, Walther and Andreas Krause, eds. Schubert Handbuch. Kassel: Bärenreiter, 1997. xxii, 684pp. A general guide to the life, times, and music of Franz Schubert. Includes brief historical and analytical entries on the violin works: Sonatas, D. 384, 385, 408, 574 (pp. 473–77), Rondo D. 895 (499), Fantasie D. 934 (500–501), and the Violin Concerto (Konzertstück) in D, D. 345 (544–45). 1112. McCreless, Patrick. “A Candidate for the Canon? A New Look at Schubert’s Fantasie in C Major for Violin and Piano.” Ninteenth-Century Music 20 (Spring 1997): 205–30. Reassesses the place of the Fantasie, usually dismissed as a weak work, in Schubert’s oeuvre. Reviews the work’s reception history and, based on a close analysis, suggests that the work is more structurally unified than is appreciated. Mus. exx. 1113. Tremblay, Christian. “Conflicting Elements of Style and Genre in Franz Schubert’s Fantasy for Violin and Piano, D. 934.” D.M.A. diss., Peabody Conservatory, 2004. 62pp. Examines issues of genre, form, and style in the Fantasy; identifies conflicts within the work itself between private and public music, fantasy and Lied, and virtuosity and profundity, conflicts that reflect the changing musical and cultural life of early-19th-century Vienna and help to explain the work’s negative reception since its premiere. Mus. exx., bib. Erwin Schulhoff (1860–1942) 1114. Cole, Scott. “Ervin Schulhoff: His Life and Violin Works.” D.M.A. diss., Florida State University, 2001. xi, 171pp. In two main parts: the first, a biography of the Czech composer who died at the hands of the Nazis in the Wülzburg internment camp, the second a study of the Suite for Violin and Piano No. 1 (1911), the Sonata No. 1 for Violin and Piano (1913), the Duo for Violin and Cello (1925), and the Sonata for Solo Violin (1927). Includes musical examples, a bibliography, discography, and an edition of the previously unpublished Suite No. 1 for Violin and Piano. Robert Schumann (1810–56) Violin Concerto in D Minor (1853); Phantasie for violin and orchestra (1853); Violin Sonatas No. 1 in A Minor, Op. 105 (1851), No. 2 in D Minor, Op. 121 (1851), No. 3 in A Minor (1853); “F-A-E” sonata movement (1853).

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See also {615}, {656}, {665}, {669}, {671}, {735}, {754}, {890}, {902}, {954}, {963}, {1271}, {1272}. 1115. “Joachim’s Judgment of Schumann’s Violin Concerto.” Violinist 13 (September 1912): 14. Translates Joseph Joachim’s 1898 letter to Andreas Moser giving his negative assessment of Schumann’s Violin Concerto. 1116. Neighbor, Oliver Wray. “Schumanns dritte Violinsonate.” Neue Zeitschrift für Musikwissenschaft 117 (1956): 423–25. Briefly discusses Schumann’s newly published Violin Sonata No. 3, which began life as two movements contributed to the “F-A-E” Sonata, collectively composed by Schumann, Brahms, and Albert Dietrich for Joseph Joachim. Schumann then added two movements to make a complete sonata. 1117. Melkus, Eduard. “Eine vollständige 3. Violinsonate Schumanns.” Neue Zeitschrift für Musikwissenschaft 121 (1960): 190–95. Chronicles the history of Schumann’s Violin Sonata No. 3. 1118. Kohlhase, Hans. Die Kammermusik Robert Schumanns: Stilistische Untersuchungen. 3 vols. Hamburg: Karl Dieter Wagner, 1979. xi, 249pp.; 224pp.; 112pp. A massive study of Schumann’s chamber music. Includes analyses of the two violin sonatas, Op. 105 and Op. 121, and the sonata movement Schumann contributed to the “F-A-E” sonata (with movements also composed by Dietrich and Brahms). Provides information on the compositional history of the works, manuscripts, and particularly form. Mus. exx., bib. 1119. Kapp, Reinhard. Studien zum Spätwerk Robert Schumanns. Tutzing: Schneider, 1984. viii, 303pp. Discusses the Violin Sonatas in A and D minor, the sonata movement Schumann contributed to the “F-A-E” Sonata, the Phantasie for Violin and, most thoroughly, the Violin Concerto. Mus. exx., bib. 1120. Struck, Michael. Die umstrittenen späten Intstrumentalwerke Schumanns. Hamburg: Wagner, 1987. 751pp. A comprehensive study of Schumann’s late works. Includes chapters on the Phantasie, the Violin Concerto, and the Violin Sonata No. 3, providing historical discussion and detailed analyses of each work. The chapter on the Concerto is particularly extensive, and includes 35 pages of source documents, from letters by the composer to entire articles on the Concerto reproduced in facsimile. Mus. exx., bib.

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1121. Struck, Michael. Schumann: Violinkonzert d-Moll. Munich: Fink, 1988. 92pp. A broad guide to the Concerto. Explains the compositional and reception history of the Concerto, discusses the place of the work within the concerto tradition, and offers a detailed movement-by-movement analysis. A final chapter excerpts various documents related to the Concerto, including letters and writings by Schumann, his wife Clara, and the violinists Joseph Joachim and Yehudi Menuhin. Mus. exx. 1122. Bak, Cho-Yeon. “An Eclectic Analysis and Performance Guide of Robert Schumann’s First Two Violin Sonatas, Opus 105 in A and Opus 121 in D.” Ph.D. diss., New York University, 2000. 315pp. Examines Schumann’s sonatas from historical, analytical, and performance perspectives. Mus. exx., bib. Jean-Baptiste Senaillé (1688–1730) See {468}, {697}, {699}, {702}. Roger Sessions (1896–1985) See also {665}, {676}, {677}. 1123. Carter, Elliott. “Current Chronicle: New York, 1959.” In The Writings of Elliott Carter: An American Composer Looks at Modern Music, ed. Else Stone and Kurt Stone, 166–73. Bloomington and London: Indiana University Press, 1977. An appreciation and analysis of Roger Sessions’s Violin Concerto (1931–35), with particular emphasis on motivic relationships and general musical continuity. First published in 1959 and also reprinted in Elliott Carter: Collected Essays and Lectures, 1937–1995, ed. Jonathan W. Bernard (Rochester, NY: University of Rochester Press, 1997), 175–80. Dmitri Shostakovich (1906–75) See {665}, {1436}, {1499}, {1500}. Jean Sibelius (1865–1957) Violin Concerto in D Minor, Op. 47 (1904, rev. 1905) See also {655}, {665}, {1658}.

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1124. Haapakoski, Martti. “The Concerto that Holds a Record: The Sibelius Violin Concerto on Disc.” Finnish Musical Quarterly, nos. 3–4 (1990): 32–35. Discography; lists recordings made between 1935 and 1991, with a short recording history of the work. 1125. Lindgren, Minna. “I’ve Got Some Lovely Themes for a Violin Concert.” Finnish Musical Quarterly, nos. 3–4 (1990): 24–31. Recounts the compositional and reception history of the Concerto, including a comparison of the original and revised versions of the work. 1126. Mäkelä, Tomi. “Jean Sibelius Violin Concerto and Its Dramatic Virtuosity: A Comparative Study of Intratextural Interaction.” In Proceedings of the First International Jean Sibelius Conference, Helsinki 1990, ed. Eero Tarasti, 118–33. Helsinki: Sibelius Academy, 1995. Compares the Sibelius’s concerto with those by Johannes Brahms, Max Bruch (no. 1), Felix Mendelssohn, and Pytor Ilich Tchaikovsky in order “to illustrate the individuality of the [Sibelius] Violin Concerto in relation to the tradition of the genre” and to “counter the widespread skepticism towards Sibelius’s music” (118). Mus. exx. 1127. Salmenhaara, Erkki. Jean Sibelius: Violin Concerto. Wilhelmshaven: Noetzel, 1996. 66pp. A guide to the Violin Concerto. Chapters are devoted to Sibelius’s background as a violinist, the compositional history and first performance of the work, the 1905 revision, an analysis of the work, its performance history, and matters of style and genre. An appendix reprints various brief writings on the work. Mus. exx., bib. For a briefer treatment of the Concerto by the same author see “The Violin Concerto,” in The Sibelius Companion, ed. Glenda Dawn Goss (Westport, CT: Greenwood, 1996), 103–19. 1128. Hornig, Norbert. “Nordische Rhapsodie: das Violinkonzert d-Moll von Jean Sibelius—eine vergleichende Diskographie.” Fono Forum (January 1997): 38–43. Surveys recordings of the Concerto made since 1935 and provides a discography. 1129. Tiilikainen, Jukka. “The Genesis of the Violin Concerto.” In The Cambridge Companion to Sibelius, ed. Daniel M. Grimley, 66–80. Cambridge: Cambridge University Press, 2004. Reviews the compositional history of the Violin Concerto; examines sketches, discusses the revisions, and assesses the role of the violinist Willy Burmester in the work’s genesis. Mus. exx.

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Charles-Joseph-Balthazar Sohier (1728–59) See {697}, {700}. Giovanni Battista Somis (1686–1763) See also {1208}, {1253}, {1561}. 1130. Burdette, Glenn Eric. “The Violin Sonatas of Giovanni Battista Somis (1686–1763). Ph.D. diss., University of Cincinnati, 1993. 318pp. A study of the violin sonatas, which spanned Somis’s career (the first appeared c. 1717, the last 1750) and demonstrate the evolution of his style as he moved beyond the influence of Corelli (with whom he studied at a young age) toward a more French gallant idiom. Includes an edition of Somis’s Op. 3. Mus. exx., bib. Louis Spohr (1784–1859) See also {482}, {523}, {604}, {608}, {615}, {655}, {656}, {1622–24}. 1131. Sturm, Jonathan Andrew. “The Evolution of a Dramatic Compositional Style in the Violin Concertos of Louis Spohr.” Ph.D. diss., Indiana University, 1995. 176pp. Traces the development of Spohr’s opera-influenced compositional style over his 15 violin concertos (1802–16). Analyzes the first (and sometimes second) movements of each of the concertos, with particular attention to melody, harmony, cadenza, and the use of instrumental recitative. Mus. exx., bib. Charles Villiers Stanford (1852–1924) 1132. Portnoy, Donald Charles. “The Violin Literature of Sir Charles Villiers Stanford (1852–1924).” D.M.A. diss., Peabody Conservatory, 1972. iii, 197pp. A study of the English composer’s works for violin, which span his career and include a concerto, a sonata, a suite, and several character pieces. Mus. exx., bib. William Grant Still (1895–1978) 1133. Kaufman, Louis and Annette Kaufman. “The Violin Music of William Grant Still.” In William Grant Still and the Fusion of Cultures in American Music, ed. Robert Bartlett Haas, 69–72. Los Angeles: Black Sparrow, 1972. Briefly discusses Still’s music for violin—the arrangement of “Blues” from the Lenox Avenue Suite, the Suite for Violin and Piano, and Pastorela,

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among others—much of which was written at the encouragement of the authors, a violin-piano duo. 1134. Huang, Rachel Vetta. “The Suite for Violin and Piano: William Grant Still and the Harlem Renaissance.” Journal of the Violin Society of America 14, no. 3 (1996): 183–95. Explores the cultural context of Still’s Suite, whose three movements are based on African-American works of art (photographs of which are provided). Richard Strauss (1864–1949) See {656}, {671}, {1228}. Igor Stravinsky (1882–1971) General See also {365}, {462}, {671}, {690}, {691}. 1135. Dushkin, Samuel. “Working with Stravinsky.” In Igor Stravinsky, ed. Edwin Corle, 179–92. New York: Duell, Sloan & Pearce, 1949. The author, a concert violinist, recounts his role as adviser to Stravinsky in the composition of the Violin Concerto, and to a lesser extent, the Duo Concertant. 1136. Schwarz, Boris. “Stravinsky, Dushkin, and the Violin.” In Confronting Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler, 302–9. Berkeley: University of California Press, 1986. Chronicles Stravinsky’s working relationship with Samuel Dushkin and discusses Stravinsky’s ideal violin sound (“lean”) and frequent dissatisfaction with how violinists (other than Duskin) performed his works. Violin Concerto (1931) See also {665}, {771}. 1137. Strobel, Heinrich. “Strawinskys Violinkonzert.” Melos 10 (November 1931): 377–79. Provides a brief discussion of Stravinsky’s new concerto, which violinist Samuel Dushkin premiered in October of that year. See also the author’s later article, “Strawinskys Violinkonzert” Melos 15 (1948): 271–76. 1138. Rogers, Lynne. “Stravinsky’s Break with Contrapuntal Tradition: A Sketch Study.” Journal of Musicology 13 (Autumn 1995): 476–506.

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Explores Stravinsky’s innovative use of “dissociation”—an approach to counterpoint that superimposes distinctive, harmonically independent layers—in the first movement (Toccata) of the Violin Concerto. Discusses how dissociation affects shape, structure, continuity, and form in the piece, and examines sketches of the Concerto to demonstrate the deliberate use of dissociation. Includes facsimiles of the sketches and musical examples. 1139. Rogers, Lynne. “Rethinking Form: Stravinsky’s Eleventh-Hour Revision of the Third Movement of his Violin Concerto.” Journal of Musicology 17 (Spring 1999): 272–303. Examines a substantially new passage inserted in the third movement, Aria II, of the Violin Concerto; discusses two primary reasons for the change— “to incorporate sharper contrast” and to “enhance motivic content and connection” (272). Charts, mus. exx. Allbrando Subissati (1606–77) 1140. Peretti, Paolo. “Le sonate per violino e basso continuo di Allbrando Subissati ‘sonator famosissimo’ (Fossombrone 1606–1677).” Recercare 9 (1997): 19–48. Discusses the life and work of the Italian composer whose only extant work is an unpublished set of sonatas for violin and continuo (c. 1630–1660). Numerous musical examples and facsimiles. Summary in English. Karol Szymanowski (1882–1937) See also {462}. 1141. Lantz, Lisa Elizabeth. “The Violin Music of Karol Szymanowski: A Review of the Repertoire and Stylistic Features.” D.M.A. diss., Ohio State University, 1994. vi, 123pp. Provides an analytical and historical survey of Szymanowski’s violin music. The works span the composer’s career, which is divided into three stylistic periods. During his early, post-Romantic period, he composed the Violin Sonata, Op. 9 (1904) and the Romance for violin and piano, Op. 23 (1910); in his Impressionistic period came the Nocturne and Tarantella, Op. 28 and the Myths, Op. 30, both written in 1915 and both for violin and piano, the Violin Concerto No. 1, Op. 35 (1916) and the Three Paganini Caprices, Op. 40 (1918); his final, nationalistic phase saw the composition of Le berceuse d’Aïtacho Enia, Op. 52 for violin and piano (1925) and the Violin Concerto No. 2, Op. 61 (1933). Includes musical examples, a discography, and a bibliography.

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1142. Wightman, Alistair. Szymanowski: A Life and Works. Aldershot, England: Ashgate, 2000. xii, 492pp. Includes discussion of various works for violin, including the two violin concertos and the shorter works for violin and piano. Mus. exx., bib. Toru Takemitsu (1930–96) 1143. Zeng, Miyako Tadokoro. “The Works for Violin and Piano by Toru Takemitsu: A Cultural and Stylistic Perspective.” D.M.A. diss., University of Southern Mississippi, 1998. 148pp. Examines the Japanese composer’s three works for violin and piano— Distance de Fée (1951), Hika (1966), and From Far Beyond Chrysanthemums and November Fog (1983)—from stylistic, historical, and cultural perspectives. The first two chapters consider both the history of Japanese music and the development of Takemitsu’s compositional style, particularly in terms of the influence of both Japanese and Western music. The remaining chapters analyze the three works. Mus. exx., disc., bib. Giuseppe Tartini (1692–1770) See {563}, {565}, {592–95}, {923}, {1640–45}. Violin Concertos See also {405}, {663}, {681}, {1009}, {1561}. 1144. Dounias, Minos. Die Violinkonzerte Giuseppe Tartinis als Ausdruck einer Künstlerpersönlichkeit und einer Kulturepoche. Wolfenbüttel: Kallmeyer, 1935. 307pp. R. Wolfenbüttel, Zurich: Möseler, 1966. 307pp. A comprehensive study of Tartini’s violin concertos. Part I explores the development of the solo concerto in Italy before Tartini. Parts II, III, and IV examine the considerable changes in Tartini’s concerto writing over the course of his career, which the author divides into early (1721–35), middle (1735–50), and late (1750–70) periods. Includes many musical examples, a thematic catalog of 125 concertos, and a bibliography. This is an important work that is considered a classic in its field. Violin Sonatas See also {38}, {600}, {608}, {650}, {670}, {671}. 1145. Butler, Herbert. “Tartini’s G Minor Sonata.” Violinist 7 (October 1908): 11–14.

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Suggestions on the performance and interpretation of the “Devil’s Trill” sonata, based on the author’s study of the work with Joseph Joachim. This article was reprinted in the August 1909 issue of Violinist. 1146. Brainard, Paul. “Die Violinsonaten Giuseppe Tartinis.” Ph.D. diss., University of Göttingen, 1959. ii, 351pp. An important study of Tartini’s violin sonatas. Introductory chapters provide a review of the literature, a biographical sketch of Tartini, and a discussion of the dating and chronology of the sonatas. The main part of the dissertation is a detailed study of the development of Tartini’s sonata writing over the course of his career. Includes musical examples, a thematic index, and a bibliography. 1147. Brainard, Paul. “Tartini and the Sonata for Unaccompanied Violin.” Journal of the American Musicological Society 14 (Fall 1961): 383–93. Presents evidence that Tartini wrote several “small sonatas” (piccole sonate) that were intended for unaccompanied violin. Includes musical examples and facsimiles of the original manuscripts. 1148. Brainard, Paul. Le Sonate per violino di Giuseppe Tartini: Catalogo tematico. Milan: Carisch, 1975. 145pp. A thematic catalog of Tartini’s violin sonatas, arranged by key; incipits, dates of composition, and information on location of manuscripts and early editions is provided. 1149. Pavanello, Agnese. “Il Trillo del diavolo di Giuseppe Tartini nell’edizione di Jean Baptiste Cartier.” Recercare 11 (1999): 265–79. Discusses Jean Baptiste Cartier’s revisions of Tartini’s “Devil’s Trill Sonata,” which he made for its inclusion in his anthology L’art du violon (1798), and which reveal changing attitudes toward harmonic practices and performance style. Summary in English. Pytor Ilich Tchaikovsky (1840–93) Violin Concerto in D Major, Op. 35 (1878) See also {650}, {665}, {667}, {1126}, {1276}. 1150. Kerman, Joseph. Concerto Conversations. Cambridge: Harvard University Press, 1999. 175pp. A collection of lectures on the concerto genre. Includes a discussion of Tchaikovsky’s Violin Concerto (52–58) and suggests that it can be heard as a narrative in which the orchestra’s role is transformed from that of a slave or servant to that of a critic.

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1151. Knapp, Raymond. “Passing—and Failing—in Late-Nineteenth-Century Russia, or Why We Should Care About the Cuts in Tchaikovsky’s Violin Concerto.” 19th-Century Music 26 (Spring 2003): 195–234. Discusses the passages in the first and final movements of the Concerto that are traditionally cut in performance, and argues that their awkwardness and failure to conform to convention reflect Tchaikovsky’s personal struggle as a closeted homosexual. Mus. exx. Georg Philipp Telemann (1681–1767) See also {671}, {679}, {1554}. 1152. Hirschmann, Wolfgang. Studien zum Konzertschaffen von Georg Philipp Telemann. Kassel: Bärenreiter, 1986. 251pp. Includes analyses of selected violin concertos. 1153. Swack, Jeanne. “The Solo Sonatas of Georg Philipp Telemann: A Study of the Sources and Musical Style.” Ph.D. diss., Yale University, 1988. xi, 322pp. Examines Telemann’s multimovement works for solo instrument and basso continuo, including many violin sonatas. Discusses the sonatas in terms of models, national styles, technique, and genre. Addresses issues of chronology and authenticity (for example, the author concludes that the set of violin sonatas published in London by John Walsh in 1725 and labeled as Telemann’s “Opera Seconda” are not in fact by Telemann). For a later article by the author on this last issue, see “John Walsh’s Publications of Telemann’s Sonatas and the Authenticity of ‘Op. 2’” Journal of the Royal Musical Association 118 (1993): 223–45. Mus. exx., bib. Giuseppe Torelli (1658–1709) See also {707}. 1154. Giegling, Franz. Giuseppe Torelli: Ein Beitrag zur Entwicklungsgeschichte des italienischen Konzerts. Kassel: Bärenreiter, 1949. 88pp. A study of the development of the Italian concerto as seen in the works of Torelli. Giegling discusses the form of Torelli’s sonatas, sinfonias, and concertos (and provides reproductions of the titles and dedications for several works). The author’s discussion includes reference not only to the published works but also to the extensive collection of Torelli manuscripts in the archive of San Petronio of which a comprehensive catalog is also provided.

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Joan Tower (b. 1938) 1155. Crawford, Heather A. “Joan Tower’s Violin Concerto: An Organic Approach to Composition.” D.M.A. diss., University of Texas, 2002. xii, 90pp. A study of the Violin Concerto (1992) by the American composer Joan Tower. Demonstrates that the entire Concerto develops from material presented in the first 15 measures, and thus represents the composer’s “organic compositional style” (2). The first two chapters focus on Tower’s biography and compositional styles; the final chapter presents an analysis of the Concerto. Includes a transcript of an interview with Tower conducted by the author. Mus. exx., bib. Marco Uccelini (1603–80) See {1}, {2}, {448}, {669}, {706}, {707}. Pierre Vachon (1738–1803) See {697}, {700}. Johann Baptist Vanhal (1739–1813) See {686}, {1307}. Francesco Maria Veracini (1690–1768) See also {534}, {670}, {671}, {688}, {707}, {1041}, {1207}, {1208}, {1213}. 1156. Ferrell, John R. “Twelve Sonatas for Violin and Continuo by Francesco Maria Veracini.” Ph.D diss., University of Rochester, 1959. Unavailable for examination. 1157. Clarke, Mary Gray. “The Violin Sonatas of F. M. Veracini: Some Aspects of Italian Late Baroque Instrumental Style Exemplified.” Ph.D. diss., University of North Carolina at Chapel Hill, 1967. 601pp. Offers a throrough study of Veracini’s violin sonatas (1716–44). The first chapter deals with Veracini’s life, with the following six chapters providing a systematic investigation into the rhythmic, tonal, harmonic, melodic, and formal aspects aspects of the sonatas. Chapter 8 considers the Dissertazioni sopra l’Opera Quinta del Corelli, Veracini’s reworkings of Corelli’s Op. 5 sonatas. Four appendices provide a chronology of Veracini’s life, and information on the composer’s use of intervals, forms, and “accent-producing devices.” Tables, bibliography, and 187 musical examples.

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1158. Salvetti, Guido. “Le Sonate Accademiche di Francesco Veracini.” Chigana 25 (1968): 127–41. Discusses polyphony, form, harmony, thematic material, and style in Veracini’s Op. 2 sonatas for violin and continuo (c. 1744). 1159. White, Mary Gray. “F. M. Veracini’s ‘Dissertazioni sopra l’Opera Quinta del Corelli.” Music Review 32 (1971): 1–26. Discusses Veracini’s reworkings of Corelli’s Op. 5 sonatas. Using numerous musical examples, compares the “Dissertazioni” with the originals in terms of rhythm and meter, harmony, melody, and form. This author is likely the same as the Mary Gray Clarke of {1157}. 1160. Ricci, Franco Carlo. Note sull’opera violinistica di Francesco Maria Veracini. Rome: Bulzoni, 1973. 104pp. A historical and analytical study of Veracini’s violin music. Chapters are devoted to the Dissertazioni sopra l’Opera Quinta del Corelli (Veracini’s reworkings of Corelli’s Op. 5 sonatas), the sonatas for violin and bass from 1716, the sonatas for violin and bass Op. 1 (1721), and the Sonate Accademiche, Op. 2 (c. 1744). Mus. exx., bib. 1161. Hill, John Walter. The Life and Works of Francesco Maria Veracini. Ann Arbor: UMI Research Press, 1979. xi, 540pp. A thoroughly researched treatment of the violinist and composer that the author describes as the first “complete biography of Veracini based on manuscript documents” (ix). Part One covers the life of the composer, with an initial chapter on his ancestors. The bulk of the book, Part Two, consists of 11 chapters on the composer’s music, including chapters on his sets of violin sonatas. A 99-page appendix provides the musical and textual incipits of the composer’s works; the notes, bibliography, and index are equally extensive. Many musical examples. Henry Vieuxtemps (1820–81) See also {615}, {650}, {657}, {698}, {808}, {869}, {1664–70}. 1162. Leong, Aloysius T. “The First Five Violin Concertos of Henri Vieuxtemps: Style, Structure, Influence and Performance Practice.” D.M.A diss., University of Connecticut, 2000. iii, 190pp. An analytical and stylistic study of Vieuxtemps’s first five violin concertos, which he composed between 1840 and 1861. (He wrote two other concertos that are not considered here.) Chapter 1 provides a sketch of Vieuxtemps’s life and career. Chapter 2 explores the genesis of the concertos and their place within Vieutemps’s work. Chapter 3 examines

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left- and right-hand techniques across the five concertos. Chapter 4 presents a detailed analysis of the Concerto No. 4, generally agreed to be the greatest of the concertos. A final chapter compares Vieuxtemps’s writing for violin with that of Beethoven, Mendelssohn, Paganini, Spohr, and Viotti. Mus. ex., bib. Heitor Villa-Lobos (1887–1959) See {685}, {709}. Giovanni Battista Viotti (1755–1824) See also {39}, {405}, {470}, {615}, {793}, {608}, {663}, {666}, {696}, {698}, {701}, {793}, {882}, {1162}, {1671–76}. 1163. White, Chappell. “Giovanni Baptista Viotti and His Violin Concertos.” 2 vols. Ph.D. diss., Princeton University, 1957. 226pp.; 113pp. Explores the place of Viotti in late-18th-century musical life, assigning him a significant role as both performer and composer. Discusses and analyzes Viotti’s 29 violin concertos in terms of form, style, models, and influence. The second volume is an appendix of musical examples. 1164. Schwarz, Boris. “Problems of Chronology in the Works of Viotti.” In International Musicological Society, Report of the Eleventh Congress Copenhagen 1972, ed. Henrik Glahn et al., 644–47. Copenhagen: Hansen, 1974. Addresses errors in dating works by Viotti, often caused by the long delay between the composition and publication of many of his works. Argues that many of his violin concertos were composed earlier than had previously been thought, suggesting that he was more of a pioneer than an imitator in the history of the violin concerto. 1165. Schwarz, Boris. “Viotti—eine Neubewertung seiner Werke.” In Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz, 41–46. Vienna: Universal Edition, 1975. Considers Viotti’s place in music history. Asserts that he had a crucial (and now underappreciated) role as a link between the Classical and Romantic eras and as an important influence on the work of later violinists and composers, Beethoven and Brahms being two examples of the latter. 1166. White, Chappell. Giovanni Battista Viotti: A Thematic Catalog of his Works. New York: Pendragon, 1985. xix, 175pp. Catalogs Viotti’s works, including his 29 violin concertos and his many violin sonatas and duets. Entries provide a catalog number, a listing of

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manuscripts and editions, and incipits. Includes a bibliography, a concordance of opus numbers, and information on Viotti’s publishers. 1167. Schmid, Manfred Hermann. “Ein Violinkonzert von Viotti als Herausforderung für Mozart und Haydn.” Mozart Studien 5 (1995): 149–71. Suggests that Viotti’s concerto No. 16 in E minor (c. 1789–90) influenced Mozart’s thinking about slow introductions and may have inspired the fanfare introduction of Haydn’s Symphony No. 104 (1795). Tomaso Antonio Vitali (1663–1745) See also {650}, {707}. 1168. Rinaldi, Mario. “Sull’autenticità della ‘Ciaccona’ di Tommaso Antonio Vitali.” La Rassegna Musicale 24 (1954): 129–34. Disputes the attribution of the famous G minor Chaconne for violin and continuo to Vitali; traces the misattribution to violinist Ferdinand David, who brought the work to light. 1169. Reich, Wolfgang. “Sein oder nicht sein? Nochmals zur ‘Chaconne von Vitali.’” Musikforschung 23 (1970): 39–41. Rejects the attribution of the Chaconne in G minor to Vitali based on stylistic grounds; suggests it be called the “Dresden Chaconne,” after the location of its manuscript. On the same subject, see the author’s earlier article, “Die Chaconne g-Moll: von Vitali?,” Beiträge zur Musikwissenschaft 7 (1965): 149–52. Antonio Vivaldi (1678–1741) See also {1}, {2}, {600}, {650}, {652}, {663}, {671}, {681}, {688}, {706}, {717}, {725}, {1047}, {1207}, {1208}, {1213}, {1414}, {1422}, {1544}, {1561}, {1677}. 1170. Pincherle, Marc. Antonio Vivaldi et la musique instrumentale. 2 vols. Paris: Floury, 1948. 318pp.; vi, 75pp. R. New York: Johnson Reprint, 1968. 318pp.; vi, 75pp. A pioneering and influential study of Vivaldi’s instrumental work, particularly of his violin concertos. Includes chapters on his life and influence. Volume 2 is a thematic index. The reprint edition publishes the two volumes as one. Mus. exx. See also the author’s broader study, which includes a chapter on the life and career of the violinist-composer, Vivaldi (Paris: Le Bon Plaisir, 1955). E. Vivaldi: Genius of the Baroque, trans. Christopher Hatch (New York: Norton, 1957).

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1171. Kolneder, Walter. Aufführungspraxis bei Vivaldi. Leipzig: Breitkopf & Härtel, 1955. 122pp. E. Performance Practices in Vivaldi. Trans. Anne de Dadelsen. Winterthur: Amadeus, 1979. 88pp. Considers issues of performance practice in Vivaldi’s instrumental music, particularly concerning dynamics, articulation, tempo, ornamentation, and cadenzas. Draws on a cache of manuscripts of hundreds of Vivaldi’s works for evidence. Although not limited to the violin, much of the discussion surrounds violin music and practice. Mus. exx. 1172. Rarig, Howard Raymond, Jr. “The Instrumental Sonatas of Antonio Vivaldi.” Ph.D. diss., University of Michigan, 1958. 455pp. An early comprehensive study of Vivaldi’s sonatas, including his violin sonatas. Some works attributed to Vivaldi, however, have since been shown to be by other composers. Mus. exx., bib. 1173. Kolneder, Walter. Die Solokonzertform bei Vivaldi. Strasbourg and BadenBaden: Heitz, 1961. 86pp. Analyzes Vivaldi’s use of ritornello forms in his concertos. Mus. exx. 1174. Kolneder, Walter. Antonio Vivaldi. Wiesbaden: Breitkopf & Härtel, 1965. 296pp. E. Antonio Vivaldi: His Life and Work. Trans. Bill Hopkins. Berkeley: University of California Press; London: Faber and Faber, 1970. x, 288pp. A well-regarded life-and-works treatment of the violinist-composer with more emphasis on the works than the life. Includes discussion of the violin sonatas and concertos. Mus. exx., bib. 1175. Martin, Arlan Stone. Vivaldi Violin Concertos: A Handbook. Metuchen, NJ: Scarecrow, 1972. 278pp. Lists 238 violin concertos by Vivaldi, providing incipits and publication information; acts as a concordance of four different indexing systems— those by Fanna, Ricordi, Pincherle, and Rinaldi. Includes a discography and bibliography. 1176. Braun, Werner. Antonio Vivaldi: Concerti grossi, op. 8, Nr. 1–4. Die Jahrszeiten. Munich: Wilhelm Fink, 1975. 43pp. A historical and analytical guide to the Four Seasons; concerned particularly with form, harmony, and motive. 1177. Talbot, Michael. “Vivaldi’s ‘Manchester’ Sonatas.” Proceedings of the Royal Musical Association 104 (1977–78): 20–29. Describes the manuscript discovered in Manchester, England, by the author of 12 violin sonatas dating from the mid-1720s.

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1178. Ryom, Peter. Répertoire des oeuvres d’Antonio Vivaldi, vol. 1: Les Compositions Instrumentales. Copenhagen: Engstrøm & Sødring, 1986. lxiii, 726pp. An authoritative thematic catalog of Vivaldi’s instrumental works. Organized by ensemble (from compositions for one instrument and continuo to works for multiple instruments with two orchestras and continuo). Provides information on instrumentation, key, date, sources, and editions, with additional commentary by Ryom. The introduction is in French, German, and English, although the remainder of the book is in French. 1179. Bockmaier, Claus. Natur in der Musik. Tutzing: Schneider, 1992. xi, 379pp. The book in general considers the musical representation of nature in 18th-century vocal and instrumental works. Includes chapters on Vivaldi’s Four Seasons (110–27) and the Violin Concerto in Eb, Op. 8, no. 5 (90–109). 1180. Mamy, Sylvie. “‘Le Printemps’ d’Antonio Vivaldi revu et corrigé à Paris par Nicolas Chédeville, Michel Correte et Jean-Jacques Rousseau.” Informazioni e studi vivaldiani 13 (1992): 51–65. Considers the reception and circulation of the “Spring” concerto from the Four Seasons in 18th-century France, including three arrangements—for musettes and hurdy-gurdies, as a motet for large choir, and for transverse flute. English summary. 1181. Everett, Paul. Vivaldi: The Four Seasons and other Concertos, Op. 8. Cambridge: Cambridge University Press, 1996. xiv, 104pp. A scholarly guide to the 12 violin concertos, Op. 8 (c. 1725), which include the Four Seasons. Chapters explore the origin of the works, as well as issues of form, harmony, and expression. A final chapter focuses on the Four Seasons, providing formal and harmonic analyses, supplying the accompanying poems, and considering their connection with contemporaneous poems by John Milton. Includes musical examples and a select bibliography. 1182. Talbot, Michael. “A New Vivaldi Violin Sonata and Other Finds.” Informazioni e studi vivaldiani 20 (1999): 111–33. Reports on the discovery of (among other items) the manuscript of a previously unknown Vivaldi violin sonata (now cataloged as RV 798) in the Biblioteca Civica in Bergamo. Describes the manuscript and briefly analyzes the music; proposes a date of circa 1720. Summary in Italian.

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Johann Jakob Walther (c. 1650–1717) See {1}, {2}, {443}, {471}, {671}, {738}. William Walton (1902–83) See also {665}, {671}. 1183. Merrick, Frank. “Walton’s Concerto for Violin and Orchestra.” Music Review 2 (1941): 309–18. A movement-by-movement narrative analysis of the Concerto (1939, rev. 1943), which was written for Jascha Heifetz. 18 mus. exx. 1184. Murrill, Herbert. “Walton’s Violin Sonata.” Music and Letters 31 (July 1950): 208–15. A stylistic analysis of the Sonata (1949), with partcular attention given to the second and final movement, Variazioni. Discusses the Sonata in the context of Walton’s other works as well as the music of Edward Elgar and Maurice Ravel. Anton Webern (1883–1945) Four Pieces for Violin and Piano, Op. 7 (1910) See also {462}, {671}, {690}. 1185. Hanson, Robert. “Webern’s Chromatic Organisation.” Music Analysis 2 (July 1983): 135–49. Examines the various ways in which Webern organized pitch in his preserial atonal music. Discusses chromatic voice leading in several works, including the first of the Four Pieces for Violin and Piano, Op. 7 (pp. 140–44). 1186. Forte, Allen. “A Major Webern Revision and Its Implications for Analysis.” Perspectives of New Music 28 (Winter 1990): 224–55. Examines Webern’s three revisions of m. 19 in the Four Pieces for Violin and Piano, Op. 7, no. 2, linking the motivic material in the revisions to broader structural levels in the movement and the opus as a whole. 1187. Alpern, Wayne C. “Aggregation, Assassination, and an ‘Act of God’: The Impact of the Murder of Archduke Ferdinand upon Webern’s Op. 7, no. 3.” Theory and Practice 21 (1996): 1–28. Considers the third of Webern’s Four Pieces for Violin and Piano, Op. 7 and its later revision. Observes that the original version of the piece ends

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once all 12 chromatic pitch classes are stated (the revision does not), suggesting that the original anticipated Schoenberg’s 12-tone principle of aggregation. The publication of the piece, however, was delayed by World War I, leaving theorists to speculate on what might have been had it been published in 1914 as scheduled. 1188. Berger, Christian. “Atonalität und Tradition: Anton Webern’s ‘Vier Stücke für Geige und Klavier’ Op. 7.” Archiv für Musikwissenschaft 53 (1996): 183–93. Explores Webern’s use of chromaticism in Op. 7, no. 1, particularly in its connection with the chromaticism in Richard Wagner’s opera, Tristan und Isolde. Mus. exx. 1189. Meyer, Felix and Anne C. Shreffler. “Performance and Revision: The Early History of Webern’s Four Pieces for Violin and Piano, Op. 7.” In Webern Studies, 135–69. New York: Cambridge University Press, 1996. Examines and compares nine manuscript sources for the Op. 7 pieces, tracing changes made over a period of 12 years; also discusses newly discovered information about the early performances of the music. 1190. Forte, Allen. “The ‘Violin Pieces’: Four Pieces for Violin and Piano, Opus 7.” In The Atonal Music of Anton Webern, 119–56. New Haven and London: Yale University Press, 1998. Provides an extremely detailed analysis of each piece, utilizing pitch class and set class techniques. Includes many musical examples and some historical background. Johann Paul von Westhoff (1656–1705) See {1}, {2}, {443}, {471}, {738}, {760}. Henryk Wieniawski (1835–80) See also {650}, {869}, {1227}, {1681–84}. 1191. Jablonski, Maciej and Danuta Jasinska, eds. Henryk Wieniawski: Composer and Virtuoso in the Musical Culture of the XIX and XX Centuries. Poznan: Rhytmos, 2001. 334pp. The proceedings of a conference on Wieniawski’s life, music, and times. Articles in English and German address, among other topics, Polish musical culture, style and form in Wieniawski’s violin works, Wieniawski’s connections with Spohr, and the reception of the violinist’s music in

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France, Germany, and Poland. Includes a chronology of Wieniawski’s concert performances, and a valuable 280-item bibliography. Christian Wolff (b. 1934) 1192. Lovallo, Lee. “Incipient Pan-serialism in Wolff’s Duo for Violins.” In Theory Only 2 (April–May 1976): 35–43. Analyzes the quasi-serial procedures in Wolff’s Duo (1950), a work that features only three pitches (D5, Eb5, E5). Areas of discussion include pitch configurations, durations, and attack category. No musical examples. Eugène Ysaÿe (1858–1931) See also {39}, {462}, {677}, {1690–93}. 1193. Ysaÿe, Antoine. Historique des six sonates pour violon seul, op. 27 d’Eugène Ysaÿe. Brussels: Éditions Ysaÿe, 1967. 24pp. E. Historical account of the six sonatas for unaccompanied violin, op. 27, of Eugène Ysaÿe. Brussels: Éditions Ysaÿe, 1968. 29pp. Briefly profiles each of the sonatas in turn, discussing their dedicatees (each was written for a famous violinist of the time) and describing the music in broad terms. Includes introductory remarks and a chronology of Ysaÿe’s life. The French edition has photographs and a discography lacking in the English edition. 1194. Greenspan, Bertram. “The Six Sonatas for Unaccompanied Violin: The Musical Legacy of Eugène Ysaÿe.” Ph.D. diss., Indiana University, 1969. Unavailable for examination. 1195. Vachon, Christian. “Ysaÿe’s Six Sonatas for Solo Violin: Influences and Inspirations.” D.M.A. diss., Peabody Conservatory, 2003. 66pp. Explores elements of Romanticism and Neoclassicism in the six sonatas, citing nos. 1, 2, and 4 as examples of Neoclassicism and nos. 3, 5, and 6 as “remnants of the Romantic era” (2). Also addresses issues of technique, genre, and performance. Mus. exx., bib. He Zhanhao (b. 1933) and Chen Gang (b. 1935) 1196. Lang, Xiaoming. “He Zhanhao and Chen Gang: ‘The Butterfly Lovers’ Violin Concerto.” D.M.A. diss., University of Arizona, 1992. 51pp. A study of the Concerto (1959) from analytical, performance, and cultural perspectives. Mus. exx., bib.

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1197. Zhang, Chengye and Tyrone Greive. “An Oriental flower in the Garden of Violin Concertos: Introducing the Butterfly Lovers Concerto.” American String Teacher 51 (May 2001): 62–67. Analyzes the one-movement violin concerto (1959), explains its connection with a Chinese folk tale of tragic love, and discusses the composers.

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REFERENCE See also {38}. 1198. Clarke, A. Mason. A Biographical Dictionary of Fiddlers. London: William Reeves, 1895. viii, 360pp. R. St. Clair Shores, MI: Scholarly, 1972. viii, 360pp. Provides brief biographical sketches of hundreds of violinists (as well as selected cellists and bassists) from the 17th century to the late 19th century, including many obscure and now-forgotten performers, particularly from England. 1199. Edwards, Ray G. “Edwards Genealogical Chart of Violinists.” 6 parts. Violinist 2 (April 1902): 8–9; (May 1902): 8; (June 1902): 7; (July 1902): 8; 3 (September 1902): 4; (October 1902): 8. Provides a lineage of violinists from the early 18th century to the early 20th century. 1200. Cowden, Robert. Instrumental Virtuosi: A Bibliography of Biographical Materials. New York: Greenwood, 1989. xvii, 349pp. A lightly annotated bibliography of writings on famous instrumentalists, including many violinists. Entries, organized alphabetically by artist, also provide birth and death dates. 277

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COLLECTIVE BIOGRAPHIES See also {37}, {38}, {40}, {41}, {45}, {48}, {50}, {53}, {54}, {149}, {432}, {433}, {487}. 1201. Dubourg, George. The Violin. London: Colburn, 1836. viii, 276pp. 4th ed. London: Cocks, 1852. xii, 410pp. 5th ed., ed. John Bishop. London: Cocks, 1878. xvii, 336pp. R. Boston: Longwood, 1977. xii, 410pp. Surveys the history of the violin, its performers, and makers. Largely, however, a study of violinists, with chapters on the Italian, French, German, and English schools, as well as chapters on Paganini, amateur violinists, and women violinists (which includes a response to traditional objections “to ladies playing the violin”). An introductory chapter addresses the origin and early history of the violin, and two final chapters discuss the construction of the violin and collect miscellaneous anecdotes. The first three editions are more or less the same. The fourth edition is reprinted in the Longwood edition. The fifth edition is serialized in Violins and Violinists over several volumes starting in vol. 7 (February–March 1946). 1202. Adye, Willett L. “Violinists and the Violin.” In Musical Notes, 44–93. London: Bentley, 1869. A broad and anecdotal survey of violinists from Giovanni Battista Viotti to Joseph Joachim. 1203. Ferris, George T. The Great Violinists and Pianists. New York: Appleton, 1881. iv, 326pp. R. Freeport, NY: Books for Libraries, 1972. 2d ed. New York: Appleton, 1895. xv, 352pp. 3d ed. (pub. as Sketches of Great Violinists and Great Pianists) London: Reeves, 1900. xvi, 265pp. 4th ed. New York: Appleton, 1909. xv, 352pp. Includes anecdotal and biographical profiles of Giovanni Battista Viotti, Louis Spohr, Nicolò Paganini, Charles de Bériot, and Ole Bull, as well as a chapter on violin making and early violinists. 1204. Allen, Julia C. Famous Violinists: Short Sketches of Some of the Most Celebrated Violin Virtuosi. Cincinnati: Church, 1893. 31pp. Briefly profiles the following violinists: Charles de Bériot, Ole Bull, Arcangelo Corelli, Joseph Joachim, Hubert Léonard, Ovide Musin, Nicolò Paganini, Pablo de Sarasate, Louis Spohr, Giuseppe Tartini, Camilla Urso, Henry Vieuxtemps, Giovanni Battista Viotti, and Henryk Wieniawski. 1205. Payne, Albert. Berühmte Geiger der Vergangenheit und Gegenwart. Leipzig: author, 1893. xi, 316pp. 2d ed. Leipzig: author, 1902. xiv, 350pp. E. Celebrated Violinists, Past and Present. Trans. and ed. Robin Legge.

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London: Strad, 1897. 2d ed. London: Strad, 1906. 284pp. 3d ed. London: Strad, 1913. 287pp. A collection of biographical sketches of famous violinists and violinistcomposers, though many included in the book are now largely forgotten, such as Heinrich Karl Hermann de Ahna (1835–92), August Kömpel (1831–91), and Marie Soldat (1863–1955). Each entry includes a portrait, biographical information, and an assessment of the violinist’s work. The book was published, in both the German and English editions, under the pseudonym A. Ehrlich. 1206. Lahee, Henry C. Famous Violinists of Today and Yesterday. Boston: Page, 1899. 384pp. 2d ed. Boston: Page, 1925. 435pp. R. (of 1899 ed.) Boston: Longwood, 1977. A chronologically arranged biography of the celebrated violinists throughout history. Includes chapters on women violinists and famous quartets as well as a chronological table of famous violinists listing place and date of birth and death. Illustrated. 1207. Reuchsel, Maurice. L’École Classique du Violon. Paris: Fischbacher, 1906. 101pp. A collective biography of violinist-composers of the 18th and 19th centuries. Short chapters are devoted to the following figures: Bartolomeo Campagnoli, Arcangelo Corelli, Federigo Fiorillo, François Francoeur, Pierre Gaviniès, Francesco Geminiani, Giovanni Giornovichi (also known as Jarnowick), Jean-Pierre Guigon, Jean-Marie Leclair, Pietro Locatelli, Gaetano Pugnani, Giuseppe Tartini, Giovanni Battista Viotti, and Antonio Vivaldi. Illustrations. 1208. Bachmann, Alberto. Le grands violinistes du passé. Paris: Fischbacher, 1913. vi, 468. Provides brief biographies, often with portraits, work lists, and thematic catalogs, of the following violinists and violinist-composers: Delphin Alard, Pierre Baillot, Charles de Bériot, Arcangelo Corelli, Jean-Baptiste Charles Dancla, Ferdinand David, Heinrich Wilhelm Ernst, Federigo Fiorillo, Pierre Gaviniés, Francesco Geminiani, François-Antoine Habeneck, Karel Halí , Joseph Joachim, Alfred Krasselt, Rodolphe Kreutzer, Charles Philippe Lafont, Ferdinand Laub, Jean-Marie Leclair, Hubert Léonard, Karol Lipinski, Pietro Locatelli, Nicolo Mestrino, Teresa Milanollo, Maria Milanollo, Pietro Nardini, Wilma Norman Neruda, Nicolò Paganini, Gaetano Pugnani, Pierre Rode, Pablo de Sarasate, Camillo Sivori, Louis Spohr, Giovanni Battista Somis, Lorenzo Somis, Johann-Wenzel-Anton Stamitz, Carl Stamitz, Anton Stamitz, Giuseppe Tartini, Francesco Maria Veracini,

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Henry Vieuxtemps, Giovanni Battista Viotti, Antonio Vivaldi, Henryk Wieniawski, and August Wilhelmj. 1209. “The War Serves to Demonstrate That Our Famous Violinists Are Patriots and Fighters as Well as Musicians.” Violinist 17 (September 1914): 12–15. Lists the activities of several violinists of various nationalities (including Leopold Auer, Henri Marteau, Fritz Kreisler, Jacques Thibaud, and Eugène Ysaÿe) during the early months of World War I. 1210. Martens, Frederick. Violin Mastery. New York: Stokes, 1919. ix, 292pp. A collection of interviews on the art of violin playing with some of the most famous violinists and teachers of the early 20th century. A valuable source of information on performance practice of the time. Interviews with Leopold Auer, Adolfo Betti, Eddy Brown, Mischa Elman, Samuel Gardner, Arthur Hartmann, Jascha Heifetz, David Hochstein, Fritz Kreisler, Franz Kneisel, Hans Letz, Tivadar Nachèz, Maximilian Pilzer, Maud Powell, Leon Sametini, Alexander Saslavsky, Toscha Seidel, and Eugène Ysaÿe. Mus. exx. and portraits. 1211. Pincherle, Marc. Les violonistes: compositeurs et virtuoses. Paris: Laurens, 1922. 126pp. A broad survey, written for the general reader, of violinists from the 16th to the 19th century. The four main chapters are organized chronologically (1530–1690, 1690–1740, 1740–1815, and the 19th century), and discuss important national schools of violin playing and significant violinistcomposers and their works. The first chapter explains the origins of the violin. Mus. exx. 1212. Martens, Frederick. String Mastery. New York: Stokes, 1923. ix, 360pp. A companion to the author’s earlier collection, Violin Mastery, here expanded to include violists, cellists, bassists, a piano accompanist, and a viola d’amore player. A valuable source of information on early20th-century performance practice. Interviews with Alberto Bachmann, Alexander Bloch, Josef Borissoff, Cecil Burleigh, Richard Czerwonky, Demetrios Dounis, Harold Eisenberg, Frederic Fradkin, Thelma Given, Eugene Gruenberg, Bronislaw Huberman, Paul Kochanski, Hugo Kortschak, Victor Küzdö, Ellis Levy, Milan Lusk, Francis Macmillen, Joan Manén, Erica Morini, Michel Piastro, André Polah, Miron Poliakin, Vasa Prihoda, Ruth Ray, André de Ribaupierre, Berbard Sinsheimer, Albert Stossel, Josef Stopak, Pier Adolfo Tirindelli, Arthur E. Uhe, Raoul Vidas, Roderick White, Felix Winternitz, (the following are members of string quartets and address quartet playing) Adolfo Betti, Alfred Pochon,

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Ottokar Cadek, Jaroslav Siskovsky, Amandus Zoellner, and Antoinette Zoellner. Mus. exx. and portraits. 1213. Straeten, Edmund van der. “Violinists of Handel’s Time.” 5 parts. Violinist 35 (September 1924): 75–79; (October 1924): 115–19; (November 1924): 163–65; (December 1924): 215–17; 36 (January 1925): 12–14. A survey of 18th-century Italian and English violinists and violinistcomposers, including Arcangelo Corelli, Francesco Geminiani, Pietro and Prospero Castrucci, Stefano Carbonelli, John Banister, Henry Needler, Antonio Vivaldi, Francesco Maria Veracini, Giuseppe Tartini, Pietro Nardini, Federigo Fiorillo, Gaetano Pugnani, Matthew Dubourg, John Clegg, and Giovanni Battista Viotti. 1214. Grünberg, Max. Meister der Violine. Stuttgart and Berlin: Deutsche Verlags-Anstalt, 1925. 257pp. A collective biography of violinists past and present. Chapters organized according to region, with additional chapters on women violinists and string quartets. Focuses more on the lives of the violinists than on the details of their music or performance. 1215. Straeten, Edmund van der. The History of the Violin. 2 vols. London: Cassell, 1933. xvii, 416pp.; ix, 473pp. R. New York: Da Capo Press, 1968. xvii, 416pp.; ix, 473pp. Although the title suggests a broader scope, this is primarily an encyclopedic survey of violinists from the late 16th century to the early 20th century. After an initial section on the origins and early history of the instrument, the book is divided by period (c. 1550–1700, 1700–1800, 1800–c.1930), with chapters organized by region (France, Germany, Italy, etc.). Each chapter begins with an overview of the violin and violin playing in that region, with the bulk of each chapter devoted to entries on individual violinists. Includes information not only on the celebrated violinists but on many obscure figures. Includes illustrations and musical examples. 1216. Brook, Donald. Violinists of To-Day. London: Rockliff, 1948; New York: Macmillan, 1949. xiii, 192pp. Offers biographical sketches of the following violinists (many of them British), active in the mid-20th century: Paul Beard, Antonio Brosa, Adolf Busch, Alfredo Campoli, Raymond Cohen, Mischa Elman, Szymon Goldberg, Frederick Grinke, Ida Haendel, Jascha Heifetz, Henry Holst, Fritz Kreisler, Nona Liddell, Alan Loveday, Thomas Matthews, Isolde Menges, Yehudi Menuhin, Nathan Milstein, Ginette Neveu, Jean Pougnet, Max Rostal, Albert Sammons, Colin Sauer, Toscha Seidel, Joseph Szigeti, Jacques Thibaud, Marie Wilson, and Efrem Zimbalist.

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1217. Applebaum, Samuel and Sada. With the Artists: World Famed String Players Discuss Their Art. New York: Markert, 1955. vii, 318pp. General note on the Applebaum series: The following 15 volumes (the first two of which are nearly identical) constitute an important source of information on string performance practice drawn through interviews with dozens of the most acclaimed performers and teachers active between the 1940s and the 1980s. It is also a useful source of biographical information on these figures. Violinists (and violin teachers, makers, and dealers) comprise by far the majority of the interview subjects, though a number of violists, cellists, and bassists are also included. (Nonviolinists are not cited in the following entries; interested readers should consult the cumulative artist index in Volume 14.) The series is weakened by a lack of subject indexes as well as occasional poor prose and production, but nevertheless should be valued by both performers and scholars. With the Artists, published independently from the rest of the series, collects interviews with famed string players and teachers, typically on performance practice and interpretation (often focusing on particular works); entries usually include some biographical material. Includes photographs and musical examples. Violinists: Mischa Elman, Zino Francescatti, Joseph Fuchs, Carroll Glenn, Jascha Heifetz, Louis Kaufman, Fritz Kreisler, Yehudi Menuhin, Nathan Milstein, Erica Morini, Ruggiero Ricci, Albert Spalding, Tossy Spivakosky, Isaac Stern, Joseph Szigeti, Patricia Travers, and Efrem Zimbalist. Teachers: Samuel Applebaum, Harold Berkeley, Demetrios Dounis, Ivan Galamian, Josef Gingold, Arved Kurtz, Louis Persinger, and Paul Stassevich. 1218. Applebaum, Samuel and Sada. The Way They Play. Vol. 1. Neptune City, NJ: Paganiniana, 1972. 380pp. Largely a reprint of With the Artists except for the inclusion of interviews with violinist Alexander Schneider and teacher Rafael Bronstein, and the omission of interviews with violinists Isaac Stern and Patricia Travers, and teachers Samuel Applebaum, Harold Berkeley, Demetrios Dounis, Arved Kurtz, and Paul Stassevich. The authors’ introductions and commentary often differ slightly from the earlier volume. 1219. Applebaum, Samuel and Sada. The Way They Play. Vol. 2. Neptune City, NJ: Paganiniana, 1973. 384pp. Same format as Vol. 1, with the inclusion of a general introduction to violin performance and practice. Interviews with violinists Shmuel Ashkenasi, John Dalley, Toshiya Eto, Leonid Kogan, Jaime Laredo, Itzhak Perlman, Benno Rabinoff, Arnold Steinhardt, Lim Tek Tjiang, Michael

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Tree, and Pinchas Zukerman, and “amateurs” Herbert R. Axelrod, Abe Fortas, and William Sunderman. 1220. Applebaum, Samuel and Sada, with Alan Grey Branigan. The Way They Play. Vol. 3. Neptune City, NJ: Paganiniana, 1975. 320pp. Same format as Vol. 1, with the inclusion of a preface outlining nine technical exercises for the violinist and an essay (by Paul Paradise) on the Fifth International Tchaikovsky Violin Competition held in Moscow in 1974. Interviews with violinists Eugene Fodor, Raphael Hillyer, Mischa Mischakoff, Margaret Pardee, Michael Rabin, Aaron Rosand, and Henryk Szeryng; collector Arnold Gingerich, and teacher Dorothy DeLay. 1221. Applebaum, Samuel and Sada, with Alan Grey Branigan. The Way They Play. Vol. 4. Neptune City, NJ: Paganiniana, 1975. 320pp. Same format as Vol. 1, with the inclusion of a preface providing exercises for improving tone. Interviews with violinists Jack Benny, Sergiu Luca, David Oistrakh, and Henri Temianka, and teacher Stanley Bednar. Notable in this volume is a nearly phrase-by-phrase description of Oistrakh’s performance of Johannes Brahms’s Violin Sonata No. 3, accompanied by a reproduction of an annotated violin part (probably by Samuel Applebaum). 1222. Applebaum, Samuel and Henry Roth. The Way They Play. Vol. 5. Neptune City, NJ: Paganiniana, 1978. 319pp. Same format as Vol. 1. Interviews with violinists Erick Friedman, Sidney Harth, Jascha Heifetz, Igor Oistrakh, Ruggiero Ricci, Vladimir Spivakov, and Viktor Tretyakov. Includes reproductions of scores (violin part only) annotated with fingerings, bowings, and so on of Ludwig van Beethoven, Violin Concerto, mvt. 1 (Harth), Johannes Brahms, Sonata No. 1 (Spivakov), Aram Khachaturian, Violin Concerto, mvt. I (Tretyakov), and Nicolò Paganini, Violin Concerto No. 1 (Oistrakh). 1223. Applebaum, Samuel and Henry Roth. The Way They Play. Vol. 6. Neptune City, NJ: Paganiniana, 1978. 352pp. Same format as Vol. 1. Interviews with violin dealer Jacques Français, violin makers William Moennig II and William Moennig III, and violinists Zino Francescatti, Felix Galimir, Elmar Oliveira, and Wanda Wilkomirska. Includes an article on Oliveira’s win at the 1978 Tchaikovsky Competition (the first American to do so). Includes a reproduction of the violin part of Edouard Lalo, Symphonie Espagnole annotated by Francescatti. 1224. Applebaum, Samuel and Henry Roth. The Way They Play. Vol. 7. Neptune City, NJ: Paganiniana, 1980. 285pp.

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Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–7. Interviews with violinists Franco Gulli, Fredell Lack, and Oscar Shumsky. Includes a reproduction of J. S. Bach’s Chaconne (Gulli), and a reproduction of the violin part of Sergei Prokofiev’s Violin Concerto No. 1 (Lack). 1225. Applebaum, Samuel and Henry Roth, The Way They Play. Vol. 8. Neptune City, NJ: Paganiniana, 1980. 285pp. Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–8. Interviews with violinists Salvatore Accardo, Nina Beilina, Daniel Heifetz, and Yoship Unno. Includes reproductions of the violin parts of J. S. Bach’s Sonata in G minor (annotated by Beilina), Johannes Brahms’s Violin Concerto (Unno), and César Franck’s Violin Sonata (Heifetz). 1226. Applebaum, Samuel and Henry Roth. The Way They Play. Vol. 9. Neptune City, NJ: Paganiniana, 1981. Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–9. Interviews with violinists Tatyana Grindenko, Ilya Grubert (Grindenko and Grubert interviews conducted by Mark Silberkvit, aka Zilberquit), and Isaac Stern, and violin maker Sergio Peresson. 1227. Applebaum, Samuel and Henry Roth. The Way They Play. Vol. 10. Neptune City, NJ: Paganiniana, 1981. 253pp. Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–10. Interviews with violinists Vadim Brodsky, Victor Pikaisen (Brodsky and Pikaisen interviews conducted by Mark Zilberquit, aka Silberkvit), and Joseph Silverstein. Includes a reproduction of the violin part of Henryk Wieniawski’s Original Theme and Variations (annotated by Brodsky). 1228. Applebaum, Samuel, Henry Roth, and Mark Zilberquit. The Way They Play. Vol. 11. Neptune City, NJ: Paganiniana, 1983. Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–11. Interviews with violinists Desmond Bradley, Norman Carol, Mihaela Martin, and Viktoria Mullova, and teacher Ilona Feher. Includes reproductions of the violin parts of Georges Enesco’s Impressions d’enfance (Martin), Felix Mendelssohn’s Violin Concerto (Feher), and Richard Strauss’s Ein Heldenleben (Carol). 1229. Applebaum, Samuel, Henry Roth, and Mark Zilberquit. The Way They Play. Vol. 12. Neptune City, NJ: Paganiniana, 1983. 283pp. Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–12. Interviews with violinists Pavel Kogan and Konstanty Kulka. Includes

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reproductions of the violin parts of Edison Denisov’s Violin Concerto (Kogan) and Krzysztof Penderecki’s Violin Concerto (Kulka). 1230. Applebaum, Samuel, Theo Saye, and Mark Zilberquit. The Way They Play. Vol. 13. Neptune City, NJ: Paganiniana, 1984. 285pp. Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–13. Interviews with violinists Shlomo Mintz and Grigory Zhislin and luthier Alexander Muradov. Includes reproductions of the violin parts of J. S. Bach’s Chaconne (Zhislin) and Ludwig van Beethoven’s Violin Concerto (Mintz). 1231. Applebaum, Samuel and Mark Zilberquit. The Way They Play. Vol. 14. Neptune City, NJ: Paganiniana, 1986. 285pp. Same format as Vol. 1, with the inclusion of an artist index to Vols. 1–14. Interviews with violinists Zakhar Bron, Kyung-Wha Chung, Miriam Fried, Oleg Krysa, Anne-Sophie Mutter, and Dmitry Tziganov. This volume does not reproduce any annotated scores. 1232. Hartnack, Joachim W. Grosse Geiger unserer Zeit. Munich: Rütten & Loening, 1967. 335pp. 2d ed. Zurich: Atlantis Musikbuch, 1977. 326pp. 3d ed. Zurich: Atlantis Musikbuch, 1983. 320pp. 4th ed. Zurich: Atlantis Musikbuch, 1993. 358pp. Profiles the great violinists from the early 19th century to the late 20th century. After an introduction that discusses changes in performance practice over the period and the importance of recordings, the book proceeds more or less chronologically with a final chapter on women violinists. Includes teacher-student genealogical charts, a discography, bibliography, musical examples, and photographs. Profiles tend to be longer and more detailed than those in Campbell {1234} or Schwarz {1236}, though fewer violinists are covered. 1233. Schang, F. C. Visiting Cards of Violinists. New York: Patelson, 1975. 79pp. Provides brief, largely anecdotal biographies of 25 famous violinists from Nicolò Paganini to Isaac Stern, with reproductions of each one’s visiting cards and other related iconography. 1234. Campbell, Margaret. The Great Violinists. London: Granada; Garden City, NY: Doubleday, 1980. xvii, 366pp. An informative and entertaining survey of violinists and violinistcomposers since the 17th century. Most chapters focus on a single figure, although several are grouped by theme—“The Great Teachers,” “The Russian Vanguard,” and so on. Although the usual names (Paganini, Heifetz, et al.) in classical violin playing all make appearances, the book

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also considers violinists who specialize in jazz and light classical music, as well as English performers and women less frequently encountered in the literature. Illustrated, and includes a discography. 1235. Roth, Henry. Master Violinists in Performance. Neptune City, NJ: Paganiniana, 1982. 320pp. A collection of biographical, historical, and evaluative essays on several famous violinists: Mischa Elman, Jascha Heifetz, Bronislaw Huberman, Jan Kubelik, Yehudi Menuhin, Joseph Szigeti, Jacques Thibaud, and Eugène Ysaÿe. Includes an essay comparing modern and “old time” violinists, as well as one on women violinists, notably Guila Bustabo, Ida Haendel, Erica Morini, and Ginette Neveu. This collection may be distinguished from others in that it devotes considerable attention to a critical evaluation of each performer’s technique and style. Includes dozens of photographs. 1236. Schwarz, Boris. Great Masters of the Violin. New York: Simon and Schuster, 1983. 671pp. A well-researched and engaging survey of the celebrated violinists and violinist-composers from the 17th century to the 20th. The largest and strongest part of the book is devoted to the 20th century, in which the author, a violinist who had heard and was acquainted with most of the great violinists of his time, draws on his own experience. A standard and oft-cited work. Illustrated. 1237. Roeseler, Albrecht. Grosse Geiger unseres Jahrhunderts. Munich: Piper, 1987. 397pp. A survey of the great violinists of the 20th century. Includes photos, a discography, and a brief bibliography. The following violinists are profiled: Jenny Abel, Salvatore Accardo, Adolf Busch, Kyung-Wha Chung, Gioconda de Vito, Mischa Elman, Christian Ferras, Eugene Fodor, Ivry Gitlis, Miriam Fried, Arthur Grumiaux, Ida Haendel, Jascha Heifetz, Ulf Hoelscher, Liane Issakadse, Oleg Kagan, Leonid Kogan, Fritz Kreisler, Gidon Kremer, Georg Kulenkampff, Cho-Liang Lin, Yehudi Menuhin, Midori, Nathan Milstein, Shlomo Mintz, Erica Morini, Viktoria Mullova, Anne-Sophie Mutter, Ginette Neveu, David Oistrakh, Igor Oistrakh, Itzhak Perlman, Viktor Pikaisen, Vása Príhoda, Michael Rabin, Ruggiero Ricci, Wolfgang Schneiderhan, Oscar Shumsky, Dmitri Sitkovetsky, Vladimir Spivakov, Isaac Stern, Josef Suk, Henryk Szeryng, Joseph Szigeti, Viktor Tretyakov, Tibor Varga, Peter Zazofsky, Thomas Zehetmair, Frank Peter Zimmerman, and Pinchas Zukerman. 1238. Roth, Henry. Great Violinists in Performance: Critical Evaluations of Over 100 Twentieth-Century Virtuosi. Los Angeles: Panjandrum, 1987. xii, 266p.

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A companion to the author’s earlier collection, {1235}. The subtitle is slightly misleading: the bulk of the book is devoted to six violinists— Zino Francescatti, Pavel Kogan, Fritz Kreisler, Nathan Milstein, David Oistrakh, and Isaac Stern. The remaining 90+ fiddlers are briefly sketched in three remaining chapters: “A Survey of Soviet Violinists,” “A Survey of American Violinists,” and “Violin Art in China.” 1239. Stowell, Robin. “The Nineteenth-Century Bravura Tradition.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 61–78. Cambridge: Cambridge University Press, 1992. A broad survey of 19th-century violinist-composers, particularly the “itinerant virtuoso … responsible for both the development and the debasement of the violin art” (61). Eleven sections, organized by region (France and Belgium, Italy, Germany, etc.) offer brief profiles of important figures. 1240. Wen, Eric. “The Twentieth Century.” In The Cambridge Companion to the Violin, ed. Robin Stowell, 79–91. Cambridge: Cambridge University Press, 1992. A broad survey of 20th-century violinists and violin teachers, and the changes in violin playing that took place over the course of the century. 1241. Brewster, Todd, Edith Eisler, Timothy Pfaff, and Stephanie von Buchau. 21st-Century Violinists. San Anselmo, CA: String Letter, 1999. 125pp. Interviews with Corey Cerovsek, Sarah Chang, Pamela Frank, Nigel Kennedy, Midori, Anne-Sophie Mutter, Elmar Oliveira, Nadja SalernoSonnenberg, Gil Shaham, Isaac Stern, and Maxim Vengerov reprinted from Strings magazine. 1242. Violin Virtuosos. San Anselmo, CA: String Letter, 2000. 123pp. Interviews with Joshua Bell, Chee-Yun, Kyung-Wha Chung, Jorja Fleezanis, Leila Josefowicz, Mark Kaplan, Viktoria Mullova, Vadim Repin, Joseph Silverstein, and Christian Tetzlaff reprinted from Strings magazine. 1243. Eggebrecht, Harald. Grosse Geiger: Kreisler, Heifetz, Oistrach, Mutter, Hahn & Co. Munich: Piper, 2000. 471pp. Offers biographies of the renowned violinists active since the late 19th century. Comparable in scope and depth to Roeseler {1237}, although it covers the most recent generation of fiddlers, including Sarah Chang, Hilary Hahn, Vadim Repin, and Maxim Vengerov. Sketches are notable for their discussion of the violinists’ repertoire. An introductory chapter explores the state of virtuosity at the beginning of the 21st century.

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STUDIES BY REGION BELGIUM 1244. Musin, Ovide. “The History of the Belgian Violin School.” Violinist 20 (January 1916): 11–13. Sketches the history of the Belgian school of violinists (whose notable members include Charles de Bériot, Henry Vieuxtemps, and Eugène Ysaÿe), insisting on the “predominance of the Belgian School of Violin since 1827” (11). Another article on the subject by the author appears in Violinist 27 (December 1920). CANADA See also {498}. 1245. Guest, Bill. Canadian Fiddlers. Hantsport, Nova Scotia: Lancelot, 1985. 232pp. An encyclopedia of Canadian fiddlers. The brief entries, arranged alphabetically, provide biographical sketches of each fiddler, with information on their repertoire, recordings, and instruments. Some entries include photographs and musical examples. FRANCE See also {470}, {697}, {698}, {1215}. 1246. Pincherle, Marc. “La condition des violonistes en France avant le XVIIIe siècle.” La Revue Musicale 2 (1 February 1921): 155–60. E. “The Social Condition of Violinists in France Before the Eighteenth Century.” Trans. Ottmar King. Musical Quarterly 8 (April 1922): 193–98. Surveys violinistic activity in 16th- and 17th-century France. Describes the variety of functions at which violinists played and their often low social standing (as compared to that of viol players) in the 16th century. Explains how the development of the sonata in 17th-century France gave the violin its own individual voice and reprieve from the status of ensemble instrument, and made it and their players more socially acceptable. 1247. Dufourcq, Norbert. “Autour des Moulinié: Associations de violonistes au XVIIe siècle.” Recherches sur la Musique française classique 4 (1964): 69–81. Draws on archival documents to report on an association of violinists in 17th-century southern France.

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GREAT BRITAIN See also {487}, {1198}, {1201}, {1213}, {1215}, {1216}, {1234}, {1254}, {1265}. 1248. Legge, Robin. “Short Biographical Sketches of Some English Stringed Instrument Players.” 7 parts. Strad 3 (September 1892): 91–92; (November 1892): 139–40; (December 1892): 160; (January 1893): 171; (February 1893): 223; 4 (June 1893): 42–43; (August 1893): 89. Notes the career highlights of numerous violinists and violinist-composers working in Britain from the early 17th century to the late 19th century. Violinists include John Banister (father and son), Solomon Eccles and his three sons, Michael Rofino Lacy, Davie Mell, and Obediah Shuttleworth. 1249. Pulver, Jeffrey. “Viol and Violin in Merrie England.” 2 parts. Strad 82 (June 1971): 85–89; (July 1972): 109–13. Concerns the role of the musician in James I’s England, and the rise of the violin over the viol. Cites Roger North, John Playford, and Thomas Baltzar. 1250. Love, Harold. “The Fiddlers on the Restoration Stage.” Early Music 6 (July 1978): 391–99. Discusses tavern fiddlers of 17th-century London and the social functions of their music as represented in contemporary plays. Illustrations. 1251. Price, Curtis A. “Restoration Stage Fiddlers and Their Music.” Early Music 7 (July 1979): 315–22. Responds to and expands on {1250}; considers the size of stage bands, the use of continuo instruments, the type of music played, the extant music, and the relationship of the music to the dances and staging. Mus. exx. and illus. 1252. Marcan, Peter, comp. British Professional Violinists of Today. London: Marcan, 1994. xiv, 102pp. A directory of British violinists active during the late 20th century. Entries, arranged alphabetically, provide (among other things) date and country of birth, contact information, and information on teaching, performances, and recordings. INDIA See {478}. ITALY See also {1016}, {1073}.

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1253. Regli, Francesco. Storia del violino in Piemonte. Turin: Dalmazzo, 1863. 204pp. R. Sala Bolognese: Forni, 1990. 204pp. Provides biographical sketches of Piemontese violinists and violinistcomposers, among them Francesco Galeazzi, Felice Giardini, Gian Pietro (Jean-Pierre) Guignon, Nicolò Paganini, Gaetano Pugnani, Camillo Sivori, Giovanni Battista Somis, and Giovanni Battista Viotti. 1254. Walls, Peter. “The Influence of the Italian Violin School in the 17th Century.” Early Music 18 (November 1990): 575–87. Considers the influence of Italian violinist-composers, such as Lelio Colista and Nicola Matteis, in England, both through their touring and the circulation of their music. RUSSIA/SOVIET UNION See {480}, {1310}, {1321}, {1452}, {1454}, {1487}, {1663}. UNITED STATES See also {495}, {496}, {1264}, {1266}. 1256. Smith, Frances N. “A Few American Violinists.” Music 2 (May 1892): 39–50. Offers “a little account of the young women and men who are gaining their laurels as violinists” (39). Notable for its attention to women. Briefly profiles Madge Wickman, Nettie Carpenter, Carrie Duke, Dora Valeska Baker, Lucille Du Pré, Laura B. Phelps, Marietta R. Sherman, Michael Banner, Leopold Lichtenberg, John F. Rhodes, Max Bendix, William Mollenhauer, Louis Mollenhauer, Leon Marx, and Arthur Hartmann. 1257. Shaffer, Karen A. “Between Symphony and Song: The Violin Virtuoso in American History.” Journal of the Violin Society of America 10, no. 1 (1989): 109–23. Discusses the influence of European and American violin virtuosi on American musical life between 1840 and 1920 with attention given to Ole Bull, Henry Vieuxtemps, and particularly Maud Powell. Provides a transcript of a question-and-answer session with the author following her lecture, of which this article is a transcript.

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WOMEN VIOLINISTS See also {496}, {646}, {1201}, {1206}, {1214}, {1232}, {1234}, {1235}, {1256}, and women performers in the Individual Biographies section below. 1258. “Fair Sex Takes to Violin.” Violinist 2 (July 1902): 4. “By actual count of the violin pupils playing at commencement concerts during the six weeks since May 15, nearly nine-tenths of the total number were girls, the figures being 83 to 9. What would our profession do without the girl pupils? Most of the teachers would find it necessary to fast for thirty days and consider the financial question.” [Complete article.] 1259. F. G. E. “Lady Violinists.” 2 parts. Musical Times 47 (1 October 1906): 662–68; (1 November 1906): 735–40. A “chit-chat on fair fiddlers” (662) that chronicles the history of women violinists, the resistance they faced, and their increasing numbers from the late 17th to the early 19th century. Quotes extensively from reviews, advertisements, and other period sources. Specific performers discussed include Gertrude Elizabeth Mara (1749–1833), Mrs. Chazal (Elisabetta Gambarini, 1731–65), Maddalena Laura Lombardini Sirmen (1745–1818), Regina Strinasacchi (1764–1823), Louise Gautherot (?–1808), Miss Treamen (active c. 1817), Teresa Milanollo (1827–1904), her younger sister, Maria (1832–48), and Elizabeth Filipowicz (1794–?). Provides a translation of Tartini’s famous 1760 letter to Lombardini Sirmen {592}. 1260. “Lady Violinists.” Violinist 16 (December 1913): 28–29. Reprints statements about the propriety of women playing the violin from 1819, 1860, 1869, and circa 1913, illustrating changes in attitude over the course of nearly a century. 1261. Ammer, Christine. “The ‘Lady Violinists’ and Other String Players.” In Unsung: A History of Women in American Music, 21–42. Westport, CT: Greenwood, 1980. Describes the rise of the woman violinist in American society c. 1870–1920. Notes the ambivalent view of the violin as a respectable instrument for women and discusses the limited career options for the “lady violinist.” Profiles several women violinists from the era: Nettie Carpenter, Geraldine Morgan, Erica Morini, Maud Powell, Arma Senkrah, and Camilla Urso.

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VIOLINISTS OF AFRICAN DESCENT See also {647} and the entries on George Polgreen Bridgetower, José Domingo Brindis de Salas, Regina Carter, Ornette Coleman, Joseph Emidy, Joseph Bologne de Saint-Georges, Stuff Smith, Eddie South, and José Silvestre White. 1262. Fikes, Robert Jr. “They Made the Violin Sing: Three Black Virtuosos.” Crisis 89 (May 1982): 29–34. Briefly profiles three violinists of African descent, George Polgreen Bridgetower (1779–1860), José Silvestre White (1839–1920), and José Domingo Brindis de Salas (1852–1911). 1263. Gray, John. Blacks in Classical Music: A Bibliographical Guide to Composers, Performers, and Ensembles. New York: Greenwood, 1988. x, 280pp. Includes bibliographies on black violinists (esp. Brindis de Salas, Bridgetower, White), citing newspaper articles and other periodicals not always cited in this volume. FOLK VIOLINISTS See also {484}, {486}, {487}, {489}, {492}, {495}, {499}, {851}, {1245}, {1497}, {1498}, {1687}. 1264. Artley, Malvin N. “The West Virginia Country Fiddler: An Aspect of the Folk Music Tradition in the United States.” Ph.D. diss., Chicago Musical College, 1955. vi, 119pp. Investigates the role of the West Virginia fiddler in American folk music. The author interviewed and recorded performances of 17 fiddlers; the dissertation reports on his findings and transcribes many of the recorded performances. Chapters address the history and culture of the West Virginian fiddler, analyze selected tunes, and discuss the training and repertoire of the fiddlers. Mus. exx., bib. 1265. Alburger, Mary Anne. Scottish Fiddlers and their Music. London: Gollancz, 1983. 256pp. Explores the history of Scottish fiddlers and fiddle music since the 1500s, with particular attention given to selected fiddlers, including Niel Gow, Nathaniel Gow, and James Scott Skinner. Numerous musical examples. 1266. Wolfe, Charles. The Devil’s Box: Masters of Southern Fiddling. Nashville and London: The Country Music Foundation Press and Vanderbilt University Press, 1997. xxiv, 232pp.

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Selectively chronicles the history of Southern American fiddling from the 1920s, when fiddling was first recorded, to the late 20th century. Most chapters are devoted to individual fiddlers: G. B. Grayson, Ernie Hodges, Tommy Jackson, Clark Kessinger, Clayton McMichen, Slim Miller, Fiddlin’ Powers (James Cowan Powers), Doc Roberts, Eck Robertson, Arthur Smith, Jimmy Thompson, and Bob Wills. Two earlier chapters provide introductory material and two later chapters are devoted to the history of particular tunes, “The Black Mountain Rag” and “Over the Waves.” Includes photographs and a brief index. INDIVIDUAL BIOGRAPHIES SALVATORE ACCARDO (B. 1941) See also {1}, {2}, {1225}, {1232}, {1236}, {1237}, {1243}. 1267. Accardo, Salvatore. “An Interview with Salvatore Accardo.” Journal of the Violin Society of America 7, no. 1 (1986): 78–88. In conversation with Albert Mell, the violinist discusses his teachers, his instruments, his views on the use of vibrato, and his thoughts on playing Paganini’s violin, the “Cannon” Del Gesù, among other matters. 1268. Sciannemeo, Louise C. “Salvatore Accardo: An Exclusive Interview.” Violexchange 1 (Summer 1986): 1–4. An interview with the Italian violinist. 1269. Chadwick, Evelyn. “From Paganini to Penderecki.” Strad 106 (December 1995): 1274–77. Profiles the Italian violinist, discussing his varied repertoire, and his interest in chamber music and conducting. DELPHIN ALARD (1815–88) See {1}, {2}, {698}, {1208}. JEAN-BAPTISTE ANET (1650–1710), JEAN-JACQUES-BAPTISTE ANET (1676–1755) See also {1}, {2}, {697}. 1270. Antoine, Michel. “Note sur les violonistes Anet.” Recherches sur la Musique française classique 2 (1961–62): 81–94. Describes the lives and careers of French violinists Jean-Baptiste Anet and his son Jean-Jacques-Baptiste, both of whom were famous during their times, although only the son’s works are extant.

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SAMUEL APPLEBAUM (B. 1904) See {459}, {1217}, {1631}. JELLY D’ARÁNYI (1893–1966) See also {1}, {1236}. 1271. MacLeod, Joseph. The Sisters d’Aranyi. London: Allen & Unwin; Boston: Crescendo, 1969. 320pp. A biography of the Hungarian-born sisters, Adila, Hortense Emilia, and Jelly d’Arányi, particularly Adila (better known as Adila Fachiri) and Jelly, who became internationally renowned violinists. The bulk of the book is devoted to Jelly, and discusses her work with Bartók, Ravel, and other 20th-century composers, her rediscovery of Robert Schumann’s Violin Concerto, and other aspects of her career. 1272. Potter, Tully. “Jelly d’Arányi.” Strad 101 (December 1990): 1006–11. Sketches the life of the Hungarian violinist, known for her association with Béla Bartók, as the dedicatee of Maurice Ravel’s Tzigane and as one of a pair of famous violinist sisters (the other being Adila Fachiri), and for her rediscovery of Schumann’s Violin Concerto. SVEND ASMUSSEN (B. 1916) See {1}, {503}, {505}. LEOPOLD AUER (1845–1930) See also {1}, {2}, {464}, {476}, {480}, {481}, {612}, {613}, {650}, {1209}, {1210}, {1232}, {1234}, {1236}, {1243}, {1326}, {1464}, {1481}, {1546}, {1548}, {1695}. 1273. Auer, Leopold. My Long Life in Music. New York: Stokes, 1923. xii, 377pp. The autobiography of the famous violin teacher. Chronicles his early experiences with Henry Vieuxtemps, Joseph Joachim, Henryk Wieniawski, among many other musical luminaries, his many years of teaching in the St. Petersburg Conservatory, where his students included Efrem Zimbalist, Mischa Elman, Jascha Heifetz, Toscha Seidel, and Michel Piastro, and his move from Russia to the United States after the 1917 revolution. An engaging and informative book. 1274. “Leopold Auer.” Violinist 46 (September 1930): 199–220. Obituary for the violinist and teacher, with many tributes from his students and colleagues. This issue of Violinist is devoted to Auer.

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1275. Abell, Arthur M. “Leopold Auer’s Great Legacy to Art.” 2 parts. Etude 49 (January 1931): 14, 65; (February 1931): 134–35. An appreciation of the violinist and teacher. The author, who spent the summers with Auer from 1911 to 1913 and interacted frequently with him generally, reports on his interactions with his famous pupils, on discussions between Auer and Kreisler, on Auer’s views on the violin, and other matters. 1276. Kosloski, Gary. “The Teaching and Influence of Leopold Auer.” Ph.D. diss., Indiana University, 1977. vii, 106pp. Examines Auer’s work as both a teacher and violinist. The most substantial chapter considers the complex relationship Auer had with Tchaikovsky’s Violin Concerto, whose original dedication to Auer was withdrawn by the composer. Also includes chapters on the Russian school of violin playing and on Auer’s students. Mus. exx., bib. 1277. Roth, Henry. “The Great Facilitator.” Strad 106 (June 1995): 602–11. Describes the life and work violinist and teacher on the 150th anniversary of his birth. Notes that in the early 20th century Auer was the “reigning high priest in the international realm of violin pedagogy” (602). PIERRE MARIE FRANÇOIS

DE

SALES BAILLOT (1771–1842)

See also {1}, {2}, {39}, {470}, {599}, {601–3}, {605}, {610}, {698}, {701}, {793}, {1208}, {1234}, {1236}, {1672}, {1674}. 1278. Soccanne, Pierre. “Quelques documents inedits sur Pierre Baillot (1771–1842).” Revue de musicologie 22 (1939): 71–78. Quotes from and comments on a previously unpublished cache of documents that provides new biographical information on the violinist. 1279. François-Sappey, Brigitte. “Pierre Marie François de Sales Baillot (1771–1842) par lui-même: Etude de sociologie musicale.” Recherches sur la Musique française classique 18 (1978): 127–211. Chronicles the life and times of the French violinist, composer, and teacher through extensive quotation of archival documents (including Baillot’s correspondence) and contemporary writings. Includes a list of Baillot’s published works. THOMAS BALTZAR (?1631–1663) See also {1}, {2}, {474}, {675}, {1249}.

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1280. Holman, Peter. “Thomas Baltzar (?1631–1663), the ‘Incomparable Lubicer on the Violin.’” Chelys 13 (1984): 3–38. A life and works treatment of the German-born violinist-composer who spent his influential career in England. Includes a thematic catalog. RACHEL BARTON (B. 1974) 1281. Barton, Rachel. Interview with Lawrence A. Johnson. Fanfare 21 (September–October 1997): 81–86. In conversation with the young American violinist. Note: she married in 2004 and now goes by Rachel Barton Pine. See her Web site at http://www.rachelbarton.com. ANTONIO BAZZINI (1818–97) See also {1}, {2}. 1282. Toni, Alceo. Antonio Bazzini: La vita, il violinista, il didatta e il compositore. Milan: Athena, 1946. 74pp. A brief study of the Italian violinist-composer, now best known for his violin showpiece La ronde des lutins (1852). Chapters cover his life, his career as a violinist, and his work as a teacher and composer. Bib., mus. exx. 1283. Sartori, Claudio. L’Aventura del Violino: L’Italia musicale dell’ Ottocento nella biografia e nei carteggi di Antonio Bazzini. Turin: ERI, 1978. 493pp. Chronicles Bazzini’s life and work. The majority of the book (pp. 187–471) is given over to a collection of 547 letters written to, from, or about Bazzini between 1834 and 1932. Includes a work list and a brief bibliography. JOSHUA BELL (B. 1967) See also {1}, {2}, {683}, {1242}, {1243}. 1284. Duchen, Jessica. “High-Flying Adored.” Strad 107 (June 1996): 564–71. Profiles the American violinist; discusses his musical training, particularly his studies with Josef Gingold at Indiana University, his recent chamber music performances, and his violin. Includes a discography. 1285. Templeton, David. “Fresh Prince.” Strings 17 (October 2002): 46–53. Discusses Bell’s career as a violinist and composer as well as his interest in technology and its impact on music and music education.

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FRANZ BENDA (1709–86) See also {1}, {2}, {847}, {849}, {1236}, {1554}. 1286. Benda, Franz. Auto-Biographie von Franz Benda. Unpublished ms., 1763. E. A Musician at Court: An Autobiography of Franz Benda. Trans. Douglas A. Lee. Warren, MI: Harmonie Park, 1998. xiv, 59pp. The memoirs of the Bohemian violinist-composer, principal violinist at the court of Frederick the Great and one of the more prominent performers of his time. Offers a rare look into the life of an 18th-century professional musician. The translation includes an informative prologue, explanatory footnotes by the editor, a bibliography, and index. The autobiography (in its original German) is reprinted in {1287}. 1287. Lorenz, Franz. Franz Benda and his Nachkommen. Berlin: de Gruyter, 1967. x, 189pp. A biography of the violinist-composer and his family, many members of which also were prominent musicians. Reprints the composer’s 1763 memoirs, six Benda letters, and provides a fold-out family tree. Also includes brief sections on Benda’s compositions. Bib. CHARLES-AUGUSTE

DE

BÉRIOT (1802–70)

See also {1}, {2}, {606}, {610}, {698}, {869}, {1203}, {1204}, {1208}, {1234}, {1236}, {1244}, {1655}. 1288. “Original Letters of Celebrated Violinists—Charles Auguste de Bériot.” 4 parts. Violin Times 1 (January 1894): supplement, 1–2; (February 1894): 2–4; (March 1894): 2–4; (April 1894): 1–2. Reprints and translates a collection of letters written by the violinist composer between 1832 and 1842, with commentary by Edward HeronAllen. ADOLFO BETTI (1875–1950) See {1210}, {1212}. MARAT BISENGALIEV (B. 1962) 1289. Barber, Juliette. “In the Tide of Tradition.” Strad 107 (July 1996): 694–99. Profiles the young Kazakh violinist. GEORGE POLGREEN BRIDGETOWER (1778–1860) See also {1}, {2}, {839}, {1262}, {1263}.

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1290. Edwards, F. G. “George P. Bridgetower and the Kreutzer Sonata.” Musical Times 49 (1 May 1908): 302–8. Chronicles the life and career of the violinist, drawing on numerous period sources. Includes musical examples, a portrait, a facsimile of a letter from Beethoven to Alexandre de Wezlar concerning Bridgetower, and a reproduction of the violinist’s death certificate. 1291. Wright, Josephine R. B. “George Polgreen Bridgetower: An African Prodigy in England 1789–99.” Musical Quarterly 66 (January 1980): 65–82. Reconstructs Bridgetower’s early career and explores how he came to have an “honored position” (67) in English musical life despite the barriers of race and class prejudice. Draws extensively on primary documents. 1292. Kühn, Dieter. Beethoven und der schwarze Geiger. Frankfurt am Main: Fischer, 1996. 498pp. A novel in which Beethoven and the mixed-race violinist Bridgetower are the main characters. CLAUDIO JOSÉ DOMINGO BRINDIS

DE

SALAS (1852–1911)

See also {1}, {1262}, {1263}. 1293. Diggs, Irene. “Brindis de Salas: ‘King of the Octaves.’” Crisis 60 (November 1953): 537–41. Profiles the Afro-Cuban violinist who performed to great acclaim throughout the world in the late 19th century, and was often called the “Black Paganini” or “King of the Octaves” because of his technical prowess. OLE BULL (1810–80) See also {1}, {2}, {97}, {293}, {295}, {905}, {1203}, {1204}, {1234}, {1236}, {1257}, {1535}, {1622}, {1670}. 1294. Carr, E. S. “Ole Bull among his Countrymen.” Putnam’s 11 (May 1868): 586–90. Describes Ole Bull’s concert appearances in Madison, Wisconsin, which at the time (1868) was heavily populated by Norwegian immigrants. Article available online at the Cornell University Library’s Making of America Web site at http://cdl.library.cornell.edu/cgi-bin/moa/moa-cgi? notisid=ABK9283–0011–145. 1295. Phillips, Barnet. “Some Great Violins.” Harper’s New Monthly Magazine 62 (January 1881): 238–47.

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Largely a discussion of Ole Bull’s Gasparo di Saló violin, based on the author’s interview with the violinist. Also mentions violins by Antonio Stradivari, Jacob Stainer, and W. E. Colton of Brooklyn, among others. Illustrations. Note: the attribution of Gasparo has been challenged in Amighetti {1300}. 1296. Bull, Sara Chapman. Ole Bull: A Memoir. Boston: Houghton, Mifflin, 1882. R. Boston: Longwood, 1978; New York: Da Capo, 1981. iv, 417pp. A biography of the violinist-composer by his widow. Appendices include Crosby’s The Art of Holding the Violin and Bow as Exemplified by Ole Bull {1297}, writings on diverse subjects by Ole Bull called “Violin Notes,” as well as poems about and various tributes to Bull. 1297. Crosby, Alpheus Benning. The Art of Holding the Violin and Bow as Exemplified by Ole Bull. London: Reeves, 1910. 52pp. Originally written in 1877 by a professor of anatomy, seeks to “unravel the secret of Mr. Bull’s graceful pose and unique method of holding the violin” (5) through detailed descriptions, measurements, and diagrams. Crosby’s contribution to the book (17 pages) was apparently incomplete and is supplemented by a translation of Tartini’s famous instructional letter of 1760 {592}, writings about Bull and by Bull (on Paganini, the origin of the violin, and Gasparo da Saló). Reprinted in Sara Bull’s memoirs of Ole Bull {1296}. 1298. Smith, Mortimer B. The Life of Ole Bull. Princeton, NJ: Princeton University Press, 1943. ix, 220pp. According to the author, this is not “in the strict sense a musical biography” of the Norwegian violinist-composer but an attempt at a “full-length objective treatment of this personality” (vii). Draws on the considerable collection of materials related to Bull made available by his widow, Sara C. Bull. 1299. Bull, Inez. Ole Bull’s Activities in the United States between 1843 and 1880: A Biography. Smithtown, NY: Exposition, 1982. xxv, 115pp. The author, a descendent of the violinist, examines Bull’s professional and personal life during his time in the United States. Discusses his American years and especially his attempt to establish Oleana (also known as Oleona), a colony in Pennsylvania. Oleana is also dealt with in the author’s earlier book, Ole Bull Returns to Pennsylvania: The Biography of a Norwegian Violin Virtuoso and Pioneer in the Keystone State (Smithtown, NY: Exposition, 1961). 1300. Amighetti, Claudio. “Il violino di Ole Bull.” Commentari dell’Ateneo di Brescia 191 (1992): 127–47.

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Based on stylistic grounds and restoration analysis, argues that the ornamented violin owned by Bull is not by Gasparo da Saló, as has long been thought, but is a Brescian violin, circa 1550–60, likely made in the workshop of Girolamo Virchi. 1301. Haugen, Einar Ingvald and Camilla Cai. Ole Bull: Norway’s Romantic Musician and Cosmopolitan Patriot. Madison: University of Wisconsin Press, 1992. xxx, 354pp. A biography of the Norwegian violinist-composer that seeks to correct myths and misperceptions that have arisen since Bull’s lifetime. Includes numerous musical examples and illustrations as well as a chronology of Bull’s life. 1302. Heimel, Paul W. Oleana: The Ole Bull Colony. Coudersport, PA: Knox, 2002. 220pp. Tells the “full story” of Oleana (also known as Oleona), a colony Ole Bull tried to establish in Pennsylvania in the 1850s. WILLY BURMESTER (1869–1933) See also {1129}, {1232}, {1236}. 1303. Fischel, Max I. “Willy Burmester.” Violinist 3 (December 1902): 5–6. Profiles the German violinist, whom the author had interviewed. 1304. Burmester, Willy. Fünfzig Jahre Künstlerleben. Berlin: Scherl, 1926. 213pp. E. Fifty Years as a Concert Violinist. Trans. Roberta Franke. Linthicum Heights, MD: Swand, 1975. 168pp. The memoirs of the German violinist and student of Joachim. Recounts his interactions with noted musicians and his international concert tours. The English edition includes a list of writings and recordings by Burmester and explanatory notes by the editor. ADOLF BUSCH (1891–1952) See also {1}, {2}, {457}, {1216}, {1232}, {1236}, {1237}, {1243}. 1305. Szigeti, Joseph. “Adolf Busch.” Trans. Elaine Craydon. Strad 77 (November 1966): 247–49. An appreciation of the German violinist and composer, with specific discussion of Busch’s bowing style.

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1306. Busch, Adolf. Adolf Busch: Letters, Pictures, Memories. 2 vols. Comp. Irene Busch Serkin. Trans. Russell Stockman. Walpole, NH: Arts & Letters, 1991. xx, 595pp. ill. Reproduces much of the violinist’s correspondence from 1906 to 1952; all letters not originally in English appear in English translation. The letters, some to and from important musicians (such as Max Reger and Arturo Toscanini, as well as his brother, Fritz) often discuss violin music and performance practice in great detail. Includes photographs, reminiscences of Busch, and a chronology of Busch’s life. 1307. Potter, Tully. Adolf Busch: The Life of an Honest Musician. 2 vols. London: Toccata, forthcoming. A massive and thoroughly researched biography of Busch. Vol. 1 covers Busch’s life from 1891 to 1939, the second from 1939 to 1952. Chronicles his career as a violinist, his work as a composer, his collaboration with many of the great musicians of the 20th century, and his activities as a teacher and chamber musician. Reprints tributes by Yehudi Menuhin and Joseph Szigeti, among others, and includes a complete work list and discography. This work supersedes the author’s earlier books on Busch, Adolf Busch: The Life of an Honest Man (1984) and Adolf Busch: The Life of a Musician (2000). BARTOLOMEO CAMPAGNOLI (1751–1827) See also {1}, {2}, {523}, {1207}. 1308. Montanari, Ugo. Bartolomeo Campagnoli: violinista compositore, 1751–1827. Pieve di Cento: author, 1969. 169pp. A guide to Campagnoli’s life and works. Much of the volume is given over to a French reprint of a pedagogical work, La “regole” del Metodo. Also includes numerous illustrations, an annotated work list, and a facsimile of the trio for two violins and bass. ALFREDO CAMPOLI (1906–91) See also {1}, {1216}, {1234}. 1309. Tunley, David. The Bel Canto Violin: The Life and Times of Alfredo Campoli, 1906–1991. Aldershot: Ashgate, 1999. xii, 168pp. The biography of the Italian-born British violinist, who was famous for his performances of “light music” as well as an accomplished concert artist.

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CARLO CANOBBIO (1741–1822) See also {1}, {2}. 1310. Mooser, Robert-Aloys. “Violonistes-compositeurs italiens en Russie au XVIIIe siècle.” Rivista Musicale Italiana 52 (1950): 55–70. One in a series of articles by the author discussing the lives of several Italian violinist-composers who spent significant parts of their careers in Russia in the 18th century. (See the author index for Mooser’s other articles in the series.) The first part of the article is devoted to Carlo Canobbio, a Venetian who spent much of his career after 1779 in the orchestra of the Imperial Theatres in St. Petersburg. The second part of the article is given over to Giovanni Giornovichi (also known as Jarnowick and similar variants) (1747–1804), who played in the Russian court orchestra for several years (1783–86 and 1802–4), and was well known as a performer and composer. JOHN TIPLADY CARRODUS (1838–1895) See also {1}. 1311. Carrodus, Ada. J.T. Carrodus, Violinist: A Life Story: 1838–1895. London: Bowden, 1897. vi, iii, 117pp. Biography of the English violinist, concertmaster of the orchestra at Covent Garden, an early proponent of the violin recital, professor at Trinity College in London, and author of How to Study the Violin (London: Strad, 1895; 2d ed., 1900). Written by the subject’s widow. The chapter on the violinist’s early life was contributed by Clara Molique, the daughter of Bernard Molique, Carrodus’s teacher. (FIDDLIN’) JOHN CARSON (1868–1949) 1312. Wiggins, Gene. Fiddlin’ Georgia Crazy: Fiddlin’ John Carson, His Real World, and the World of his Songs. Urbana and Chicago: University of Illinois Press, 1987. xxi, 302pp. A thorough study of the life, music, and times of the pioneering Georgia fiddler, one of the first to record and broadcast country music. Devotes considerable attention to Carson’s repertoire. Includes a discography by Norm Cohen. Mus. exx., bib. REGINA CARTER (B. 1966) See also {1}.

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1313. Barbieri, Susan M. and Greg Cahill. “Motor City Maverick: Jazz Violinist Regina Carter Puts the Petal to the Mettle.” Strings 16 (February–March 2002): 50–59. Discusses the career of the Detroit-born violinist, her switch from classical music to jazz, and her defense of the Suzuki method. Photographs. 1314. Ouelette, Dan. “Courting the Cannon: Regina Carter’s Musical Romance with Paganini’s Violin.” Down Beat 70 (April 2003): 34–39. Profiles the jazz violinist and discusses her 2001 concert using Paganini’s Guarneri del Gesù violin as the first nonclassical performer to play on the instrument. JEAN BAPTISTE CARTIER (1765–1841) See {1}, {2}, {581}, {600}, {697}, {698}, {1149}. PIETRO CASTRUCCI (1679–1752) See {534}, {918}, {1213}. SARAH CHANG (B. 1980) See also {1}, {2}, {1241}, {1243}, {1326}. 1315. Reel, James. “Childhood’s End: For Former Prodigy Sarah Chang, Adulthood Offers a New World of Opportunities.” Strings 18 (January 2004): 42–46. Profiles the 22-year-old violinist, discussing her current career and her transition from child prodigy to mature artist. Briefly discusses her 1717 Guarnerius del Gesù and her bows. KYUNG-WHA CHUNG (B. 1948) See {1}, {1231}, {1234}, {1236}, {1237}, {1242}, {1243}. GIOVANNI PAOLO CIMA (1570–1630) See {705}, {707}. FRANZ CLEMENT (1780–1842) See also {1}, {2}, {799}, {809}, {817}.

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1316. Haas, Robert. “The Viennese Violinist, Franz Clement.” Musical Quarterly 34 (January 1948): 15–27. Discusses the early promise and unrealized potential of the violinist best known for premiering Beethoven’s Violin Concerto in 1806. ORNETTE COLEMAN (B. 1930) See {1}, {2}, {503}. Coleman is known primarily as a jazz alto saxophonist, but is also a violinist. ARCANGELO CORELLI (1653–1713) See also {1}, {2}, {650}. For discussion of his music, see {917–26}. 1317. Rinaldi, Mario. Arcangelo Corelli. Milan: Curci, 1953. 523pp. A substantial life-and-works treatment of the violinist-composer. Devotes several chapters to the Op. 5 sonatas (see Part Three, “The Golden Years”), with analyses of each work and discussion of technique, ornamentation, and interpretation. Includes many musical examples and illustrations, transcriptions of 30 historical documents pertaining to Corelli’s life, a list of early editions of his music, a family tree, bibliography, and thematic catalog. In Italian. 1318. Pincherle, Marc. Corelli et son temps. Paris: Le Bon Plasir, 1954. E. Corelli: His Life, His Work. Trans. Hubert E. M. Russell. New York: Norton, 1956. 236pp. R. New York: Da Capo, 1979. 236pp. One of the standard life-and-works treatments of the composer, with significant discussion of his works for violin. 1319. Allsop, Peter. Arcangelo Corelli: New Orpheus of Our Times. New York: Oxford University Press, 1999. 260pp. A thorough study and reevaluation of Corelli’s life, music, and influence. Part One, “The Man,” provides a concise biography and seeks to disentangle fact from myth. Part Two, “The Music,” devotes chapters to the sonatas for two violins and continuo (op. 1–4), the Op. 5 violin sonatas, the concerti grossi, and to the dissemination and impact of the music. Mus. exx. and bib. WILHELM CRAMER (1745–99) See also {1}, {2}.

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1320. Rutherford, Michael F. “A Modern Violinist of the Eighteenth Century.” Strad 75 (March 1965): 411–13. A brief biography of the German-born violinist-composer Wilhelm Cramer and discussion of his performance style based on reports by the violinist’s contemporaries. DOMENICO DALL’ OGLIO (C. 1700–64) See also {1}, {2}. 1321. Mooser, Robert-Aloys. “Violonistes-compositeurs italiens en Russie au XVIIIe siècle.” Rivista Musicale Italiana 48 (1946): 219–29. One in a series of articles by the author discussing the lives of several Italian violinist-composers who spent significant parts of their careers in Russia in the 18th century. (See the author index for Mooser’s other articles in the series.) This article focuses on Domenico Dall’ Oglio, a Paduan who spent almost 30 years in the service of the Russian court. His works include a number of virtuosic violin sonatas. CHARLES D’ALMAINE (1874–1943) 1322. Walsh, Jim. “Favorite Pioneer Recording Artists: Charles D’Almaine.” Parts 1–3. Hobbies 62 (November 1957): 34–37; (December 1957): 34–36, 67; (January 1958): 30–31. Recounts the life and career of the American violinist, with particular attention to his recordings. CHARLES DANCLA (1817–1907) See also {1}, {2}, {698}, {1208}. 1323. Dancla, Charles. Notes et Souvenirs. Paris: Delamotte, 1893. Paris: Bornemann, 1894. 2d ed., 1898. E. Notes and Souvenirs. Trans. Samuel Wolf. Linthicum Heights, MD: Swand, 1981. 83pp. Memoirs of the French violinist-composer. Devoted largely to his years as a professor at the Paris Conservatoire (1857–92). Includes reminiscences of famous musicians, advice on performance and interpretation, letters from colleagues, and a list of his compositions. The English translation is based on the second edition. FERDINAND DAVID (1810–73) See also {1}, {2}, {656}, {803}, {808}, {1017}, {1091}, {1168}, {1208}, {1234}.

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1324. Eckhardt, Julius. Ferdinand David und die Familie MendelssohnBartholdy: Aus hinterlassen Briefschaften. Leipzig: Duncker & Humblot, 1888. 289pp. Reproduces the correspondence between David, a violinist, composer, and editor, and members of the Mendelssohn family. Felix Mendelssohn wrote his Violin Concerto for David. 1325. “Ferdinand David.” Musical Times 47 (1 July 1906): 457–61. A biographical sketch of the German violinist-composer. Prints translations of letters between David and Felix Mendelssohn. DOROTHY DELAY (1917–2002) See also {1}, {2}, {1220}, {1236}, {1475}, {1578}, {1579}, {1600}. 1326. Sand, Barbara Lourie. Teaching Genius: Dorothy DeLay and the Making of a Musician. Portland, OR: Amadeus, 2000. 240pp. Explores the life and work of the renowned Juilliard teacher. Discusses her philosophy and working methods, her famous students (with chapters devoted to Sarah Chang and Itzhak Perlman), and her critics, as well as her own two other famous teachers, Lepold Auer and Ivan Galamian. 1327. “Sugarplum Fairy.” Strad 113 (September 2002): 925–29. Former students, including Itzhak Perlman and Robert McDuffie, eulogize Dorothy DeLay. GIOCONDA

DE

VITO (1907–94)

See {1}, {1237}, {1243}. DEMETRIOS C. DOUNIS (1886–1954) See also {2}, {1212}, {1217}, {1342}. 1328. Costantakos, Chris A. Demetrios Constantine Dounis: His Method in Teaching the Violin. New York: Lang, 1988. 250pp. 2d ed., 1997. 168pp. A study of the Greek teacher’s method. Discusses his training (both in music and in medicine), his concert career, his use of psychology in his teaching, his approach to various techniques, the controversy surrounding his method, and his published works. The author studied with Dounis for eight years and interviewed many of Dounis’s students and colleagues for the book. Mus. exx., bib.

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ALFRED DUBOIS (1898–1949) See also {1}. 1329. Potter, Tully. “Missing Link: Between Ysaÿe and Grumiaux.” Strad 107 (August 1996): 796–97. Profiles Belgian violinist Alfred Dubois. MATTHEW DUBOURG (1703–67) See {1}, {917}, {923}, {1213}. JOHN DUNN (1866–1940) 1330. Ravel, Peter. “Some Achieve Greatness: The Story of John Dunn.” 4 parts. Strad 71 (September 1960): 167–171; (October 1960): 211–15; (November 1960): 259–63; (December 1960): 291–95. Biography and appreciation of the English concert violinist. SAMUEL DUSHKIN (1891–1976) See {1}, {2}, {1135–37}, {1236}. MISCHA ELMAN (1891–1967) See also {1}, {2}, {457}, {481}, {542}, {1210}, {1216–18}, {1232}, {1234–37}, {1243}, {1273}, {1427}. 1331. Elman, Saul. The Memoirs of Mischa Elman’s Father. New York: author, 1933. 201pp. Chronicles the life of the author’s son, the Russian-born American violinist, from his birth to his New York debut in 1908. An appendix reprints and translates more than 20 concert reviews, mostly from German journals. A flowery hagiography. 1332. Carpenter, McDonnell. Mischa Elman and Joseph Szigeti: A Study of their Art through Cheirology. New York: Vantage, 1955. 48pp. Uses cheirology—the study of the hands and palms—to reveal the “innate personalities” (vii) of these two violinists. Observes only the backs of the artists’ hands—apparently their palms were not made available. Of dubious value.

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1333. Merrick, Hugh. “Mischa Elman: A Tribute.” Strad 78 (June 1967): 63–65. A reminiscence and appreciation of the recently deceased violinist from a long-time acquaintance. An earlier Elman tribute by the author appeared in Strad 72 (December 1961). Later eulogies were published in Strad 78 (July 1967): 95–97 and Strad 78 (October 1967): 211–17. 1334. Kozinn, Allan. Mischa Elman and the Romantic Style. Chur, Switzerland: Harwood, 1990. xiii, 405pp. Chronicles the life and career of Mischa Elman, situating the subject in the broader musical and social contexts of the first half of the 20th century. An appendix provides an extensive Elman discography. Rare among biographies of violinists for its breadth and depth of scholarship. JOSEPH EMIDY (C. 1770–1835) See also {1}. 1335. McGrady, Richard. Music and Musicians in Early Nineteenth-Century Cornwall: The World of Joseph Emidy—Slave, Violinist, and Composer. Exeter: University of Exeter Press, 1991. 168pp. A study of life and times of the African-born violinist-composer. Early in his life, Emidy was sold into slavery, taken to Brazil and then to Portugal, where he became a violinist in a Lisbon opera house. He was then kidnapped by an English captain, impressed into service as the ship’s musician, and finally discharged in Cornwall, England, where he continued to perform and compose. His works, which apparently numbered three violin concertos and several other instrumental works, are now lost. Illustrated. GEORGES ENESCO (ALSO GEORGE ENESCU) (1881–1955) See also {1}, {2}, {949}, {950}, {1228}, {1232}, {1234}, {1236}, {1243}, {1500}. 1336. Pincherle, Marc. “Sur Georges Enesco.” Revue musicale (November 1932): 271–77. A sympathetic profile of the Romanian violinist-conductor-composer. Cites a variety of articles on Enesco published between 1898 and 1931. 1337. Enesco, Georges. Les souvenirs de Georges Enesco. Ed. Bernard Gavoty. Paris: Flammarion, 1955. 196pp. Enesco’s memoirs. Chronicles his life and work; one brief chapter is specifically devoted to his career as a violinist. Includes a work list, a discography, and a substantial introduction by Bernard Gavoty.

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1338. Kotlyarov, Boris. Enesco. Trans. Boris Kotlyarov and E. D. Penchencko. Neptune City, NJ: Paganiniana, 1984. 240pp. Chronicles Enesco’s life and work, with discussion of Enesco’s career as a violinist and his work for violin. Originally published in Russian in Moscow in 1970. Mus. exx., bib. HEINRICH WILHELM ERNST (1814–65) See also {1}, {2}, {650}, {656}, {869}, {1234}, {1236}. 1339. Laval, Ruth. “Heinrich Wilhelm Ernst.” Violin World 10 (15 January 1903): 89–90. A biographical sketch of the German violinist-composer. 1340. Heller, Amely. H.W. Ernst im Urteile seiner Zeitgenossen. Vienna, Brno, Berlin: author, 1904. 62pp. Vienna: author, 1905. 64pp. E. H.W. Ernst as Seen by his Contemporaries. Trans. Roberta Franke. Ed. Samuel Wolf. Linthicum Heights, MD: Swand, 1986. 65pp. A brief biography of the violinist-composer, drawing heavily on testimonials and recollections by his friends and colleagues. Includes a brief work list. The English translation provides explanatory footnotes from the editor as well as a collection of other documents: a chart on violin harmonics, a translation of Bronislaw Huberman’s Aus der Werkstatt des Virtuosen {1395}, and many miscellaneous thoughts and quotes about all matters violinistic. 1341. Elun, Fan. “The Life and Works of Heinrich Wilhelm Ernst (1814–1865) with Emphasis on his Reception as Violinist and Composer.” Ph.D. diss., Cornell University, 1993. x, 281pp. The bulk of the dissertation (6 of 11 chapters) focuses on Ernst’s concert tours throughout Europe, with extensive quotations from contemporaneous concert reviews and other writings. Other chapters survey Ernst’s compositions, consider his technique and musical style, and discuss his early studies and final years. Mus. exx., bib. ADILA FACHIRI (1886–1962) See {1}, {1236}, {1271}, {1272}. CHRISTIAN FERRAS (1933–82) See {1}, {1237}, {1243}. FEDERIGO FIORILLO (1755–AFTER 1823) See {1}, {2}, {804}, {1207}, {1208}, {1213}.

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CARL FLESCH (1873–1944) See also {1}, {2}, {464}, {531}, {532}, {615}, {618}, {747}, {800}, {1232}, {1234}, {1236}, {1243}, {1518}, {1648}. 1342. Eaton, Sybil. “Two Great Violin Teachers: Flesch and Dounis.” Score, no. 11 (March 1955): 11–22. An appreciation of the pedagogical methods and philosophies of Flesch and Demetrios Dounis, with whom the author studied; discusses and compares their approaches to bowing and fingering. 1343. Flesch, Carl. The Memoirs of Carl Flesch. Trans. Hans Keller. London: Rockliff, 1957; New York: Macmillan, 1958. 393pp. R. Harlow: Bios de Boulogne, 1973. New York: Da Capo, 1979. G. Erinnerungen eines Geigers. Zurich: Atlantis, 1960. 212pp. Chronicles the life and times of the violinist and teacher, covering 1873 to 1928, with a chapter by his son, Carl F. Flesch, on his father’s last years (1928–44). An essential document in the history of early-20thcentury violin playing, it provides keen and detailed observations on the performance practice and great violinists of the time. 1344. Flesch, Carl F. “--und spielst Du auch Geige?”: der Sohn eines berühmten Musikers erzählt und blickt hinter die Kulissen. Zurich: Atlantis Musikbuch, 1990. 336pp. E. And Do You Also Play the Violin? London: Toccata, 1990. 382pp. Reminscences of the life and times of Carl Flesch by his son. Draws upon numerous primary sources, including unpublished letters and diary entries. A useful adjunct to the elder Flesch’s memoirs {1343}. 1345. Nelson, David K. “Carl Flesch: A Teacher as Artist.” International Classical Record Collector 4 (Winter 1998): 38–46. Discusses Flesch’s performance career, focusing on the records he made between 1905 and 1936. Includes sidebars on the recordings of Flesch’s pupils (including Szymon Goldberg, Josef Hassid, Ginette Neveu, and Henri Temianka). EUGENE FODOR (B. 1950) See also {1220}, {1234}, {1236}, {1237}. 1346. Campbell, Margaret. “Eugene Fodor: A Profile.” Strad 93 (December 1982): 560–64. Discusses the life and career of the young violinist, a former student of Jascha Heifetz who became famous as the first American to win the highest prize at the Tchaikovsky Competition in Moscow.

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1347. Duchen, Jessica. “Fodor’s Guide to Violin Playing.” Strad 105 (July 1994): 668–70. Chronicles the career of the American violinist. GIOVANNI BATTISTA FONTANA (1589–1630) See also {1}, {2}, {706}, {707}. 1348. Baroncini, Rodolfo. “Giovan Battista Fontana ‘dal violino’: nuove acquisizioni biografiche?” Recercare 2 (1990): 213–24. Reports on three documents that may shed light on the life of the Italian violinist-composer, an important figure in the early development of the violin sonata. Summary in English. ZINO FRANCESCATTI (1902–91) See {1}, {2}, {1217}, {1218}, {1223}, {1232}, {1236}, {1238}, {1243}, {1427}. PAMELA FRANK (B. 1967) See also {1241}. 1349. Sand, Barbara Lourie. “Pamela Frank: A Violinist, Almost from Day One.” American Record Guide 64 (January–February 2001): 10–12. Profiles the American violinist, discussing her studies and career, and her collaborations with her father, pianist Claude Frank. SAM FRANKO (1857–1937) See also {1}, {715}, {1083}, {1236}. 1350. Franko, Sam. Chords and Dischords. New York: Viking, 1938. 186pp. The memoirs of the American violinist, conductor, and composer, now best known for his still popular cadenzas to Mozart’s Violin Concerto No. 3. Offers interesting accounts of his interactions with celebrated musicians, such as Joseph Joachim and Henry Vieuxtemps (with whom he studied). MIRIAM FRIED (B. 1946) See {1}, {1231}, {1237}. GASPARD FRITZ (1716–83) See also {1}, {2}.

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1351. Mooser, Robert-Aloys. Deux violonistes genevois. Geneva: Slatkine, 1968. 176pp. A biography of two 18th-century violinist-composers from Geneva, Gaspard Fritz (to which the majority of the book is devoted) and Christian Haensel (1766–1850). Draws on period sources to paint a picture of their lives and the broader musical life in which they worked. Includes illustrations and musical examples. JOSEPH FUCHS (1900–97) See also {1}, {1217}, {1218}. 1352. Salchow, William. “Joseph Fuchs: An Interview with William Salchow.” Journal of the Violin Society of America 4 (Winter 1977–78): 5–21. Fuchs discusses his family life, his studies with Franz Kneisel at the Juilliard School, his instruments, and his career as an orchestral violinist, soloist, and teacher. IVAN GALAMIAN (1903–81) See also {1}, {2}, {621}, {756}, {1217}, {1218}, {1232}, {1234}, {1236}, {1243}, {1326}, {1373}. 1353. Koob, Joseph Edgar. “The Violin Pedagogy of Ivan Galamian.” Ed.D. diss., University of Illinois at Urbana-Champaign, 1986. 467pp. Seeks to “describe the violin teaching style and pedagogical emphases of Ivan Galamian in order to help preserve those personal and pedagogical characteristics that made Galamian a master teacher.” (Author’s abstract.) Based in part on extensive interviews with former Galamian pupils. 1354. Green, Elizabeth A. H. Miraculous Teacher: Ivan Galamian and the Meadowmount Experience. n.p., 1993. xiv, 180pp. A biography of the influential teacher, Ivan Galamian, with particular attention to Meadowmount, a summer program for musicians in northeastern New York that Galamian established in 1944. Includes a reminiscence by colleague Josef Gingold. 1355. Sand, Barbara Lourie. “Hand of Steel.” Strad 108 (September 1997): 946–47, 949–50, 953. Chronicles the career and achievements of Ivan Galamian. Discusses his teaching methods, his students, and his school at Meadowmount.

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SAMUEL GARDNER (1891–1984) See also {1210}. 1356. Harvith, John and Susan Edwards Harvith. Interview with Samuel Gardner. In Edison, Musicians, and the Phonograph: A Century in Retrospect, ed. John Harvith and Susan Edwards Harvith, 47–52. New York: Greenwood, 1987. An interview with the violinist about his experiences making recordings for Thomas Edison starting in 1911. PIERRE GAVINIÉS (1728–1800) See also {1}, {2}, {405}, {663}, {697}, {700}, {956}, {1208}, {1236}. 1357. La Laurencie, Lionel de. “Gaviniés et son temps.” Revue Musicale 3 (1 February 1922): 135–48. Chronicles the life, career, and works of the French violinist-composer, considered the “French Tartini” and “the forerunner of Paganini,” and now best known for his set of 24 pedagogical caprices. FRANCESCO GEMINIANI (1687–1762) See also {1}, {2}, {583}, {1236}. 1358. Betti, Adolfo. Francesco Geminiani, Lucca 1687-Dublino 1762. Lucca: Amedei, 1934. 20pp. E. “Francesco Geminiani, His Life and His Art.” Trans. Helen L. Kaufmann. 2 parts. Strad 73 (October 1962): 215–21; (November 1962): 247–51. Biography of the Italian violinist-composer based on a 1932 lecture by the author; seeks to answer two questions: “why Geminiani is not well known, and why he deserves to be better known” (Strad, 215). 1359. Beechey, Gwilym “Francesco Geminiani (1687–1762) and the Art of String Playing.” Consort 43 (1987): 24–34. Provides an overview of Geminiani’s work as a composer, violinist, and teacher. Includes a list of his publications. Mus. exx. FELICE GIARDINI (1716–96) See also {1}, {2}, {695}, {696}, {1253}. 1360. McVeigh, Simon. The Violinist in London’s Concert Life: 1750–1784: Felice Giardini and his Contemporaries. New York: Garland, 1989. iii, 423pp.

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Considers the life, career, and music of Giardini in the context of London’s concert life, in which Giardini was a major figure. More than a life-andworks treatment of Giardini—much of the book explores musical London and the function and status of violinists therein. Appendices provide a work list and thematic catalog for Giardini, and information on concert venues and series and violinistic activity in London. For an overview of the topic, see the author’s “Felice Giardini: A Violinist in Late EighteenthCentury London,” Music and Letters 64 (July–October 1983): 162–72. JOSEF GINGOLD (1909–95) See also {1}, {2}, {627}, {1217}, {1218}, {1234}, {1236}, {1284}, {1354}. 1361. Wagner, Jeffrey. “Reminscences of a Life in Music.” Instrumentalist 39 (January 1985): 18–24. An interview with the violinist-pedagogue on the occasion of his 75th birthday. Discusses his educational background, his teachers (specifically Eugène Ysaÿe), his career with the Cleveland Orchestra and the N.B.C. Symphony, his impressions of conductor Arturo Toscanini and George Szell, his teaching career, his students, and the violin (specifically the issue of its “soul”). Photographs. 1362. Blum, David. “A Gold Coin: Profile of the Violinist Josef Gingold.” In Quintet: Five Journeys Toward Musical Fulfillment, 75–111. Ithaca, NY, and London: Cornell University Press, 1999. An anecdotal biographical sketch based on the author’s interviews with the violinist and teacher as well as with his students and colleagues. 1363. Kosloski, Gary. “Teaching Magic: Studying with Josef Gingold.” American String Teacher 50 (February 2000): 74–79. An appreciation of the renowned violin teacher’s methods; also briefly discusses his musical background and playing style. GIOVANNI GIORNOVICHI (ALSO (1747–1804)

KNOWN AS

JARNOWICK

AND SIMILAR

VARIANTS)

See {1}, {2}, {658}, {686}, {1310}. IVRY GITLIS (B. 1922) See also {1}, {1232}, {1236}, {1237}, {1243}. 1364. Gitlis, Ivry. L’âme et la corde. Paris: Laffont, 1980. 285pp. The memoirs of the Israeli concert violinist. Chronicles his personal life, his studies, and travels. Photographs.

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SZYMON GOLDBERG (1909–93) See also {1}, {2}, {1217}, {1218}, {1232}, {1236}, {1243}, {1345}. 1365. Gavoty, Bernard. Szymon Goldberg. Geneva: Kister, 1960. 30pp. E. Szymon Goldberg. Trans. Joseph Plageman. Geneva: Kister, 1960. 30pp. A brief and breezy biography of the Polish violinist. Draws on interviews with the violinist, and heavily illustrated. 1366. Potter, Tully. “Exhuming a Master.” Strad 110 (July 1999): 749. Discusses Goldberg’s recorded legacy on the occasion of several CD reissues of his discs. STEPHANE GRAPPELLI (1908–97) See also {1}, {2}, {503}, {505}, {507}, {1234}, {1415}, {1472}. 1367. Jeske, Lee. “Stephane Grappelli: Hot Club Origins.” Down Beat 48 (April 1981): 15–18, 65–67. Part I of a two-part profile of the jazz violinist based on interviews with Grappelli. For part II, see “Stephane Grappelli: Post-War Wizardry,” Down Beat 49 (May 1981): 18–21. 1368. Horricks, Raymond. Stephane Grappelli. New York: Hippocrene; Tunbridge Wells: Midas, 1983. 134pp. A biography of the French jazz violinist. Discusses his long career, his collaboration with other musicians, notably guitarist Django Reinhardt, his recordings, and his performance styles. Includes a selected discography contributed by Tony Middleton. Photographs. 1369. Smith, Geoffrey. Stephane Grappelli: A Biography. London: Pavillion, 1987. 213pp. A biography of the legendary French jazz violinist; includes illustrations and a discography. 1370. Murphy, Frank. “Assembling a Model of Stephane Grappelli’s Violin Technique.” Jazzforschung 24 (1992): 69–82. Essentially a transcription of Grappelli’s 1983 recording of “How High the Moon,” with an introduction explaining how the author collaborated with Grappelli to check the transcription’s accuracy and determine fingerings. 1371. Grappelli, Stephane, Joseph Oldenhove, and Jean-Marc Bramy. Mon violon pour tout bagage: Mémoires. Paris: Calmann, Lévy, 1992. 216pp.

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The memoirs of the French jazz violinist. Discusses his childhood, the various stages of his long career, his travels, and his musical collaborations (such as those with Yehudi Menuhin and guitarist Django Reinhardt). Includes photographs and a selected discography. 1372. McDonough, John. “Stephane Grappelli: 1908–1997—A Wonderful Life.” Down Beat 65 (February 1998): 22–26. Obituary of the French jazz violinist. ELIZABETH A. H. GREEN (1906–95) See also {621}. 1373. Smith, Deborah Annette. “Elizabeth A. H. Green: A Biography.” Ph.D. diss., University Michigan, 1986. 199pp. Considers the life and career of the American violin teacher, best known for her work with Ivan Galamian. An appendix examines her contributions to the literature of music education. ARTHUR GRUMIAUX (1921–86) See also {1}, {2}, {1232}, {1234}, {1236}, {1237}, {1243}, {1329}. 1374. Molkhou, Jean-Michel. “Arthur Grumiaux’s Recorded Legacy.” Strad 107 (August 1996): 798–99. Surveys Grumiaux’s major recordings, notably his discs of Classical era repertoire; discusses his playing style as heard on these recordings. For a complete Grumiaux discography, see Molkhou’s “Arthur Grumiaux on Disc,” in the same issue, pp. 838–47. 1375. Winthrop, Laurence. Arthur Grumiaux: gloire de l’école belge du violon. Lausanne: Payot, 1996. 171pp. A sympathetic biography of the Belgian violinist. Quotes extensively from Grumiaux’s correspondence. Includes a discography and an analysis of Grumiaux’s handwriting by a graphologist. Preface by Nathan Milstein. JEAN-PIERRE GUIGNON (1702–74) See {1}, {39}, {663}, {669}, {697}, {700}, {1253}. FRANCO GULLI (1926–2001) See also {1}, {2}, {1224}.

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1376. Sciannemeo, Franco. “A Conversation with Franco Gulli.” Violexchange 2, no. 1 (1987): 1–4. An interview with the violinist and Indiana University professor. 1377. “Franco Gulli Dies Aged 75.” Strad 113 (February 2002): 112. A remembrance of the late violinist. IDA HAENDEL (B. 1928) See also {1}, {2}, {1216}, {1232}, {1234}, {1236}, {1237}, {1243}. 1378. Dowden, Mavis Bacca. “Ida Haendel.” Strad 75 (December 1964): 281–85. Profiles the Polish concert violinist, drawing upon an interview with the author (AKA Mavis Bacca). 1379. Haendel, Ida. Woman with Violin: An Autobiography. London: Gollancz, 1970. 334pp. Memoirs of the Polish-born violinist; chronicles her life and career in Poland, England, and Canada. CHRISTIAN HAENSEL (1766–1850) See {1351}. HILARY HAHN (B. 1980) See also {1}, {2}, {1243}. 1380. Anderson, Martin. “From Ysaÿe to the Internet.” Fanfare 24 (January–February 2001): 89–92, 94. Profiles the young American violinist, who had recently released discs of works by Bach, Barber, Beethoven, and Bernstein. Discusses her training at the Curtis Institute as well as her Web site, where she posts her travel journal. KAREL HALÍ (1859–1909) See also {1}, {1208}. 1381. Sanders, Davol. “Carl Halir: The Man and Musician.” Violinist 3 (April 1903): 5–6. An appreciation of the German violinist and teacher best known as second violin in Joseph Joachim’s quartet.

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MARIE HALL (1884–1956) See also {1}, {1234}. 1382. Henderson, B. “Marie Hall.” Strad 21 (May 1910): 20–22. An interview with and sketch of the English violinist. Discusses in particular her world travels and her studies with Otakar Ševcík. An earlier interview with Hall, also from the same author, appeared in the March 1903 issue of Strad. ARTHUR HARTMANN (1881–1956) See {1210}, {1256}. JOSEF HASSID (1923–50) See also {1}, {1234}, {1345}. 1383. Lewin, Robert. “Story of a Genius.” Strad 81 (March 1971): 497–505. Biography of the violinist Josef Hassid, who died tragically young. The first part of the article covers his life and death, the second part discusses his playing. KATÓ HAVAS (B. 1920) See also {1}, {464}, {620}. 1384. Bacca, Mavis. “Kato Havas at the Central Hall.” Strad 72 (July 1961): 97–101. Reviews a lecture-demonstration by the Hungarian-born British pedagogue, “A New Approach to Violin Playing” (see {620}); criticizes the lecture as unoriginal and simplistic. This article provoked a storm of letters and articles in subsequent issues and volumes of Strad, many in defense of Havas’s method. See the correspondence sections in the September and November 1961, and January, February, March, and November 1962 issues, a postscript by Bacca in the December 1961 issue, as well as articles by Noel Hale and Hannah Jones in the October 1961 and April 1963 issues. 1385. Rokos, Kitty and Kurt Rokos. “An Evening with Kató Havas.” Strad 72 (March 1962): 401–5. An interview with the violin teacher. 1386. Havas, Kató. The Violin and I. London: Bosworth, 1968. 99pp. A memoir of the violinist and violin teacher, focusing on the development of and controversy over her method, A New Approach to Violin Playing

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{620}. Reprints articles written over a seven-year period in Strad magazine about her New Approach. JASCHA HEIFETZ (1901–87) See also {1}, {2}, {481}, {542}, {1183}, {1210}, {1216–18}, {1222}, {1232}, {1234–37}, {1243}, {1273}, {1346}. 1387. Axelrod, Herbert, ed. Heifetz. Neptune City, NJ: Paganiniana, 1976. 506pp. 2d ed., 1981. 633pp. 3d ed., 1990. 744pp. A collection of documents, photographs, and essays related to the life and career of the Russian-American violinist. Includes a “critical appreciation” by Henry Roth, reprinted interviews with Heifetz, dozens of concert reviews published between 1917 and 1972, hundreds of photographs, and a discography. 1388. Weschler-Vered, Artur. Jascha Heifetz. London: Hale, 1986; New York: Schirmer, 1986. 240pp. A biography of the violinist. Contains numerous inaccuracies and largely plagiarized from other sources; to be used with caution. See Dennis Rooney, “Heifetz and his Biographers,” Strad 99 (December 1988): 1007, 1009. 1389. Chotzinoff, Samuel. “Jascha Heifetz: The Early Years.” Strad 99 (December 1988): 966–91. A former friend and early Heifetz accompanist recalls his experiences with the violinist in the 1910s and 1920s. Much of this issue is devoted to Heifetz, and includes articles on Heifetz’s Guarneri violin, his biographers, and his recordings. See also the author’s earlier essay, “Jascha Heifetz,” in A Little Nightmusic (New York: Harper and Row, 1964), 3–30. 1390. Molkhou, Jean-Michel. “Heifetz on Disc and Film.” Strad 106 (January 1995): 90–97. Billed as “the complete Heifetz discography and filmography.” 1391. Page, Tim. “Jascha Heifetz.” New Criterion 14 (September 1995): 52–56. R. In Tim Page on Music: Views and Reviews, 74–81. Portland, OR: Amadeus, 2002 Discusses Heifetz’s life, playing style, and particularly his recordings on the occasion of the release of The Heifetz Collection, a 65-CD set of Heifetz’s commercial recordings.

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1392. Kloss, Sherry. Jascha Heifetz through My Eyes. Muncie, IN: Kloss Classics, 2000. xviii, 169pp. A memoir of the author’s experiences with her former teacher from 1974 to his death in 1987. Includes a chapter of Heifetz’s sayings and one with numerous photographs. The author was Heifetz’s student and later teaching assistant at the University of Southern California. 1393. Agus, Ayke. Heifetz as I knew Him. Portland, OR: Amadeus, 2001. 260pp. The memoirs of a pianist who worked with Heifetz during his last 15 years as an accompanist and personal assistant; often critical in its depiction of the violinist. Photographs. JENÖ HUBAY (1858–1937) See also {1}, {2}, {477}, {891}, {976}, {1232}, {1234}, {1236}, {1243}, 1635}, {1637}. 1394. Gombos, László. Jenö Hubay. Budapest: Mágus, 1998. 32pp. A brief English-language biography of the Hungarian violinist-composer. BRONISLAW HUBERMAN (1882–1947) See also {1}, {2}, {1212}, {1232}, {1234–36}, {1243}. 1395. Huberman, Bronislaw. Aus der Werkstatt des Virtuosen. Vienna: Heller, 1912. 61pp. Trans. Roberta Franke as From the Workshop of a Virtuoso. In H.W. Ernst as Seen by his Contemporaries, ed. Samuel Wolf, 37–52. Linthicum Heights, MD: Swand, 1986. Collects the violinist’s thoughts on violin playing and art more generally as well as recollections of his career and of various musicians, notably Joseph Joachim. LEONORA JACKSON (1879–1969) 1396. Simpson, Eugene E. “Interview with Leonora Jackson.” Music 19 (February 1901): 382–85. An interview with the American violinist, at the time an internationally acclaimed performer, who later became (as Mrs. W. Duncan McKim) an important benefactor of the Library of Congress. LEROY JENKINS (B. 1932) See also {1}.

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1397. Blumenthal, Bob. “Leroy Jenkins—for the Record.” Down Beat 49 (March 1982): 20–22, 70. Profiles the jazz violinist, drawing upon interviews with the author. Includes a discography. JOSEPH JOACHIM (1831–1907) See also {1}, {2}, {476}, {571}, {607}, {608}, {650}, {655}, {656}, {734}, {799}, {803}, {808}, {884}, {886}, {888}, {890}, {901}, {903}, {904}, {989}, {990}, {1038}, {1115}, {1116}, {1121}, {1145}, {1202}, {1204}, {1208}, {1232}, {1234}, {1236}, {1243}, {1273}, {1304}, {1350}, {1395}, {1559}, {1614}, {1635}, {1657}, {1658}. 1398. Moser, Andreas. Joseph Joachim: Ein Lebensbild. Berlin: Behr, 1898. viii, 301pp. E. Joseph Joachim: A Biography. Trans. Lilla Durham. London: Welby, 1901. xvi, 336pp. A sympathetic biography of the violinist-composer written by a former student. Quotes liberally from reviews and correspondence with eminent musicians. The English translation updates the German with additional material and includes an index. 1399. Kennedy, Harding M. “Two Interviews with Joachim.” Violin World 8 (15 August 1900): 52–54. Reports on the author’s visits with the violinist in Berlin; mostly concerned with Joachim’s instruments. 1400. Winn, Edith, L. “Joseph Joachim and his School.” 4 parts. Violinist 3 (March 1903): 5, 11; (April 1903): 9–10; (May 1903): 10–11; (June 1903): 8–9. An appreciation of Joachim’s teaching methods and response to his critics. For a biographical essay on Joachim by the same author, see “Joseph Joachim,” Music 19 (November 1900): 42–54. 1401. Fuller-Maitland, J. A. Joseph Joachim. London: John Lane, 1905. ix, 63pp. An admitted panegyric (v) on the life and work of Joachim. Divided into five chapters covering his career, violin playing, teaching, influence, and compositions. Illustrated. 1402. Joachim, Joseph. Briefe von und an Joseph Joachim. 3 vols. Comp. and ed. Johannes Joachim and Andreas Moser. Berlin: Bard, 1911–13. E. Joachim, Joseph. Letters to and from Joseph Joachim. Trans. Nora Bickley. London: Macmillan, 1914. iii, 470pp. R. New York: Vienna House, 1972. xiii, 470pp.

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Collects and translates correspondence between Joachim and a variety of famous musicians, including Johannes Brahms, Clara and Robert Schumann, and Richard Wagner. 1403. Pulver, Jeffrey. “Brahms and the Influence of Joachim.” Musical Times 66 (January 1925): 25–28. Discusses the relationship between Brahms and Joseph Joachim, and how the violinist shaped the composer’s life, career, musical output, and ultimately his success. Includes excerpts from correspondence between the two friends. 1404. Joachim, Henry. “Joseph Joachim: First Violinist of a Modern Art.” Musical Times 74 (September 1933): 797–99. A brief biography and appreciation of Joachim, discussing him in the context of the great violinists of the past. 1405. Stoll, Barrett. “Joseph Joachim: Violinist, Pedagogue, and Composer.” Ph.D. diss., University of Iowa, 1978. ix, 323pp. A comprehensive study of Joachim’s life, work, and influence. Chapters 1 though 5 explore Joachim’s cultural milieu, discuss his teachers and musical predecessors, and chronicle his life as divided into his Weimar, Hanover and Berlin periods. Chapters 6 and 7 address Joachim the performer, and Joachim the pedagogue, respectively. Chapter 8 surveys Joachim’s compositions, with particular attention devoted to the Konzert in ungarischer Weise in D minor, Op. 11 (1860), also known as the “Hungarian Concerto.” The final three chapters (9–12) discuss Joachim’s contemporaries and assess his influence. A set of appendices provides a chronology of Joachim’s life, a work list, and lists of famous students, works premiered by Joachim, and works dedicated to him. Mus. exx., illus., bib. 1406. Wagner, Undine. “Joseph Joachims Beziehungen zum Prager Konservatorium: Eine Darstellung auf der Grundlange von sechs bisher unveroffentlichten Briefen des Kunstlers aus den Jahren 1872–76.” In Musikalisches Fullhorn: Aufsatze zur Musik. Gunter Fleischhauer zum 60. Geburtstag, 67–80. Halle: Martin-Luther-University Halle-Wittenberg, 1990. Explores Joseph Joachim’s relations with the Prague Konservatorium based on previously unpublished letters. 1407. Ebert, Wolfgang. “Brahms und Joachim in Siebensbürgen.” Studien zur Musikwissenschaft 40 (1991): 185–204. Discusses the concert tour of the Siebenbürgen region Brahms and Joachim undertook in September 1879.

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1408. Borchard, Beatrix. “Joseph Joachim: Vom Wunderkind zum Hohenpriester der deutschen Musik—Ein kulturhistorischer Weg.” Berliner Beitrage zur Musikwissenschaft 10, no. 2 (1995): 26–39. A biographical sketch tracing Joachim’s path “from prodigy to high priest of German music.” 1409. Borchard, Beatrix. “Botschafter der reinen Kunst—Vom Virtuosen zum Interpreten: Joseph Joachim und Clara Schumann.” Basler Jahrbuch für historische Musikpraxis 20 (1996): 95–113. Discusses and compares the impact of Joachim and Clara Schumann on 19th-century concert life and musical aesthetics. LEILA JOSEFOWICZ (B. 1977) See also {1242}. 1410. Church, Michael. “Strong Arm Tactics.” BBC Music Magazine 5 (March 1997): 22–24. Profiles the then 19-year-old Canadian violinist and former child prodigy Leila Josefowicz. 1411. Palmer, Andrew. “Great Expectations.” Strings 14 (May–June 2000): 44–48, 50, 52–53. Josefowicz discusses her training in the Suzuki method, her studies at the Curtis Institute, her interest in contemporary repertoire, and her family life. LOUIS KAUFMAN (1905–1994) See also {1}, {1133}, {1217}, {1218}, {1243}. 1412. Mell, Albert. “An Interview with the Violinist Louis Kaufman.” Journal of the Violin Society of America 7, no. 4 (1986): 3–38. In conversation with Albert Mell, the violinist discusses his early training, his instruments, his work in Hollywood, his collaboration with contemporary composers, his tours and recordings, and other matters. Kaufman’s wife and frequent piano accompanist, Annette, answers some questions as well. 1413. Harvith, John and Susan Edwards Harvith. Interview with Louis Kaufman. In Edison, Musicians, and the Phonograph: A Century in Retrospect, ed. John Harvith and Susan Edwards Harvith, 109–30. New York: Greenwood, 1987. In two interviews conducted in 1974 and 1981, Kaufman discusses his extensive recording career and explains his philosophy of recording and

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the many challenges the process presents to violinists. In the second interview his wife and accompanist, Annette Kaufman, joins the conversation. 1414. Kaufman, Louis and Annette Kaufman. A Fiddler’s Tale: How Hollywood and Vivaldi Discovered Me. Madison: University of Wisconsin Press, 2003. xv, 462pp. The memoirs of the American violinist, whose varied career included the first commercial recording of Vivaldi’s Four Seasons and performances on the soundtracks of dozens of classic American films, such as Gone with the Wind. Includes discography and filmography. NIGEL KENNEDY (B. 1956) See also {1}, {2}, {1241}. 1415. Kennedy, Nigel. Always Playing. London: Weidenfeld & Nicolson, 1991; New York: St. Martin’s, 1992. xvi, 154pp. The autobiography of the iconoclastic English violinist. Discusses his early life and studies, his concert and recording career, his influences (including Yehudi Menuhin and Stephane Grappelli), his violins, and so on. Includes photographs and a discography. LEONID KOGAN (1924–82) See also {1}, {2}, {1219}, {1232}, {1236}, {1237}, {1243}. 1416. Potter, Tully. “Master Musician, Supreme Technician.” Strad 105 (November 1994): 1106–11. Discusses the life, repertoire, style, and recordings of the Soviet violinist. 1417. Amoh, Kenzo. Leonid Kogan Discography. Tokyo: author, 1997. 91pp. A detailed and comprehensive discography; includes a chronology of Kogan’s life, a list of his premieres, and an index of artists who recorded with Kogan. PAVEL KOGAN (B. 1952) See {1229}, {1238}. FRITZ KREISLER (1875–1962) See also {1}, {2}, {39}, {457}, {458}, {547}, {653}, {813}, {835}, {942}, {994}, {995}, {1038}, {1209}, {1210}, {1216–18}, {1232}, {1234}, {1236–38}, {1243}, {1275}, {1481}, {1500}.

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1418. Kreisler, Fritz. Four Weeks in the Trenches. New York: Houghton Mifflin, 1915. vii, 85pp. R. Neptune, NJ: Paganiniana, 1981. vii, 85pp. Retells the violinist’s experiences of fighting for the Imperial and Royal Austro-Hungarian Army in World War I, in which he was wounded in action. 1419. Kreisler, Fritz. “The Story of My Violins.” Trans. Winfred Colton. Violinist 33 (September 1923): 103–6. The Austrian violinist discusses his violins, including an Amati, Gagliano, Guarnerius, and a Stradivarius. 1420. Kreisler, Fritz. “How Kreisler Tricked Bruckner.” Violinist 40 (May 1927): 165. The violinist recalls how, at the age of 10, he and friends trained a dog to “howl dismally whenever a certain piece by [Anton] Bruckner [their composition teacher] was played.” 1421. Lochner, Louis P. Fritz Kreisler. New York: Macmillan, 1950; London: Rockliff, 1951. xx, 455pp. R. St. Clair Shore, MI: Scholarly, 1977. xx, 455pp. Neptune City, NJ: Paganiniana, 1981. xx, 455pp. G. Fritz Kreisler. Trans. H. R. Nack. Vienna: Bergland, 330pp. The standard biography of the Viennese violinist-composer. Written by a friend during Kreisler’s lifetime and authorized by Kreisler, it lacks some critical distance and says relatively little about the important role of Kreisler’s wife, Harriet, apparently at her request. It is, however, a thorough, engaging, and well-documented book. Includes an abridged thematic catalog, a work list, discography, and an extensive bibliography. 1422. Kreisler, Fritz. “The Great Kreisler Hoax.” Etude 69 (June 1951): 18, 56. In discussion with Louis Biancolli, the violinist explains how and why he fooled the public into thinking that works he himself had composed were by classical masters, such as Gaetano Pugnani and Antonio Vivaldi. For more on the topic, see Lochner, 292–305 {1421} and Amy Biancolli, 154–82 {1429}. 1423. “Obituary: Fritz Kreisler.” Strad 72 (March 1962): 393, 417. One of many Kreisler obituaries. 1424. Szigeti, Joseph. “Memories of Fritz Kreisler.” Strad 73 (October 1962): 201–2. An appreciation and reminiscence of the recently deceased violinist. Originally published in High Fidelity (May 1962) and reprinted in High

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Fidelity’s Silver Anniversary Treasury, ed. Robert S. Clark (Great Barrington, MA: Wyeth, 1976). 1425. Darnton, Michael. “Alternating Voices.” Strad 98 (January 1987): 35–39. Describes some of Fritz Kreisler’s important violins, including his 1733 Guarneri del Gesù, his four Stradivaris, and his 1845 Vuillaume. 1426. “Kreisler Discography.” Strad 98 (January 1987): 61–67. Lists Fritz Kreisler’s commercial recordings, 1904–46. 1427. “L’Amico Fritz.” Strad 98 (January 1987): 40–50. Collects brief reminiscences of Fritz Kreisler by Mischa Elman, Zino Francescatti, Yehudi Menuhin, Nathan Milstein, Isaac Stern, and others. 1428. Roth, Henry. “The King of Violinists.” Strad 98 (January 1987): 23–29. An appreciation of Fritz Kreisler on the 25th anniversary of his death. 1429. Biancolli, Amy. Fritz Kreisler: Love’s Sorrow, Love’s Joy. Portland, OR: Amadeus, 1998. 453pp. A biography of the violinist-composer. Covers much of the same ground as Lochner’s biography {1421}, but fills in gaps (e.g., on Kreisler’s wife, Harriet, and Kreisler’s religious practices) omitted from the earlier book and addresses various Kreisler myths. Three appendices provide a chronology of Kreisler’s life, a work list, and a discography (compiled by Eric Wen). Includes photographs and a bibliography. 1430. Molkhou, Jean-Michel. “A Passion Shared.” Strad 110 (March 1999): 306–14. A Kreisler discography. GIDON KREMER (B. 1947) See also {1}, {2}, {1232}, {1236}, {1237}, {1243}. 1431. Lewinski, Wolf-Eberhard von. Gidon Kremer. Mainz: Schott, 1982. 152pp. Largely a collection of interviews with the violinist on a variety of topics, including his experiences with David Oistrakh, the challenges of recording, and his thoughts on modern music (of which he is a noted champion). Includes a biographical sketch of Kremer, a timeline, and discography. Numerous photos. 1432. Damien, Jean-Michel. “Gidon Kremer: Les mots, les sons et les coleurs.” Diapason, no. 337 (April 1988): 56–62.

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An interview with the violinist; includes discography. 1433. Kremer, Gidon. Kindheitssplitter. Munich: Piper, 1993. 230pp. The memoirs of the violinist, with particular attention to his childhood. 1434. Kremer, Gidon. Obertöne. Salzburg and Vienna: Residenz Verlag, 1997; Berlin: Ullstein, 1999. 289pp. A collection of the violinist’s thoughts on concert life, on violinists, conductors and composers whom he has known, and on the nature and power of music. 1435. Maxham, Robert. “Gidon Kremer: Supreme Individualist at 55.” Fanfare 26 (September–October 2002): 18–26. Profiles Kremer, who is quoted offering his negative views on the influence of violin competitions and the related phenomenon in which individuality and personality is less valued in violin playing than it once had been. Also discusses Kremer’s artistic development and his close relationship with modern composers. 1436. Kremer, Gidon. Zwischen Welten. Munich: Piper, 2003. 384pp. The second volume of the violinist’s memoirs (the first is Kindheitssplitter, {1433}). Kremer reflects on his life as a musician in the Soviet Union and his move to the West, and offers his thoughts on fellow Soviet musicians, such as David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich, and Dmitri Shostakovich. RODOLPHE KREUTZER (1766–1831) See also {1}, {2}, {405}, {470}, {601–3}, {698}, {701}, {793}, {996–98}, {1208}, {1234}, {1236}. 1437. Laval, Ruth. “Rudolph Kreutzer.” Violin World 9 (15 November 1901): 73–74. A biographical sketch of the French violinist-composer. 1438. Hardy, Joseph. Rodolphe Kreutzer: sa jeunesse à Versailles, 1766–1789. Paris: Fischbacher, 1910. 70pp. A well-documented chronicle of Kreutzer’s early years in Versailles, covering his family life and the first stage of his career (which began with his Paris debut at age 11). For more on Kreutzer’s later years see Michael Williams’s dissertation on the composer’s violin concertos {997}.

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JAN KUBELIK (1880–1940) See {1}, {2}, {1232}, {1235}, {1236}, {1243}. GEORG KULENKAMPFF (1898–1948) See {1}, {2}, {1232}, {1236}, {1237}, {1243}. CHARLES PHILIPPE LAFONT (1781–1839) See {1}, {698}, {701}, {1208}, {1523}. LA PIERRE FAMILY See also {1}. 1439. Robert, Jean. “Une famille de ‘Joueurs de violon’ avignonnais au XVIIe siècle: Les de la Pierre.” Recherches sur la Musique française classique 4 (1964): 54–68. Profiles the La Pierre family of violinists and composers who lived and worked in and around Avignon in the 17th century, including Jean (c. 1575–1644) and Paul (c. 1612–1690), who directed violin bands in Avignon and Montpellier. Provides a family tree. JAIME LAREDO (B. 1941) See also {1}, {2}, {1219}, {1232}, {1236}. 1440. Rooney, Dennis. “Jaime’s Jubilees.” Strad 111 (February 2000): 126–27, 129–30. Profiles Jaime Laredo on the 40th anniversary of his Carnegie Hall debut. 1441. Sand, Barbara Lourie. “The First 40 Years of Jaime Laredo: Celebrating the Violinist Who Can’t Say No.” American Record Guide 63 (January– February 2000): 8–10. Profiles Jaime Laredo on the 40th anniversary of his Carnegie Hall debut. FERDNINAND LAUB (1832–75) See {808}, {1208}. JEAN-MARIE LECLAIR [L’AÎNÉ] (1697–1764) See also {1}, {2}, {534}, {600}, {671}, {697}, {700}, {999–1002}, {1207}, {1208}, {1236}.

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1442. Slonimsky, Nicolas. “The Murder of Leclair.” In A Thing or Two about Music, 86–90. New York: Allen, Towne & Heath, 1948. Reviews the facts in the unsolved murder of violinist and composer JeanMarie Leclair in Paris. Argues that Leclair’s wife did the deed, although his case is more conjectural and less straightforward than Slonimisky suggests. See also Laurencie {697}, vol. 1, 298–309 and Borowitz {1445}. 1443. Pincherle, Marc. Jean-Marie Leclair l’Aîne. Paris: La Colombe, 1952. 130pp. A brief study of Leclair meant to expand upon the work of Laurencie in {697}. The first of four chapters surveys violin playing in France before Leclair. The second chapter offers a biography, and the third and largest chapter surveys his works. A final chapter examines his influence. Includes a bibliography and discography. Mus. exx. 1444. Zaslaw, Neal. “Materials for the Life and Works of Jean-Marie Leclair l’Aîné.” Ph.D. diss., Columbia University, 1970. 526pp. A thorough and well-researched Leclair sourcebook. Part One is a documentary biography, and reprints approximately 200 published and archival writings (most in French) on Leclair from the period 1697–1793. Part Two is a stylistic study of Leclair’s music, with discussion of Leclair’s “Frenchness,” genre, and tempo. Part III is a detailed thematic catalog of Leclair’s works. Mus. exx., bib. 1445. Borowitz, Albert. “Finale Marked Presto: The Killing of Leclair.” Musical Quarterly 72 (Spring 1986): 228–38. Reviews the facts in the unsolved murder of violinist and composer JeanMarie Leclair in Paris. Drawing on archival police records, proposes that Leclair’s nephew, François Guillaume Vial, committed the crime. Disagrees with (and makes a stronger case than) Slonimsky {1442}, who argues that Leclair’s wife was the culprit. HUBERT LÉONARD (1819–90) See {1}, {698}, {1208}. CHO-LIANG LIN (B. 1960) See {1}, {1237}. KAROL LIPINSKI (1790–1861) See also {1}, {656}, {1208}.

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1446. Laval, Ruth. “Karl Joseph Lipinski.” Violin World 10 (15 December 1902): 81–82. A brief biographical sketch of the Polish violinist-composer. 1447. Halski, Czeslaw Raymond. “Paganini and Lipinski.” Music and Letters 40 (July 1959): 274–78. A translation of “Lipinski and Paganini at Padua” first published in Polish in 1873. Recounts, with testimony from Lipinski, the 1818 [not 1817, as stated] meeting between the two virtuosi, and explains that Lipinski was not, as had sometimes been thought, a pupil of Paganini. 1448. Powrozniak, Józef. Karol Lipiniski. Cracow: Polskie Wydawnictwo Muzyczne, 1970. 259pp. E. Lipinski: His Life and Times. Trans. Maria Lewicka. Neptune City, NJ: Paganiniana, 1986. 143pp. A biography of the violinist-composer sometimes called the “Polish Paganini,” with particular attention given to his European tours. Includes chapters on music in 18th-century Poland and Lipinski’s contributions to violin repertoire and technique. Originally in Polish. The Englishlanguage edition is generously illustrated. PIETRO LOCATELLI (1695–1764) See also {1}, {2}, {563}, {671}, {681}, {1005–9}, {1207}, {1208}, {1236}. 1449. Eynard, Marcello. Il musicista Pietro Antonio Locatelli: Un itinerario artistico da Bergamo ad Amsterdam. Bergamo: Circolo lirico MayrDonizetti, 1995. 92pp. A brief life and works treatment intended to be less technical and detailoriented than earlier works by Calmeyer {1005} and Dunning {1007}. With illustrations and a brief bibliography. DIDIER LOCKWOOD (B. 1956) See also {1}, {505}. 1450. Baud, Robert. “Didier Lockwood— le violon sûr de soi.” Jazz Hot, no. 409 (1984): 16–17. A profile of the French jazz violinist; discusses his classical training and career in jazz, with quotations from the violinist himself. Photographs. 1451. Baudot, Serge. “Didier Lockwood: Maturité.” Jazz Hot, no. 558 (March 1999): 20–23.

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Lockwood in interview; discusses improvisation and interpretation in jazz, the performing styles of Ornette Coleman, John Coltrane, and Miles Davis, and his composition of a concerto for electric violin. ANTONIO LOLLI (1725–1802) See also {1}, {2}, {444}, {563}, {564}, {658}. 1452. Mooser, Robert-Aloys. “Violonistes-compositeurs italiens en Russie au XVIIIe siècle.” Rivista Musicale Italiana 50 (1948): 225–40. One in a series of articles by the author discussing the lives of several Italian violinist-composers who spent significant parts of their careers in Russia in the 18th century. (See the author index for Mooser’s other articles in the series.) This article focuses on Antonio Lolli, one of the most celebrated performers of his day, who spent 1774–83 in the service of Catherine the Great and touring Russia. 1453. Mell, Albert. “Antonio Lolli’s Letters to Padre Martini.” Musical Quarterly 56 (July 1970): 463–77. Discusses the life, career, and influence of the 18th-century violin virtuoso, Antonio Lolli. Draws upon the five extant letters from Lolli to Padre Martini (who was likely his benefactor) written between 1758 and 1762 to shed light on Lolli’s personality and to provide details about his career at the Stuttgart court. SERGIU LUCA (B. 1943) See {1}, {392}, {879}, {1221}. LUIGI MADONNIS (1690–1770) 1454. Mooser, Robert-Aloys. “Violonistes-compositeurs italiens en Russie au XVIIIe siècle.” Rivista Musicale Italiana 45 (1941): 264–80. One in a series of articles by the author discussing the lives of several Italian violinist-composers who spent significant parts of their careers in Russia in the 18th century. (See the author index for Mooser’s other articles in the series.) This article focuses on Luigi Madonnis (1690–1770), a Venetian who spent much of his career (1733–70) in Russia, a good deal of it as concertmaster of the court orchestra in St. Petersburg. Madonnis published a collection of instrumental suites (which he called “Symphonies”) in 1738, one of the earliest examples of Russian music printing.

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JOAN MANÉN (1883–1971) See {1}, {1212}, {1232}. DAVID MANNES (1866–1959) See also {1}, {1236}. 1455. Mannes, David. Music Is My Faith: An Autobiography. New York: Norton, 1938. 270pp. R. New York: Da Capo, 1978. 270pp. The memoirs of the American violinist and educator who established the Music School Settlement and later the Mannes College of Music. ANDREW MANZE (B. 1965) See also {1}. 1456. Maxham, Robert. “A Conversation with Andrew Manze.” Fanfare 21 (May–June 1998): 12–22. Discusses the life and work of the violinist and his interest in revisiting earlier performance practices and instruments. BIAGIO MARINI (C. 1587–1663) See also {1}, {2}, {525}, {561}, {563}, {564}, {707}, {1011}, {1012}, {1236}. 1457. Fano, Fabio. “Nuovi documenti e appunti su Biagio Marini.” In Scritti in onore di Luigi Ronga, 145–56. Milan and Naples: Ricciardi, 1973. Presents and provides commentary on previously unpublished documents related to the life of Marini, including a 1663 will and a death certificate, which indicates that he was about 76 years old. Includes facsimiles of the documents. See also the author’s earlier article, “Biagio Marini violinista in Italia all’estero,” Chigiana 22 (1965): 41–57. 1458. Miller, Roark. “Divorce, Dismissal, but no Disgrace: Biagio Marini’s Career Revisted.” Recercare 9 (1997): 5–18. Sheds light on the checkered life and career of the Italian violinistcomposer. Based on newly uncovered archival documents. Summary in Italian. MARTIN MARSICK (1848–1924) See also {1}, {1236}, {1343}, {1647}.

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1459. Wales, Marian E. “Marsick, the French Violinist.” Music 2 (October 1892): 599–607. A brief look at the life and career of the Belgium-born violinist-composer and Paris Conservatoire professor. HENRI MARTEAU (1874–1934) See also {1}, {2}, {803}, {891}, {1209}, {1232}, {1236}, {1243}, {1343}. 1460. Marteau, Blanche. Henri Marteau: Siegeszug einer Geige. Tutzing: Schneider, 1971. 648pp. A comprehensive biography of the French violinist. Discusses his collaboration with Reger on the composer’s Violin Concerto, Op. 101, his studies in Paris, his teaching in Geneva, Berlin, and Sweden (where he eventually settled), among other subjects. 1461. Weiss, Günther. “Max Reger und Henri Marteau.” In Reger-Studien 2: Neue Aspekte der Regerforschung, ed. Susanne Shigihara, 27–37. Wiesbaden: Breitkopf & Härtel, 1986. Considers Reger’s relationship with the French violinist and discusses their collaboration in concerts between 1904 and 1911. NICOLA MATTEIS (LATE 1670S–1737) See also {1}, {474}, {675}, {1254}. 1462. Tilmouth, Michael. “Nicola Matteis.” Musical Quarterly 46 (January 1960): 22–40. A reevaluation of the musical contributions of the Italian violinist-composer, an undeservedly neglected figure according to the author. Considers his influence in England, where he spent much of his career, and discusses his music, particularly the airs for violin. Cites contemporaneous assessments of his playing and character and quotes from Matteis’s own writings. Includes musical examples and a portait. 1463. Jones, Simon. “The Legacy of the ‘Stupendious’ Nicola Matteis.” Early Music 29 (November 2001): 553–68. Addresses problems in establishing a biography of Matteis and briefly discusses the violinist-composer’s contributions to violin playing in England, where he had lived for more than 25 years.

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ISOLDE MENGES (1893–1976) See also {1}, {1216}. 1464. Henderson, B. “Isolde Menges.” Strad 24 (September 1913): 175–76. Profiles the English violinist and Leopold Auer student at the beginning of her career. 1465. Potter, Tully. “Isolde Menges: Tully Potter Pays Tribute to a Meek Olympian.” Strad 104 (May 1993): 489–90. Discusses Menges’s career, specifically her premieres, her recordings, her chamber music activities, and her teaching at the Royal Academy of Music. Photographs. YEHUDI MENUHIN (1916–1999) See also {1}, {2}, {53}, {447}, {457}, {626}, {786}, {787}, {947}, {1121}, {1216–18}, {1232}, {1234–37}, {1243}, {1307}, {1371}, {1415}, {1427}. 1466. Persinger, Louis. “The Pupil Yehudi Menuhin.” Violinist 37 (August 1925): 101–2. An appreciation of the nine-year-old violinist by his teacher, who describes his student as “a genuine phenomenon.” 1467. Magidoff, Robert. Yehudi Menuhin. Garden City, NY: Doubleday, 1955. 319pp. 2d ed. London: Hale, 1973. 350pp. F. Yehudi Menuhin. Trans. Roger Giroux. Paris: Buchet/Chastel, 1957. 271pp. G. Yehudi Menuhin: Mensch und Musiker. Trans. Hildegard Weber. n.p.: Scherz, 1958. 284pp. A reliable and highly readable biography of the American violinist, based on extensive interviews with Menuihin’s colleagues and acquaintances and Menuhin himself. The second edition, published after the author’s death, includes five new chapters by Henry Raynor. Includes a discography. 1468. Menuhin, Yehudi. Theme and Variations. New York: Stein and Day, 1972. xiv, 192pp. Collects essays by the violinist on a variety of topics, arranged into four main sections: “Music,” “Education,” “The Environment,” and “Britain, Europe and the World.” 1469. Menuhin, Yehudi. Unfinished Journey. London: Macdonald and Jane’s; New York: Knopf, 1977. 393pp. 2d ed. Unfinished Journey: Twenty Years Later. Fromm International, 1997. 490pp.

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The memoirs of the violinist. Chronicles his early years as a child prodigy, his studies with Louis Persinger, his interaction with important composers, such as Béla Bartók and Edward Elgar, his experiences during World War II, his marriage to Diana Gould, his involvement in various causes outside music, and other sundry matters. The second edition includes four additional chapters. Both editions include many photographs. 1470. Daniels, Robin. Conversations with Menuhin. New York: St. Martin’s, 1979. 188pp. Menuhin discusses his wide-ranging career as a violinist, conductor, teacher, recording artist, festival coordinator, competition judge, lecturer, writer, broadcaster, filmmaker, and charity organizer. The book is divided into the following topics: Influences, The Vioin, Interpretation and Performance, Conductors, Critics, Composition and the Purpose of the Arts, Teacher and Pupil, Yehudi Menuhin’s School, Reflections. Includes several photographs. 1471. Menuhin, Diana. Fiddler’s Moll: Life with Yehudi. London: Weidenfeld & Nicolson; New York: St. Martin’s, 1984. xiii, 237pp. The second wife of the violinist, a former professional ballet dancer and actress, provides an account of her life with Menuhin (they married in 1947). Includes several photographs. 1472. Schall-Emden, Jutta, ed. Weder Pauken noch Trompten: Für Yehudi Menuhin. Munich: Piper, 1991. 108pp. A collection of brief tributes to and reminiscences of Menuhin on the occasion of the violinist’s 75th birthday. Contributors include Denis Stevens, Elisabeth Furtwängler, Stephane Grappelli, and Alberto Lysy. 1473. Dubal, David. Conversations with Menuhin. New York: Harcourt Brace Jovanovich, 1992. xv, 256pp. Collects discussions between the author and Menuhin on a wide variety of musical and cultural matters. Organized into three parts: “On Music and Musicians,” “On Music and Life,” and “On the Human Condition.” 1474. Burton, Humphrey. Yehudi Menuhin: A Life. London: Faber and Faber, 2000; Boston: Northeastern University Press, 2001. xiii, 561pp. A comprehensive and well-researched biography, the first written after the violinist’s death. Includes photographs, recommended recordings, a chronology of Menuhin’s life, and a bibliography.

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MIDORI (GOTO) (B. 1971) See also {1}, {2}, {1237}, {1241}, {1243}. 1475. Sand, Barbara Lourie. “An Innocent Abroad.” Strad 98 (May 1987): 368–71. Written when Midori was 14. Describes the famous incident during a concert at Tanglewood with Leonard Bernstein when the she broke two E strings and played on three different violins without missing a note. Briefly describes her routine of school, practicing, performing, and lessons with Dorothy DeLay. 1476. Eisler, Edith. “Coming of Age: A Conversation with Midori.” Strings 10 (September/October 1995): 38–45. An interview with Midori when she was 23; topics include her personal background, training and career, and her 1735 Guarneri del Gesù, the “David.” 1477. Templeton, David. “Music, Motion, and the Evolution of Midori.” Strings 17 (August–September 2002): 34–40. Discusses Midori’s evolution from wunderkind to mature woman and performer. Touches upon her extramusical endeavors and her program/foundation “Midori and Friends,” and includes a selected discography. TERESA

AND

MARIA MILANOLLO (1827–1904

AND

1832–48)

See also {1}, {293}, {1208}, {1234}, {1259}. 1478. Ogden, Gertrude Paulette. “Mme. Teresa Milanollo.” Violinist 2 (August 1902): 11. A brief sketch of the French violinist-composer, “whose wonderful playing during the middle of the [19th] century gave such impetus to the growth of violin playing by women.” 1479. Pougin, Arthur. “Les soeurs Milanollo.” Rivista Musicale Italiana 23 (1916): 345–89. Traces the lives and careers of Teresa Milanollo and her younger sister Maria, best known for their spectacular European concerts (1842–48), whose success rivaled that of Paganini’s. NATHAN MILSTEIN (1904–92) See also {1}, {2}, {1216–18}, {1232}, {1234}, {1236–38}, {1243}, {1375}, {1427}.

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1480. Gavoty, Bernard. Nathan Milstein. Geneva: Kister, 1956. 30pp. E. Nathan Milstein. Trans. F. E. Richardson. Geneva: Kister, 1956. 30pp. An interview with the violinist on a variety of musical, biographical, and cultural topics. Most of this slim volume is given over to photographs of Milstein. 1481. Milstein, Nathan and Solomon Volkov. From Russia to the West: The Musical Memoirs and Reminiscences of Nathan Milstein. Trans. Antonia W. Bouis. New York: Holt; London: Barrie & Jenkins, 1990; New York: Limelight, 1991. vi, 282pp., ill. F. De la Russie a l’occident: Memoires musicaux et autres souvenirs de Nathan Milstein. Paris: Buchet-Chastel, 1991. 247pp. G. “Lassen Sie ihn doch Geige lernen”: Erinnerungen. Munich: Piper 1993. 369pp. Memoirs of the Odessa-born violinist, covering his life from his early studies with Leopold Auer in St. Petersburg to his travels around the world as a concert violinist. Includes reminiscences of Auer, Fritz Kreisler, David Oistrakh, and Eugène Ysaÿe, among other violinists. Often strongly opinionated in his assessments of musicians and particularly critical of Soviet Communism, under which he lived until he was a young man. 1482. Molkhou, Jean-Michel. “Nathan Milstein Discography.” Strad 104 (March 1993): 248–53. Milstein discography. No commentary. 1483. “Nathan Milstein Remembered.” Strad 104 (March 1993): 255–56. Brief tributes by Milstein’s colleagues, associates, and students, including Charles Beare, Louis Kaufman, and Robert Mann. 1484. Roth, Henry. “Swan Song of a Self-Made Man.” Strad 104 (March 1993): 248–53. Reflections on the life of Nathan Milstein. 1485. Jellinek, George. “Recordings in Review.” Yale Review 82 (April 1994): 182–86. A brief overview of Nathan Milstein’s recordings. 1486. Horowitz, Joseph. “The Worldliness of Nathan Milstein.” In The PostClassical Predicament: Essays on Music and Society, 139–43. Boston: Northeastern University Press, 1995. Profiles the violinist, discussing his cosmopolitan lifestyle and career, his playing style, and his politics, particularly his antitotalitarianism.

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SHLOMO MINTZ (B. 1957) See {1}, {1230}, {1236}, {1237}, {1243}. PIETRO MIRA (18TH

CENTURY)

1487. Mooser, Robert-Aloys. “Violonistes-compositeurs italiens en Russie au XVIIIe siècle.” Rivista Musicale Italiana 46 (1942): 273–93. One in a series of articles by the author discussing the lives of several Italian violinist-composers who spent significant parts of their careers in Russia in the 18th century. (See the author index for Mooser’s other articles in the series.) This article focuses on Pietro Mira (also known as Pedrillo) (dates unknown). NICHOLAS MORI (1793–1839) See also {1}, {698}. 1488. Heron-Allen, Edward. “Nicholas Mori—An English Violinist.” Violin Times 1 (August 1894): 154–55. A brief biography of the violinist, a one-time pupil of Giovanni Battista Viotti and concertmaster of the Philharmonic Society’s orchestra. ERICA MORINI (1904–95) See {1212}, {1217}, {1218}, {1234–37}, {1243}, {1261}. LEOPOLD MOZART (1719–87) See {1}, {2}, {520}, {523}, {534}, {581}, {596}, {587–90}, {1028}, {1044}. VIKTORIA MULLOVA (B. 1959) See {1}, {1228}, {1237}, {1242}. ANNE-SOPHIE MUTTER (B. 1963) See also {1}, {2}, {1231}, {1232}, {1234}, {1236}, {1237}, {1241}, {1243}. 1489. Inglis, Anne. “Anne-Sophie Mutter.” Strad 95 (February 1984): 702–5. Profiles the young violinist, touching on her training, her concert schedule, and her violins. 1490. Fischer, Volkmar. “Moderne? Gerne? Ein Gespräch mit Anne-Sophie Mutter.” Fono Forum (September 1996): 32–37.

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An interview with the German violinist on her recordings, her violin, the violin repertoire, and other matters. 1491. Apthorp, Shirley. “Queen of Sheen.” Strad 113 (March 2002): 234–41. Highlights the violinist’s career, discussing her transition from prodigy to seasoned concert artist. RAY NANCE (1913–76) See {1}, {503}, {505}, {507}. PIETRO NARDINI (1722–93) See also {1}, {2}, {405}, {444}, {615}, {650}, {670}, {675}, {1037}, {1048–50}, {1208}, {1213}, {1236}. 1492. Leoni, Raimondo. Elogio di Pietro Nardini, celebratissimo professor di violino. Florence: Cambiagi, 1793. 44pp. Unavailable for examination. WILMA NERUDA (LADY HALLÉ) (?1838–1911) See also {1}, {2}, {1208}, {1234}, {1236}. 1493. “A Famous Woman Violinist.” Jacobs’ Orchestra Monthly 2 (August 1911): 69–70. Obituary. 1494. Collingwood, Frances. “Madame Neruda-Norman 1839–1911.” Strad 72 (May 1961): 19–21.

(Lady

Hallé)

An appreciation of the English violinist on the 50th anniversary of her death. GINETTE NEVEU (1919–49) See also {1}, {2}, {1216}, {1232}, {1234–37}, {1243}, {1345}. 1495. Ronze-Neveu, Marie Jeanne. Ginette Neveu: la fulgurante carrière d’une grande artiste. Paris: Horay, 1952. 159pp. E. Ginette Neveu. Trans. Joyce Kemp. London: Rockliff, 1957. 112pp. A biography of the French violinist, considered one of the great performers of the 20th century, who died in a plane crash at the age of 30. Includes photographs of the violinist, a discography, and a collection of tributes by leading musicians.

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1496. Ruhe, Pierre. “Ginette Neveu Remembered.” Strad 106 (April 1995): 380–85. Chronicles the brief life and briefer career of the French violinist. MARK O’CONNOR (B. 1961) 1497. Hauslohner, Amy W. “Mark O’Connor: American Music Champion.” Bluegrass Unlimited 27 (June 1993): 32–35. Profiles American fiddler Mark O’Connor; discusses his interest in classical music and his Fiddle Concerto No. 1 (which he was then in the process of writing), and his opinions on the past and future of bluegrass. 1498. McKeough, Kevin. “An American Odyssey.” Strings 16 (May–June 2002): 36–38, 42–45. Surveys the broad career of American violinist Mark O’Connor, a champion fiddler, jazz musician, and classical composer and performer. Includes photographs and a selected discography. DAVID OISTRAKH (1908–74) See also {1}, {480}, {835}, {1221}, {1232}, {1234}, {1236–38}, {1243}, {1431}, {1481}. 1499. Richter, Evelyn and Ernst Krause. David Oistrach: Ein Arbeitsporträt. Berlin: Henscelverlag Kunst und Gesellschaft, 1973. 171pp. Largely a book of candid photographs (by Evelyn Richter) of Oistrakh performing, conducting, teaching, and interacting with various musicians (including Dmitri Shostakovich). Includes a biographical essay by Ernst Krause and a discography, a chronology of Oistrakh’s life, and a letter by Oistrakh about conducting. 1500. Jusefovich, Viktor. David Oistrach: Gespräche mit Igor Oistrach. Stuttgart: Deutsche Verlags-Anstalt, 1977. 258pp. E. David Oistrakh: Conversations with Igor Oistrakh. Trans. Nicholas de Pfeiffer. London: Cassell, 1979. 248pp. A biography of the Odessa-born violinist in the form of interviews with his son Igor, also a violinist. Topics include his career, family life, character, and travels. The largest section of the book, “Meetings” focuses on Oistrakh’s interactions and relationships with notable musicians, such as the composers Segei Prokofiev, Dmitri Shostakovich, and Aram Khachaturian and violinists Georges Enesco, Leonid Kogan, Fritz Kreisler, and Isaac Stern. This section also reprints many letters from these

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figures to Oistrakh. Includes photographs and an epilogue by Tamara Oistrakh, the violinist’s widow. 1501. Potter, Tully. “David Oistrakh: Heart of the Matter.” Strad 95 (October 1984): 406–13. Chronicles Oistrakh’s education, personal life, and career as a concert violinist, chamber musician, recording artist, and conductor. Discusses his friendship with Jacques Thibaud, his premieres (esp. Prokofiev’s Violin Sonata No. 1), his playing style and his influence as a pedagogue. Includes photographs. 1502. Ruggieri, Vezio and Alexander Katsnelson. “An Analysis of a Performance by the Violinist D. Oistrakh: The Hypothetical Role of Postural Tonic-Static and Entourage Movements.” Perceptual and Motor Skills 82 (1996): 291–300. Reports on a research project in which David Oistrakh’s posture and movements in performance (as seen on videotape) were observed to see if there is a correlation between a performer’s motor activity and the structure of the music performed. Hypothesizes a correspondence “between tension, muscle release, and those variations in sound intensity which musical critics describe metaphorically in terms of tension, lightness, etc.” (299). IGOR OISTRAKH (B. 1931) See {1}, {1222}, {1232}, {1237} {1243}. ELMAR OLIVEIRA (B. 1950) See {1223}, {1241}. NICOLÒ PAGANINI (1782–1840) See also {1}, {2}, {44}, {52}, {153}, {312}, {454}, {529}, {561}, {563}, {564}, {567}, {650}, {651}, {656}, {667}, {675}, {1008}, {1055–61}, {1162}, {1201}, {1203}, {1204}, {1208}, {1222},{1233}, {1234}, {1236}, {1243}, {1253}, {1267}, {1297}, {1314}, {1447}, {1605}, {1608}, {1622}, {1681}. For Paganini’s correspondence, see Neill {1533} and Codignola {1515} below. 1503. Guhr, Carl. Über Paganini’s Kunst die Violine zu spielen. Mainz: Schott, 1830. 61pp. F. L’Art de jouer du violon de Paganini. Paris: Schonenberger, 1831. 69pp. E. Paganini’s Art of Playing on the Violin. Trans. Sabina Novello; ed. C. Egerton Lowe. London: Novello, 1915. 64pp. Paganini’s

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Art of Violin Playing. Trans. Joseph Gold. San Francisco: Parker, 1982. 54pp. Probably the first book-length treatment of Paganini. Analyzes Paganini’s performance style, describing his strings and bridge, his stance and arm positions, his tuning, bowing, fingering, and use of pizzicato and (most of all) harmonics. Much of the volume is given over to musical examples. The Gold translation includes 39 explanatory notes. 1504. Harrys, Georg. Paganini in seinem Reisewagen und Zimmer, in seinen redseligen Stunden, in gesellschaftlichen Zirkeln und seinen Concerten. Braunschweig: Vieweg, 1830. xii, 68pp. E. Niccolò Paganini: Journals & Jottings. Ed. Harold Day and Wendy Robinson. Trans. John Parker. Hobart, Tasmania: Hobart, 2002. xiv, 126pp. Harrys traveled with Paganini for two years as his secretary; this book is a transcript of the author’s journals from that period and offers a glimpse into Paganini’s personality and habits. Considered a generally reliable source. 1505. Imbert de Laphaleque, Georges. Notice sur le célèbre violiniste Nicolò Paganini. Paris: Guyot, 1830. 66pp. An early sketch of the life and music of Paganini. Reproduced in Condat {1534}. 1506. Paganini, Nicolò. “Notice sur Paganini: Écrite par lui-même.” Revue Musicale 9 (11 September 1830): 137–45. A brief autobiographical sketch, in which Paganini tells of his family, his training and work as a composer and violinist, his concert tours, and future plans. (He explains that when he returns from his current tour of France, Germany, and England he will devote himself entirely to composing concertos.) Note that he incorrectly gives the year of his birth as 1784 (not 1782), an error that persisted in Paganini biographies for decades. In Italian with parallel French translation. 1507. Schottky, Julius M. Paganini’s Leben und Treiben als Künstler und als Mensch. Prague: Taussig & Taussig; Calve’sche, 1830. x, 410pp. R. Prague: Taussig & Taussig, 1909. x, 413pp. Walluf: Sändig, 1974. x, 413pp. An important early book on Paganini. The first of two parts deals largely with Paganini’s travels and reception in Prague and German; includes numerous quotations from concert reviews. The second part considers Paganini’s character, personality, and upbringing. The author was a personal friend of the violinist. The original edition includes an index and a facsimile of a note to the author by Paganini, neither of which appears in the reprint.

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1508. Anders, Gottfried Engelbert. E. Biographical Sketch of Nicolo Paganini. London: Robinson, 1831. F. Nicolo Paganini: Sa vie, sa personne, et quelques mot sur son secret. Paris: Delaunay, 1831. 42pp. A brief biography of the violinist written during his lifetime. Defends Paganini against his detractors. Originally published in Lady’s Magazine in April 1831. 1509. Guibal du Rivage, Alexandre. Réflexions d’un artiste sur le talent de Paganini. Paris: Dentu, 1831. 16pp. A short pamphlet on the phenomenon that was Paganini. Reproduced in {1534}. 1510. Conestabile della Staffa, Giovanni Carlo. Vita di Niccolo Paganini. Perugia: Bartelli, 1851. 317pp. New ed., ed. Federico Mompello. Milan: Società editrice Dante Alighieri, 1936. vii, 646pp. The first full-length book on Paganini in Italian, although more hagiography than scholarly biography. A set of appendices reproduces a number of documents related to Paganini’s life and music. The new edition includes many editorial footnotes and an annotated 241-item bibliography. 1511. Fétis, François Joseph. Notice biographique sur Paganini. Paris: Schönberger, 1851. 95pp. R. La flute de Pan, 1981. E. Biographical Notice of Nicolo Paganini, with an Analysis of his Compositions and a Sketch of the History of the Violin. Trans. Wellington Guernsey. 2d ed. London: Schott, 1876. 90pp. R. (of the 1876 ed.) New York: AMS, 1976. 90pp. A life and works treatment of the violinist-composer, with an introductory section on the history of the violin. Largely borrowed from earlier sources and factually unreliable. De Courcy {1523} calls it a “historically irresponsible and professionally unethical piece of hack work that has contributed … to the numerous inaccuracies, inconsistencies, and confusion of the Paganini epic ever since” (II, 354). Reproduced in Condat, Nicolò Paganini, 1782–1840: Musicien, Magicien, ou Mutan de Marfan? {1534}. 1512. Bonaventura, Arnaldo. Nicolò Paganini. Modena, Formiggini, 1911. 99pp. 3d ed., Rome: Formiggini, 1923. 96pp. A brief and popular biography of the violinist-composer. 1513. Kapp, Julius. Paganini. Berlin: Schuster & Loeffler, 1913. xi, 167pp. 15th ed. Tutzing: Schneider, 1969. 182pp. A popular and reliable biography in German. (Many, if not most of its editions, however, incorrectly give 1784 for Paganini’s birth.) Chapters

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chronicle his life, assess his abilities as a performer, and discuss his compositions. Also reprints a collection of primary documents related to Paganini and reproduces numerous paintings, drawings, concert programs, and letters of the violinist. 1514. Day, Lillian. Paganini of Genoa. New York: Macaulay, 1929. xii, 318pp. R. London: Victor Gollancz, 1966. A biography aimed at the general reader, at times written in a sensational, novelistic tone. Appendices include reprints of several poems written about Paganini over the years and a translation of Franz Liszt’s obituary tribute to Paganini. Well illustrated. 1515. Codignola, Arturo. Paganini intimo. Genoa: Municipio di Genova, 1935. 691pp. A valuable resource on the life of Paganini. The first part of the book is a carefully researched 113-page biography. The bulk of the book reprints 283 letters written by Paganini between 1814 and 1840, with extensive explanatory notes by the author. Includes a register of the letters organized by correspondent, a work list, and several indexes. De Courcy {1523} calls Paganini intimo “by far the most important and valuable [book on Paganini] since Schottky” (II: 359). 1516. Pulver, Jeffrey. Paganini: The Romantic Virtuoso. London: Joseph, 1936. 328pp. R. New York: Da Capo, 1970. 353pp. A generally well-regarded and reliable biography of the violinist-composer written in engaging and often flowery prose. Notable for its detailed account of Paganini’s travels in the British Isles. The reprint edition has a new and extensive bibliography by Frederick Freedman. 1517. Saussine, Reneé de. Paganini le magicien. Paris: Gallimard, 1938. 252pp. E. Paganini: A Biography of the Greatest Virtuoso of All Time. Trans. Marjorie Laurie. New York: McGraw Hill, 1954. 271pp. R. Westport, CT: Greenwood, 1970. xiv, 271pp. I. Paganini. Milan: Nuovo Accademia Editrice, 1958. 295pp. A novelistic biography of Paganini. Vividly written, not always factually dependable. 1518. Flesch, Carl. “Apropos of Paganini’s Secret.” Strad 49 (September 1939): 205–7. Claims that Paganini’s secret was the use of fingered octaves, the one technical development he can be said with certainty to have introduced.

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1519. Sear, H. G. “The Influence of Paganini.” Music Review 4 (1943): 99–111. Considers the influence of Paganini’s music (particularly the Caprices) on the piano music of Schumann, Liszt, Brahms, and Rachmaninoff. 1520. Salzedo, S. L. Paganini’s Secret at Last. London: Nicholson & Watson, 1946. 39pp. Claims to have discovered the secrets of Paganini’s astonishing technical ability, among them that Paganini kept his thumb in third position while playing in first position, and that he practiced very quietly. Of questionable value. 1521. Chiesa, Mary Tibaldi. Paganini: La Vita e l’Opera. Monza: Garzanti, 1947. 484pp. A study of the violinist-composer, notable for its substantial discussion of Paganini’s music, something of a rarity in the Paganini literature up to this point. 1522. Codignola, Arturo. Paganiniana. Milan: Alferi, [1953]. 89pp. A compendium of information on Paganini. Includes a detailed chronology, a collection of quotes by and about Paganini, a discography, and an extensive bibliography. Illustrated. 1523. Courcy, G. I. C. de. Paganini: The Genoese. 2 vols. Norman: University of Oklahoma Press, 1957. xv, 423pp.; vii, 431pp. R. New York: Da Capo, 1977. xv, 423pp.; vii, 431pp. A comprehesive and authoritative biography, generally considered the standard work on the subject. The two-volume work is divided into four parts, each exhaustively documenting a period in Paganini’s life. The final chapter offers a useful overview of the Paganini literature. This is almost strictly a biographical and historical work, and provides rather little commentary on the music. A set of appendices provides a geneaology, two autobiographical sketches by Paganini, a list of his instruments and compositions, and a brief discussion of Paganini iconography. Includes numerous excerpts from Paganini’s correspondence, as well as illustrations, facsimiles, and a bibliography. 1524. Courcy, G. I. C. de. Paganini: Chronology of his Life. Wiesbaden: Erdmann, 1961. 81pp. A year-by-year account of Paganini’s life and times; in parallel English and German texts (German translation by Hans Dünnebeil).

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1525. Vyborny, Zdenek. “The Real Paganini.” Music and Letters 42 (October 1961): 348–63. Counters Paganini’s reputation as morally corrupt by appealing to documents suggesting the violinist’s generosity and antimaterialism. 1526. Berri, Pietro. Paganini: documenti e testimonianze. Genoa: Sigla effe, 1962. 189pp. A well-researched and extensively footnoted collection of documents, some previously unpublished, related to Paganini’s life, career, and music. Focuses on specific topics, including Paganini’s reception in Russia, an 1828 will, his recipes, his medical history, and testimonials of other musicians. Includes numerous illustrations and facsimiles. 1527. Kirkendale, Warren. “‘Segreto Comunicato da Paganini.’” Journal of the American Musicological Society 18 (Fall 1965): 394–407. Discusses a Paganini manuscript that reveals his “secret” application of artificial harmonics on the violin. Includes sources for a history of harmonics. 1528. Schoenfield, M. R. “Nicolo Paganini: Musical Magician and Marfan mutant?” Journal of the American Medical Association 239 (1978): 40–42. Argues that Paganini was born with Marfan’s Syndrome, a condition in which the joints of the fingers are hyperextensible and one that allowed Paganini’s spectacular feats of violinistic dexterity. 1529. Sheppard, Leslie and Herbert R. Axelrod. Paganini. Neptune City, NJ: Paganiniana, 1979. 703pp. The chief value of his biography is in its compilation of hundreds of reproductions of illustrations, manuscripts, and documents pertaining to Paganini’s life and music. Includes a section devoted to technique in Paganini’s music, a chapter on Paganini’s medical history, a discography, and a facsimile of the manuscript of the 24 Caprices. 1530. Berri, Pietro. Paganini: la vita e le opere. Ed. Mario Monti. Milan: Bompiani, 1982. 584pp. A thorough and well-researched life and works treatment of the violinist composer. Includes an extensive chronology of Paganini’s life (pp. 449–544), as well as a work list, discography, family tree, list of pieces by other composers based on Paganini’s music, and a select bibliography. 1531. Castiglioni, Vittore. Paganini. Parma: La Pilotta, 1982. 221pp. A scholarly Italian-language biography of Paganini. An appendix provides a work list.

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1532. Kendall, Alan. Paganini: A Biography. London: Chappell, 1982. 160pp. A biography of Paganini written for the general reader. Includes a list of Paganini’s compositions. Engaging and generally reliable. Ilustrated; no musical examples, footnotes, or bibliography. 1533. Neill, Edward, ed. Paganini Epistolario. Genoa: Commune di Genova, 1982. 318pp. Reprints 383 letters, in the original Italian or French, written by Paganini between 1813 and 1840. Includes brief explanatory notes by the editor. More comprehensive than Codignola’s collection {1515}. 1534. Condat, Jean-Bernard. Nicolò Paganini, 1782–1840: Musicien, Magicien, ou Mutan de Marfan? Honoré Champion, 1990. 170pp. Reprints 19th-century writings on Paganini: Imbert de Laphalèque, Notice sur le célèbre violiniste Nicolò Paganini (Paris: E. Guyot, 1830) {1505}, Guibal du Rivage, Réflexions d’un artiste sur le talent de Paganini (Paris: Dentu, 1831) {1509}, Fétis, Notice biographique sur Paganini (Paris: Schönberger, 1851) {1511}, and an 1832 letter by Paganini. Includes a work list, filmography, and discography. 1535. Neill, Edward. Nicolo Paganini: il cavaliere filarmonico. Genoa: De Ferrari, 1990. 531pp. A substantial and well-researched Italian-language biography. Appendices provide a work list, a history of Paganini’s 1742 Guarneri del Gesù violin, reprints of testimonials by his contemporaries, including Hector Berlioz, Ole Bull, Charles Dancla, a work list, and more than 140 illustrations. Bib. 1536. Stowell, Robin. “Nicolo Paganini: The Violin Virtuoso in excelsis?” Basler Jahrbuch für historische Musikpraxis 20 (1996): 73–93. Sets out to determine whether claims of Paganini’s preeminence among 19th-century violinists are valid, and if so, why. After a thorough review of the literature on Paganini, concludes that such claims are valid, and that his greatness was derived from a unique combination of “personal magnetism [and] technical expertise” (93). Mus. exx. 1537. Palmer, David L. “Virtuosity as Rhetoric: Agency and Transformation in Paganini’s Mastery of the Violin.” Quarterly Journal of Speech 84 (1998): 341–57. Examines musical virtuosity in general, and Paganini’s virtuosity in particular, as modes of rhetoric. Takes Paganini’s Vienna debut as a case study, and concludes that his violin playing “exemplifies how audiences of this era attributed the display of amazing skill with the capacity to

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generate significant insight, create community, and serve as a form of social commentary on prevailing issues” (354). Fiction The following novels based on the life of Paganini are listed without individual annotations. Although some may be factually reliable to a certain extent, they should be taken for what they are: fiction. Komroff’s novel, for example, includes an invented episode in which Paganini performs for Lord Nelson, a story that was later repeated as fact by some writers. 1538. Kuhnert, A. Artur. Paganini: Roman. Leipzig: Reclam, 1929. 247pp. 1539. Richter, Hermann. Dämonischer Reigen: Ein Paganini-Roman. Tübingen: Alemannen, 1938. 286pp. 1540. Komroff, Manuel. The Magic Bow: A Romance of Paganini. New York: Harper & Brothers, 1940. 362pp. 1541. Vinogradov, Anatoli. The Condemnation of Paganini. Trans. (from Russian) Stephen Garry. London: Hutchinson, 1946. 288pp. 1542. Farga, Franz. Paganini, der Roman seines Lebens. Zurich: Müller 1950. 191pp. 1543. Reis, Kurt. Paganini und die Frauen. Berlin: Deutsche Buchvertriebs- und Verlags-Gesellschaft, 1952. 349pp. 1544. Waldemar, Charles. Liebe, Ruhm und Leidenschaft: Der Lebensroman des Niccolo Paganini. Munich: Bong, 1959. 367pp. 1545. Maynor, Eleanor. The Golden Key. New York: Criterion, 1966. 160pp. KATHLEEN PARLOW (1890–1963) See also {1}, {308}. 1546. Parlow, Kathleen. “Student Days in Russia.” Canadian Music Journal 6 (Autumn 1961): 13–20. The violinist recounts her studies at the St. Petersburg Conservatory with Leopold Auer. 1547. Sewell-Kirton, Hilda. “A Visit with the Late Kathleen Parlow.” Strad 73 (October 1963): 207–15. Relates the story of the author’s visit to the Canadian violinist’s home for a lesson and conversation.

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1548. French, Maida Parlow. Kathleen Parlow: A Portrait. Toronto: Ryerson, 1967. ix, 167pp. Biography of the Canadian concert violinist and student of Leopold Auer. Reprints several letters from Auer to Parlow. 1549. Potter, Tully. “Reluctant Virtuoso.” Strad 108 (June 1997): 610–15. A brief biography and appreciation of Kathleen Parlow. ITZHAK PERLMAN (B. 1945) See also {1}, {2}, {683}, {1219}, {1232}, {1234}, {1236}, {1237}, {1243}, {1326}, {1327}. 1550. Bookspan, Martin. “A Conversation with Itzhak Perlman.” Journal of the Violin Society of America 3 (Spring, 1977): 5–26. An unedited transcript of a 1976 interview with the violinist on the Eternal Light television show. The wide-ranging conversation covers the violinist’s childhood, his negative view of competitions, and his reflections on Judaism. 1551. Lawrence, R. D. “Pearls of Wisdom.” Strad 100 (April 1989): 304–8. An interview with Itzhak Perlman about his development as a violinist, his repertoire and influences, and violin technique. Photographs. For more on Perlman, see the brief items by Henry Roth and Dennis Rooney in the same issue. 1552. Behrman, Carol H. Fiddler to the World: The Inspiring Life of Itzhak Perlman. White Hall, VA: Shoe Tree, 1992. 128pp. A biography of the violinist for young readers, with particular emphasis on the barriers he faced and overcame after becoming disabled by polio. 1553. Reel, James. “Making the Grade.” Strings 19 (August–September 2004): 58–65. In an interview, Itzhak Perlman discusses his work and philosophy as a teacher; he had recently been appointed the Chair of Violin Studies at the Juilliard School. LOUIS PERSINGER (1887–1966) See {1}, {1217}, {1234}, {1236}, {1469}. MICHEL PIASTRO (1891–1970) See {1212}, {1273}.

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VIKTOR PIKAISEN (B. 1933) See {1227}, {1237}. JOHANN GEORG PISENDEL (1687–1755) See also {1}, {2}, {675}, {738}. 1554. Treuheit, Albrecht. Johann Georg Pisendel (1687–1755): Geiger, Konzertmeister, Komponist. Cadolzburg: Heimatverein Cadolzburg, 1987. 302pp. A study of the life and works of the violinist-composer, considered the finest German violinist of his day. Includes a work list with selected incipits, a discography, and an extensive collection of documents concerning Pisendl’s work with some of the leading composers of the time, including Tomaso Albinoni and Georg Philip Telemann, and Antonio Vivaldi, who dedicated works to him, and Franz Benda and J. G. Graun, who studied with him. Mus. exx., bib. JEAN-LUC PONTY (B. 1942) See also {1}, {2}, {503}. 1555. Pieters, Joanna. “Violin Sans Frontières.” Strad 107 (May 1996): 504–9. Discusses the career of the French jazz violinist—his classical training at the Paris Conservatoire, his turn to jazz, his collaboration with jazz and rock musicians, his recordings, his interest in new technology, and his recordings. Includes a selected discography. 1556. Gilbert, Mark. “Jean-Luc Ponty.” Jazz Journal International 50 (July 1997): 6–8, 47. Profiles the “pioneer of modern jazz violin.” MAUD POWELL (1867–1920) See also {1}, {542}, {638}, {1210}, {1234}, {1236}, {1243}, {1257}, {1261}. 1557. “Miss Maud Powell.” Violinist 4 (July 1904): 5. Briefly profiles the American violinist; portrait. 1558. Shaffer, Karen A. and Neva Gardner Greenwood. Maud Powell: Pioneer American Violinist. Ames, Iowa: Iowa State University Press, 1988. xx, 530pp. An exhaustively researched and documented biography of the American violinist. Chronicles Powell’s studies abroad, tours across the world, her

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struggles as a woman violinist, and her work to educate and elevate audiences. Includes lists of works premiered by, dedicated to, and transcribed and composed by Powell, a discography, and many illustrations. 1559. Kohnen, Daniela. “Maud Powell in Berlin: Studienjahre der legendären amerikanischen Geigerin bei Joseph Joachim.” Das Orchester 48, no. 11 (2000): 8–13. Discusses Powell’s studies in Berlin with Joseph Joachim in 1884 and 1885, Joachim’s teaching methods, and Powell’s career after working with Joachim. VÁŠA P

ÍHODA

(1900–60)

See {1212}, {1232}, {1237}, {1243}. GAETANO PUGNANI (1731–98) See also {1}, {2}, {444}, {1207}, {1208}, {1213}, {1236}, {1253}, {1422}. 1560. Cordero di Pamparato, S. “Gaetano Pugnani violinista torinese.” 4 parts. Rivista Musicale Italiana 37 (1930): 38–58, 219–30, 350–71, 551–61. A well-documented biography of the violinist-composer. Draws on contemporaneous sources (letters, public records) to establish previously disputed facts about Pugnani’s life. 1561. Zschinsky-Troxler, Elsa Margherita von. Gaetano Pugnani. Berlin: Atlantis, 1939. 253pp. A comprehensive study of the life and works of the violinist-composer. The first part of the book chronicles his life and career as he moved between Turin, Rome, and London and assesses his work as a violinist, conductor, pedagogue, and composer. The second part focuses on his music, and provides a thematic index, chronology, analyses of various works, and an interesting chart (211–14) comparing the formal characteristics of concertos by Somis, Vivaldi, Tartini, Pergolesi, Pugnani, and Boccherini. Includes a list of paintings of Pugnani and a bibliography. 1562. Heartz, Daniel. “Portrait of a Court Musician: Gaetano Pugnani of Turin.” Imago Musicae 1 (1984): 113–19. Sketches the life of Pugnani, with particular attention to the insights that may be gleaned from paintings and drawings of the violinist-composer. Notes that William Hogarth’s engraving “The Enraged Musician” (1741) could not be of Pugnani, as is claimed in Zschinsky-Troxler’s biography {1561}.

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MANUEL QUIROGA (1892–1961) 1563. Potter, Tully. “Soul of the Habanera.” Strad 109 (July 1998): 738–44. Discusses the life and career of the Spanish violinist, a celebrated virtuoso of his time but little remembered today beyond the fact that he was a dedicatee of one of Ysaÿe’s solo violin sonatas. MICHAEL RABIN (1936–72) See also {1}, {1220}, {1232}, {1236}, {1237}, {1243}. 1564. Heylbut, Rose. “The Making of a Violinist.” Etude 70 (August 1952): 9–10, 52. Interview with Rabin (and his parents) when the violinist was 16. 1565. Rabin, Michael. “A Performer’s Perspective.” Current Musicology, no. 14 (1972): 155–58. The violinist discusses the relationship between musicologists and performers, the function of music critics, the influence of recordings, and the need for government support of the arts. 1566. Feinstein, Anthony. “A Blessed Boy?” Strad 114 (November 2003): 1244–51. A biographical sketch; discusses the violinist’s meteoric rise and untimely death, which he argues was an accident, not suicide, as some have claimed. A Rabin discography compiled by Jean-Michel Molkhou follows on pp. 1252–53. WILLIAM HENRY REED (1876–1942) See also {1}. 1567. Parker, D. C. “W. H. Reed.” Strad 70 (June 1959): 61–63. Profiles the English violinist, soloist, and concertmaster of the London Symphony Orchestra, and whom Elgar consulted during the composition of his Violin Concerto. (See Reed {943}.) EDE (EDUARD) REMÉNYI (1830–98) See also {1}. 1568. Kelley, Gwendolyn Dunlevy and George P. Upton, eds. Edouard Reményi: Musician, Littérateur, and Man. Chicago: McClurg, 1906. xi, 255pp.

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A collection of documents connected with the life and work of the Hungarian-born violinist. Part One includes reminiscences and biographical essays from a variety of contributors, including his wife. Part Two reprints obituaries and tributes. Part Three collects correspondence writings by Reményi on a variety of topics. Part Four reproduces numerous press tributes, lists Reményi’s compositions, and reprints the program of Reményi’s first American concert (1850). VADIM REPIN (B. 1971) See {1242}, {1243}. RUGGIERO RICCI (B. 1918) See also {1}, {2}, {683}, {1217}, {1218}, {1222}, {1232}, {1234}, {1236}, {1237}, {1243}. 1569. Fleming, Shirley. “Ruggiero Ricci.” Journal of the Violin Society of America 2 (Spring 1976): 9–11. A brief interview in which the violinist reminisces about his youth and argues that young violinists should not be pushed too hard. 1570. Molkhou, Jean-Michel. “From Achron to Zito.” Strad 109 (November 1998): 1268–81. Presents Ricci’s complete discography and filmography from the violinist’s 70-year career. (Note: he released several more recordings after this discography.) PIERRE RODE (1774–1830) See also {1}, {2}, {405}, {470}, {601–4}, {608}, {698}, {701}, {793}, {1208}, {1234}, {1236}. 1571. Pougin, Arthur. Notice sur Rode. Paris: Pottier de Lalaine, 1874. 64pp. E. The Life and Music of Pierre Rode. Trans. Bruce R. Schueneman. Kingsville, TX: Lyre of Orpheus, 1994. 81pp. A brief account of the French violinist-composer, now best known to violinists as the author of a fine set of pedagogical caprices. Includes a work list and thematic index. The English translation includes an informative introduction. 1572. Schueneman, Bruce R. “The Life and Times of Pierre Rode: Neglected Master of the French School.” Strings 7 (September–October 1992): 68–71.

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Discusses the violinist-composer’s career at the Paris Conservatory and as a concert violinist, his influence on the French school of violin playing, his relations with Beethoven, and his codification of the French style in his Caprices and Etudes. Includes an excerpt of the solo violin part of his Concerto no. 4. 1573. Schueneman, Bruce R. “The Search for the Minor Composer: The Case of Pierre Rode.” Music Reference Services Quarterly 3, no. 1 (1994): 37–48. Discusses Rode’s life and addresses the problems of researching a minor composer, in Rode’s case incomplete biographical information and contradictory contemporary accounts. PAUL ROLLAND (1911–77) See {464}, {519}, {625}, {828}. AARON ROSAND (B. 1927) See also {1}, {1220}, {1236}. 1574. Maxham, Robert. “Aaron Rosand on Violins and Violinists: Views from the Ivory Tower.” Fanfare 22 (March–April 1999): 109–13. Interviews the American violinist, who discusses his memories of the great violinists of earlier decades, his assessment of modern violin playing, his opposition to the use of the shoulder rest, and his opinions on the differences between Guarneri and Stradivari violins. MAX ROSTAL (1905–91) See {828}, {835}, {854}, {1216}, {1243}. JOSEPH BOLOGNE

DE

SAINT-GEORGES (1745–99)

See also {1}, {697}, {1236}. 1575. La Laurencie, Lionel de. “The Chevalier de Saint-George, Violinist.” Trans. Frederick H. Martens. Musical Quarterly 5 (January 1919): 74–85. Chronicles the life and assesses the work of the violinist-composer, born to an African slave on the Caribbean island of Guadeloupe, who came to have an important role in the musical life of pre-Revolutionary France and was also renowned as a fencer. Mus. exx.

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1576. Banat, Gabriel. “Le Chevalier de Saint-Georges, Man of Music and Gentleman-at-Arms: The Life and Times of an Eighteenth-Century Prodigy.” Black Music Research Journal 10 (1990): 177–212. Builds on La Laurencie’s earlier article on Saint-Georges {1575} to offer a fuller sense of the adventurous life of the violinist-composer. Mus. exx. illus., work list, and discography. 1577. Edwards, Mellasenah I. “Rediscovering the Violin Works of Joseph Bologne de Saint-Georges.” D.M.A. diss., Peabody Conservatory, 1999. viii, 63pp. Surveys Saint-Georges’s violin music, which includes six sonatas and ten violin concertos. Includes a discussion of the composer’s life and times, a work list, bibliography, and discography. Mus. exx. NADJA SALERNO-SONNENBERG (B. 1961) See also {1241}. 1578. Salerno-Sonnenberg, Nadja. Nadja on My Way. New York: Crown, 1989. ix, 84pp. An autobiography of the Italian-born American violinist, written for young readers; includes chapters on her studies with Dorothy DeLay and her victory at the 1981 Naumberg Competition. Numerous photos. 1579. Page, Tim. “Nadja Salerno-Sonnenberg.” In Music from the Road: Views and Reviews, 1978–1992, 122–30. New York: Oxford University Press, 1992. R. Tim Page on Music: Views and Reviews, 195–205. Portland, OR: Amadeus, 2002. Profiles the violinist, discussing her controversial playing style and onstage deportment, her early training, her teacher, Dorthy DeLay, her favorite works (the Brahms Violin Concerto), among other topics. Originally published in Newsday in 1988. ALBERT SAMMONS (1886–1957) See also {1}, {1216}, {1232}, {1234}, {1243}. 1580. F. B. “British Players and Singers: II. Albert Sammons.” Musical Times 63 (1 February 1922): 83–84. Profiles the English violinist; discusses his career as a concertmaster, soloist, chamber musician, and composer, as well as his service in World War I. For an earlier profile, see Musical Times 56 (1 January 1915): 23–24.

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1581. Cooper, Albert. “Royal Albert.” Strad 97 (August 1986): 260–66. Chronicles Sammons’s life and achievements; discusses his recordings, his violins, and his championing of English music. 1582. Wetherell, Eric. Albert Sammons, Violinist: The Life of “Our Albert.” London: Thames, 1998. 184pp. A biography of Sammons, considered the finest English violinist of his generation. Discusses his life and varied musical career. Includes a discography and list of Sammons’s compositions. PABLO

DE

SARASATE (1844–1908)

See also {1}, {2}, {542}, {650}, {653}, {904}, {1204}, {1208}, {1232}, {1234}, {1236}, {1243}. 1583. Roth, F. “Pablo de Sarasate.” Strad 1 (June 1890): 17–18. Profiles the Spanish violinist-composer, at the time an internationally celebrated figure who was touring the United States. 1584. Saint-Saëns, Camille. “Sarasate.” In Outspoken Essays on Music, 113–14. Trans. Fred Rothwell. London: Kegan Paul, Trench, Trubner; New York; Dutton, 1922. A brief essay on Sarasate, to whom Saint-Saëns had dedicated a number of his works. 1585. Hartmann, Arthur. “The Perfect Virtuoso: Sarasate, the Wonder Worker, as Recalled by a Fellow Violinist.” Musical America 60 (25 March 1940): 8, 43. An appreciation and assessment of the violinist-composer; describes his effortless performance style, and recalls stories of his triumphs and failures. 1586. Grange, Woolley. “Pablo de Sarasate: His Historical Significance.” Music and Letters 36 (July 1955): 237–52. Discusses aspects of the violinist-composer’s life and work, including his reception outside his native Spain, his interaction with French composers, and the Spanish folk elements in his music. 1587. Sainati, Edward. “Sarasate Re-assessed.” Strad 105 (October 1994): 953, 955. Relates various anecdotes, some unflattering or sordid, about Sarasate. 1588. La Cerda, Alexandre de. Pablo Sarasate (1844–1908): le violoniste basque virtuose. Anglet: Séguier, 2001. 113pp.

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A brief biography of the Spanish violinist-composer. Largely focuses on his life and travels; discusses his music to a lesser extent. Includes a work list and several illustrations. EMILE SAURET (1852–1920) See also {1}, {2}, {1206}, {1343}. 1589. “Emile Suaret.” Violinist 4 (October 1903): 9. A brief biography of and interview with the French violinist and teacher, who had recently relocated to Chicago. JOHANN HEINRICH SCHMELZER (1620–23–1680) See {1}, {2}, {443}, {471}, {561}, {564}, {669}, {671}, {873}. ALEXANDER SCHNEIDER (1908–93) See also {1}, {1218}, {1236}. 1590. Rooney, Dennis. “A Gospel of Vitality: Tribute to the Late Alexander Schneider.” Strad 104 (June 1993): 539. A brief profile of the Russian-born American violinist and chamber musician. 1591. Glickman, Loren, comp. Don’t Sqveeze de Bow!: Reminiscences about Alexander Schneider. Norwich, VT: Terra Nova, 1996. xii, 128pp. Collects reminiscences of Schneider by nearly 90 students, colleagues, and friends. Includes many photographs. WOLFGANG SCHNEIDERHAN (1915–2002) See {1}, {2}, {1232}, {1237}, {1243}. HENRY SCHRADIECK (1846–1918) See also {1}, {2}. 1592. Lehmann, Alexander. “Henry Schradieck.” Violinist 3 (December 1902): 7. Biographical sketch of the German-American violinist, composer, and teacher. 1593. Todd, William Walker. “Henry Schradieck—An Appreciation.” Violinist 20 (August 1916): 344–50.

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A biography of and tribute to Schradieck, “whose name … is a household word wherever the art of violin playing is pursued” (344). JAAP SCHRÖDER (B. 1925) See also {448}, {747}, {1030}. 1594. Hanrén, Kjell-Ake. “French Master.” Strad 113 (September 2002): 954–58. Profiles the Dutch violinist, discussing with him his interest in French violin playing and in Baroque performance practice and period instruments. TOSCHA SEIDEL (1899–1962) See {457}, {1210}, {1216}, {1273}. JEAN-BAPTISTE SENAILLÉ (1688–1730) See {468}, {697}, {699}, {702}. ARRIGO SERATO (1877–1948) See also {1}. 1595. Della Corte, Andrea. “Arrigo Serato, Violinista (1877–1948).” Accademia Chigiana Quaderni 22 (1950): 1–31. A biography of and tribute to the Italian violinist, chamber musician, and teacher, who for a time played in Joachim’s quartet. An unpaginated appendix collects letters from Ferruccio Busoni to Serato. OTAKAR ŠEVCÍK (1852–1934) See also {1}, {2}, {39}, {456}, {1234}, {1236}, {1382}. 1596. Lehmann, Alexander. “Sketch of Otakar Ševcík.” Violinist 3 (January 1903): 5. Profiles the Czech teacher. 1597. Joachim, Henry. “Otakar Ševcík: His Spirit and Teaching.” Musical Times 72 (1 January 1931): 26–28. Explains the logic and philosophy of Ševcík’s teaching method, which he cites as the most popular in the world at the time and one that has benefited Ševcík’s more than 5,000 students. Also recommends that readers consider going to Pisek, Czecholslovakia, to study with the master before he dies

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(which he did three years later.) The author was a former student of Ševcík’s, and described his impressions of and experiences with him in “Studying With Ševcík,” Musical Times 71 (1 December 1930): 1114–16. In a later article {456}, the author offers a negative assessment of his former teacher. 1598. Mnatzaganian, Sarah. “Ševcík’s Legacy.” Strad 109 (September 1998): 948–49. Discusses Ševcík’s contributions to violin technique and pedagogy; quotes modern performers on the significance of Ševcík’s legacy. 1599. Prchal, Martin. “The Man Behind the Exercises.” Strad 109 (September 1998): 942–43, 945–46. Discusses the Czech teacher’s education, career, and comprehesive exercises for the violin, which continue to be played while their author is largely forgotten. GIL SHAHAM (B. 1971) See also {1}, {1241}, {1243}. 1600. Nelson, David K. “A Conversation with Gil Shaham.” Fanfare 15 (March–April 1992): 68, 72, 74, 90. The Israeli-American violinist discusses repertoire, historically informed performance, his studies with Dorothy DeLay, and his violin, the 1699 “Countess Polignac” Strad. 1601. Eisler, Edith. “Gil Shaham: Unspoiled by Success.” Strings 14 (November–December 1999): 50–58, 60–61. An interview with the violinist on his early training, repertoire, recordings, and instruments. Selected discography. OSCAR SHUMSKY (1917–2000) See {1}, {1224}, {1234}, {1236}, {1237}. JOSEPH SILVERSTEIN (B. 1932) See {1}, {459}, {1227}, {1236}, {1242}. MADDALENA LOMBARDINI SIRMEN (1745–1818) See also {1}, {592}, {593}, {1259}, {1296}, {1297}. 1602. Scott, Marion M. “Maddalena Lombardini, Madame Syrmen.” Music and Letters 14 (April 1933): 149–63.

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A biography of the violinist-composer and survey of her instrumental music. Mus. exx. 1603. Arnold, Elsie and Jane Baldauf-Berdes. Maddalena Lombardini Sirmen: Eighteenth-Century Composer, Violinist, and Businesswoman. Lanham, MD and London: Scarecrow, 2002. xvi, 170pp. A life-and-works treatment of the violinist-composer, a celebrated performer and a professional woman in a male-dominated field, who is best known as a student of Tartini and the recipient of a famous lesson in the form of a letter from Tartini. See {592}. Mus. exx., bib. CAMILLO SIVORI (1815–94) See also {1}, {1208}, {1234}, {1253}. 1604. James, E. Camillo Sivori: A Sketch of His Life, Talent, Travels and Successes. London: Cramer, Beale, 1845. iv, 72pp. Largely a collection of the violinist’s press notices and concert reviews; published well before Sivori reached the height of his fame. 1605. Bénédit, Pierre Gustave. C. Sivori. Marseille: Barlatier-Feissat et Demonchy, 1854. 16pp. A pamphlet chronicling the career of the violinist from his 1826 debut to 1854; includes a discussion of Paganini, Sivori’s teacher, and a comparison of the two. Originally published in the French music journal Sémaphore. 1606. “Camillo Sivori.” Violin Times 1 (March 1894): 65–70. Eulogizes the recently deceased violinist, Paganini’s only pupil. Includes reminiscences of the violinist by the cellist Alfredo Piatti, a detailed chronology of his life, and two brief Sivori letters. 1607. Pierrottet, Adele. Camillo Sivori. Milan: Ricordi, [1896]. 95pp. A brief biography; an appendix reprints selected letters by Sivori. 1608. Menardi Noguera, Flavio. Camillo Sivori: la vita, i concerti, le musiche. Genoa: Graphos, 1991. 321pp. A comprehensive biography of the Italian violinist-composer. Discusses Sivori’s studies with Paganini, his performance career, and compositions. Includes two chapters on 19th-century instrumental music in Genoa, a work list, repertoire list, and selection of his letters. Illustrated. 1609. Inzaghi, Luigi. “Il Violinista Camillo Sivori: nuove suggestioni.” Nuova Rivista Musicale Italiana 26 (1992): 371–89.

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Provides new information on the life, career, and music of the violinistcomposer. An appendix lists Sivori’s 88 known works. STUFF SMITH (1909–67) See also {1}, {503}, {505}, {507}, {508}, {1234}. 1610. Smith, Stuff. Stuff Smith: Pure at Heart. Ed. Anthony Barnett and Eva Løgager. Lewes, England: Allardyce, Barnett, 1991. 61pp. A collection of interviews with and reminiscences by the American jazz violinist. 1611. Barnett, Anthony. Desert Sands: The Recordings and Performances of Stuff Smith. East Sussex, England: Allardyce, Barnett, 1995. 348pp. A chronologically arranged annotated discography of the African-American jazz violinist’s published (and many unpublished) recordings from 1928 to 1967. The volume is a “biographical sourcebook” as well, with chapters about Smith by those who knew him. Also includes transcriptions of selected works by Smith. Numerous photographs. 1612. Barnett, Anthony. Up Jumped the Devil. East Sussex, England: Allardyce, Barnett, 1998. 94pp. Supplement to Desert Sands {1611}. Includes more biographical material on Smith and updates and corrects Desert Sands. 1613. Barnett, Anthony, ed. Pure at Heart 2: Anecdotes and Interviews. Sussex, England: Allardyce, Barnett, 2002. 72pp. Supplements Pure at Heart {1610} with additional autobiographical material from Stuff Smith and additional photographs. MARIE SOLDAT (1863–1955) See also {1205}. 1614. Musgrave, Michael. “Marie Soldat 1863–1955: An English Perspective.” In Beiträge zur Geschicte des Konzerts: Siegfried Kross zum 60. Geburtstag, ed. Reinmar Emans and Matthias Wendt, 319–30. Bonn: Schroder, 1990. Biography of the Austrian violinist and Joachim student who spent much of her career in England. EDDIE SOUTH (1904–62) See also {1}, {503}, {505}, {507}, {508}, {1234}.

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1615. “Dark Angel of the Violin.” Ebony 3 (August 1948): 41–42. Profiles the African-American violinist. 1616. Barnett, Anthony. Black Gypsy: The Recordings of Eddie South. East Sussex, England: Allardyce, Barnett, 1999. 123pp. A chronologically arranged annotated discography of the jazz violinist’s published (and many unpublished) recordings from 1923 to 1959. Includes a chronology of South’s career and scores of selected works by South. Numerous photographs. ALBERT SPALDING (1888–1953) See also {1}, {638}, {1217}, {1218}, {1232}, {1234}, {1236}, {1641}, {1648}. 1617. Spalding, Albert. “Albert Spalding Talks of Concerts, Audiences, Mechanical Music, Modernism and Other Things.” Musical Courier 100 (3 May 1930): 20. Albert Spalding talks of concerts, audiences, mechanical music, modernism, and other things. 1618. Spalding, Albert. Rise to Follow. New York: Holt, 1943. 328pp. R. Da Capo, 1977. 328pp. The memoirs of the American violinist. Offers an interesting account of his upbringing in a privileged family, his early studies, his service in World War I, his international career, and his encounters with notable musicians. 1619. Walsh, Jim. “Favorite Pioneer Recording Artists: Albert Spalding.” Parts 1 and 2. Hobbies 59 (February 1954): 28–30; (March 1954): 25–28, 41. Recounts the life and career of the American violinist, with particular attention to his recordings. 1620. Roth, Henry. “Modest Master.” Strad 99 (August 1988): 635–40. Chronicles the life and achievements of the violinist. Reprints Spalding’s transcription of Franz Schubert’s song, “Hark, Hark, The Lark!” 1621. Spalding, Albert. Ton Albert qui t’adore: The Courtship Letters of Albert Spalding to Mary V. Pyle. Ed. Suzanne Spalding Winston. Canaan, NH: Phoenix, 1988. ix, 109pp. Collects letters written in 1919 by Spalding to his fiancée, Mary Pyle. The letters reveal the challenges of concert life in Italy, where Spalding was awaiting his discharge from the U.S. military, and relate his work on an original violin sonata. Includes an extensive introduction by the editor.

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VLADIMIR SPIVAKOV (B. 1944) See {1}, {1222}, {1237}. LOUIS SPOHR (1784–1859) See also {1}, {2}, {523}, {604}, {1191}, {1203}, {1204}, {1208}, {1234}, {1236}. 1622. Spohr, Louis. Selbstbiographie. 2 vols. Kassel and Göttingen: Wigand, 1860–61. 379pp.; 444pp. R. Lebenserinnerungen. 2 vols. [in one]. Ed. Folker Göthel. Tutzing: Schneider, 1968. xx, 392pp.; vii, 294pp. E. Louis Spohr’s Autobiography. 2 vols. [in one]. Ii, 327pp.; 343pp. London: Longman et al., 1865. The Musical Journeys. Ed. and trans. Henry Pleasants. Norman, OK: University of Oklahoma Press, 1961. xvii, 262pp. R. London: Reeves & Turner, 1878. New York: Da Capo, 1969. xvii, 262pp. The memoirs of the violinist-composer-conductor. Spohr was an important figure in his time who traveled widely and was acquainted with the notable musicians of the day. Of interest to historians of the violin are his (often scathing) comments about his fellow fiddlers, such as Ole Bull and Nicolò Paganini. Considered one of the most important primary documents on musical life in the first half of the 19th century. The 1968 German reprint contains an informative introduction and 148 pages of footnotes that explain and correct passages from Spohr’s text. The 1865 English version is considered to be a faulty translation; the 1961 English publication is an abridgement of the German and a more accurate translation. 1623. Göthel, Folker. Das Violinspiel Ludwig Spohrs. Grossschönau: Engelhardt, [1935]. 94pp. A study of Spohr’s violin playing from technical and artistic perspectives. The first of two parts deals with technique, and considers how Spohr held and employed the bow, how he used vibrato, how he shifted, played chords, etc. Part two offers an assessment of Spohr’s artistic value, concluding with constant reference to his violin treatise (see {604}) and contemporary reports that he was extremely innovative and influential, setting him next to great violinists in the Austro-German tradition such as Heinrich Biber, Johann Jakob Walther, Johann Georg Pisendel, and Leopold Mozart. Decries the fact that he is not better appreciated. 1624. Brown, Clive. Louis Spohr: A Critical Biography. Cambridge: Cambridge University Press, 1984. xi, 364pp. An authoritative and well-researched biography. The book follows Spohr from his birthplace, Brunswick (Braunschweig), Germany, throughout Europe as his career and fame grew, with frequent discussion of his violin

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playing and works. Like Göthel {1623}, Brown laments the neglect of a figure who, from the death of Beethoven to his own (1827–59), was widely considered the greatest living composer in Europe. ISAAC STERN (1920–2001) See also {1}, {2}, {1217}, {1226}, {1232}, {1233}, {1234}, {1236}, {1237}, {1238}, {1241}, {1243}, {1427}, {1500}. 1625. Kaplan, Albert J. “Current History: Isaac Stern.” Journal of the Violin Society of America 2 (Winter 1976): 8–9. Recounts Stern’s early years and rise to fame; discusses his premieres, films, and recordings. 1626. Potter, Tully. “Isaac Stern: A Profile.” Strad 101 (July 1990): 536–38. Chronicles the American violinist’s celebrated career on the occasion of his 70th birthday. A Stern discography by Jean-Michel Molkhou follows. 1627. Stern, Isaac and Chaim Potok. Isaac Stern: My first 79 Years. New York: Knopf, 1999. 317pp. Memoirs of the American violinist’s life and times from 1920 to 1999. Highlights include Stern’s work to save Carnegie Hall from destruction and his relationship with the state and people of Israel. REGINA STRINASACCHI (1764–1839) See {1}, {1037}, {1259}. JOSEF SUK (B. 1929) See also {1}, {2}, {1232}, {1237}, {1243}. 1628. Hornig, Norbert. “Der Geiger Josef Suk: Hüter der Tradition.” Fono Forum (November 1996): 32–35. Interview with the Czech violinist. Includes selected discography. SHIN’ICHI SUZUKI (1898–1998) See also {1}, {464}, {1236}, {1313}, {1411}. 1629. Herman, Arthur. “A Japanese Approach to the Violin.” Strad 76 (June 1965): 49–55. Drawing on interviews with his subject, profiles the violin teacher and discusses his method; photographs.

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1630. Suzuki, Shin’ichi. Nurtured by Love. Trans. Waltraud Suzuki. New York: Exposition, 1969. 121pp. 2d ed. Miami: Summy-Birchard, 1983. ix, 108pp. An autobiography and explanation of the Japanese pedagogue’s philosophy of developing musical talent in young children, which holds that “any child is able to display highly superior abilities if only the correct methods are used in training” (1). 1631. Dawley, Robert Michael. “The Analysis of the Methodological Orientation and the Music Literature used in the Suzuki Violin Approach.” Ed.D. diss., University of Illinois at Urbana-Champaign, 1979. viii, 228pp. Investigates the Suzuki method of violin playing, particularly in the use of the 68 works selected for the ten volumes that comprise the method. Aims to “ascertain how these specific masterworks are utilized, the order in which they appear, the specific musical and technical learnings they facilitate, the musical-technical learnings neglected, and Suzuki’s statements concerning the usage of the literature” (2). Moreover considers Suzuki’s conception of education (as represented in his book, Nurtured by Love {1630}), and compares Suzuki’s method to that of Samuel Applebaum’s string method. Includes an extensive bibliography and various data on the 68 works used in Suzuki’s method (form, key, texture, harmony, range, etc.). ZÓLTAN SZÉKELY (1903–2001) See also {1}, {779}. 1632. Kenneson, Claude. Székely and Bartók: The Story of a Friendship. Portland, OR: Amadeus, 1994. xv, 491pp. A biography of Hungarian violinist, with particular focus on his relationship with Bartók, a number of whose works Székely premiered. Appendices provide translations of the 46 extant letters from Bartók to Székely, a list of compositions and first performances by Székely and a discography. HENRYK SZERYNG (1918–88) See also {1}, {2}, {1220}, {1232}, {1234}, {1236}, {1237}, {1243}. 1633. Roth, Henry. “Henryk Szeryng: The Last Interview.” Strad 99 (September 1988): 707–13. In an interview shortly before his sudden death from a cerebral hemorrhage, the violinist discusses his family and teachers, his technique, his

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teaching, and his violins. Includes photographs and tributes by fellow violinists Henri Temianka and Roman Totenberg. 1634. Molkhou, Jean-Michel. “Remembering the Master.” Strad 109 (April 1998): 384–86, 389. Discusses the life of the Polish violinist with the violinist’s colleagues. For a complete Szeryng discography, see Molkhou’s “Across the Continents” in the same issue, pp. 432–39. JOSEPH SZIGETI (1892–1973) See also {1}, {2}, {457}, {623}, {747}, {827}, {891}, {1216–18}, {1232}, {1234–37}, {1243}, {1305}, {1307}, {1332}, {1424}. 1635. Szigeti, Joseph. With Strings Attached. New York: Knopf, 1947. xiii, 341, xvii pp. 2d ed., 1967. xiii, 376, xviii pp. The memoirs and reflections of the Hungarian-born violinist. Chronicles his upbringing, early studies, travels, interactions with celebrated musicians, and his thoughts on violin repertoire as well as broader cultural matters. Offers reminiscences of Ysaÿe, Hubay, Joachim, Busoni, Stravinsky, Ravel, and Bartók, among others. Includes a discography. The second edition is largely the same as the first with the addition of an extra chapter and an updated discography. An interesting and insightful document. 1636. “Szigeti at Seventy.” Strad 73 (September 1962): 181–82. An appreciation of the violinist; quotes a tribute written by pianist and friend Clifford Curzon. 1637. Szigeti, Joseph. Szigeti on the Violin. London: Cassell, 1969. x, 234pp. R. New York: Dover, 1979. xxii, 234pp. Collects the violinist’s thoughts on violin playing, violin music, and violinists. Section headings include “Outlines the author’s suggestion for overcoming an intonation pitfall,” “Some Bach misprints,” “Comments on the present disinclination to use open strings,” and “An over-ambitious attempt to compress into far too few pages alarming data about the paucity of string players for orchestras.” The reprint includes a memoir of Szigeti by Spike Hughes. Informative and engaging. Mus. exx. 1638. King, Kenneth. “Joseph Szigeti—A Personal Memoir.” Strad 88 (July 1977): 253–59. A former London Symphony Orchestra violinist recounts recording sessions Szigeti made with the LSO between 1959 and 1961. Describes Szigeti’s playing style and relates various discussions with the violinist.

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1639. Youngren, William. “Vocal Violin: Remembering Szigeti and an Expressive Approach We Have Lost.” Atlantic 270 (November 1992): 144–48. Discusses the uniqueness of Szigeti’s playing and argues that it represents a bygone era in which violinists had more distinctive styles, in comparison to what the author sees as the more homogenous sound of late 20th-century violin playing. GIUSEPPE TARTINI (1692–1770) See also {1}, {2}, {592}, {593}, {663}, {1144–49}, {1204}, {1207}, {1208}, {1213}, {1234}, {1236}. 1640. Fanzago, Francesco. “Elogio di Giuseppe Tartini.” In Elogi di tre uomini illustri: Tartini, Vallotti, e Gozzi, 5–59. Padua: Carlo, 1792. An appreciation and well-documented biography of the Italian violinistcomposer on the 100th anniversary of his birth. 1641. Spalding, Albert. A Fiddle, A Sword, and a Lady: The Romance of Giuseppe Tartini. New York: Holt, 1953. vii, 338pp. A historically based novel of Tartini’s adventurous early life, particularly his scandalous marriage to Elizabetta Premazzone, a girl of lower social standing, in 1710, when the violinist was 18. 1642. Petrobelli, Pierluigi. Giuseppe Tartini: Le Fonti biographiche. Vienna: Universal Edition, 1968. 166pp. Scrutinizes various early sources on the life of Tartini, particularly an anonymous 18th-century manuscript that the author argues was written by Tartini’s friend, the cellist Antonio Vandini. Verifies that much of the manuscript is true, thus confirming many of what were thought to be myths about the life of the violinist-composer. Includes illustrations, facsimiles, and a chronology of Tartini’s life. 1643. Abbado, Michelangelo. “Presenza di Tartini nel nostro secolo.” Nuovo Rivista Musicale Italiano 4 (November–December 1970): 1087–1106. Reviews Tartini’s contributions as a violinist, composer, and theorist. Discusses the “cult of Tartini,” and his influence on the music and musical life of the 20th century. 1644. Ginsburg, Lev. Giuseppe Tartini. G. Trans. A. Palm. Zurich: Eulenberg, 1976. 206pp. E. Tartini: His Life and Times. Trans. I. Levin. Ed. Herbert Axelrod. Neptune City, NJ: Paganiniana, 1981. 381pp. A life-and-works treatment of the violinist composer, largely based on the research of Dounias {1144} and Brainard {1146}. Includes chapters

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on Tartini as a violinist and on the reception of Tartini’s music in Russia. The English edition is richly illustrated. 1645. Staehelin, Martin. “Giuseppe Tartini über seine künstlerische Entwicklung: Ein unbekanntes Selbstzeugnis.” Archiv für Musikwissenschaft 35 (1978): 251–74. Discusses and reprints a previously unknown document by a traveler who visited Tartini in Padua and reported their discussions about music and performance. EMIL TELMÁNYI (1892–1988) See also {1}, {737}, {1232}, {1236}. 1646. Potter, Tully. “Hungarian Rhapsody.” Strad 110 (February 1999): 160–67. Discusses the life and career of the Hungarian violinist, including his championing of the music of Danish composer Carl Nielsen and his advocacy of a curved bow for playing multiple strings simultaneously in the music of Bach. See {737} for his article on this last issue. HENRI TEMIANKA (1906–92) See {1}, {1221}, {1345}, {1633}. JACQUES THIBAUD (1880–1953) See also {1}, {2}, {542}, {953}, {1209}, {1216}, {1232}, {1235}, {1234}, {1236}, {1243}, {1501}. 1647. Thibaud, Jacques. Un Violon Parle. Ed. Jean-Pierre Dorian. Paris: Editions du Blé qui Lève, 1947. 298pp. R. Paris: Del Duca, [1953]. 226pp. Collects a variety of biographical anecdotes from the French violinist. Includes recollections of his first violin recital, his teacher, Martin Marsick, his award of the Premier Prix at the Paris Conservatoire, and his thoughts on various works, such as the Beethoven Concerto, and impressions of leading musicians and other figures. 1648. Roth, Henry. “Thibaud—A Centenary.” Strad 91 (October 1980): 397–99. A brief biography and appreciation of the violinist. Cites Carl Flesch’s and Albert Spalding’s thoughts on the violinist and discusses his performing style and recordings. 1649. Goubault, Christian. Jacques Thibaud: violoniste français. Paris: Champion, 1988. 212pp.

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A biography of the violinist, described as the greatest French violinist of the first part of the 20th century. Devotes chapters to his childhood, his world tours, and his work with such notable musicians as Éugene Ysaÿe, Pablo Casals, Alfred Cortot, and Marguerite Long. Includes a discography (by Gerald Drieu) and a chronology. PATRICIA TRAVERS (B. 1927) See also {1217}. 1650. Doring, Ernest N. “Patricia Travers.” Violins and Violinists 2 (April 1939): 5–7. Profiles the young American violinist, whom the author describes as “marked by Destiny to become of great renown” (5). VIKTOR TRETYAKOV (B. 1946) See {1222}, {1237}. CAMILLA URSO (1838–1920) See also {1}, {1204}, {1261}. 1651. Barnard, Charles. Camilla: A Tale of the Violin. Boston: Loring, 1874. v, 141pp. A romanticized biography of the French-born violinist who was active in the United States. Although the book is based on an interview with Urso, some of the dialogue and perhaps events seem to have been invented by the author. As of mid-2004, the full text of the book was available online at the Wright American Fiction Project Web site, http://www.letrs.indiana. edu/web/w/wright2/. 1652. Barnard, Charles. A Tribute to Camilla Urso. New York: United States Lyceum Bureau, [1885]. An unpaginated pamphlet chronicling the life and career of the Frenchborn violinist. Excerpts numerous concert reviews from English-language papers. 1653. Cleveland, H. I. “Frontiersmen Hear Urso.” Violinist 3 (September 1902): 9. Tells of the killing of 300 timber wolves to raise $500 to hire Urso for a recital in an isolated outpost in the Northwest United States. Reports that the concert was a great success (though not for the wolves). 1654. Kagan, Susan. “Camilla Urso: A Nineteenth-Century Violinist’s View.” Signs 2 (Spring 1977): 727–34.

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Profiles the pioneering musician who is cited as the first woman violinist to perform in concert in the United States; reprints a previously unpublished address Urso made in Chicago in 1893, “Women and the Violin: Women as Performers in the Orchestra.” TIBOR VARGA (1921–2003) See also {1}, {1237}. 1655. Arlettaz, Vincent. “Tibor Varga (1921–2003).” Revue Musicale de Suisse Romande 56 (December 2003): 4–11. Surveys the life and career of the recently-deceased Hungarian violinist and teacher. Reproduces several photographs of Varga. FRANZ

VON

VECSEY (1893–1935)

See also {1}, {1232}, {1236}, {1243}. 1656. Salins, Howard D. “Franz von Vecsey.” Violinist 4 (September 1904): 6–7. Reports on the then 11-year-old Hungarian prodigy. 1657. Mertzanoff, C. E. “Franz von Vecsey—Prodigy, Jenö Hubay—His Teacher.” Violins and Violinists 5 (June 1943): 100–103. A brief discussion of the two violinists. Reprints a 1905 review of a Vecsey concert and an interesting 1904 letter from Joachim to Vecsey with advice on violin playing. 1658. Roth, Henry. “The Man Time Left Behind.” Strad 104 (November 1993): 1033–35. Surveys the work of the now largely forgotten violinist who, among other things, was the dedicatee of the Sibelius Violin Concerto and performed the Beethoven Concerto under the baton of Joseph Joachim. Discusses his recordings and includes photographs. MAXIM VENGEROV (B. 1974) See also {1}, {1241}, {1243}. 1659. Vittes, Laurence. “Life is Just a Dream.” Strings 18 (March 2004): 50–56. An interview with Maxim Vengerov. Discusses his role as teacher and concert artist, his recordings, his planned 2005 sabbatical during which he intends to study viola, and his recently purchased 1727 “Kreutzer” Strad.

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JOE VENUTI (1903–78) See also {1}, {503}, {505}, {507}, {508}, {1234}. 1660. Emge, Charles. “Venuti Part of ‘Golden Era’ of Jazz.” Down Beat 17 (1 December 1950): 3. Profiles Venuti; issues the debatable claim that he was “the first to originate an authentic jazz solo style on the violin.” A selected discography compiled by George Hoefer appears on p. 16 of the same issue. 1661. Giddins, Gary. “Joe Venuti: A Penchant for Mayhem.” Journal of the Violin Society of America 4 (Winter 1977–78): 148–51. An appreciation of the violinist, whom the author describes as “the first important violinist in jazz” (148) and a notorious practical joker. 1662. Garrod, Charles. Joe Venuti and his Orchestra. Zephyrhills, FL: Joyce Record Club, 1993. 31pp. A Venuti discography. GIOVANNI VEROCAI (1700–?45) See also {1}. 1663. Mooser, Robert-Aloys. “Violonistes-compositeurs italiens en Russie au XVIIIe siècle.” Rivista Musicale Italiana 42 (1938): 309–24. The first in a series of articles by the author discussing the lives of several Italian violinist-composers who spent significant parts of their careers in Russia in the 18th century. (See the author index for Mooser’s other articles in the series.) This article focuses on Giovanni Verocai, a Venetian who performed with the Russian court orchestra in Moscow and St. Petersburg between 1731 and 1738. New Grove {1} disputes the death date of 1745 Mooser assigns, suggesting that Verocai died sometime after 1747. HENRY VIEUXTEMPS (1820–81) See also {1}, {2}, {615}, {650}, {657}, {698}, {808}, {869}, {1162}, {1234}, {1236}. 1664. Kufferath, Maurice. Henri Vieuxtemps, sa vie et son oeuvre. Brussels: Rozez, 1882. 142pp. Chronicles the life and career of the Belgian violinist-composer, an important figure in the development of the Franco-Belgian school. Reprints concert reviews, poems about Vieuxtemps, and other primary sources.

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Includes a bibliographic essay, a work list, and Vieuxtemps’s brief autobiography, originally published in Guide Musical and Musical World. 1665. Radoux, Jean Théodore. Vieuxtemps: Sa vie, ses oeuvres. Liège: Bénard, 1891. 166pp. 2d ed. Liège: Bénard, 1893. 194pp. E. Henry Vieuxtemps: His Life and Works. Trans. Samuel Wolf. Linthicum Heights, MD: Swand, 1983. 69pp. A life-and-works treatment. Topics include his studies with Charles de Bériot, his travels to England, Russia, and the United States, his violin concertos and many shorter pieces, and his debilitating stroke. Draws on Vieuxtemps’s unpublished letters, to which the author had access. Includes a work list. The English translation includes Vieuxtemps’s autobiography. 1666. Bergmans, Paul. Henry Vieuxtemps. Turnhout: Etablissements Brepols, 1920. 31pp. A brief French-language biography of the Belgian violinist-composer. Largely a chronicle of his life and career with little discussion of his music. 1667. Douel, Martial. “Les dernières années d’un violoniste: Henri Vieuxtemps.” Revue Musicale 4 (November 1922): 50–53. An appreciation of the Belgian violinist-composer and an account of his difficult final years when he could no longer perform due to a stroke. 1668. Ysaÿe, Eugène. Henri Vieuxtemps, mon maître. Brusells: Éditions Ysaÿe, 1968. 32pp. A study and appreciation of the violinist and his music by the famous violinist, who studied with Vieuxtemps as a young man in Paris. Includes brief essays on the violin concertos. Preface and explanatory notes by Paul André. Published posthumously; original date unclear. 1669. Ginsburg, Lev. Vieuxtemps: His Life and Times. Trans. I. Levin. Ed. Herbert Axelrod. Neptune City, NJ: Paganiniana, 1984. 190pp. A well-researched life-and-works treatment of the violinist-composer. The book’s three large chapters provide a biography, a survey of his work as a performer and composer (with 142 musical examples), and an account of his years in Russia (1846–51), where he had an important influence on Russian violin playing. Text originally in Russian. The English edition includes many illustrations and photographs. 1670. Baron, John H. “Vieuxtemps (and Ole Bull) in New Orleans.” American Music 8 (Summer 1990): 210–26. Recounts Vieuxtemps’s visits to and reception in New Orleans in 1844 (when Ole Bull was also performing in the city) and 1858. An appendix

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provides the first publication of the violinist-composer’s Air Negro Créole (1844), which he adapted from local music. GIOVANNI BATTISTA VIOTTI (1755–1824) See also {1}, {2}, {39}, {405}, {470}, {608}, {615}, {663}, {666}, {690}, {698}, {701}, {793}, {882}, {1073}, {1162–67}, {1202–4}, {1207}, {1208}, {1213}, {1234}, {1236}, {1253}, {1488}. 1671. Eymar, Ange Marie. Anecdotes sur Viotti. Milan: De l’Imprimerie Italienne et Française, [1801]. 47pp. Relates a variety of anecdotes about the violinist-composer, such as one about Viotti’s performance before royalty at Versailles. Reprints a note written by Viotti for the author on the folk tune Rans des vaches. Effusive in its praise for Viotti and light on specifics. The first part of the book is devoted to reflections on the nature of musical expression. 1672. Baillot, Pierre Marie François de Sales. Notice sur Viotti. Paris: Hocquet, 1825. 13pp. Unavailable for examination. 1673. Pougin, Arthur. Viotti et l’école moderne de violon. Paris: Schott, 1888. 190pp. Largely a chronicle of Viotti’s life and career. The final three chapters consider Viotti’s character, influence, students, and violins, among other matters. An appendix provides a thematic catalog of Viotti’s works. 1674. Pincherle, Marc. “Quelque letters de Viotti á Baillot.” Revue de Musicologie 8 (August 1924): 103–9. Reprints and comments on seven letters on a variety of topics written by Viotti to Baillot between 1791 and 1819. Reprinted in Feuillets d’Histoire du Violon {39}. 1675. Giazotto, Remo. Giovan Battista Viotti. Milan: Curci, 1956. 390pp. A substantial life-and-works treatment of the violinist-composer; appendices include a work list, thematic catalog, and several documents by Viotti, including his will. 1676. Barulich, Frances. “Il Segreto: The Viotti/Chinnery Correspondence in New York.” Fontes Artis Musicae 47 (October–December 2000): 310–44. Discusses a collection of 71 letters from and to Viotti, many involving members of the English Chinnery family and others to or from important violinists and composers, such as Pierre Baillot, Luigi Boccherini, Franz Joseph Haydn, and Gaetano Pugnani. After an introductory section, briefly

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describes each letter. Includes a register of names mentioned in the letters. Provides summaries of the article in German and French. ANTONIO VIVALDI (1678–1741) See also {1}, {2}, {600}, {650}, {652}, {663}, {671}, {681}, {688}, {706}, {717}, {725}, {1047}, {1170–82}, {1207}, {1208}, {1213}, {1414}, {1422}, {1544}, {1561}. 1677. Talbot, Michael. Vivaldi. London: Dent, 1978. 275pp. 2d ed. London: Dent; New York: Schirmer, 1993. xi, 237pp. R. Oxford: Oxford University Press, 2000. xi, 237pp. The first full-length study of Vivaldi’s life and works in English. Chronicles his life, describes the aspects of his musical style, and surveys his instrumental and vocal works. Includes substantial discussion of his violin concertos and sonatas. Appendices provide a timeline of Vivaldi’s life, a work list, and a concordance table of Pincherle and Ryom catalog numbers. Mus. exx., bib. For an extensive bibliography of writings on Vivaldi’s life work, see the Talbot’s New Grove entry on Vivaldi {1}. JOHANN JAKOB WALTHER (C. 1650–1717) See {1}, {2}, {443}, {471}, {671}, {738}. JOHANN PAUL

VON

WESTHOFF (1656–1705)

See {1}, {2}, {443}, {471}, {738}, {760}. JOSÉ WHITE (1835–1918) See also {1}, {1262}, {1263}. 1678. Trotter, James M. “Joseph White, The Eminent Violinist and Composer.” In Music and Some Highly Musical People, 224–40. Boston: Lee & Shepard; New York: Charles Dillingham, 1880. R. Chicago: Afro-Am Press, 1969. Biography of the Afro-Cuban violinist, with extensive quotes from numerous journal and newspaper reviews of his concerts. 1679. Wright, Josephine R. B. “Violinist José White in Paris, 1855–1875.” Black Music Research Journal 10 (Fall 1990): 213–32. Reconstructs the Paris years of Afro-Cuban violinist José White and assesses his role in Parisian musical life. Four appendices list White’s musical associates in Paris, his unpublished work, and his solo and chamber concert repertoire.

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1680. Magaldi, Cristina. “José White in Brazil, 1879–1889.” Inter-American Music Review 14 (Spring 1995): 1–20. Chronicles the decade White spent in Brazil and explains the important influence he exerted on musical life and taste in Rio de Janeiro. HENRYK WIENIAWSKI (1835–80) See also {1}, {2}, {307}, {1191}, {1204}, {1208}, {1227}, {1234}, {1236}, {1243}, {1273}. 1681. Desfossez, Achille. Henri Wieniawski. The Hague: Belinfante, 1856. 30pp. A brief French-language sketch of the life and career of the Polish violinist-composer written during Wieniawski’s lifetime. Includes a comparison of Wieniawski with Paganini. 1682. Kleffel, Arno. “Recollections of Henri Wieniawski.” 2 parts. Strad 2 (October 1891): 113–15; (November 1891): 142–43. Written by a pianist who had accompanied the violinist on tour in the Baltic in 1865; relates his experiences with Wieniawski. 1683. Abell, Arthur M. “Henri Wieniawski.” 2 parts. Violinist 2 (April 1902): 14; (May 1902): 13–14. A brief account of Wieniawski’s life, career, music, and influence. 1684. Duleba, Wladyslaw. Wieniawski. Trans. Grazyna Czerny. Neptune City, NJ: Paganiniana, 1984. 175pp. Surveys the career and to a lesser extent the compositions of the Polish virtuoso and composer; profusely illustrated. Original in Polish. AUGUST WILHELMJ (1845–1908) See also {1}, {1208}, {1234}, {1236}. 1685. “Wilhelmj.” Violin Times 1 (February 1894): 57–59. A brief account of the anonymous author’s visit with the violinist, who had been largely out of the public eye since 1875. Reprints and translates a short poem about Wilhelmj by Richard Wagner and provides a chronology of the violinist’s life up to 1882. 1686. Morgan-Brown, H. P. “An Approximation to the Truth about August Wilhelmj.” Music and Letters 3 (April 1922): 219–28. Considers the life and influence of the German violinist, whose career the author had followed since Wilhelmj was 16 years old. Discusses

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Wilhelmj’s performing style, extensive travels, and interactions with composers such as Liszt and Wagner. MELVIN WINE (B. 1908) 1687. Beisswenger, Drew. Fiddling Way Out Yonder: The Life and Music of Melvin Wine. Jackson: University Press of Mississippi, 2002. xvi, 230pp. Biography of the West Virginia folk fiddler, Melvin Wine. Examines Wine’s performing style and technique, and includes transcriptions of ten tunes. EUGÈNE YSAŸE (1858–1931) See also {1}, {2}, {39}, {462}, {547}, {677}, {891}, {913}, {953}, {1032}, {1193–95}, {1209}, {1210}, {1232}, {1234–36}, {1243}, {1244}, {1329}, {1361}, {1380}, {1481}, {1635}, {1649}, {1668}. 1688. Kelley, Edgar Stillman. “Ysaye Interviewed by Kelley.” Music 8 (1895): 256–61. In an interview with American composer Edgar Stillman Kelley, the Belgian violinist-composer discusses the state of German, French, and Russian music, his ideal composer, and concert audiences in America. (The interview took place in San Francisco.) 1689. “M. Ysaye and the Elgar Violin Concerto.” Musical Times 54 (1 January 1913): 19–20. Reviews a dispute between Eugène Ysaÿe and the publishers Novello & Co. concerning fees charged to the violinist for the performance of Elgar’s Violin Concerto and Ysaÿe’s subsequent refusal to pay such fees or to return the music to the publisher. Reprints correspondence by both Ysaÿe and representatives of Novello. 1690. Christen, Ernest. Eugène Ysaÿe. Geneva: Labor, 1946. 228pp. A French-language biography of the Belgian violinist-composer. Focuses more on Ysaÿe’s character and temperament than his playing styles or music. Includes a selection of Ysaÿe’s aphorisms on various subjects. 1691. Ysaÿe, Antoine and Bertram Ratcliffe. Ysaÿe: His Life, Work and Influence. London: Heinemann, 1947. xi, 250pp. F. Ysaÿe, Antoine. Eugène Ysaÿe: sa vie, son oeuvre, son influence. Brussels: L’Écran du Monde, 1948. 550pp. Part I, “The Man,” chronicles Ysaÿe’s life as his career developed and follows his travels throughout Europe and the United States. Part Two,

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“The Artist,” assesses Ysaÿe’s musical contributions, with chapters devoted to his interaction with a variety of composers (César Franck, Vincent D’Indy, Ernest Chausson, Guillaume Lekeu, Claude Debussy, Gabriel Fauré), and his work as a violinist, composer, and conductor. The French edition (which was not written with Bertram Ratcliffe) is quite a bit longer (with many more photographs) and is written in a more flowery prose than the English edition. 1692. Ginsburg, Lev. Eugène Ysaÿe. Trans. X. M. Danko. Ed. Herbert Axelrod. Neptune City, NJ: Paganiniana, 1980. 572pp. A study of Ysaÿe’s life and career. Includes chapters devoted to his relationship with Claude Debussy, his concerts of 1912–14, his style as a performer and composer, and his reception in Russia. The edition cited greatly expands on the original Russian edition with many photographs, facsimiles of letters, and the addition of several articles (some reprinted, some new) on Ysaÿe by Jeanette Ysaÿe (on Ysaÿe as a teacher), Arthur Hartmann (on Ysaÿe’s personality), I. S. Arazi (on the Queen Elisabeth violin competition, founded in honor of Ysaÿe), and Josef Gingold (about his experience as a student of Ysaÿe and on his solo sonatas), as well as a number of obituaries and tributes. Also includes discographies of Ysaÿe’s recordings and of Ysaÿe’s music by other violinists. 1693. Benoît-Jeannin, Maxime. Eugène Ysaÿe: le dernier romantique ou le sacre du violon. Brussels: Le Cri, 1989. 292pp. A comprehensive biography of the Belgian violinist-composer. Divided into three parts—1858–1886, 1886–1905, and 1905–1931. Draws on and provides lengthy quotes of Ysaÿe’s correspondence. Appendices include a discography and essays on Ysaÿe by Jacques Thibaud and Michel Stockhem. EFREM ZIMBALIST (1890–1985) See also {1}, {2}, {481}, {542}, {1216–18}, {1232}, {1234}, {1236}, {1243}, {1273}. 1694. Nicholson, Alain. “Zimbalist: The Future Virtuoso.” The Cremona 1 (18 November 1907): 130–31. Largely quotes (in English translation) rapturous reviews of the teenager’s concerts from various Russian and German journals. Vol. 2 of The Cremona includes several additional items on Zimbalist. 1695. Malan, Roy. Efrem Zimbalist: A Life. Portland, OR: Amadeus, 2004. xv, 368pp.

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Chronicles the life of the violinist from his early studies in St. Petersburg with Leopold Auer to his world tours to his tenure at the Curtis Institute to his last years in America. Includes a list of Zimbalist’s students, a discography, and bibliography. PINCHAS ZUKERMAN (B. 1948) See also {1}, {1219}, {1232}, {1234}, {1236}, {1237}, {1243}. 1696. Nelson, David K. “A Conversation with Pinchas Zukerman.” Fanfare 14 (March–April 1991): 20–39. An interview with the violinist on a variety of topics, including his changing record company affiliations and his contempt for the historical performance movement. 1697. Molkhou, Jean-Michel. “Zukerman and Friends.” Strad 109 (June 1998): 654–68. A Zukerman discography and filmography. 1698. Potter, Tully. “Bringing it Together.” Strad 109 (June 1998): 587–93. Profiles the violinist, who turned 50 that year, drawing on discussions with Zukerman on a variety of issues. PAUL ZUKOFSKY (B. 1943) See {1}, {461}, {463}, {537}, {907}, {908}, {1236}.

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Author Index

A Abbado, M. 341, 564, 1643 Abbot, D. 125 Abele, H. 146 Abell, A. M. 1275, 1683 Accardo, S. 1267 Ackermann, B. 636 Adams, K. 472 Adams, R. 636 Adelmann, O. 253 Adessa, A. T. 460 Adler, E. 36 Adye, W. L. 1202 Agus, A. 1393 Ahn, S. 829, 841 Alard, D. 599 Allburger, M. A. 221, 224, 1265 Allsop, P. 442, 1319 Allwn, J. C. 1204 Almansi, C. 342 Alpern, W. C. 1187 Alton, R. 184, 428 Alwyn, G. 973 Amighetti, C. 1300 Ammer, C. 1261 Amoh, K. 1417 Anders, G. E. 1508 Anderson, M. 1380 Anderson, R. 944 Anderson, W. R. 939 André, P. 1668 Andrews, R. E. 295

Angeloni, D. 155 Antoine, M. 1270 Antokoletz, E. 720 Apel, W. 707 Apian-Benewitz, P. 174 Appia, E. 999 Applebaum, Sada 1217–21 Applebaum, Samuel 1217–31 Apps, H. L. 97, 99 Apthorp, S. 1491 Arakélian, S. 96 Arazi, I. S. 1692 Arlettaz, V. 1655 Arnold, E. 1603 Artley, M. N. 1264 Askenfelt, A. 527 Asmus, J. 732 Audibert, H. 44 Auer, L. 612, 650, 1273 Axelrod, H. R. 1387, 1529 Azzolina, U. 230, 234

B Babitz, S. 160, 434, 520, 530, 742 Babynchuk, A. A. 511, 550 Bacca, M. 1378, 1384 Bachmann, A. 38, 1208 Bachmann, O. 172 Baer, S. I. 1077 Baese, G. 106 Bagatella, A. 167

379

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380 Baillot, P. 599, 601, 605, 1672 Bak, C. 1122 Baldauf-Berdes, J. 1603 Baldwin, P. R. 879 Ballard, F. D. 414 Baltensperger, A. 1013 Banat, G. 1576 Barber, J. 1289 Barbieri, P. 568 Barbieri, S. M. 1313 Barbour, J. M. 566 Bargmann, T. 971 Barnard, C. 1651, 1652 Barnett, A. 1611, 1612, 1613, 1616 Barnett, D. 469 Baron, J. H. 648, 1670 Baroncini, R. 438, 1348 Barron Corvera, J. 1066 Barton, R. 1281 Barulich, F. 1676 Baruzzi, A. 343 Basart, A. P. 645 Bates, C. H. 702, 986 Baud, R. 1450 Baudet-Maget, A. 640 Baudot, S. 1451 Bauer, H. 261 Baumgartner, R. 217 Beament, J. 67 Beare, C. 357, 422, 1483 Beckmann, G. 471, 700 Beechy, G. 1359 Behrman, C. H. 1552 Beisswenger, D. 1687 Bejjani, F. J. 634 Benade, V. 68 Benda, F. 1286 Bénédit, P. G. 1605 Benoit, R. 979 Benoît-Jeannin, M. 1693 Berenzi, A. 236, 293, 319, 320 Berger, Achille 609 Berger, Arthur 852 Berger, C. 871, 1188 Bergmans, P. 1666 Bériot, C. 599, 606 Berkley, H. 876 Berljawsky, J. 553 Berr, A. 430 Berri, P. 1526, 1530 Berten-Jörg, F. 847 Bertolotti, A. 1073

Author Index Best, T. 968 Betti, A. 1358 Beythien, J. 895 Biancolli, A. 1429 Biancolli, L. 794 Bishop, J. 1201 Bissing, P. 545 Bissinger, G. 132 Bittmann, A. 1087 Blaustein, R. J. 496, 499 Blechta, R. 628 Bletschacher, R. 213 Block, A. F. 791 Blot, E. 235 Blum, D. 1362 Blumenthal, B. 1397 Bobzin, C. 120 Bockmaier, C. 1179 Boltshauser, H. 252 Bonaventura, A. 12, 1055, 1512 Bonavia, F. 458, 547, 940, 1023 Bone, A. 393 Bonétat, E. 404 Bonetti, C. 270, 342 Bonta, S. 118 Bonus, D. 905 Bookspan, M. 1550 Borchard, B. 1408, 1409 Borer, P. 1060, 1061 Boros, J. 1014 Borowitz, A. 1445 Borroff, E. 1026 Borsó, P. 248 Botelho, M. 728 Bowden, S. 403 Boyajian, H. N. 739 Boyce, M. 470 Boyd, M. 580 Boyden, D. D. 1, 51, 387, 439, 445, 565, 583, 584, 594, 917 Brainard, P. 1146, 1147, 1148 Bramy, J. 1371 Brandenburg, S. 829, 839, 844 Branigan, A. G. 1220, 1221 Braun, W. 1176 Braunlich, H. 746 Brawand, J. 916 Bretos, J. 129 Brewster, T. 1241 Brick, M. J. 60, 384 Broadhouse, J. 18, 175 Broadley, A. 179

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Author Index Brombach, E. W. 542 Brook, D. 1216 Brooks, B. P. 703 Brown, C. 1624 Bruch, A. 963 Brush, G. M. 790 Buchau, S. V. 1241 Budnik, S. 349 Buechner, A. C. 194 Bull, I. 1299 Bull, O. 1296, 1297 Bull, S. C. 1296 Burckle, L. 83 Burdette, G. E. 1130 Burman-Hall, L. 483, 484 Burmester, W. 1304 Burton, H. 1474 Burwasser, D. A. 972 Busch, A. 1306 Butler, H. 1145

C Cabán-Vales, F. J. 709 Cadenbach, R. 1082 Cage, J. 908 Cahill, G. 1313 Cahn, P. 1063 Cai, C. 1301 Cairney, C. T. 496 Calmeyer, J. H. 1005 Campbell, M. 1234, 1346 Cansler, L. 496 Cantù, A. 1008, 1009, 1059 Capet, L. 517 Card, C. 164 Careri, E. 688 Caressa, A. 156 Carletti, G. 107 Carlson, P. B. 690 Carner, M. 853 Carpenter, M. 1332 Carr, E. S. 1294 Carrodus, A. 1311 Carter, E. 1123 Carter, S. 525 Cartier, J. B. 600 Castelnuovo-Tedesco, M. 1065 Castiglioni, V. 1531 Cauthen, J. H. 495 Cavalcabò, A. 270, 342

381 Chadwick, E. 1269 Chapin, A. A. 154 Chen, T. 1097 Cherubini, R. 1044 Cheslock, L. 548 Chiesa, C. 244, 275, 276, 311 Chiesa, M. T. 1521 Childs, P. 404 Chotzinoff, S. 1389 Christien, E. 1690 Christ-Iselin, W. 94 Church, M. 1410 Chusid, M. 1106 Clare, H. 101 Clarke, A. M. 260, 1198 Clarke, M. G. 1157, 1159 Clarkson, F. A. 440, 603 Claudel, J. P. 209 Cleeve, M. S. 572 Clements, C. 197 Cleveland, H. I. 1653 Coates, K. 165 Cobbett, W. W. 668 Codazzi, R. 246 Codignola, A. 1515, 1522 Cohen, N. 1312 Cohn, A. 674 Cohn, R. 1089 Cole, S. 1114 Collingwood, F. 1494 Colombo. L. 90, 108 Colton, A. 948 Colton, W. R. 1032 Condat, J. 1534 Condax, L. W. 105 Conestabile della Staffa, G. C. 1509 Conridge, G. 862 Cook, C. 619 Cook, N. 926 Cooke, P. 497 Cooley, T. J. 496 Coonce, P. R. 787 Cooper, A. W. 278, 1581 Copland, A. 993 Cordero di Pamparato, S. 1560 Corrette, M. 598 Costantakos, C. 1328 Courcy, G. I. C. 1523, 1524 Courtnall, R. 188 Courvoisier, C. 607 Cowden, R. 1200 Cowell, H. 771

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382 Cozio di Salabue, I. A. 415 Crawford, H. A. 1155 Creighton, J. 13 Cremer, L. 63 Cremer, O. 616 Crosby, A. C. 1296, 1297 Crystal-Spörer, K. 144 Cumming, N. 759 Curry, P. B. 405 Curti, M. 744 Curtin, J. 69 Cyr, M. 474

D d’Aranyi, J. 824 Dalmonte, R. 921 Damien, J. 1432 Dancla, C. 1323 Daniel, W. W. 489 Daniels, R. 1470 Danielson, L. L. 496 Dann, E. 115, 870 Dassenno, F. 296 Daverio, J. 888 Davidian, T. M. 929 Davidson, P. 148 Dawes, R. 55 Dawley, R. M. 633, 1631 Day, L. 1514 Dean, R. H. 1016 Debaar, M. 40 Degrassi, M. C. 1009 Del Mar, N. 727, 796, 813, 887, 912, 946, 957 Della Corte, A. 1595 Denk, V. M. 313 Denton, D. 954 Der Meer, J. H. V. 388 Derby, R. 911 Desfossez, A. 1681 Deutsch, W. 485 Deverell, C. 366 Dickson, L. D. 721 Diehl, G. K. 764 Dietrich, J. 507 Diggs, I. 1293 Dilworth, J. 166, 223, 311, 312, 337, 372 Dinslage, P. 962 Dipper, A. 348 Doerr, R. 186

Author Index Donington, R. 447, 585, 920 Donovan, D. 190 Doring, E. N. 22, 136, 271, 288, 298, 352, 374, 381, 429, 1650 Dossa, E. 630 Douel, M. 1667 Dounias, M. 1144 Dowden, M. D. (See also M. Bacca). 1378 Drabkin, W. 829 Drescher, T. 216, 259, 443 Druce, D. 435 Dubal, D. 1473 Dubiel, J. 815 Dubourg, G. 1201 Duchen, J. 1284, 1347 Duckles, V. 4 Dufourq, N. 1247 Duleba, W. 1684 Dunn, T. D. 1012 Dunning, A. 1007, 1009 Dunnwald, H. 71 Dürr, W. 1111

E Eales, A. 575 Earle, B. 1102 Eaton, S. 1342 Eberhardt, S. 544 Ebert, W. 1407 Eckhardt, J. 1324 Eddy, M. A. 482 Edler, H. 141 Edwards, F. G. 1290 Edwards, M. I. 1577 Edwards, O. 694, 915, 919 Edwards, R. G. 1199 Eggebrecht, H. 1243 Ehrlich, A. 1205 Eiche, J. F. 747 Einstein, A. 587 Eisler, E. 1241, 1476, 1601 Elgar, E. 947 Elman, S. 1331 Elun, F. 1341 Emery, F. B. 653 Emge, C. 1660 Emmanuel, M. 158 Enesco, G. 1337 Engel, H. 654, 725 Engelsmann, W. 825

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Author Index Engländer, R. 1040 Englesburg, B. J. 765 Eppstein, H. 730, 731, 745 Erdahl, R. C. 961 Erdélyi, S. 225 Evans, E. 1024 Everett, P. 1181 Eymar, A. M. 1671 Eynard, M. 1449

F F. A. W. 189 F. B. 1023, 1580 F. G. E. 1259 Fairfield, J. H. 264 Falkner, J. M. 361 Fano, F. 1457 Fanzago, F. 1640 Farga, F. 41, 1542 Farish, M. K. 644 Feil, A. 1039 Feinstein, A. 1566 Feldman, A. 487 Fellinger, I. 894 Ferrara, L. 634 Ferrell, J. R. 1156 Ferris, G. T. 1203 Fétis, F. J. 145, 1510 Fiedler, A. 867 Field, E. I. 756 Fifield, C. 903 Fikes, R. 1262 Finscher, L. 2 Firth, I. M. 127 Fischel, M. I. 1303 Fischer, K. V. 589 Fischer, R. S. 892 Fischer, V. 1490 Fleming, S. 1569 Flesch, C. 531, 615, 618, 800, 1343, 1518 Flesch, C. F. 1343, 1344 Fletcher, H. 554 Flores, R. G. 629 Floros, C. 857 Foffa, O. 378 Forsberg, C. E. 1041 Forster, S. A. 147 Forsyth, C. 611 Forte, A. 981, 1186, 1190 Foss, H. 657, 932

383 Foy, R. 1062 Franchet, P. 820 François-Sappey, B. 1279 Franko, S. 1350 Freedman, F. 1516 French, M. P. 1548 Freywald, V. 670 Friedman, M. L. 1105 Frisch, M. H. 492 Frisoli, P. 355 Fromageot, N. 599 Frommer, S. H. 631 Fry, G. 92 Fuchs, A. 411 Fujinaga, I. 200, 558 Fuller, A. R. 613 Fuller-Maitland, J. A. 1401 Fulton, W. 78, 104 Furtwängler, E. 1472

G Galamian, I. 621 Gale, A. 562 Gallay, J. 226 Gardiner, M. 910 Gardner, S. 1356 Garrod, C. 1662 Gartmann, T. 450 Gates, W. C. 675 Gaugue, A. 210 Gavoty, B. 1365, 1480 Gawriloff, S. 1003 Geesaman, V. 677 Geiser, B. 163 Gelrud, P. G. 698 Geminiani, F. 583 Gerbeth, T. M. 144 Gerhartz, K. 588 Gerlach, R. 1020 Gerle, H. 578 Gess, W. F. 1079, 1080 Gheroldi, V. 90 Giazotto, R. 1675 Giazotto, R. 716 Giddins, G. 1661 Giegling, F. 1154 Gilbert, M. 1556 Gill, D. 50 Gillies, M. 767 Giltay, J. W. 58

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384 Gingerich, L. L. 980 Gingold, J. 627, 1354, 1692 Gingrich, A. 419 Ginsburg, L. 1644, 1669 Ginsburg, L. 1692 Ginsburg, M. 808 Ginsburgh, V. A. 629 Ginter, R. L. 956 Gitlis, I. 1364 Glaß, S. 505 Gleam, E. S. 678 Glickman, L. 1591 Glüxam, D. 570 Goertzen, C. 1, 490, 493, 494, 500, 501 Golby, D. J. 475 Goldschmidt, H. 810 Goldsmith, B. D. 1094 Gombos, L. 976, 1394 Goodkind, H. K. 324, 356 Göthel, F. 1623 Goubault, C. 1649 Graesser, H. 199 Grange, W. 1586 Grappelli, S. 1371 Grappelli, S. 1472 Gratovich, E. 978, 979 Gray, J. 1263 Green, A. W. 304 Green, D. M. 858 Green, E. A. H. 621, 1354 Green, L. G. 638 Greenspan, B. 1194 Greenwood, N. G. 1558 Greilsamer, L. 93, 157, 180, 182 Greither, A. 249 Greive, T. 710, 722, 1197 Grey, T. 1022 Grimley, D. 1054 Grimson, S. B. 611 Grissino-Mayer, H. D. 82, 83 Groth, C. R. 780 Grove, G. 798, 1017 Gruenberg, E. 610 Grünberg, M. 641, 1214 Gualazzini, U. 270, 342 Gudnadottir, G. 704 Guest, B. 1245 Guettler, K. 527 Guhr, C. 1503 Guibal du Rivage, A. 1511 Guth, P. 480

Author Index

H Haapakoski, M. 1124 Haas, R. 1316 Hadden, J. C. 409 Haendel, I. 1379 Haid, G. 485 Haines, D. W. 76 Halász, P. 477 Hall, A. C. 1098 Halski, C. R. 1447 Hambourg, K. M. 974 Hamma, F. 212 Hamma, W. 214, 231 Hammill, N. D. C. 869 Hanrén, K. 1594 Hansberger, J. 1095 Hanson, R. 1185 Hardy, J. 1438 Hargrave, R. 239, 311 Harrison, M. 506 Harrys, G. 1504 Hart, G. 258, 649 Hartmann, A. 509, 1585, 1692 Hartnack, J. W. 1232 Harvey, B. W. 222, 431 Harvith, J. 1356, 1413 Harvith, S. E. 1356, 1413 Hatch, C. 831 Hauck, W. 555 Haugen, E. I. 1301 Haun, S. C. 574 Haupt, L. D. 913 Hausswald, G. 738 Havas, K. 1386 Havas, K. 620 Haweis, H. R. 152 Heartz, D. 1562 Heft, A. 543 Heimel, P. W. 1302 Heinzel, M. A. 1047 Heldt, G. 659 Hellebrandt, F. A. 620, 625 Heller, A. 1340 Henderson, B. 1382, 1464 Henderson, L. 1069 Henley, W. 265, 268, 354 Hepokoski, J. 983 Hepworth, W. 177 Herbage, J. 772 Herman, A. 1629

RT8244_C006.fm Page 385 Thursday, December 22, 2005 1:18 PM

Author Index Heron-Allen, E. 11, 17, 151, 408, 426, 427, 1288, 1488 Hershey, J. 365 Herwegh, M. 823 Herwig, C. 122 Hess, W. 797, 807 Heylbut, R. 1564 Hiatt, J. S. 1051 Hickman, R. 586 Hill, A. E. 303, 340 Hill, A. F. 303, 340 Hill, J. W. 1161 Hill, W. H. 303, 340 Hilmar, E. 1109 Hirota, Y. 781 Hirschmann, W. 1152 Hjorth, A. 206 Hodgson, P. 519 Hoefer, G. 1660 Hogwood, C. 448 Hollander, H. 837, 838, 893 Holman, P. 1280 Holman, P. 224, 473 Hopkins, A. 816 Horne, A. 647 Hornig, N. 1128 Hornig, N. 1628 Horowitz, J. 1486 Horricks, R. 1368 Horvath, J. 25 Huang, R. V. 1134 Huber, J. 425 Huberman, B. 1340, 1395 Huggins, M. L. 321 Hughes, S. 1637 Humphreys, E. M. J. G. (Rita) 360 Hunkemöller, J. 1043 Hurst, P. G. 309 Hurwitz, E. 835 Huslohner, A. W. 1497 Hutchings, A. J. B. 931 Hutchins, C. M. 29, 62, 64, 68, 70, 72, 73, 80, 87, 192 Hwang, H. 789

I Imbert de Laphaleque, G. 1505 Inglis, A. 1489 Inzaghi, L. 1609 Iselin, D. J. 1011

385

J J. W. S. 965 Jabbour, A. 493 Jablonski, M. 1191 Jacobi, E. R. 593, 595 Jacobi, F. 874 Jacomb, C. E. 536 Jacquot, A. 207 Jalovec, K. 203, 205, 228, 229, 267 James, E. 1604 James, J. 385 Jander, O. 812, 840 Jarman, D. 861 Jarosy, A. 529, 803 Jarvis, M. 998 Jasinska, D. 1191 Jellinek, G. 1485 Jesky, L. 1367 Joachim, H. 456, 736, 1404, 1597 Joachim, J. 608, 1402 Johanson, G. N. 830 Johnson, C. 188 Johnson, R. 646 Johnstone, H. D. 924 Jonas, O. 801, 842 Jones, S. 1463 Joseph, S. 138 Jusefovich, V. 1500 Juttemann, H. 196

K Kagan, S. 1654 Kamien, R. 1045 Kantorski, V. 577 Kapp, J. 1513 Kapp, R. 1119 Kárpáti. J. 768 Kass, P. J. 224, 245, 247, 274, 275, 276, 328, 396 Katsnelson, A. 1502 Katz, M. 465, 560, 819 Kaufman, A. 1133, 1414 Kaufman, L. 1133, 1414, 1483 Kaufman, R. S. 1068 Kawabata, M. 667 Keil, W. 1078 Keller, H. 854, 959 Kelley, E. S. 1688 Kelley, G. D. 1568 Kellog, V. K. 684

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386 Kendall, A. 1532 Kennedy, G. 322 Kennedy, H. M. 1399 Kennedy, M. 945 Kennedy, N. 1415 Kenneson, C. 1632 Kerman, J. 1150 Kernozek, T. 514 Keym, S. 955 Kidd, R. R. 695 Kim, J. 938 Kimura, M. 539 King, A. H. 1036 King, K. 1638 Kirkendale, W. 1527 Kirkpatrick, J. 979 Kleffel, A. 1682 Klein, P. 311 Klopcoc, R. 559 Kloss, S. 1392 Klugherz, L. 712, 713 Knapp, R. 1151 Knaus, H. 855, 856, 860 Knaus, J. 987 Knepler, G. 881 Knesch, M. 219 Kohlhase, H. 1118 Kohnen, D. 1559 Kojima, S. 809 Kolneder, W. 45, 1171, 1173, 1174 Kolstein, S. 393 Komroff, M. 1540 Koob, J. E. 1353 Kosloski, G. 1276, 1363 Kotlyarov, B. 1338 Kozák, J. B. 229 Kozinn, A. 1334 Kramer, R. 829, 833 Krämer, U. 866 Krasner, L. 459,859 Kratochwil, H. 868 Krause, A. 1111 Krause, E. 1499 Kreisler, F. 1418, 1419, 1420, 1422 Kremer, G. 1433, 1434, 1436 Kreutzer, R. 601 Kroemer, M. 573 Kroll, M. 829 Krummacher, F. 660 Kubitschek, E. 872 Küdzö, V. 804 Kufferath, M. 1664

Author Index Kühn, D. 1292 Kuhnert, A. A. 1538 Kun, J. 394 Kuronen, D. 257 Kwon, Y. 930

L L’Abbé le fils (J. B. Saint-Sevin) 591 La Cerda, A. 1588 La Laurencie, L. D. 697, 1357, 1575 Ladew, D. P. 367 Lahee, H. C. 1206 Laired, P. L. 198 Landsman, J. L. 714 Lang, G. 424 Lang, X. 1196 Lantz, L. E. 1141 Larson, D. C. 135 Laurie, D. 413 Lauth, W. 900, 901 Laval, R. 1339, 1437, 1446 Lavender, E. W. 41 Lawrence, R. D. 1551 Layer, A. 314 Layton, R. 936 Lee, D. A. 850 Lee, K. 402 Legge, R. 1248 Lehmann, A. 1592, 1596 Leipp, E. 161 Lenoir, Y. 786 Lentner, F. 330 Lenton, J. 579 Leong, A. T. 1162 Leoni, R. 1492 Lescat, P. 581 Lester, J. 743, 754, 757, 1052 Letz, H. 642 Lewin, D. 928, 1103 Lewin, R. 1383 Lewinski, W. V. 1431 Liebermann, J. L. 508 Liivoja, J. 512 Lim, T. Y. 880 Lindgren, M. 1125 Lister, W. W. 693 Liszt, F. 1514 Lochner, L. P. 1421 Lockwood, L. 829 Loen, J. S. 89

RT8244_C006.fm Page 387 Thursday, December 22, 2005 1:18 PM

Author Index Loft, A. 671 Löhlein, G. S. 596 Lolov, A. 88 Loosen, F. 569 Lorenz, F. 1287 Lorenzen, L. J. 131 Lorkovic, R. 863, 864 Lovallo, L. 1192 Love, H. 1250 Lozzi, C. 237 Luca, S. 392 Luce, J. 1006 Ludwig, G. 828 Lütgendorff, W. 259 Lutz, M. 873 Lysy, A. 1472

M Maas, G. L. 989 MacDonald, H. 1093 Mackerness, E. D. 761, 762, 763 Mackerras, J. 521 Macleod, J. 1271 Macomber, C. J. 533 Magaldi, 1680 Magidoff, R. 1467 Mailand, E. 91 Mäkelä, T. 1126 Malan, R. 1695 Mamy, S. 1180 Manfredini, C. 246 Mann, R. 1483 Mannes, D. 1455 Marcan, P. 1252 Marcan, P. 682 Mark, S. 551 Märker, M. 1086 Marks, K. 992 Marks, M. 622 Marri, F. 1050 Marrocco, W. T. 364 Marshall, H. W. 496 Marteau, B. 1459 Martens, F. 1210, 1212 Martin, A. S. 1175 Marx, H. 918 Mason, C. 769, 788 Mason, D. G. 889 Matthews, J. 792 Maugin, J. C. 171

387 Maunder, R. 204 Mauser, S. 1083 Maxham, R. 1435, 1456, 1574 Maynor, E. 1545 Mazurowicz, U. 686 McCollister, E. H. 75 McCormick, D. 81, 82, 84 McCreless, P. 1112 McCrickard, E. 708 McDonald, J. A. 1019 McDonough, J. 1372 McGrady, R. 1335 McKeough, K. 1498 McKinney, T. R. 897 McLeod, M. 380 McVeigh, S. 882, 1360 Mead, A. W. 1099 Melkus, E. 47, 556, 969, 1028, 1038, 1117 Mell, A. 1412, 1453 Mellado, D. 685 Menardi, Noguera, F. 1608 Mendel, A. 979 Mendel, N. 979 Mendelson, M. 486 Menuhin, D. 1471 Menuhin, Y. 53, 626, 1468, 1469 Merrick, F. 1183 Merrick, H. 1333 Mertzanoff, C. E. 1657 Mertzanoff, C. E. 331, 1057 Metz, G. 729, 975 Meyer, C. 53 Meyer, F. 1189 Meyer, J. 557 Meyer, O. 637 Michael, F. 774 Michelman, J. 95, 98, 100, 102, 103 Michels, E. 218 Midgley, S. 821 Millant, B. 406 Millant, M. 185 Millant, R. 185, 375 Miller, M. 1053 Miller, R. 1458 Milligan, T. B. 696 Milliot, S. 208 , 285, 318, 376 Milsom, D. 455 Milstein, N. 1481 Minato, K. 79 Minturn, N. 1071 Mischakoff, A. 991 Mishkin, H. G. 705

RT8244_C006.fm Page 388 Thursday, December 22, 2005 1:18 PM

388 Mishler, C. 498 Mnatzaganian, S. 1598 Möckel, O. 26, 181 Moens, K. 143, 215 Mohr, W. 896 Molique, C. 1311 Molkhou, J. M. 1374, 1390, 1430, 1482, 1566, 1570, 1626, 1634, 1697 Möller, M. 250, 1027 Monosoff, S. 392, 535 Montanari, U. 1308 Moore, S. 558 Mooser, R. 1310, 1321, 1351, 1452, 1454, 1487, 1663 Moral, J. A. 129 Moran, J. G. 467 Moreno, J. C. 635 Moretti, M. R. 1058 Morgan-Brown, H. P. 1686 Morgenstern, D. 503 Morris, W. M. 220 Morrison, C. D. 782 Moser, A. 433, 561, 608, 734, 805, 1398 Moser, H. 433 Mozart, L. 587 Mucchi, A. M. 294 Müllwe, H. A. 134 Mumelter, M. 982 Murphy, F. 1370 Murphy, T. C. 849 Murrill, H. 1184 Müry, A. 1074 Musgrave, M. 883, 1614 Musin, O. 1244 Mutschler, M. 625

N Nagy, A. 776 Narayn, D. 363, 417 Neece, B. 224 Neighbor, O. W. 117 Neill, E. 1060, 1533, 1535 Nelson, D. K. 1345, 1600, 1696 Nelson, Sheila 46 Nelson, Suzanne 464 Nemessuri, M. 624 Neumann, F. 528, 755 Neurath, H. 692 Newman, E. 942, 1042

Author Index Newman, W. S. 669, 717, 845 Niblock, J. 552 Niccolini, G. 233, 238, 243 Nicholson, A. 1694 Niederheitmann, F. 227 Niemöller, K. W. 902, 904 Nigogosian, V. 86, 393 Nisbett, R. 964 Nissel-Nemenoff, E. 848 Nobach, C. 56 Norden, J. C. 1107 Nordwall, O. 785 Notley, M. A. 898 Nowak, A. 753 Nunamaker, N. K. 658

O O’Doherty, E. 487 Obelkevich, M. R. 843 Ogden, G. P. 1478 Okner, M. A. O. 514 Oldenhove, J. 1371 Oldman, C. B. 1034 Otterstedt, A. 253 Otto, J. A. 169 Ouelette, D. 1314

P Paganini, N. 1506 Page, T. 1391, 1579 Palac, J. A. 524 Palmer, A. 1411 Palmer, D. L. 1537 Palmer, F. E. 811 Paradise, P. 1220 Parker, D. C., 1567 Parlow, K. 1546 Passa, F. 395 Pavanello, A. 1149 Pavlidis, L. 634 Payne, A. 1205 Pedigo, A. 672 Peluzzi, E. 159, 183, 232, 345 Pereira, E. 462 Peretti, P. 1140 Perfuffo, M. 117 Perry, R. K. 1015 Pershing, D. 522

RT8244_C006.fm Page 389 Thursday, December 22, 2005 1:18 PM

Author Index Persinger, L. 1466 Peterlongo, P. 61 Petherick, H. 178, 302, 339 Petong, R. 211 Petrobelli, P. 1642 Petrovitsch, B. 676 Pfaff, T. 1241 Pfäfflin, C. 1048 Pfann, W. 1076 Pfau, M. R. 1101 Philip, R. 795 Phillips, B. 1295 Piccoli, G. 42 Pickering, N. C. 112, 116 Pierrottet, A. 1607 Pieters, J. 1555 Pilling, J. 193 Pincherle, M. 39, 43, 468, 799, 1170, 1211, 1246, 1318, 1336, 1443, 1674 Pinto Comas, R. 251 Pipe, R. E. 390 Plantinga, L. 818 Platt, R. 977 Poidras, H. 262 Pollack, H. 914 Pollens, S. 311, 351, 358, 407 Polnauer, F. F. 622 Polonaski, E. 17, 412 Pook, W. 726, 966 Pople, A. 865 Porta, E. 1009 Portnoy, D. C. 1132 Potok, C. 1627 Potter, T. 1272, 1307, 1329, 1366, 1416, 1465, 1501, 1549, 1563, 1626, 1646, 1698 Pougin, A. 1479, 1571 Pougin, A. 1673 Powrozniak, J. 1448 Prchal, M. 1599 Prcik, L. 988 Prefumo, D. 1059 Prelleur, P. 582 Preston, R. 1000, 1001 Price, C. A. 1251 Primrose, W. 626 Pritchett, J. 909 Pulver, J. 571, 1249, 1403, 1516

Q Quigley, C. 851

389

R Raab, C. 1103 Rabin, M. 1565 Racster, O. 153 Raditz, E. 877 Radoux, J. T. 1665 Rae, C. B. 1010 Rainalter, E. 333 Randel, D. M. 3 Rangoni, G. B. 444 Rarig, H. R. 1172 Ratcliffe, B. 1691 Rattalino, P. 752 Rau, F. 546 Ravasio, U. 296 Ravel, P. 1330 Rawlinson, H. 941 Raynor, H. 1467 Rayson, J. 580 Read, T. L. 1090 Reade, C. 315 Redder, J. 970 Reed, I. 5 Reed, W. H. 943 Reel, J. 1315, 1553 Regazzi, R. 142 Regli, F. 1253 Reich, W. 1169 Reichardt, J. F. 597 Reichers, A. 176 Reid, J. V. 353 Reindorf, M. R. 399 Reis, K. 1543 Reiß, H. 397 Retford, W. C. 383 Reti, R. 836 Reuchsel, M. 1207 Reuter, F. V. 651 Reynolds, C. 834 Ricci, F. C. 1160 Rice, A. 368 Richard, J. 128 Richardson, B. 65 Richter, E. 1499 Richter, H. 1539 Rieder, C. E. 632 Riethmüller, A. 906 Riggs, R. D. 1046 Rinaldi, M. 1168, 1317 Rita (Humphreys, E. M. J. G.) 360 Ritz, L. 949

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390 Rivarde, A. 614 Robert, J. 1439 Rocaboy, F. 386 Roda, J. 382 Rode, P. 601 Rodgers, O. E. 130, 133 Roehl, H. 191 Roeseler, A. 1237 Rogers, L. 1138, 1139 Rokos, Kitty 1385 Rokos, Kurt 1385 Rolland, P. 519, 625, 828 Rônez, M. 513, 526 Ronze-Neveu, M. J. 1495 Rooney, D. 1440, 1551, 1590 Rosengard, D. 284, 301, 311, 338 Rosenthal, A. 590 Ross, M. H. 423 Rostal, M. 828, 854 Roth, F. 1583 Roth, H. 1222–1228, 1235, 1238, 1277, 1387, 1428, 1484, 1551, 1620, 1633, 1648, 1658 Rovighi, L. 446 Roy, K. 77, 336 Ruggieri, V. 1502 Ruhe, P. 683, 1496 Rühlmann, J. 150 Russell, T. 563 Rutherford, M. F. 967, 1320 Ryom, P. 1178

S Sacchi, F. 410 Sacconi, S. F. 346 Sachs, K. 1084 Sadie, S. 1 Sainati, E. 1587 Saint-Arroman, J. 581 Saint-Foix, G. 1033 Saint-George, H. 379 Saint-Saëns, C. 1584 Saint-Sevin, J. B. (L’Abbé le fils) 591 Salchow, W. 392, 393, 394, 1352 Salerno-Sonnenberg, N. 1578 Salins, H. D. 1656 Salmen, W. 335 Salmenhaara, E. 1127 Salvetti, G. 1158 Salzedo, S. L. 1520 Sand, B. L. 1326, 1349, 1355, 1441, 1475

Author Index Sanders, D. 1381 Sanders, L. C. 554 Sandys, W. 147 Sannemüller, G. 1075 Santamaria, C. 129 Santoro, E. 240, 241, 344 Saravi, P. A. 202 Sarch, K. 461 Sartori, C. 643, 1283 Saussine, R. 1517 Savart, F. 57, 62 Saye, T. 1230 Schachter, C. 750, 832 Schall-Emden, J. 1472 Schang, F. C. 1233 Scheidemantle, C. R. 995 Schelling, J. C. 59, 111 Scheneman, T. K. 794 Schenker, H. 735 Schering, A. 652, 826 Schilling-Trygophorus, O. 802 Schleske, M. 109 Schmid, M. H. 1167 Schneider, H. 952 Schoenfield, M. R. 1528 Schottky, J. M. 1507 Schröder, F. 1025 Schröder, J. 448, 1030 Schroedter, U. 504 Schueneman, B. R. 1572, 1573 Schumacher, R. T. 113 Schuster, O. 126 Schwarz, B. 481, 531, 701, 711, 793, 886, 1037, 1108, 1164, 1165, 1236 Schwarz, V. 49 Schwarze, P. 1002 Schweitzer, A. 518 Schwen, E. 144 Sciannemeo, F. 680, 1376 Sciannemeo, L. C. 1268 Scott, J. 123 Scott, M. M. 689, 1602 Seagrave, B. A. G. 699 Sear, H. G. 1519 Seashore, C. E. 137, 549 Segerman, E. 125 Seiber, M. 766 Seletsky, R. E. 923 Selfridge-Field, E. 706 Senn, W. 336 Sevier, Z. D. 748 Sewell-Kirton, H. 1547

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Author Index Shaffer, K. A. 1257, 1558 Shankar, L. 478 Shapiro, M. L. 718 Sharp, G. 875 Sheppard, L. 400, 1529 Shigihara, S. E. 1085 Shigo, A. L. 77 Shreffler, A. C. 1189 Sibire, A. 168 Siegelman, J. 392, 394 Silberkvit, M. See Zilberquit Silbiger, A. 758 Silverman, W. A. 416 Simoutre, N. 173 Simpson, E. S. 1396 Skeaping, K. 332 Skelton, R. 990 Skillman, A. E. 496 Slonimsky, N. 1422 Sly, G. 1110 Small, A. 457 Smirnov, D. 1096 Smith, D. A. 1373 Smith, F. N. 1256 Smith, G. 1369 Smith, J. H. 139 Smith, M. B. 1298 Smith, Stuff, 1610 Soccanne, P. 1278 Solomon, M. 829, 846 Somfai, L. 775, 779 Sorrento, A. 1058 Sourek, O. 935 Spalding, A. 1617, 1618, 1621, 1641 Spicer, P. S. 391 Spivakosky, T. 741 Spohr, L. 604, 1622 Spotti, G. 242 Staehelin, M. 1645 Starkman, M. 85 Starr, J. A. 715 Steblin, R. 437 Steinberg, M. 665 Steinhausen, F. A. 515, 622 Stephan, R. 691 Stepner, D. 979 Stern, I. 1627 Stevens, D. 626, 1472 Stinson, R. 749 Stockhem, M. 953, 1693 Stolba, K. M. 600, 679 Stoll, B. 1405

391 Stowell, R. 1, 52, 436, 449, 451, 452, 454, 523, 576, 662, 673, 687, 751, 814, 817, 1239, 1536 Straeten, E. V. 1091, 1092, 1213, 1215 Strange, A. 466 Strange, P. 466 Strava, R. E. 1049 Strick, J. 281 Stringer, M. A. 1067 Strobel, H. A. 187, 1137 Struck, M. 1120, 1121 Stüber, J. 567 Sturm, J. A. 1131 Sullivan, D. 558 Sundt, E. V. 110 Suzuki, S. 1630 Swack, J. 1153 Swalin, B. F. 656 Swift, G. N. 479 Swihart, J. W. 541 Szende, O. 476, 624 Szentkiralyi, A. 783 Szigeti, J. 623, 827, 891, 1305, 1424, 1635, 1637

T Talbot, M. 719, 1177, 1182, 1677 Targan, B. 1021 Tartini, G. 592, 593 Taylor, P. G. 1081 Telmányi, E. 737 Temperley, N. 1064 Templeton, D. 1285, 1477 Theodore, M. 985 Thibaud, J. 1647, 1693 Thierbach, S. E. P. 666 Thompson, W. C. 984 Thomson, R. J. 491 Threlfall, R. 933 Tibbets, J. C. 937 Tick, J. 927 Tiilikainen, J. 1129 Tilmouth, M. 1462 Tiny, P. 124 Tinyanova, H. 362 Todd, W. W. 510, 1593 Toni, A. 1282 Topham, J. 81, 224 Torri, L. 140 Toskey, B. R. 661

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392 Tottmann, A. 639 Tovey, D. F. 655 Tremblay, C. 1113 Trendelenburg, W. 617, 622 Treuheit, A. 1554 Trotter, J. M. 1678 Trueman, D. L. 201 Tubergen, D. G. 951 Tunley, D. 1309 Tyson, A. 806

U Ujfalussy, J. 773 Ulrich, H. 740 Upton, G. P. 1568 Usarek, A. I. 770

V Vachon, C. 1195 Valentin, E. 890 Vannes, R. 263 Vatelot, E. 398 Velickovic, L. 878 Vercheval, H. 37 Vidal, A. 149 Vigdorchik, I. 347 Vinogradov, A. 1541 Vittes, L. 1659 Vogt, H. 724 Volkov, S. 1481 Voskuil, D. 73 Vyborny, Z. 1525

W Wade, M. G. 514 Wade, S. 502 Wagner, J. 1361 Wagner, R. 1685 Wagner, U. 1406 Waldemar, C. 1544 Wales, M. E. 1461 Walker, A. 1004 Walls, P. 1, 441, 534, 925, 1031, 1254 Walsh, J. 1322, 1619 Warfield, G. 538 Wasielewski, W. J. V. 432

Author Index Wasielewski, W. V. 432 Watrous, J. 1100 Wechsberg, J. 48 Weinrich, G. 66, 74 Weising, K. 1035 Weiss, G. 1460 Weiss-Aigner, G. 767, 777, 778, 884, 885, 899, 1088 Wen, E. 311, 994, 1240, 1429 Wenberg, T. 256 Weschler-Vered, A. 1388 Wetherell, E. 1582 Wettengel, G. A. 170 Wetzel, J. H. 822 Whang, U. 934 Whistler, G. 401 Whistler, H. S. 374, 401 White, C. 663, 664, 958, 1163, 1166 White, M. G. 1157, 1159 Whiteley, J. 359 Whitmore, P. 681 Wibberley, L. 310 Widholm, G. 47 Wiggins, G. 1312 Wightman, A. 1142 Williams, M. D. 997 Wilson, P. 767, 784 Winn, E. L. 996, 1400 Winternitz, E. 162 Winthrop, L. 1375 Wirsta, A. 453 Witek, A. 114 Witten, L. 273 Wolf, S. 1340 Wolfe, C. 1266 Wollny, P. 760 Woodard, G. 733 Woodcock, C. 266, 268 Woodhouse, J. 113, 139 Woodley, R. 1070 Woodrow, D. 350 Worbs, H. C. 1018 Wright, J. R. B. 1291, 1679 Wunderlich, F. 389

Y Yampolsky, I. M. 532 Yano, H. 79 Yarrow, A. 960 Yoo, L. 200, 558

RT8244_C006.fm Page 393 Thursday, December 22, 2005 1:18 PM

Author Index Youmans, J. 496 Youngren, W. 1639 Ysaÿe, A. 1193, 1691 Ysaÿe, E. 1668 Ysaÿe, J. 1692

Z Zacharevitch, M. 1056 Zaslaw, N. 922, 1029, 1444

393 Zeng, M. T. 1143 Zenger D. R. 488 Zhang, C. 1197 Zilberquit, M. 1227–31 Zimmerman, D. J. 1072 Zlateva, M. 950 Zondervon, S. 423 Zschinsky-Troxler, E. M. V. 1561 Zukofsky, P. 463, 537, 907, 908

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Name Index

A Abel, C. F. 695 Abel, J. 1237 Accardo, S. 1, 2, 1225, 1232, 1236, 1237, 1243, 1267–69 Adams, J. 665 Adaskin, M. 693 Ahna, H. K. H. 1205 Alard, D. 1, 2, 698, 1208 Albergati, P. 707 Albinoni, T. 582, 688, 706, 707, 716–19, 1554 Albrecht, G. 720 Alcock, J. 694 Alday, P. 698 Amati family 1, 2, 48, 165, 167, 188, 240, 258–65, 267–69, 302, 409, 422, 1419 Anet, J. B. 1, 2, 697, 1270 Anet, J. J. B. 1, 2, 697, 1270 Anhalt, I. 693 Antonii, G. B. D. 707 Antonii, P. D. 707 Antoniou, T. 462 Applebaum, S. 459, 1217, 1631 d’Arányi, J. 1, 1236, 1271, 1272 Arresti, G. C. 707 Ashkenasi, S. 1219 Asmussen, S. 1, 503, 505 Aubert, J. 697, 699 Aubert, L. 697 Auer, L. 1, 2, 464, 476, 480, 481, 612, 613, 650, 1209, 1210, 1232, 1234, 1236, 1243, 1273–77, 1326, 1464, 1481, 1546, 1548, 1695

Austin, L. 684 Avison, C. 694, 695 Axelrod, H. R. 1219

B Babbitt, M. 462 Bacewicz, G. 710, 721, 722 Bach, C. P. E. 1047 Bach, J. C. 695, 1041 Bach, J. S. 38, 448, 452, 457, 518, 522, 530, 567, 608, 615, 626, 650, 651, 665, 666, 671, 675, 680, 723–63, 870, 1047, 1086, 1224, 1225, 1230, 1637 Bachmann, A. 1212 Badings, H. 677, 684 Bagatella, A. 45, 183, 252 Bailleux, A. 697 Baillot, P. 1, 2, 39, 405, 470, 599, 601–3, 605, 610, 698, 701, 793, 1208, 1234, 1236, 1278, 1279, 1672, 1674 Baker, D. V. 1256 Baltzar, T. 1, 2, 474, 675, 1249, 1280 Banchieri, A. T. 707 Banister, J. 1213, 1248 Banks, B. 1, 147, 220, 222, 265, 277, 278 Banner, M. 1256 Barber, 665, 764, 1380 Barns, E. 765 Barthélemon, F. H. 697 Bartók, B. 460, 462, 665, 671, 677, 680, 766–89, 1469, 1632, 1635

395

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396 Barton, R. 1281 Bassani, G. B. 707 Bazzini, A. 1, 2, 1282, 1283 Beach, A. 715, 790, 791 Beard, P. 1216 Bednar, S. 1221 Beethoven, L. 38, 452, 608, 626, 650, 655, 660, 667, 727, 792–846, 963, 1046, 1095, 1162, 1222, 1230, 1290, 1316, 1647, 1658 Beilina, N. 1225 Bell, J. 1, 2, 683, 1242, 1243, 1284, 1285 Belli, G. 707 Benda, F. 1, 2, 663, 847–50, 1047, 1236, 1286, 1287, 1554 Bendix, M. 1256 Bennett, R. R. 676 Benny, J. 1221 Benoit, E. 851 Berg, A. 665, 852–68, 1095 Bergonzi family 1, 2, 241, 259, 263, 265, 279–81, 284, 383 Bériot, C. 1, 2, 563, 599, 606, 610, 698, 701, 869, 1203, 1204, 1208, 1234, 1236, 1244, 1288, 1655 Berkeley, H. 1217 Bernardi, B. 707 Bernstein, L. 1380, 1475 Bertali, A. 707 Bertheaume 697 Bertolotti. See Gasparo da Salò Besson, M. G. 697 Betti, A. 1210, 1212 Biber, H. 1, 2, 443, 471, 561, 563, 564, 570, 671, 675, 678, 870–73 Bisengaliev, M. 1289 Blavet, M. 923 Bloch, A. 1212 Bloch, E. 677, 874–88 Boccherini, L. 1, 2, 1041, 1047, 1561, 1676 Bocquay, J. 208 Böhm, J. 476, 656 Bohrer, A. 656 Bolcom, W. 1, 2, 879, 880 Bononcini, G. B. 1, 2, 707 Bononcini, G. M. 1, 2, 707 Bor, M. 709 Borbon, G. 281 Borghi, L. 1038 Borisoff, J. 1212 Borowski, F. 715 Bouvard, F. 697 Bradley, D. 1228

Name Index Brahms, J. 38, 608, 650, 655, 656, 659, 660, 665, 667, 881–98, 955, 1088, 1116, 1118, 1119, 1221, 1222, 1225, 1403, 1579 Branche, C. A. 697, 700 Bremner, R. 586 Bridgetower, G. P. 1, 2, 839, 1262, 1263, 1290–92 Brijon, E. R. 697 Brindis de Salas, J. 1, 1262, 1263, 1293, Britten, B. 665, 671, 899 Brockway, H. 715 Brodsky, V. 1227 Bron, Z. 1231 Bronstein, R. 1218 Brosa, A. 1216 Brossard, S. 697 Brown, E. 1210 Bruch, M. 38, 514, 650, 655–57, 665, 869, 900–904, 1126 Bruckner, A. 1420 Brüll, I. 656 Buck, D. 715 Bull, O. 1, 2, 97, 293, 295, 905, 1203, 1204, 1234, 1236, 1257, 1294–1302, 1535, 1622, 1670 Buonamente, G. B. 707 Buoni, G. 707 Burleigh, C. 1212 Burmester, W. 1129, 1232, 1236, 1303, 1304 Busch, A. 1, 2, 457, 1216, 1232, 1236, 1237, 1243, 1305–7 Busoni, F. 906, 1595, 1635 Bussotti, S. 676 Bustabo, G. 1235 Byrne, M. 487

C Cadek, O. 1212 Cage, J. 462, 463, 676, 907–10 Caldara, A. 707 Campagnoli, B. 1, 2, 523, 1207, 1308 Campioni, C. A. 695 Campoli, A. 1, 1216, 1234, 1309 Campos-Parsi, H. 709 Canavas, J. 697, 700 Canobbio, C. 1, 2, 1310, Cappa, C. 1, 157, 265, 282 Capron, N. 697 Caraffe, C. P. 697 Carbonelli, S. 1213 Carol, N. 1228

RT8244_C007.fm Page 397 Thursday, December 22, 2005 1:18 PM

Name Index Carpenter, N. 1256, 1259 Carr, B. 715 Carrodus, J. T. 1, 1311 Carson, J. 1312 Carter, E. 665, 911 Carter, R. 1, 1313, 1314 Cartier, J. B. 581, 600, 697, 698, 1149 Casals, P. 1649 Cassidy, C. 487 Castello, D. 707 Castels de Labarre, L. J. 698 Castro, J. J. 709 Castrucci, Pietro 534, 918, 1213 Castrucci, Prospero 1213 Catlin, G. 257 Cavalli, F. 707 Cazzati, M. 707 Cerovsek, C. 1241 Ceruti family 1, 230, 235, 241, 283, 284 Cesare, G. M. 707 Chabran, C. 700 Chamborn, J. M. 697 Chang, S. 1, 2, 1241, 1243, 1315, 1326 Chanot–Chardon family 1, 263, 285 Chausson, E. 650, 665, 912, 913, 1691 Chávez, C. 709 Chee–Yun 1242 Chladni, E. 57 Chung, K. W. 1, 1231, 1234, 1236, 1237, 1242, 1243 Cima, A. 707 Cima, G. P. 705, 707 Clement, F. 1, 2, 799, 809, 817, 1316 Clerambault, L. N. 697 Cohen, R. 1216 Coleman, O. 1, 2, 503 Colista, L. 708, 1254 Colombi, G. 442, 707 Colton, W. E. 1295 Compostano family 244 Copland, A. 502, 671, 914 Corbett, W. 694, 915 Cordero, R. 709, 916 Corelli, A. 1, 2, 39, 201, 448, 452, 600, 650, 651, 670, 671, 688, 702, 706–8, 917–26, 1074, 1130, 1157, 1159, 1160, 1317–19 Corigliano, J. Sr. 459 Corrette, M. 697, 699 Cortot, A. 1649 Coulthard, J. 693 Couperin, F. 697, 699 Cozio di Salabue. 1, 298, 410, 415, 416, 422

397 Cramer, W. 1, 2, 1320 Crawford (Seeger), R. 927 Crehore, B. 257 Crumb, G. 462 Cupis, J. B. 534, 697, 700 Czerwonky, R. 1212

D D’Alamaine, C. 638, 1322 Dalaglio, J. 286 Dalley, J. 1219 Dall’ Oglio, D. 1, 2, 1321 Damoreau, E. G. 697 Damrosch, L. 656, 715 Dancla, C. 1, 2, 698, 1208, 1323 Dandrieu, J. F. 697 Dauvergne, A. 697, 700 David, F. 1, 2, 656, 803, 808, 1017, 1091, 1168, 1208, 1234, 1324, 1325 David, J. N. 676 de Vito, G. 1, 1237, 1243 Debussy, C. 462, 671, 928–30, 952, 1691, 1692 Deconet, M. 1, 287 Deconetti family 249 DeLay, D. 1, 2, 1220, 1236, 1326, 1327, 1475, 1578, 1579, 1600 Delius, F. 655, 931–33 Dello Joio, N. 934 Denis, M. 697, 700 Denisov, E. 1229 Dietrich, A. 656, 890 Dittersdorf, K. 664, 686 Dodd, J. 1, 147, 220, 263, 379, 382, 383, 400 Doherty, J. 487 Dornel, L. A. 697 Dounis, D. 2, 1212, 1217, 1328, 1342 Du Pré, L. 1256 Dubois, A. 1, 1329 Dubourg, M. 917, 923, 1213 Duke, C. 1256 Dunn, J. 1330 Dupont, P. 697 Durand, A. F. 698 Dushkin, S. 1, 2, 1135–37, 1236 Duval, F. 468, 532, 697, 702 Dvo ák, A. 650, 660, 671, 935–38 Dyson, G. 939, 940

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398

E Eisenberg, H. 1212 Elgar, E. 650, 655, 941–48, 1689 Ellinger, G. 476 Elman, M. 1, 2, 457, 481, 542, 1210, 1216–18, 1232, 1234–37, 1243, 1273, 1331–34, 1427 Elsner, F. 710 Emidy, J. 1, 1335 Enesco, G. 1, 2, 949, 950, 1228, 1234, 1236, 1243, 1336–38, 1500 Ernst, H. W. 1, 2, 650, 656, 869, 1234, 1236, 1339–41 Eto, T. 1219 Exaudet, A. J. 697

F Fachiri, A. 1, 1236, 1271, 1272 Falconiero, A. 707 Farina, C. 471, 669, 707 Farwell, A. 715 Fauré, G. 671, 951, 1691 Favre, A. 697 Feher, I. 1228 Feldman, M. 460, 463 Fernández, O. L. 709 Ferrari, G. 162, 410 Ferras, C. 1, 1237, 1243 Ferro, M. A. 707 Festing, M. 1, 2, 534, 924 Ficher, J. 709 Filipowicz, E. 1259 Fine, I. 671 Finney, R. L. 677 Fiorillo, F. 1, 2, 804, 1207, 1208, 1213 Fischer, J. A. 694 Fleezanis, J. 1242 Flesch, C. 1, 2, 464, 531, 532, 615, 618, 747, 800, 1232, 1234, 1236, 1243, 1342–45, 1518, 1648 Fodor, E. 1220, 1234, 1236, 1237 Fontana, G. B. 1, 2, 706, 707, 1348 Foote, A. 715 Fortas, A. 1219 Foster family 147 Fradkin, F. 1212 Français, J. 420, 424, 1223 Francescatti, Z. 1, 2, 1217, 1218, 1223, 1232, 1236, 1238, 1243, 1427 Franck, C. 671, 952–55, 1225, 1691

Name Index Francoeur, F. 468, 697, 700, 1207 Francoeur, L. 697 Frank, P. 1241, 1349 Franko, S. 1, 715, 1083, 1236, 1350 Frescobaldi, G. 707 Fried, M. 1231, 1237 Friedman, E. 1222 Fritz, G. 1, 2, 1351 Fuchs, J. 1, 1217, 1218, 1352

G Gabrieli, G. 707 Gagliano family 1, 2, 103, 259, 263, 288–92, 1419 Galamian, I. 1, 2, 621, 756, 1217, 1218, 1232, 1234, 1236, 1243, 1326, 1353–55, 1373 Galeazzi, F. 1253 Galimir, F. 2, 1223 Galindo, B. 709 Gambarini, E. 1259 Gang, C. 1196, 1197 Gardner, S. 1210, 1356 Gasparo da Salò [Bertolotti]. 1, 2, 151, 258–65, 267–69, 293–96, 378, 1295, 1297, 1300 Gautherot, L. 1259 Gaviniés, P. 1, 2, 405, 663, 697, 700, 956, 1208, 1236, 1357 Geminiani, F. 1, 2, 482, 520, 523, 534, 581, 583, 565, 566, 1236, 1358, 1359 Gerhard, R. 677, 957 Gernsheim, F. 656 Giardini, F. 1, 2, 695, 696, 1253, 1360 Ginastera, A. 709 Gingerich, A. 1220 Gingold, J. 1, 2, 627, 1217, 1218, 1234, 1236, 1284, 1354, 1361–63 Giornovichi, G. 1, 2, 658, 686, 958, 1310 Gitlis, I. 1, 1232, 1236, 1237, 1243, 1364 Given, T. 1212 Glazunov, A. 650, 959 Glenn, C. 1217, 1218 Glière, R. 685 Globokar, V. 678 Goetz, H. 656 Gofriller, M. 249 Goldberg, S. 1, 2, 1217, 1218, 1232, 1236, 1243, 1345, 1365, 1366 Goldmark, K. 656, 666 Gow, Nathaniel 1265 Gow, Niel 1265

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Name Index Grancino family 1, 2, 244, 245, 297 Grandi, O. M. 707 Grappelli, S. 1, 2, 503, 505, 507, 1234, 1367–72, 1415, 1472 Graun, J. G. 1554 Grayson, G. B. 1266 Green, E. A. H. 621, 1373 Grieg, E. 671, 960–63 Grindenko, T. 1226 Grubert, I. 1226 Gruenberg, E. 1212 Gruenberg, L. 964 Grumiaux, A. 1, 2, 1232, 1234, 1236, 1237, 1243, 1329, 1374, 1375 Grün, J. 476 Guadagnini family 1, 2, 239, 258–65, 267–69, 299–301 Guarneri family 1, 2, 48, 84, 89, 108, 157, 239–41, 249, 258–65, 267–69, 302–12, 344, 408, 409, 1314, 1315, 1389, 1419, 1425, 1476, 1535, 1574 Guarneri, M. C. 709 Guénin, M. A. 697 Guersan, L. 208 Guignon, J. P. 39, 663, 669, 697, 700, 1253 Guillemain, L. G. 697, 700 Gulli, F. 1, 2, 1224, 1376, 1377

H Habaneck, F. A. 1208 Haendel, I. 1, 2, 1216, 1232, 1234–37, 1243, 1378, 1379 Haensel, C. 1351 Hahn, H. 1, 2, 1243, 1380 Halffter, R. 709 Halí , K. 1, 1208, 1381 Hall, M. 1, 1234, 1382 Hallé, L. See Neruda Handel, G. F. 514, 582, 608, 650, 670, 671 Hanot, F. 697 Harris, R. 971 Harrison, L. 972 Harth, S. 1222 Hartmann, A. 1210, 1256 Hassid, J. 1, 1234, 1345, 1383 Havas, K. 1, 464, 620, 1384–86 Haydn, F. J. 663, 664, 686, 692, 973 Haydn, M. 1037 Heider, W. 676 Heifetz, D. 1225

399 Heifetz, J. 1, 2, 481, 542, 1183, 1210, 1216–18, 1222, 1232, 1234–37, 1243, 1273, 1346, 1387–93 Heinrich, A. P. 715 Hellmesberger, J. 656 Henze, H. W. 460, 462, 691 Hill, U. K. 715 Hiller, F. 656 Hillyer, R. 1220 Hindemith, P. 462, 671, 677, 678, 974, 975, 1086 Hochstein, D. 1210 Hodges, E. 1266 Hoelscher, U. 1237 Holst, H. 1216 Honegger, A. 685 Hubay, J. 1, 2, 477, 650, 808, 891, 976, 1232, 1234, 1243, 1394, 1635, 1637 Huberman, B. 1, 2, 1212, 1232, 1234–36, 1243, 1395 Hugenot, J. C. 697 Huss, H. H. 715

I Iacchini, G. 707 Indy, V. 1691 Ireland, J. 977 Isamitt, C. 709 Issakadse, L. 1237 Ives, C. 671, 690, 978–85

J Jackson, L. 1396 Jackson, T. 1266 Jackson, W. 695 Jacquet de La Guerre, E. 468, 697, 702, 986 Janácek, L. 987, 988 Janiewicz, F. 696, 710 Jarnowick. See Giornovichi Jenkins, L. 1, 1397 Joachim, J. 1, 2, 476, 571, 607, 608, 650, 655, 656, 734, 799, 803, 808, 884, 886, 888, 890, 901, 903, 904, 989, 990, 1038, 1115, 1116, 1121, 1145, 1202, 1204, 1208, 1232, 1234, 1236, 1243, 1273, 1304, 1350, 1395, 1398–1409, 1559, 1614, 1635, 1657, 1658 Josefowicz, L. 1242, 1410, 1411

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400

K Kagan, O. 1237 Kaplan, M. 1242 Kauer, F. 1038 Kaufman, L. 1, 1133, 1217, 1218, 1243, 1412–14 Kempis, N. 707 Kennedy, N. 1, 2, 1241, 1415 Kessinger, C. 1266 Khachaturian, A. 666, 1222, 1500 Khandoshkin, I. 711, 991 Kim, E. 992 Kirchner, L. 671, 993 Kittel, N. 382, 383, 401, 402 Klebe, G. 676 Klein, B. O. 715 Klotz, M. 1, 2, 212, 214, 259, 263–65, 313, 314 Knauff, G. P. 493 Kneisel, F. 1210, 1352 Kochanski, P. 1212 Kodaly, Z. 685 Kogan, L. 1, 2, 1219, 1232, 1236, 1237, 1243, 1416, 1417 Kogan, P. 1, 2, 1229, 1238 Kömpel, A. 1205 Korngold, E. 665 Kortschak, H. 1212 Krasselt, A. 1208 Kreisler, F. 1, 2, 39, 457, 458, 547, 653, 813, 835, 942, 994, 995, 1038, 1209, 1210, 1216–18, 1232, 1234, 1236–38, 1243, 1275, 1418–31, 1481, 1500 Kremer, G. 1, 2, 1232, 1236, 1237, 1243, 1431–36 Kreutzer, A. 698 Kreutzer, R. 1, 2, 405, 470, 601–3, 698, 701, 793, 996–98, 1208, 1234, 1236, 1437, 1438 Kroeger, E. R. 715 Krommer, F. 692 Krysa, O. 1231 Kubelik, J. 1, 2, 1232, 1235, 1236, 1243 Kulenkampff, G. 1, 2, 1232, 1236, 1237, 1243 Kulka, K. 1229 Kurtz, A. 1217 Küzdö, V. 1212

L L’Abbé le fils (J. B. Saint–Sevin) 439, 523, 697, 700 La Barre, M. 702

Name Index La Ferté, C. F. G. 697 Lack, F. 1224 Lacy, M. R. 1248 Lafont, C. P. 1, 698, 701, 1208, 1523 Lalo, E. 38, 650, 657, 667, 1223 Lamoninary, J. P. 697 La Pierre family 1, 1439 Laredo, J. 1, 2, 1219, 1232, 1236, 1440, 1441 Laub, F. 808, 1208 Le Blanc 697 Le Duc, S. 697 Leclair, J. M. (l’aîné) 1, 2, 534, 600, 671, 697, 700, 999–1002, 1207, 1208, 1236, 1442–45 Leclair, J. M. (le second) 697, 700 Leeuw, T. de 676 Legrenzi, G. 707 Lekeu, G. 1691 Lemaire, J. 697 Lenton, J. 571, 580 Léonard, H. 1, 698, 1208 Leoni, G. A. 1, 707, 708 Letz, H. 1210 Levy, E. 1212 Libon, P. 698 Lichtenberg, L. 1256 Liddell, N. 1216 Ligeti, G. 665, 1003 Lin, C. L. 1, 1237 Linley, T. 1037 Lipinski, K. 1, 656, 1208, 1446–48 Lipparino, G. 707 Listemann, F. 715 Liszt, F. 1004 Locatelli, P. 1, 2, 563, 650, 671, 681, 1005–9, 1207, 1208, 1236, 1449 Lockwood, D. 1, 505, 1450, 1451 Loeffler, C. M. T. 715 Logothetis, A. 676 Löhlein, G. 523, 596 Lolli, A. 1, 2, 444, 563, 564, 658, 1452, 1453 Lonati, C. A. 442 Long, M. 1649 Lott, J. 1, 147, 220, 315, 316 Loughran, J. 487 Loveday, A. 1216 Luca, S. 1, 879, 1221 Luening, O. 678, 684 Lully, J. B. 699, 758 Lupot, N. 1, 168, 226, 263, 317, 318 Lusk, M. 1212 Lutoslawski, W. 1010 Luytens, E. 676

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Name Index

M Macmillen, F. 1212 Maderna, B. 460 Madonnis, L. 1454 Maggini, G. P. 1, 296, 319–23, 409 Manén, J. 1, 1212, 1232 Mangean, E. 697, 700 Mannes, D. 1, 1236, 1455 Manze, A. 1, 1456 Mara, E. 1259 Marchand, J. 697, 702 Marini, B. 1, 2, 525, 561, 563, 564, 707, 1011, 1012, 1236, 1457, 1458 Marini, C. A. 707 Marsick, M. 1, 1236, 1343, 1459, 1647 Marteau, H. 1, 2, 803, 891, 1209, 1232, 1243, 1343, 1460, 1461 Martin, F. 665, 1013 Martin, M. 1228 Martini, P. 1007, 1453 Martino, D. 677, 1014 Martinu° , B. 685, 1015 Marx, L. 1256 Mascitti, M. 468, 582, 697, 699, 702, 1016 Mathieu, J. A. 697 Matteis, N. 1, 474, 675, 1254, 1462, 1463 Matthews, T. 1216 Maurer, L. 656 Mayseder, J. 656 Mazas, J. F. 563, 698 Mazzaferrata, G. B. 707 McMichen, C. 1266 Mell, D. 1248 Mendelssohn, F. 38, 452, 608, 615, 655, 656, 660, 665, 667, 671, 869, 902, 963, 1017–22, 1126, 1162, 1228, 1324, 1325 Menges, I. 1, 1216, 1464, 1465 Menuhin, Y. 1, 2, 53, 447, 457, 626, 786, 787, 947, 1121, 1216–18, 1232, 1234–37, 1243, 1307, 1371, 1415, 1427, 1466–74 Merula, T. 707 Mestrino, N. 1208 Micheli, P. 1, 159 Midori. 1, 2, 1237, 1241, 1243, 1475–77 Milanollo, M. 1, 293, 1208, 1234, 1259 Milanollo, T. 1, 293, 1208, 1234, 1259 Miller, S. 1266 Milnes, G. 492 Milstein, N. 1, 2, 1216–18, 1232, 1234, 1236–38, 1243, 1375, 1427, 1480–86 Mimaroglu, I. 684

401 Mintz, S. 1, 1230, 1236, 1237, 1243 Mira, P. 1487 Miroglio, J. B. 697, 700 Miroglio, P. 697, 700 Mischakoff, M. 1220 Moennig, W. II 1223 Moennig, W. III 1223 Moeran, E. J. 1023, 1024 Molique, B. 656, 808, 1025, 1311 Mollenhauer, L. 1256 Mollenhauer, W. 1256 Mondonville, J. (le juene) 697, 700 Mondonville, J. J. 671, 695, 697, 700, 1026, 1047 Mont’Albano, B. 707 Montagnana, D. 249 Montéclair, M. P. 697 Montsalvatge, X. 712 Morawetz, O. 693 Morel, R. 424 Morgan, G. 1259 Mori, N. 1, 698, 1488 Morini, E. 1212, 1217, 1218, 1234–37, 1243, 1261 Morley, C. L. 104 Mount, W. S. 194 Mozart, L. 1, 2, 520, 523, 534, 581, 596, 587–90, 1028, 1041, 1044 Mozart, W. A. 608, 650, 651, 655, 663–65, 671, 686, 692, 1027–47 Mullova, V. 1, 1228, 1237, 1242 Muradov, A. 1230 Musin, O. 1204 Mussi, G. 707 Mutter, A. S. 1, 2, 1231, 1232, 1234, 1236, 1237, 1241, 1243, 1489–91 Myslivec”ek, J. 1037

N Nachèz, T. 1210 Nance, R. 1, 503, 505, 507 Nardini, P. 1, 2, 405, 444, 615, 650, 670, 675, 1037, 1048–50, 1208, 1213, 1236, 1492 Navoigille, G. 697 Navoigille, J. 697 Needler, H. 1213 Nemessanyi, S. 324 Neruda, W. 1, 2, 1208, 1234, 1236, 1493, 1494 Neveu, G. 1, 2, 1216, 1232, 1234–37, 1243, 1345, 1495, 1496

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402 Nicholl, H. W. 715 Nicolai, G. F. 595 Nielsen, C. 671, 677, 1051–54, 1646 Nono, L. 691 North, R. 1249

O O’Connor, M. 1497, 1498 O’Donnell, D. 487 Oistrakh, D. 1, 480, 835, 1221, 1232, 1234, 1236–38, 1243, 1431, 1481, 1499–1502 Oistrakh, I. 1, 1222, 1232, 1237, 1243 Oliveira, E. 1223, 1241 Orrego-Salas, J. 709

P Paganini, N. 1, 2, 44, 52, 153, 312, 454, 529, 561, 563, 564, 567, 650, 651, 656, 667, 675, 1008, 1055–61, 1162, 1201, 1203, 1204, 1208, 1222, 1233, 1234, 1236, 1243, 1253, 1267, 1297, 1314, 1447, 1503–45, 1605, 1608, 1622, 1681 Pagin, A. N. 697, 700 Paige, B. 503 Paine, J. K. 715 Paisible, 697 Pajeot, E. 1, 382, 398, 403 Panormo, V. 1, 259, 263, 325 Papavoine, 697 Papineau-Couture, J. 693 Pardee, M. 1220 Parker, H. 715 Parlow, K. 1, 308, 1546–49 Parris, R. 677 Pasta family 244 Peccatte family 1, 379, 383, 398, 404 Pellegrino da Montachiari. See Zanetto da Montichiaro Penderecki, K. 462, 1062, 1229 Pentland, B. 693 Peresson, S. 1226 Pergolesi, G. B. 1561 Perlman, I. 1, 2, 683, 1219, 1232, 1234, 1236, 1237, 1243, 1326, 1327, 1550–53 Persinger, L. 1, 1217, 1234, 1236, 1469 Pfitzner, H. 659, 1063 Phelps, L. B. 1256 Philippot, M. P. 678 Piani dit Desplanes, 697

Name Index Piani, G. A. 534 Piastro, M. 1212, 1273 Piazzola, A. 709 Picchi, G. 707 Pierray, C. 208 Piffet, 697 Pikaisen, V. 1227, 1237 Pilzer, M. 1210 Pinto, G. F. 698, 1064 Pipjer, W. 677 Pique, F. 1, 263, 326 Piron, A. 503 Pisendel, J. G. 1, 2, 675, 738, 1554 Pixis, F. W. 698 Playford, J. 151, 1249 Pleyel, I. J. 686 Pochon, A. 1212 Polah, A. 1212 Poliakin, M. 1212 Ponce, M. 1066 Ponty, J. L. 1, 2, 503, 1555, 1556 Postacchini, A. 230 Pougnet, J. 1216 Poulenc, F. 1067 Powell, M. 1, 542, 638, 1210, 1234, 1236, 1243, 1257, 1261, 1557–59 Powers, J. C. 1266 Prelleur, P. 565, 584, 585, Prescott, A. 257 Pressenda, G. F. 1, 230, 247, 259, 263 Prevost, A. 693 P íhoda, V. 1212, 1232, 1237, 1243 Prokofiev, S. 462, 665, 671, 1068–72, 1224, 1500, 1501 Pugnani, G. 1, 2, 444, 1073, 1074, 1207, 1208, 1213, 1236, 1253, 1422, 1560–62 Purcell, H. 223, 474, 608

Q Quentin, B. 697 Quentin, J. B. 697, 700 Quintón, J. I. 709 Quiroga, M. 1563

R Rabin, M. 1, 1220, 1232, 1236, 1237, 1243, 1564–66 Rabinoff, B. 1219

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Name Index Raff, J. J. 656 Rameau, J. P. 697 Ravel, M. 457, 462, 671, 685, 1075–78, 1184, 1271, 1272, 1365 Ray, R. 1212 Rebel, J. F. 697 Reed, W. H. 1, 1567 Reger, M. 675, 691, 1079–88, 1306, 1460, 1461 Reich, S. 1089 Reinecke, K. 656 Reményi, E. 1, 1568 Remenyi, M. 421 Repin, V. 1242, 1243 Respighi, O. 655 Revueltas, S. 709 Rhodes, J. F. 1256 Ribaupierre, A. 1212 Ricci, F. P. 695 Ricci, R. 1, 2, 683, 1217, 1218, 1222, 1232, 1234, 1236, 1237, 1243, 1569–70 Riccio, G. B. 707 Richberg, G. 685 Richter, F. X. 695 Richter, S. 1436 Rimsky-Korsakov, N. 650 Robberechts, A. 698 Roberts, D. 1266 Robertson, E. 1266 Robineau, A. A. 697 Rocca, G. 230 Rode, P. 1, 2, 405, 470, 601–4, 608, 698, 701, 793, 1208, 1234, 1236, 1571–73 Rodrigo, J. 712 Rolland, P. 464, 519, 625, 828 Roman, J. 923, 1090 Rosand, A. 1, 1220, 1236, 1574 Rossi, S. 707 Rostal, M. 1216, 1243 Rougeon 697 Rüfer, P. 656 Rugeri, F. 1, 157, 259, 263, 265, 329 Ruggieri, G. 707 Rush, G. 695 Rust, F. W. 675, 1091, 1092

S Saint-Georges, J. B. 1, 697, 1236, 1575–77 Saint-Saëns, C. 38, 650, 808, 951, 1093 Saint-Sevin, J. B. (L’Abbé le fils) 439, 523, 697, 700

403 Salerno–Sonnenberg, N. 1241, 1578, 1579 Salomon 208 Sametini, L. 1210 Saminsky, L. 1094 Sammons, A. 1, 1216, 1232, 1234, 1243, 1580–82 Sandi, L. 709 Sarasate, P. 1, 2, 542, 650, 653, 904, 1204, 1208, 1232, 1234, 1236, 1243,1583–88 Sas, A. 709 Saslavsky, A. 1210 Satie, E. 671 Sauer, C. 1216 Sauret, E. 1, 2, 1206, 1343, 1589 Savart, F. 64, 93, 148, 150, 182 Scarani, G. 707 Scelsi, G. 462 Schlmelzer, J. H. 1, 2, 443, 471, 561, 564, 669, 671, 873 Schneider, A. 1, 1218, 1236, 1590, 1591 Schneiderhan, W. 1, 2, 1232, 1237, 1243 Schoenberg, A. 460, 462, 665, 671, 1098–1105 Schradieck, H. 1, 2, 1592, 1593 Schröder, J. 448, 747, 1030, 1594 Schroeder, R. 518 Schubert, F. 457, 671, 963, 1106–13, 1620 Schulhoff, E. 1114 Schuman, W. 665 Schumann, C. 1402, 1409 Schumann, R. 615, 656, 665, 669, 671, 735, 754, 890, 902, 954, 963, 1115–22, 1271, 1272 Schuster, J. 1040 Schweigl, I. 1038 Seeger, R. C. See Crawford Seiber, M. 671 Seidel, T. 457, 1210, 1216, 1273 Seifert, Z. 505 Senaillé, J. B. 468, 697, 699, 702 Senkrah, A. 1261 Serafin family 249 Serato, A. 1, 1595 Sessions, R. 665, 676, 677, 1123 Ševcík, O. 1, 2, 39, 456, 1234, 1236, 1382, 1596–99 Shaham, G. 1, 1241, 1243, 1600, 1601 Sherman, M. R. 1256 Shostakovich, D. 665, 1436, 1499, 1500 Shumsky, O. 1, 1224, 1234, 1236, 1237 Shuttleworth, O. 1248 Sibelius, J. 655, 665, 1124–29, 1658 Sierra, R. 709

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404 Silverstein, J. 1, 459, 1227, 1236, 1242 Sinsheimer, B. 1212 Sirmen, M. L. 1, 592, 593, 1259, 1296, 1297, 1602, 1603 Sisovsky, J. 1212 Sitkovetsky, D. 1237 Sitt, H. 656 Sivori, C. 1, 2, 1208, 1234, 1253, 1604–9 Skinner, J. S. 1265 Smith, A. 1266 Smith, S. 1, 503, 505, 507, 508, 1234, 1610–13 Sohier, C. J. B. 697, 700 Soldat, M. 1205, 1614 Somers, H. 693 Somervell, A. 655 Somis, G. B. 1130, 1208, 1253, 1561 Somis, L. 1208 Sonneck, O. G. 715 Soro, E. 709 South, E. 1, 503, 505, 507, 508, 1234, 1615, 1616 Spalding, A. 1, 638, 1217, 1218, 1232, 1234, 1236, 1617–21, 1641, 1648 Spivakov, V. 1, 1222, 1237 Spohr, L. 1, 2, 482, 523, 604, 615, 655, 656, 1191, 1203, 1204, 1208, 1234, 1236, 1622–24 Sponga, F. 707 Sponga, G. 708 Stainer, J. 1, 2, 48, 169, 174, 212, 249, 259, 263, 265, 330–37, 1295 Stam, M. 676 Stamitz, A. 1208 Stamitz, C. 1208 Stamitz, J. W. A. 1208 Stanford, C. V. 1132 Stanley, J. 694 Starzer, C. 692 Stassevich, P. 1217 Steinhardt, A. 1219 Stephens, B. 483 Stepp, W. 502 Stern, I. 1, 2, 1217, 1226, 1232, 1233, 1234, 1236–38, 1241, 1243, 1427, 1500, 1625–27 Stibilj, M. 676 Still, W. G. 1133, 1134 Stopak, J. 1212 Storioni, L. 1, 284, 383 Stossel, A. 1212 Stradella, A. 707 Stradivari, A. 1, 2, 48, 82–84, 88, 89, 108, 145, 165, 167, 182, 188, 220, 226, 228, 229, 231,

Name Index 239, 269, 302, 312, 339–68, 409, 415, 416, 423, 1295, 1419, 1425, 1574 Strauss, R. 656, 671, 1228 Stravinsky, I. 365, 462, 665, 671, 690, 691, 771, 1137–39, 1635 Strinasacchi, R. 1, 1037, 1259 Stroh, A. 197 Subissati, A. 1140 Suk, J. 1, 2, 1232, 1237, 1243, 1628 Sunderman, W. 1219 Suzuki, S. 1, 464, 1236, 1313, 1411, 1629–31 Székely, Z. 1, 779, 1632 Szeryng, H. 1, 2, 1220, 1232, 1234, 1236, 1237, 1243, 1633, 1634 Szigeti, J. 1, 2, 457, 623, 747, 827, 891, 1216–18, 1232, 1234–37, 1243, 1305, 1307, 1332, 1424, 1635–39 Szymanowski, K. 462, 1141, 1142

T Takemitsu, T. 1143 Tarade, T. J. 697 Tarisio, L. 227, 416, 422 Tartini, G. 1, 2, 38, 405, 563, 565, 592–95, 600, 608, 650, 663, 670, 671, 923, 1009, 1144–49, 1561, 1640–45 Tchaikovsky, P. I. 650, 665, 667, 1126, 1150, 1151, 1276 Telemann, G. P. 671, 679, 1152, 1153, 1554 Telmányi, E. 1, 737, 1232, 1236, 1646 Temianka, H. 1, 1221, 1345, 1633 Testore family 1, 244, 245, 369 Tetzlaff, C. 1242 Thibaud, J. 1, 2, 542, 953, 1209, 1216, 1232, 1234–36, 1243, 1501, 1647–49 Thompson, J. 1266 Tirindelli, P. A. 1212 Tjiang, L. T. 1219 Toch, E. 685 Tononi family 1, 249, 370–72 Torelli, G. 707, 1154 Totenberg, R. 1 Touchemoulin, J. 697 Tourte, F. 1, 2, 145, 168, 379–83, 387, 388, 397, 398, 405–7, 454, 591, 605, 698 Tower, J. 1155 Tramais 697 Travenol, L. A. 697 Travers, P. 1217, 1650 Treamen 1259 Tree, M. 1219

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Name Index Tretyakov, V. 1222, 1237 Turbit, P. 487 Turina, J. L. 712 Turini, F. 707 Turner, R. 693 Tziganov, D. 1231

U Uccellini, M. 1, 2, 448, 669, 706, 707 Uhe, A. E. 1212 Unno, Y. 1225 Urso, C. 1, 1204, 1261, 1651–54

V Vacher, P. J. 698 Vachon, P. 697, 700 Vallerand, J. 693 Vanhal, J. 686, 1037 Varga, T. 1, 1237, 1655 Vecsey, F. 1, 1232, 1236, 1243, 1656–58 Vengerov, M. 1, 1241, 1243, 1659 Venuti, J. 1, 503, 505, 507, 508, 1234, 1660–62 Veracini, A. 707 Veracini, F. M. 534, 670, 671, 688, 707, 1041, 1156–61, 1208, 1213 Verocai, G. 1, 1663 Viadana, L. 707 Vibert, N. 697 Vidas, R. 1212 Vieuxtemps, H. 1, 2, 615, 650, 657, 698, 808, 869, 1162, 1234, 1236, 1664–70 Villa-Lobos, H. 685, 709 Viotti, G. B. 1, 2, 39, 405, 470, 615, 793, 608, 663, 666, 696, 698, 701, 793, 882, 1162–67, 1671–76 Vitali, G. B. 707 Vitali, T. A. 650, 707, 1168, 1169 Vivaldi, A. 1, 2, 600, 650, 652, 663, 671, 681, 688, 706, 717, 725, 1047, 1170–82, 1207, 1208, 1213, 1414, 1422, 1544, 1561, 1677 Vivarino, I. 707 Viviani, G. B. 707 Voigt family 373 Vuillaume, J. B. 1, 2, 149, 259, 263, 374–77, 379, 398, 422, 1425

405

W Wagenseil, C. 692 Wagner, R. 770, 1188, 1402, 1686 Walther, J. J. 1, 2, 443, 471, 671, 738 Walton, W. 665, 671, 1183, 1184 Weber, B. 671 Webern, A. 462, 671, 690, 1185–90 Weinzweig, J. 693 Westhoff, J. P. 1, 2, 443, 471, 738, 760 White, J. 1, 1262, 1263, 1678–80 White, J. S. 1262 White, R. 1212 Wickman, M. 1256 Wieniawski, H. 1, 2, 307, 650, 869, 1191, 1204, 1208, 1227, 1234, 1236, 1243, 1273, 1681–84 Wilhelmj, A. 1, 1208, 1234, 1236, 1685, 1686 Wilkomirska, W. 1223 Wills, B. 1266 Wilson, M. 1216 Wine, M. 1687 Winternitz, F. 1212 Woldemar, M. 658 Wolff, C. 1192 Wurlitzer, R. 418

X Xenakis, I. 460

Y Ysaÿe, E. 1, 2, 39, 462, 547, 677, 891, 913, 1032, 1193–95, 1209, 1210, 1232, 1234–36, 1243, 1244, 1329, 1361, 1380, 1481, 1635, 1649, 1668, 1688–93

Z Zamecnik, E. 678 Zanetti, F. 695 Zanetto da Montichiaro, 1, 159 Zazofsky, P. 1237 Zehetmair, T. 1237 Zelenski, W. 709 Zhanhao, H. 1196, 1197 Zhislin, G. 1230 Ziani, P. A. 707

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406 Zimbalist, E. 1, 2, 481, 542, 1216–18, 1232, 1234, 1236, 1243, 1273, 1694–95 Zimmerman, F. P. 1237 Zimmermann, B. A. 676 Zoellner, Amandus 1212

Name Index Zoellner, Antoinette 1212 Zonn, P. 676 Zukerman, P. 1, 1219, 1232, 1234, 1236, 1237, 1243, 1696–98 Zukofsky, P. 1, 461, 1236

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Subject Index

A Acoustics. 29, 45, 47, 51, 56, 61, 63–68, 70–74, 112, 134, 148, 155, 161, 174, 181, 232, 347, 519 Adjustment, violin. See Repair and restoration, violin. African descent, violin music by composers of. 647 African descent, violinists of. 647, 1262, 1263 American violinists. See United States, violinists of the. Argentina, violin making in. 202 Austria, violin making in. 203, 204, 249 Austria, violin playing in. 467 Austrian violin music. 447, 664, 686, 692 Authentication, violin. See Fraud and forgery, violin.

Bow. 1, 2, 38, 45, 50, 51, 52, 56, 146, 148, 151, 379–97 Bow hair. 385, 386, 389–91 Bow makers. 37, 38, 45, 207, 220, 222, 224, 265, 266, 268, 382, 383, 398–407. See the Name Index for entries on Individual makers. Bow making and repair. 38, 56, 145, 170–72, 174, 181, 184, 389–97 Bowing. 379, 515–27, 578–626 passim Bridge. 58, 62, 63, 68, 79, 96, 134–35, 160, 179 Britain, violin playing in. See Great Britain, violin playing in. British violin music. See Great Britain, violin music of. British violinists. See Great Britain, violinists of.

B

C

Bach bow. 518, 522, 737 Bass bar. 58, 62, 63, 67, 68, 79, 96, 129–30, 160 Belgian violinists. 1244 Belgium, violin making in. 250 Bibliography. 4, 11, 12, 45, 51, 56, 140 Black composers, violin music by. See African descent, violin music by composers of. Black violinists. See African descent, violinists of.

Cadenzas. 605, 608, 653, 681, 683, 800, 808, 811, 813, 817, 1038, 1095, 1131, 1171 Canada, violin playing in. 498, 851 Canadian violin music. 498, 693, 851 Canadian violinists. 498, 1245 Caprice, capriccio, violin. 681 Chin rest. 136, 509, 510, 514, 632 Collecting and dealing, violin. 38, 48, 189, 352, 408–25

407

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408 Competitions, violin playing. 491, 494, 499–501, 627–31, 1220, 1223, 1435, 1550, 1692 Concerto, violin. 639–48, 652–67, 681, 692, 694, 696, 778, 849 Construction, violin. 140–88, 415, 432 Cremona, violin making in. 152, 235, 238–43, 269, 274, 276 Czech Republic and Slovakia, violin making in. 205

D Dealing and dealers, violin. See Collecting and dealing, violin. Denmark, violin making in. 206 Discography. 4, 13, 38, 50, 645. See also entries on particular violinists and works. Duets, violin. 685, 686

E Electric violins. 200, 201 England, violin playing in. See Great Britain, violin playing in. Englische Violet. 189 English violin music. See British violin music. Etude, violin. 679 Experimental violins. 29, 45, 57, 150, 151, 189–201

F F–holes. 58, 96, 141, 429 Fiction, the violin in. 20, 310, 322, 360–68, 628, 631, 1021, 1538–45 Fingering. 432, 436, 445, 467, 528–35, 541, 542, 578–626 passim, 1342 Folk violin playing. 34, 437, 483–502, 851, 1245, 1264– 66, 1312, 1497, 1687 Folk violinists. 484, 486, 487, 489, 492, 495, 499, 851, 1245, 1264–66, 1497, 1498, 1687 Forms and molds, violin. 167, 175, 188, 345, 348, 350, 351 France, violin making in. 207–210, 404 France, violin playing in. 449, 468–70, 526, 581, 599, 698, 997, 1443 Fraud and forgery, violin. 227, 426–31

Subject Index French violin music. 453, 468, 470, 649, 651, 653, 663, 679, 697–702, 1246 French violinists. 470, 697, 698, 1215, 1246, 1247

G German violin music. 453, 651, 656, 659, 703 Germany, violin making in. 152, 203, 211–19, 249, 269 Germany, violin playing in. 442, 449, 453, 455, 471 Great Britain, violin making in. 41, 104, 147, 152, 188, 220–24, 383, 395 Great Britain, violin music of. 432, 453, 474, 475, 485, 651, 663, 679, 694–96, 1248–52 Great Britain, violin playing in. 453, 472–75 Great Britain, violinists of. 487, 1198, 1201, 1213, 1215, 1216, 1234, 1248–52, 1254, 1265 Greece, violin playing in. 501

H Harmonics. 453, 466, 536–39, 608, 612, 1340, 1503, 1527 Health issues and violin playing. 514, 632–36 History of the violin. 15, 17, 38–43, 45–48, 50–53, 55, 56, 258, 332, 587, 1201, 1215, 1510 Hungary, violin making in. 225 Hungary, violin playing in. 476, 477, 485

I Icelandic violin music. 704 Iconography, violin. 143, 155, 162, 163, 215, 249, 251, 294, 356, 437, 474, 1005, 1007, 1233, 1523 India, violin playing in. 478, 479 Indian violinists. 478 Intonation. See Tuning and intonation. Invention of the violin. See Origins of the violin. Italian violin music. 453, 643, 651, 688, 705–8, 1016, 1073, 1144, 1154, 1157, 1608 Italian violinists. 1073, 1253, 1254 Italy, violin making in. 152, 164, 202, 226–49, 269, 274, 276, 296, 319

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Subject Index

J Jazz violin playing. 503–8

L Labels, violin. 48, 203, 205, 206, 220, 225, 227, 228, 245, 252, 256, 259, 261, 263, 278, 303, 309, 340, 354, 428, 431 Latin American violin music. 709 Luthiers. See Violin makers.

M Magnetic tape, music for violin and. 684, 704 Manuals, violin. See Treatises, tutors, manuals, and methods. Measurements, violin. 242, 303, 321, 336, 340, 350, 356, 357 Mechanical violins. 191, 196 Methods, violin. See Treatises, tutors, manuals, and methods. Mirecourt (France). 207, 209, 210 Molds, violin. See Forms and molds, violin. Mute. 58, 137, 453

409 Plates (top and back). 62, 68, 85–89 Poland, violin playing in. 501 Polish violin music. 710, 1191 Portamento. 434, 436, 447, 453, 455, 458, 465, 528, 540–42, 606, 608, 612, 615 Prices, violin. See Sales records, violin.

R Recording technology and violin playing. 415, 637, 638, 1413 Repair and restoration, bow. See Bow making and repair. Repair and restoration, violin. 31, 45, 54, 61, 151, 169–74, 178–82, 184–86, 255 Restoration, violin. See Repair and restoration, violin. Rock violin playing. 504, 505, 1555 Rosin. 38, 138, 139, 148, 379, 382, 389, 604 Russia and the Soviet Union, violin playing in. 453, 480, 481, 1276 Russian and Soviet violinists. 480, 1310, 1321, 1452, 1454, 1487, 1663 Russian violin music. 453, 711, 991

S N Netherlands, violin making in. 250. Norway, violin playing in. 501

O Octet, violin. 192, 195, 198 Origins of the violin. 43, 45, 52, 153, 155, 156, 158, 159, 162, 164, 166, 227, 232, 273, 294, 378, 439, 452, 473, 1211, 1215 Ornamentation. 39, 441, 445, 447–49, 479, 483, 583, 587, 593, 703, 726, 751, 755, 828, 917, 918, 920, 922, 924, 926, 966, 969, 970, 999, 1171, 1317.

P Pedagogy, history, general studies, and reference. 54, 432, 439, 482, 571–77 Physiology of violin playing. 61, 515, 519, 524, 609, 617, 622, 624, 625

Sales records, violin. 148, 173, 285, 336, 340, 356, 409, 423 Schools of violin playing, national. 432, 442, 451, 453, 454, 470, 476, 477, 480, 481, 573, 583, 698, 793, 1201, 1211, 1244, 1254, 1276, 1572, 1664. See also entries under individual countries. Scordatura. See Tuning and Intonation. Scoula Grande di San Rocco. 438 Shoulder rest. 136, 511, 512, 514, 1574 Solo violin music. 639–48, 675–83, 687, 703, 705, 870 Sonata, violin. 639–48, 668–74, 648, 693, 695, 700 Sound post. 29, 58, 62, 63, 67, 68, 79, 96, 131–33, 160, 179 Soviet Union, violin playing in. See Russia, violin playing in. Spain, violin making in. 251 Spanish violin music. 251, 712, 713 Strings. 24, 29, 38, 57, 58, 62, 63, 66, 110–28, 151, 152, 167–88 passim, 204, 258, 385, 435, 604

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410 Stroh violin. 190, 193, 197 Swedish violin music. 491 Switzerland, violin making in. 252, 253

T Teachers and pedagogues, violin. 1267 ff. See also name index for specific figures. Tools, violin making. 151, 167–88 passim, 267 Treatises and manuals, violin making. 151, 167–88 Treatises, tutors, manuals, and methods, violin performance. 571, 578–626, 640–42, 679 Tremolo. 525 Tuning and intonation (including scordatura). 449, 453, 457, 466, 501, 558, 561–70, 870, 1503 Tutors, violin. See Treatises, tutors, manuals, and methods.

U United States, violin making in. 31, 194, 254–57 United States, violin music of. 484, 486, 488, 489, 490, 493–96, 647, 714, 715 United States, violin playing in. 481, 482, 484, 488, 491–96, 498–500, 508, 1256, 1257, 1261, 1264, 1266 United States, violinists of the. 495, 496, 1256, 1257, 1264, 1266

V Varnish. 38, 62, 68, 76, 90–109, 140, 148, 151, 152, 155, 161, 167–88 passim, 189, 227, 229, 253, 258, 285, 340, 414, 429 Vibrato. 74, 434, 436, 441, 445–47, 449, 453, 455, 457, 458, 465, 480, 528, 543–60, 567, 578–626 passim, 634, 1210, 1212, 1267, 1623 Violin makers. 38, 258–378. See the Name Index for entries on Individual makers.

Subject Index Violin music, 17th century. 439, 649, 694, 703, 705, 707, 870, 915 Violin music, 18th century. 439, 468, 534, 649, 663, 664, 686, 688, 692, 696, 700 Violin music, 19th century. 649, 656, 657, 659, 660, 667, 669, 698, 715 Violin music, 20th century. 460, 462, 463, 533, 676, 677, 684, 685, 689–91, 693, 714 Violin music, general surveys. 649–51 Violin music, lists and guides. 38, 45, 149, 639–48, 675, 704, 714, 676, 1252 Violin playing, 16th century. 437–38 Violin playing, 17th century. 335, 439–43, 468, 469, 471, 525, 526, 915 Violin playing, 18th century. 439, 444–52, 467, 482, 521, 523, 534, 535, 581–98, 696, 697, 742 Violin playing, 19th century. 449, 452–55, 467, 470, 475, 482, 523, 599–607 Violin playing, 20th and 21st centuries. 115, 456–66, 516, 533, 608–26, 913 Violin playing, general studies. 38, 42, 43, 45–47, 50–53, 56, 432–36 Violinists, violinist–composers, and violin teachers, collective biographies of. 37, 38, 40, 41, 45, 48, 50, 53, 54, 149, 432, 433, 487, 1201–43 Violinists, violinist–composers, and violin teachers, reference works. 38, 1198–1200

W Women violinists. 496, 646, 1201, 1206, 1214, 1232, 1234, 1235, 1256, 1258–61 Women, violin music by. 646 Wood. 62, 68, 75–84, 109, 151, 167–88 passim, 224, 226, 253, 302, 340, 359, 397

Y Yugoslavia, violin playing in. 501

Z ZETA violin. 200