Antonio Stradivari

is Death and Burial-Work Left by Him-The Ad

connoisseur of the inability of the artificer to spend more time and attention than was absolutely necessary. The groove down the back to the shell is less refined than previously, besides being more heavily gouged at the termination. Almost in contrast with these parts there are seen on other "very late Strads" a neatly cut shell widening out a trifle and minus the thick edging; an examination of the turns of the scroll will reveal the fact of its having been gouged in quite a different manner, the declevity being more concave, the result of running the gouge along

H OF ST.

dually lessened in a perfectly natural way and that such entire work as left his hands during the last few, say six or seven years was, taken at the best, small in quantity; they came forth as from the last flickering ember

the borders of his country his name could have been known to few, and those only recognising him as a clever and successful practitioner in perhaps their own craft; his world wide fame

came directly on the line of vision in front of him, but within the third recess or chapel past the intervening wall. So far as our scanty knowledge goes, there were no circumstances connected with his death that called for any special notice at the time. Possibly little more was remarked by the neighbours than that th

ing there to be extant as much as one-eighth of what he put forth-and that may be very much over the mark, the market value of what is recognised as his handiwork would still be a very long way above that of the whole of the work put forth throughout his life. It is on record that when he died there were ninety violins remaining unsold. There may be several good reasons for this; among them the fact that Carlo Bergonzi and Joseph Guarne

becoming more and more evident that his like was not to be hoped for, notwithstanding the favour with which the public viewed the two rivals who were destined to work for a comparatively short period. When these two

TNO

ed that it has not an imposing exterior and not much indication of t

RTIS

H YEAR

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echnical articles by

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e addressed to the Manager, Harry Lavender, 3

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EDITION is the only

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to congratulate you sincerely on the manner in which you have performed a most difficult

who reflect on the method of our art, and I hope

r. Courvoisier, to be

H JOA

ovember 3

Strad is the only authorised edition of my work. The several English editi

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STUDY T

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ry Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some Experiences as a Soloist. With full page portraits of Carrod

completed only a week or two before his death, have now been collected in cheap book form. The technical hi

e annotations. All who care to listen to what were virtually the last words of such a conscientious teacher will recognise the pains taken by Carrodus to render every detail as clear to the novice as to the advanced pupil. Pleasant gossip concerning prov

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strations (exact si

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y detail that can be found and recorded about their favourite and cherished playe

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ke of Como, Ma

Playing," which I found excellent, particularly for beginners, which naturally wa

e, yours

ED P

ed by the Author from

AVID P

February 2

ted, which presents so much valuable material, so much that is absolutely to the point, avoiding-I might say, on principle-all that is superfluous and dispensable. Ev

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ost sin

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IN P

N D

NT

eal Violinist-Hints on the Choice of a Teacher

nd Bow-Advice regarding gen

tringing the Instrument an

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acteristics of some of

culty in Double Stopping-How t

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les and Conditions necessary to prod

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etached Stroke-Mixed Bowings-The Various Divisions of the Bow. On "Staccato" Bowing-Spiccato-Slurred Springing-Bow-Varieties of Phrasing Occasioned by the Portion of Bow Used-Sautillé-Dotted Notes. On the Positions-The Individual Requirements of the Orchestral Player and Soloist-The Necessity of "Stretching" for the Intervals-Locality of the Neck Positions-The Enharmonic Difference of Sharp and Flat Keys-Absolute Pitch-How to Leap any Awkward Interval-The Positions not Determined by Mathematical Rules, but by the "Ear"-Shifting-"Economy of Motion" v. "Effect"-Choice of Positions. Portamento-The Various Uses of Gilding-Some Exaggerations Exposed-How to Leap Great Intervals without "Howling"-Combination of Glissando and S

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g and hypenation have been

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SCROLLS have been retained, but illustrations have been mo