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If any arguments are required to recommend this work, it may be observed, that Spohb himself adheres strictly to the System, in his own unrivalled management of his instrument, and that he has by the some , mode of instruction produced a greater number of distinguished pupils than any other Master in Europe. Scholars coming from all countries have received his instructions; and at present there are in Germany alone at least One Hundred individuals, either directors of Orchestras Solo Performers of the first celebrity, who have studied under him.
He also pursues a more agreeable mode of study to the Pupil, while the Music, which is all composed by himself, enhances the value of the work.
I have taken great pains to correct the present American edition, as, in the German, and more particularly in the English editions, there are many errors and inaccuracies. The work generally is a true translation, comprising all that is contained in the German copy, with but few trivial omissions, such as Notes, &c. In point of diction, the translation is inferior to the original, which, as such, may, in a great degree, excuse this defect.
The present edition is complete—embracing the First and Second Part. Two Concertos only, with explanatory remarks, are omitted, from their great length. Those who desire, can obtain them separately.
PREFACE ADDRESSED TO PARENTS AND MASTERS.
The " Violin School," which I herewith present to the Musical World, is less calculated for self-tuition than as a guide for teachers. It begins witn the 1.-st rudiments of music, and gradually proceeds to the most finished style of performance, so far as that can be taught in a book.
It has been my aim to make the first elementary lessons more agreeable to the scholar, by uniting them at once with the practical part of violin playing, and which is not to be found in other works; consequently, according to my Method, the Violin may be placed in the pupil's hand at the first lesson.
To a parent desirous of having his son instructed according to my plan, I beg to address the following observations:—
The Violin is a most difficult instrument, and is, in fact, only calculated for those who have great inclination for music, and who from advantageous circumstances are enabled to study the art thoroughly. To the Amateur, (if he likewise possess the requisite talent,) it is necessary that he set apart for practice at least two hours every day. With such application, if he do not attain to the greatest proficiency, he may nevertheless make such progress as to afford himself, as well as others, great enjoyment of music — in Quartett playing, in accompanying the Pianoforte, or in the Orchestra.
Whether a youth be intended for the Profession or not, it must be the parent's first care to choose for him a well qualified and conscientious master. This is of more importance, as regards the Violin, than any other instrument. Faults and bad habits are too easily acquired, which time and great labor can alone remove. For these reasons, I would at once have an experienced master for the pupil, in order to avoid all the evil consequences of first neglect; and •such teacher should be bound to adhere closely to the rules contained in this Instruction Book.
As it is difficult, nay almost impossible, before the commencement of instruction, to ascertain whether a boy have talent for music or not, the parent would do well to wait till he shows a decided inclination for music in general, and for the Violin in particular. After a few weeks, the master will be enabled to determine with certainty whether the boy have the requisite talent for playing the Violin, and judgment sufficient to enable him to acquire a pure intonation, without which it would be better to discontinue the Violin, and.to choose some other instrument, (the Pianoforte, for instance,) on which the intonation does not depend upon the player.
At what age the instruction on the Violin should be commenced, must depend mainly upon physical structure. If strong, and healthy in the clest, seven or eight years of age is a proper time. At all events it should be in the age of boyhood, as the muscles then are most tractable, the fingers and arms being more easily managed then, than at a more advanced period of life.
Unless the pupil bo very young, a Violin of the ordinary size may be given him —a smaller one only, if he find that inconveniently large. A good old instrument will materially assist him in producing a good tone, and neat fingering.
One hour's instruction every day, if time and circumstances permit, is requisite for the first months; and as the pupil's first eagerness very soon abates, and a daily practice between the hours of lessons being nevertheless very necessary, he should be encouraged as much as possible — and the occupations of the day should be properly regulated, to prevent either mental or bodily fatigue, from too long continued practice.
Parents also may beneficially influence the improvement of their son, by showing themselves interested in his progress. They should sometimes attend his lessons, and, as an encouragement and reward for further diligence, take him to Concerts, and other places, where he may have the opportunity of hearing good music. If the parents themselves be musical, it will be a great inducement to the son to let him join (according to his abilities) in their musical "parties.
In the application of this " Violin School," by which I hope materially to facilitate the master's laborious occupation, the following directions should be attended to:—
If the scholar be quite ignorant of music, the master must then strictly adhere to the order of instruction, as here laid down. From Part First, he will, however, at first only choose what may appear necessary to him, to give the scholar an idea of the instrument, its mechanical parts, the bow, &c.,—the rest to be deferred. As early as pbssible the scholar must himself learn to string his instrument, as well as to keep it in order, in the manner indicated in Chapter V.
Every Chapter should be perfectly understood before another is attempted. A repeated questioning of that just learned will best satisfy the master on this point.
Great patience must be bestowed on the 11th Chapter, in which the foundation for a perfect intonation is laid down. It will save the master a vast deal of trouble during the subsequent lessons, if he rigorously insist, from the first, on a perfect intonation. I recommend the same attention to the 13th Chapter, in regard to time, and measure.
Several Exercises, for every division of instruction, are given in this " School," either elementary or practical; the master, therefore, need not have recourse to any others. Should the pupil, however, grow fatigued with the sameness of the subject, and the master feel inclined1 to use other compositions, they ought to be in accordance with the Exercises of this " School," written and calculated for the intended purpose, the bowing and fingering of which must be marked with great care.
Among the Exercises in this book, there are several more difficult than the others. These the pupil may at first pass over, and afterwards take up when .ae Exercises are repeated, and when he has acquired more facility of execution.
When the scholar has come to the end of the Second Part, it will be found necessary, besides the repetition of the Exercises, to introduce also other compositions, to guard him against any particular style. For this purpose, I recommend, as most useful, Duets for two Violins—the bowing, fingering, &c., of which the master must mark according to my Method.
A master, undertaking to teach a pupil who has already been instructed in music and violin playing, should ascertain by an attentive examination, whether his attainments correspond in regard to the holding of the violin,
Every thing else the master will find in the "School" itself—partly in the text, partly in the notes.
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