MUSIC.
Spokes celebrated Violin School, translated from the original German,
by Jolts BISHOP.
ANY criticism on a work of such standing and repute as SPOHR*8 Violin School would now be superfluous, if not impertinent. Its repu- tation has long been established throughout Europe, and the testimony of the best judges has stamped it as the mo=t perfect work of its kind. SFOHR has long given up public exhibition as a performer: his con- certos at the Norwich Festival in 1839 and his forthcoming perform- ance at the Philharmonic Concerts are the rare exceptions. Yet is his love of his instrument as ardent as ever. At six o'clock every morning his practice begins, and is prosecuted with the zeal and diligence of one who has his fame and fortune to make ; and those who desire to hear his Quartets in perfection must visit Cassel, where the members of his orchestra, taught, selected, trained by himself, meet for stated practice. The work before us is an indication of St'orm's enthusiastic admira- tion of his instrument. Knowing what it can do and what it ought to do, he seeks to inspire every student with a feeling akin to his own, as well as to impart all-so far as words and notes can avail-that he knows. He "begins with the first rudiments, and gradually advances to the highest refinement that violin-playing can attain, so far as this can be taught in a book." The work is divided into three principal portions or heads : the first describes the construction, and separate parts of the violin ; the second begins with the simpler and more general forms of elementary know- ledge, combining them with and adapting them to violin-practice, and gradually advancing to the more varied, difficult, and ornate styles of composition and performance; the third is on the manner or style of performance.
SPORE'S view of the true aim of a violin-player is thus stated at the very outset of his work-
" Success can only reward him who unites to the requisite natural endow- ments unwearied assiduity. Above all, the student must endeavour to acquire the true polish of art. A mere striving after brilliancy is the more reprehen- sible, since the violin, besides this, is capable of conveying the most intense and pathetic expression. To the acquisition of manual dexterity let him seek to add that of polished taste and strive to cultivate refined feeling."
The only passages in the work suited for quotation occur in the third section ; the whole of which may be perused with advantage by musicians of every class.
THE FINE STYLE OF PERFORMANCE.
"The fine style of performance is, in truth, a capability of discerning the true character of the piece performed, of seizing its predominant features and characteristic expression, and displaying these in execution. The mechanical powers of execution must be first acquired, but these are but the means to an end : good taste must watch over and direct their application, and the soul of the performer must speak in his instrument."
MODERN VIOLIN CONCERTOS.
"The reason why the public favour has been very much of late transferred from violin concertos to sinfonias, may be accounted for from the degenerate character of the former. Too many solo-players select such compositions as are calculated only to astonish their hearers, or are unable to resist the vanity of performing what they call their own compositions, but which are frequently gleanings from such as they have been accustomed to practice. That the public' after having acquired a taste for the beauties of a classical sinfonia, should turn with disgust from such exhibitions, will excite no wonder." Spouse's manner with his band is that of a friend to friends, or a father to his children. They love as well as venerate him. In this spirit, which so truly indicates the single-heartedness and warmth of his character, as well as his high-minded love of his art, the vale- dictory address is written. "As I must now leave tIv. pupil's further improvement to his own exertions, I venture to offer him a few words of parting counsel. "My dear young fellow-artist, you have now overcome the chief difficulties in your progress up the steep ascent of art. As you advance further, new and greater enjoyments await you. Delay not-slumber not-be bold-be diligent. If once you stand still, the next step will be backwards. You have chosen the most difficult of all instruments ; upon which you can only make progress, or indeed retain what you have already acquired, by daily practice.
"Aim at all times at what is noble and elevated in art, and disdain quackery
of every kind. He who aims only at pleasing the multitude, will but accomplish his own degradation-he will sink lower and lower at every step. Have a due regard to the sort of music which you play ; seek out the finest and best of every kind ; study it diligently, and be sure of improvement. Acquire also, and as a first essential, a knowledge of harmony : and exercise yourself in composition; since, even if you have not the gift of invention and have not the power to dis- tinguish yourself as an original writer, a well-grounded study of the theory of composition will be found not only useful but necessary if you aspire to the office of leader or conductor of an orchestra.
"Lastly, should you obtain high eminence in your profession, let me ask of you, when standing on the elevation you have reached, sometimes to direct your kindly thoughts to him who has in this work endeavoured to smooth and facilitate your ascent."
It only remains to speak of the present translation ; which has been executed by Mr. BISHOP with great skill, fidelity, and technical Correct- ness; and we commend it to all students of the violin, as the most com- plete, unmutilated, and accurate translated edition of the work, with which we are acquainted.
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