You are about to purchase a CD containing five monumental eBooks on the making, mastery, repair and restoration of violins:1. The Repairing & Restoration of Violins2. Violin Making3. The Bow, Its History, Manufacture and Use4. The Violin - Its Famous Makers and Their Imitators5. Violin Mastery - Talks with Master Violinists and Teachers

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1. The Repairing & Restoration of Accidents—Modern Restorers—"Chattering"—The Proper Sort of Glue—Its Preparation and UseCHAPTERIII.—Minor Repairs—Cramps and Joints—Violin Cases—Rattles and Jars—Loose Fingerboards—Atmospheric Temperature—Old-Fashioned Methods of Repairing—Modern Ways—A Loose NutCHAPTERIV.—Injuries to the Head or Scroll—Insertion of Fresh Wood—Colouring of White Wood—Separation of Head from Peg-box and Re-joining—Stopping Material for Small Holes or Fractures—The Peg-box Cracked by PressureCHAPTERV.—Fracture of Peg-box and Shell—Chips from this Part—Filling up of Same—Restoration to Original Form, after Parts have been Lost—Worn Peg-holes, Re-filling or Boring SameCHAPTERVI.—Loosening of Junction of Graft with Peg-box, and Refixing Same—Grafting, Different Methods of Performing this—Lengthening the Neck—Old and Modern Method—Renewal of Same—Inclination of Neck and Fingerboard with Regard to the Bridge—Height of Latter, and Reason for ItCHAPTERVII.—Finishing the Fingerboard—Fixing the Nut—Size and Position of Grooves for the Strings—Filing Down the Graft—Smoothing, Colouring, and Varnishing SameCHAPTERVIII.—Injuries that can be Repaired from the Outside—Insertion of Fresh Wood in Fracture of the Ribs—The Effects of Climate on the Glue in ViolinsCHAPTERIX.—The Glue Used by the Early Italian Makers—Insertion of Pieces of Wood for Repairing Lost Parts—Replacing Lost Rib and Repairing Interior without Opening when Possible—Securing Loose Lower Rib to End Block—Different Methods—Treatment of Worm-holes—Fixing on Graft on NeckCHAPTERX.—Ways of Removing the Upper Table and the Neck—Cleansing the Interior—Preservation of the Original Label—Closing of Cracks in Upper TableCHAPTERXI.—Getting Parts Together that apparently do not Fit—The use of Benzine or Turpentine—Treatment of Warped or Twisted Lower TablesCHAPTERXII.—Removal of Old Superfluous Glue by Damping—Replacing Old End Blocks by New Ones—Temporary Beams and Joists Inside for Keeping Ribs, etc., in Position while Freshly GluedCHAPTERXIII.—Re-opening the Back to Correct the Badly Repaired Joint—A Few Words on Studs—Filling Up Spaces left by Lost Splinters—Matching Wood for Large Cracks, etc.CHAPTERXIV.—Repairing Lost Portions—Margins of Sound Holes—Matching the Grain—Fixing and Finishing Off—Replacing with Fresh Wood Large Portions of Upper Table—Lost Parts of Purfling—Restoring It with Old StuffCHAPTERXV.—Repairs to Purfling (continued)—Filling up an Opening Extending to the Whole Length of the Violin—Fitting the Core—Fixing it in Position and Retaining it There—Finishing the SurfaceCHAPTERXVI.—Repairing Undertaken by People in Business not connected with that of Bowed Instruments—Removal of a Fixed Sound Post—Fitting a Fresh Part of Worm-Eaten Rib—Bringing Together the Loosened Joint of the Back Without Opening the ViolinCHAPTERXVII.—Insertion of Studs along the Joint Inside without Opening the Violin—Lining or Veneering a Thin BackCHAPTERXVIII.—The Bar in Olden Times—The Modern One—The Operation of Fitting and Fixing the Bar—Closing and Completion of the Repairs—Varnishing of the Repaired Parts having Fresh Wood

2. Violin Making

CONTENTS

IntroductionChapter I.—Selection Of WoodChapter II.—The BackChapter III.—PurflingChapter IV.—Bending The PurflingChapter V.—Modelling The BackChapter VI.—Working Out The BackChapter VII.—The BellyChapter VIII.—Thicknesses Of The BellyChapter IX.—The SoundholesChapter X.—The Bass BarChapter XI.—The RibsChapter XII.—Fixing Ribs, Etc.Chapter XIII.—Fixing The BellyChapter XIV.—The ScrollChapter XV.—Fixing Neck, Fingerboard, Etc.Chapter XVI.—Of Varnish And VarnishingChapter XVII.—Fitting Up For UseChapter XVIII.—Conclusion

3. The Violin - Its Famous Makers and Their Imitators

CONTENTS

PART I. - The History of the Bow.

CHAPTER I. - Origin Of Instruments. Frictional Vibration. The Bow Distinct From The Plectrum. The Trigonon. Bowing With Various Objects.CHAPTER II. - Oriental Origin Of The Bow. Indian, Chinese And Other Eastern Bowed Instruments.CHAPTER III. - The Crwth. Fleming’s “Etruscan Ravanastron.” The Mediæval Bow. Unreliability Of Early Drawings And Sculptures.CHAPTER IV. - The Beginnings Of The Modern Bow. Ornamentation. A Possible Stradivaribow. The Movable Nut. The Crémaillère. The Screw Nut.CHAPTER V. - Vuillaume’s Facts. The Ferrule And Slide. John Dodd.CHAPTER VI. - Dr. Sellè’s Recollections Of Dodd. His Work And Poverty. Dodd And Tourte. The Calculation Of Fétis And Vuillaume.CHAPTER VII. - Lupot. Peccatte. Spurious Stamping. Panormo. W. J. B. Woolhouse’s calculations.CHAPTER VIII. - A List Of Bow Makers.PART II. - Bow Making.CHAPTER IX. - Materials. Brazil Wood. Horsehair. The Action Of Rosin.CHAPTER X. - Qualities Essential In A Bow Maker. Shaping The Stick. Setting The Cambre. The Faces. The Trenches. The Nut.CHAPTER XI. - Possible Repairs. Splicing. Renewing Cups. Restoring The Nut. Re-Facing.CHAPTER XII. - Re-Lapping. Re-Hairing. Choice Of Rosin.CHAPTER XIII. - The Perfection Of The Modern Bow. Dr. Nicholson’s Patent Bow. Vuillaume’s inventions. Self-Hairing Bows. A Folding Bow. The “Ketteridge Bow.”PART III. - The Art of Bowing.CHAPTER XIV. - The Undecided Aspect Of Technique. Importance Of A Knowledge Of The anatomy Of The Hand. The Function Of The Thumb. Individuality In Technique.CHAPTER XV. - Bowing Historically Considered. The Oldest English Violin Method. Sympson’s Instructions In Bowing. Those Of Mace (1676). Those Of Variousmodern Masters.CHAPTER XVI. - The Fingers Of The Right Hand. Differences Of Opinion Thereon. Sautillé. The loose Wrist.CHAPTER XVII. - The Importance Of The Slow Bow. The Rapid Whole Bow. Staccato. Bowing studies And Solos. Conclusion.

4. The Bow, Its History, Manufacture and Use

CONTENTS

Section I.—The Early History Of The Violin.Section II.—The Construction Of The Violin.Section III.—Italian And Other Strings.Section IV.—The Italian School.Section V.—The Italian Varnish.Section VI.—Italian Makers.Section VII.—The French School.Section VIII.—French Makers.Section IX.—The German School.Section X.—German Makers.Section XI.—The English School.Section XII.—English Makers.Section XIII.—The Violin And Its Votaries.Section XIV.—Sketch Of The Progress Of The Violin.Section XV.—Anecdotes And Miscellanea Connected With The Violin.Also: - Numerous Wood Engravings From Photographs Of The Works Of Stradivari, Guarneri, Amati, And Others
Additions And Emendations By The Author’s Son And Towry Piper

5. Violin Mastery - Talks with Master Violinists and Teachers

CONTENTSTalks With Master Violinists And Teachers Comprising Interviews With Ysaye
Kreisler
Elman
Auer
Thibaud
Heifetz
Hartmann
Maud Powell
And Others

WITH SIXTEEN YSAYEThe Tools of Violin Mastery
II.LEOPOLD AUERA Method without Secrets
III.EDDY BROWNHubay and Auer: Technic: Hints to the Student
IV.MISCHA ELMANLife and Color in Interpretation. Technical Phases
V. SAMUEL GARDNERTechnic and Musicianship
VI. ARTHUR HARTMANNThe Problem of Technic
VII. JASCHA HEIFETZThe Danger of Practicing Too Much. Technical Mastery and Temperament
VIII. DAVID HOCHSTEINThe Violin as a Means of Expression
IX. FRITZ KREISLERPersonality in Art
X. FRANZ KNEISELThe Perfect String Ensemble
XI. ADOLFO BETTIThe Technic of the Modern Quartet
XII. HANS LETZThe Technic of Bowing
XIII. DAVID MANNESThe Philosophy of Violin Teaching
XIV. TIVADAR NACHÉZJoachim and Léonard as Teachers
XV. MAXIMILIAN PILZERThe Singing Tone and the Vibrato
XVI. MAUD POWELLTechnical Difficulties: Some Hints for the Concert Player
XVII. LEON SAMETINIHarmonics
XVIII. ALEXANDER SASLAVSKYWhat the Teacher Can and Cannot Do
XIX. TOSCHA SEIDELHow to Study
XX. EDMUND SEVERNThe Joachim Bowing and Others
XXI. ALBERT SPALDINGThe Most Important Factor in the Development of an Artist
XXII. THEODORE SPIERINGThe Application of Bow Exercises to the Study of Kreutzer
XXIII. JACQUES THIBAUDThe Ideal Program
XXIV. GUSTAV SAENGERThe Editor as a Factor in "Violin Mastery"

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