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 ADVANCE PRAISE FOR THE SACRED DEPTHS OF
NATURE

“This book is a gem. Not only are the science passages an exquisite
introduction to astronomy, cell biology, and evolution, but her
reflections on the meaning she personally derives from such
knowledge leave the reader yearning for more. Her passages on the
meaning of death—indeed, a celebration of death, for the kind of life
and love only it can call forth—is unsurpassed by all the outpourings
from the humanities. She is fully, intimately, restfully at home in the
universe, in her version of divinity: the sacred depths of nature. And
then, able to draw no more from either the science or her own soul,
she offers up a poem or psalm from various of the world’s wisdom
traditions.”—Connie Barlow, Eco-activist, author of Green Space,
Green Time: The Way of Science
“A truly fascinating, wide-ranging, beautifully written, and eye-
opening book that considers the origins of earth, the origins of life
itself, where we are now, where we are most likely heading, and the
importance of developing a shared global cosmology and ecomorality
that can benefit us all in the future.”—Marc Bekoff, Ecology and
Evolution, University of Colorado, author of Rewilding our Hearts:
Building Pathways of Compassion and Coexistence
“Ursula Goodenough argues passionately, wisely, and even lyrically
for a new, modern, scientifically informed worldview that can tell us
both about the universe we inhabit and the moral rules we need to
inhabit it well. This is a wonderful account of the history of life by a
great biologist. It invites us to find in modern science the profound
sense of wonder and belonging, and the deep ethical sense present
in all the world’s religious traditions.”—David Christian, History,
Macquarie University, author of Origin Story: A Big History of
Everything
“Even better the second time around! Engagingly and clearly written,
replete with striking metaphors—especially ones from music—and
with conscientious respect for the scientifically untrained reader. A
convincing demonstration of the integral relation between
generously open-minded natural science and equally receptive, non-
dogmatic religious thought. The two are shown to interact with,
jointly inform, and mutually inspire one another in Goodenough’s
engrossing version of Religious Naturalism. Here the compelling
sacredness of all living and non-living nature is brought into sharp
focus.”—Donald Crosby, Philosophy, Colorado State University, author
of Sacred and Secular: Responses to Life in a Finite World

“Not since Loren Eiseley or Lewis Thomas has biology had such an
eloquent spokesperson, nor one with so much heart. Finally,
someone who can breathe life into molecules and make us feel it.”—
Terrence Deacon, Anthropology and Cognitive Science Program,
University of California, Berkeley, author of Incomplete Nature: How
Mind Emerged from Matter
“What perfect timing for this revised edition of Ursula Goodenough’s
classic, The Sacred Depths of Nature. As we witness and experience,
emotionally and socially, the unraveling of the biosphere and
industrial civilization, a meaningful, reverential worldview grounded
in evidence is more relevant than ever. An excellent introduction to
the religious naturalist orientation! Only my wife, Connie Barlow’s
Green Space Green Time, is even in the same league. Bravo,
Ursula!”—Michael Dowd, Ecotheologian, author of Thank God for
Evolution
“Tender, yet passionate, Goodenough immerses us in a collective
spiritual vision, allowing us to discover and feel the numinous in
science, synthesizing these understandings and the religious impulse
without doing harm to either. Our best hope for a future.”—Anne
Druyan, Writer, director, and producer of COSMOS and cocreator
with Carl Sagan of the motion picture CONTACT
“The Sacred Depths of Nature is both a spiritual exercise and a
sophisticated, crystal clear, and lyrical primer on what science
teaches us about this wondrous universe and the mysterious gift
that is being here at all.”—Owen Flanagan, Philosophy, Duke
University, author of The Geography of Morals

“Hosanna! Here, now, this! The new revised version of The Sacred
Depths of Nature is manna from heaven on earth. Muons and
neutrinos, eukaryotic sex and somatic death, covenant with mystery,
Goodenough’s Gospel of Life is the true myth we and our planet
desperately need.”—Michael S. Hogue, Meadville Lombard
Theological School, author of American Immanence: Democracy for
an Uncertain World
“At once expansive and intimate, empirical and immanent, analytical
and intuitive, material and spiritual, science and poetry get to dance
joyfully together in these pages. The Sacred Depths of Nature allows
us to see and celebrate our fundamental kinship with all beings,
united by the forces that propel life’s improbable unfolding. In this
time of crisis, we urgently need the planetary ethic that resists the
degradation of the shimmering world.”—Robin Wall Kimmerer, Center
for Native Peoples and the Environment, SUNY-ESF, author of
Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and
the Teachings of Plants
“This book is a treasure for all those who seek to connect with a
deeper meaning in the universe without jettisoning empirical
scientific evidence. Ursula Goodenough dissolves the conventional
split between science and religious orientation, showing with
delightful prose and breathtaking examples how a deeply scientific
investigation can naturally lead us to a ‘covenant with mystery’ and a
‘credo of continuation.’ ”—Jeremy Lent, author of The Patterning
Instinct and The Web of Meaning
“Thank you, Ursula Goodenough, for telling us the science-based
story of life on earth and the wonders of our universe in a way that
brings them down to the level of our hearts, and deeper still, to the
very place from where our prayers come.”—Peter Mayer, Singer and
songwriter, lyricist of “Blue Boat Home”

“I am so glad this important book is being revised for our time. It is

wise, calm, and compassionate; it treats us as the mature, complex,
and fascinating creatures that we are, and in so doing helps point
the way towards a future where we act together far better than at
present.”—Bill Mckibben, Founder of 350.org, author of The Flag, the
Cross, and the Station Wagon: A Graying American Looks Back at his
Suburban Boyhood and Wonders What the Hell Happened
“To experience the sacred, we need not ask the WHY question,
which is, after all, unanswerable. In this absolutely amazing book,
biologist Ursula Goodenough shows us that pondering the HOW of
things brings us face-to-face with that which is sacred. Through
science, poetry, and her own remarkable personal stories,
Goodenough shares her profound religious stance as a Credo of
Continuation.”—Jennifer Morgan, President, Deeptime Network
“An engaging, authoritative account of the evolution and molecular
basis of life from the perspective of a religious naturalist who
rejoices in the complexity and wonder of the natural world. A
successful cell biologist and gifted writer, Goodenough weaves
together our scientific understanding of the appearance, place, and
workings of life on earth in the context of the diversity of religious
traditions. The book will inspire both scientists and non-scientists to
appreciate the magic of our existence and the necessity to preserve
that which makes it possible.”—Thomas Pollard, Molecular, Cellular
and Developmental Biology, Yale University, co-author of Cell
Biology, 4th edition
“Goodenough’s masterpiece unites the beauty of biology and the
wonders of evolution in a magnificent, heartfelt celebration of life.
Like its author, this book is eloquent, vibrant, inspiring, and truly
one-of-a-kind.”—Barbara Smuts, Psychology, University of Michigan,
author of Sex and Friendship in Baboons
“Incisive, comprehensive, witty, and beautiful, with paragraph after
paragraph of lucidity and significance. We could be witnessing one of
the most important cultural events of the last three centuries—the
moment when scientists themselves take their role seriously in
forging a planetary wisdom.”—Brian Swimme, Evolutionary
cosmologist, California Institute of Integral Studies, coauthor of The
Journey of the Universe
“Goodenough gives us a new bridge between science and religion
that is both eloquent and elegant. She offers us the poetry, power,
and passion of her vision of nature, a vision born from scientific
knowledge, nurtured by religious sensibility, and inspired by nature
itself. Such a pathbreaking interdisciplinary work illumines the way
for each of us—embracing an ecomorality that is comprehensive and
compelling.”—Mary Evelyn Tucker, School of the Environment and
Forum on Religion and Ecology, Yale University, coproducer of the
film Journey of the Universe
“A delicious account of the grandeur and intricacies of natural reality
that will have you falling in love with the beauty of scientific
knowledge while honoring the grand wisdom of religious valuing.
The new chapters on human evolution, human morality, and
ecomorality reveal why The Sacred Depths of Nature remains a
remarkable gift for our generation. Goodenough demonstrates, in
her inimitable lucid, poetic style, a religious naturalist orientation
that is uniquely positioned to address—all at once!—such urgent
topics as systemic, structural racism, cultural imperialism, and
environmental injustices.”—Carol Wayne White, Religious Studies,
Bucknell University, author of Black Lives and Sacred Humanity:
Toward an African American Religious Naturalism
“I have been waiting years for this paean to the universe. With
lustrous turns of phrase, skillful explanations of nature, a profound
vision of the past, and a prescient sense of the future, Ursula
Goodenough reintroduces us to the present moment, the fulsome
present, bursting with an invitation to gratitude and reverence.
There’s not a single person on this planet who doesn’t need and
deserve this book.”—Wesley J. Wildman, School of Theology and
Faculty of Computing and Data Sciences, Boston University, author
of Spirit Tech
“The first edition of The Sacred Depths of Nature was a revelation to
me. Before reading it, I had no idea that the workings of a single cell
were so elaborate as to be awe-inspiring. This second edition has
brought many more such revelations. Illustrated with lovely photos
and poems from wise poets, this is a detailed short treatise on the
science of life. It proves once again that a science book can be a
page-turner. I learned from every page and could not wait for the
next one.”—Paul Woodruff, Philosophy, University of Texas Austin,
author of Living Toward Virtue: Practical Ethics in the Spirit of
Socrates
“What a beautiful, lyrical, lively, fascinating, and outstanding book.
Delightful to read. Awesome achievement.”—Richard Wrangham,
Human Evolutionary Biology, Harvard University, author of The
Goodness Paradox: The Strange Relationship Between Virtue and
Violence in Human Evolution
 URSULA GOODENOUGH

THE SACRED DEPTHS OF NATURE

How Life Has Emerged and Evolved
SECOND EDITION
 Oxford University Press is a department of the University of Oxford. It furthers the
University’s objective of excellence in research, scholarship, and education by publishing
worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and
certain other countries.
Published in the United States of America by Oxford University Press
198 Madison Avenue, New York, NY 10016, United States of America.
© Ursula Goodenough 2023
All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted, in any form or by any means, without the prior permission in
writing of Oxford University Press, or as expressly permitted by law, by license, or under
terms agreed with the appropriate reproduction rights organization. Inquiries concerning
reproduction outside the scope of the above should be sent to the Rights Department,
Oxford University Press, at the address above.

You must not circulate this work in any other form and you must impose this same
condition on any acquirer.
Library of Congress Cataloging-in-Publication Data
Names: Goodenough, Ursula, author.
Title: The sacred depths of nature : how life has emerged and evolved / Ursula
Goodenough.
Description: Second edition. | New York, NY : Oxford University Press, [2023] |
Includes bibliographical references and index.
Identifiers: LCCN 2022030828 (print) | LCCN 2022030829 (ebook) |
ISBN 9780197662069 (hardcover) | ISBN 9780197662083 (epub)
Subjects: LCSH: Biology—Philosophy. | Biology—Religious aspects. |
Naturalism—Religious aspects. | Nature—Religious aspects.
Classification: LCC QH331 .G624 2023 (print) | LCC QH331 (ebook) |
DDC 570.1—dc23/eng/20220923
LC record available at https://lccn.loc.gov/2022030828
LC ebook record available at https://lccn.loc.gov/2022030829
DOI: 10.1093/oso/9780197662069.001.0001
 For:
Rachel Cowan
Joan Goodwin
Esther Hopkins
 CONTENTS

Personal 1997 (first edition)

Personal 2022 (second edition)

Introduction
How This Book Is Put Together
1. Origins of the Earth
2. Origins of Life
3. How Life Works
4. How an Organism Works
5. How Evolution Works
6. The Evolution of Biodiversity
7. Awareness and the I-Self
8. Interpretations and Feelings
9. Sex
10. Intimacy
11. Multicellularity and Death
12. Human Evolution
13. Human Morality and Ecomorality
Epilogue: Emergent Religious Principles
Epilogue: The Religious Naturalist Orientation
Endnotes 1: Legends to Cover and Chapter Frontispieces and
Text Figure Credits
Endnotes 2: Further Readings/Resources and Text Credits
Index
 PERSONAL 1997 (FIRST EDITION)

No question about it: I’m writing this book because of my father. He

started out as a Methodist preacher but became absorbed—no,
obsessed—with a need to understand why people are religious. As
Professor of the History of Religion, he poured out book after book
on the ancient Jews and early Christians: their art, their texts, their
motivations. And then he brought it all home, to me sitting there
after dessert trying to look inconspicuous while he and the other
Yale scholars drank a great deal of wine and held forth on Plato and
Paul and Freud and Sartre. Dad began his famous undergraduate
course, The Psychology of Religion, by announcing “I do not believe
in God.” He ended one of his last books by admitting “I still pray
devoutly, and when I do I forget my qualifications and quibbles and
call upon Jesus—and he comes to me.” He was a larger-than-life
father, passionate and outrageous and adored. When he died of
cancer when I was twenty-two, it was almost more than any of us
could bear.
I went to college with 1950s expectations: find a husband, raise
two children, and continue to read novels. But everything changed
when I took Zoology 1 as a distribution requirement. Nothing in my
girls-school training had led me to understand that creatures are
made up of cells and genes and enzymes, that life evolves, that
kidneys control blood electrolytes. I was astonished. Better still, I
was good at it. And Dad was quite as excited about my unexpected
calling as I was. “Ursula a scientist! How splendid!” What a father.
For the next twenty-five years or so I played it straight: biology
professorships, research projects, federal grants, graduate and
undergraduate teaching. I still do all those things, and with as much
pleasure and satisfaction as ever. But as my five children grew and
there was more time for myself, my father’s question returned. Why
are people religious? And then: Why am I not religious?
But was that true? What is being religious anyhow? What about
the way I feel when I think about how cells work or creatures
evolve? Doesn’t that feel the same as when I’m listening to the St.
Matthew Passion or standing in the nave of the Notre Dame
Cathedral?
So I joined Trinity Presbyterian Church and spent the next decade
singing in the choir, reciting the liturgy and prayers, hearing the
sermons, participating in the ritual. I came to understand how this
tradition, as played out in a middle-class, mostly white congregation,
is able to elicit states of serious reflection, reverence, gratitude, and
penance. But all of it was happening in the context of ancient
premises and a deep belief in the supernatural. What about the
natural? Was it possible to ground such religious sensibilities in the
context of a fully modern, up-to-the-minute understanding of
Nature?
And so I started reading and listening and reflecting, and out of it
has emerged this book. Certainly the most important dialogue has
been with Loyal Rue, who has explained to me most of what I
understand about theology and philosophy and who has insisted that
we scientists speak of what we know and feel. Early on I happened
onto an improbable collection of people composing the Institute on
Religion in an Age of Science (IRAS), and while the input of many in
IRAS has been seminal, this is particularly true for Gene d’Aquili,
Connie Barlow, Michael Cavanaugh, Tom Gilbert, Ward Goodenough,
Phil Hefner, Bill Irons, Sol Katz, Ted Laurenson, Karl Peters, Bob
Schaible, and Barbara Whitaker-Johns. Kirk Jensen of Oxford
University Press has provided generous and unwavering support;
Carl Smith has helped me understand and experience the religious
impulse; John Heuser has continuously infused his perspectives and
wisdom; Sine Berhanu and Jeanne Heuser have nurtured my
spirituality; Pam Belafonte, Elizabeth Marincola, Sharon Olds, and
Betsy Weinstock have nurtured my courage; my children—Jason,
Mathea, Jessica, Thomas, and James—bless my life in countless
ways; and no one can emerge from a consideration of religion
without thanking William James.
 PERSONAL 2022 (SECOND EDITION)

In the 25 years since I wrote the first edition of this book, I

continued as a biology professor for 20 years and then retired to
Martha’s Vineyard to celebrate my remaining years within oak forests
abutting wetlands and the open ocean. Along the way I taught cell
biology and evolution courses, participated in exciting scientific
research with wonderful colleagues and trainees, and welcomed nine
grandchildren.
But after the book was published, I acquired a second life. As an
advocate for the religious naturalist orientation (p. 219), I spoke at
numerous venues—college seminars, sermons, church-basement
discussion groups, conferences, book clubs. I wrote journal articles
and blog essays and was interviewed and reviewed. I joined others
in founding the Religious Naturalist Association (RNA,
https://religious-naturalist-association.org) that in 2022 has some
900 members in 50 states and 40 countries. I shared ideas and
feelings with those who embraced the religious naturalist trajectory
and with those who offered critiques, thereby greatly expanding and
clarifying my understandings. My second life has been both
exhilarating and humbling, and the many new ideas and
perspectives presented in this second edition were incubated in this
rich context.
The mentors, supporters, and family whom I acknowledged in
1997, most of whom, although sadly not all, are happily alive and
well in 2022, are thanked again for their invaluable input and their
continued belief in me. The concept of emergence anchored much of
the first edition, but Terry Deacon and Jeremy Sherman have greatly
expanded my understanding of its dynamics in their writings and in
many conversations. Over the years, I have greatly benefited from
the wisdom and support of Claude Bernard, Thomas Berry, Rachel
Cowan, Susan Dutcher, Terry Findlay, Carol and Daniel Goodenough,
Joan Goodwin, Billie Grassie, John Grim, Sam Guarnaccia, Joe
Heitman, Michael Hogue, Esther Hopkins, Michael Kalton, Jason
Keune, Kent Koeninger, Todd Macalister, Sandra Masur, Sabeeha
Merchant, Jennifer Morgan, Janet Newton, Bill Orme-Johnson, Irving,
Sarah, and Alessandra Petlin, Lynne Quarmby, Edmund Robinson,
Robyn Roth, Jeremy Rutledge, Sue Savage-Rumbaugh, Barbara
Smuts, JD Stillwater, Tricia Swift, Brian Swimme, Mary Evelyn Tucker,
Sabine Waffenschmidt, Carol Wayne White, Wesley Wildman, Paul
Woodruff, and Michael Wysession. I have also greatly benefited from
the insights posted on IRAS and RNA social-media forums.
And my grandchildren—Isabella, Delilah, Oliver, Lola, Zora,
Luciano, Theodore, Leonardo, and Henry—bless my life in countless
ways.
 INTRODUCTION

When people talk about religion, most soon mention the major
religious traditions of our times, but then, thinking further, most
mention as well the religions of indigenous peoples and of such
vanished civilizations as ancient Greece and Egypt and Persia. That
is, we have come to understand that there are—and have been—
many different religions; anthropologists estimate the total in the
thousands. They also estimate that there have been thousands of
human cultures, which is to say that the making of a culture and the
making of its religion go together: each religion is embedded in its
cultural history. True, certain religions have attempted, and variously
succeeded, in crossing cultural boundaries to “convert the heathens,”
but the invaded cultures usually put their unmistakable stamp on
what they import, as evinced by the pulsating percussive Catholic
masses sung in Africa.
In the end, each of these religions addresses two fundamental
human concerns: How Things Are and Which Things Matter. How
Things Are is articulated as a Cosmology or Cosmos: How the
natural world came to be, how humans came to be, what happens
after we die, the origins of evil and tragedy and natural disaster and
love. Which Things Matter becomes codified as a Morality or Ethos:
the Judaic Ten Commandments, the Christian Sermon on the Mount,
the Five Pillars of Islam, the Buddhist Vinaya, the Confucian Five
Relations, and the understandings inherent in numerous indigenous
traditions.
The role of a religion is to integrate the Cosmology and the
Morality, to render the cosmological narrative so rich and compelling
that it elicits our allegiance and our commitment to its attendant
moral understandings. As a culture evolves, a distinctive Cosmos and
Ethos appear in its co-evolving religion. For billions of us, back to the
early humans, the stories, ceremonies, and art associated with our
religions-of-origin have been central to our lives.
I stand in awe of these religions. I have no need to take on their
contradictions or immiscibility, any more than I would quarrel with
the fact that Scottish bagpipe ceremonies coexist with Japanese tea
ceremonies. And indeed, the failure of Soviet Marxism to obliterate
Russian Orthodoxy, and of Maoism to obliterate Buddhism,
Confucianism, or Daoism, and of Christianity to obliterate indigenous
understandings, reminds us that projects designed to overthrow
religious traditions face strong headwinds.
My concern is very different. As I witness contemporary efforts to
generate planetary consensus, I see many high-minded and earnest
people attempting to operate within an amalgam of economic,
military, and political arrangements, and I find myself crying out “But
wait! Where is the religion? What is orienting this project besides
fear and greed? Where is the shared cosmology and the shared
morality?”
That we need a planetary ethic is so obvious that I need but list a
few key words: climate change, ethnic cleansing, fossil fuels, habitat
and species preservation, human rights, hunger, inland waterways,
infectious disease, nuclear weapons, oceans, pollution, population
pressures. To my ear, conversations on these topics are largely
cacophonies of national, cultural, and denominational self-interest.
Without a common religious orientation, we basically don’t know
where to begin, nor do we know what to say or how to listen, nor
are we motivated to respond.
My agenda for this book is therefore to outline some possible
foundations for such a planetary ethic, an ethic that would make no
claim to supplant existing orientations but would seek to coexist with
them, informing our global concerns while we continue to orient our
daily lives in our cultural/religious contexts.
Any planetary foundation needs to be anchored in a shared
worldview—a culture-independent, globally accepted consensus as
to how things are. From my perspective, this part is easy. How
things are is, well, how things are: our science-based
understandings of Nature: the Big Bang, the formation of stars and
planets, the origin and evolution of life and sentience on Earth, the
very recent advent of language-based consciousness in humans, and
the concomitant evolution of human cultures. As science-based
inquiry continues, our current understandings will deepen and
evolve, but a core narrative is in place:

The universe is a single reality—one long, sweeping spectacular process of

interconnected events. The universe is not a place where evolution happens,
it is the evolution happening. It is not a stage on which drama unfolds, it is
the unfolding drama itself. If ever there were a candidate for a universal story,
it must be this story of cosmic evolution . . . .The story shows us in the
deepest possible sense that we are all sisters and brothers—fashioned from
the same stellar dust, energized by the same star, nourished by the same
planet, endowed with the same genetic code, and threatened by the same
evils. This story, more than any other, humbles us before the magnitude and
complexity of creation. Like no other story it bewilders us with the
improbability of our existence, astonishes us with the interdependence of all
things, and makes us feel grateful for the lives we have. And not the least of
all, it inspires us to express our gratitude to the past by accepting a solemn
and collective responsibility for the future.
—Loyal Rue

This, I believe, is the story that can unite us, because it is true for us
all. It is Everybody’s Story.
But that potential carries a crucial caveat. A cosmology works as a
religious cosmology only if it resonates, only if it makes the listener
feel religious. Yes, the beauty of Nature—sunsets, woodlands, bird
song—readily elicits religious responses. We experience awe and
wonder at the grandeur, the poetry, the richness of the natural
world; it fills us with joy and thanksgiving. Our responses to
accounts of the workings of Nature, on the other hand, are often far
less positive. The scientific accounts of how things are, and how
they came to be, are more likely, at least initially, to elicit alienation,
disenchantment, anomie, and nihilism rather than the celebration
just offered by Loyal Rue. Such responses are not likely to motivate
allegiance or a spiritual/ethical orientation.
This alienation has several sources that are considered in various
chapters of the book. Here I suggest that a primary source derives
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Perry, E. Prize Quartet. (9635). IV.
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An excellent and melodious quartet for beginners.
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Schumann. Op. 41. 3 Quartets. (2379).
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— Op. 45, No. 2. Quartet. (2483 c).
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(7175 c). IV.
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Pfeiffer, G. Quatuor en F a mineur. Op. 119. (7183). IV.
Pleyel, I. J. Œvres. Arrangés par F. Hermann:—
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Op. 44. 3 Quartets. (7180). III.
Op. 48. Six Sonatinas. (7181). I.

Prout, E. Op. 2, in C. Prize Quartet. (9637). IV.

— Op. 18, in F. (9253). IV.

Rheinberger, J. Quartet in E flat. Op. 38. (7185). IV.

Schubert. Adagio & Rondo. (1347).
Schumann. Op. 47. Piano Quartet. (2380).
Weber. Op. 8. Piano Quartet. (2177).
Westrop, H. Op. 2. Quartet in A flat. (9638). IV.

2 Violins, Violoncello, and Piano.

Abaco, Evaristo Felice Dall’. Suite (Sonata da Camera) in G

minor. Arranged by Dr. H. Riemann. Score and Parts.
(5390) II.
Boyce, W. Sonata in A major. (G. Jensen). (7432). II.
Corelli, Arcangelo. 6 Sonate da Camera a tre (due Violini, e
Violone, o Cembalo). Opera IV. With Pianoforte
Accompaniment worked out from the Figured Bass of the
author, and with all necessary indications for the mode of
executing, for bowing and fingering by Gustav Jensen.
(7171). I and II.
Hofmann, R. Potpourris on melodies from Operas and
Oratorios. 19 Bks. (5401 f-5419 f.) (Violin Parts in 1st
Position only). I.
— Potpourris on melodies from Operas and Oratorios.
Second Series, with use of the higher positions. 26 Bks.
(5420 f-5445 f.) II-IV.
Pleyel. 3 Quartets. Op. 44. (Hermann.) (7178). III.
Purcell, Henry. Sonatas. Arranged by G. Jensen:—
The Golden Sonata. (7410 a). II.
Sonata in B minor. (7429). II.
Sonata in A minor. (7430). II.
Sonata in C major. (7431). II.

Squire, W. H. Serenade. Op. 15. (7122 c.) IV.

Veracini, Antonio. Sonata in C minor. Arranged by G.
Jensen. (7415.) II.

3 Violins and Piano.

Gurlitt, C. Ouverture des Marionettes. Op. 105. (7209). II.

— “Commedietta” Ouverture. Op. 137. (7212). II.

Morceaux d’ensemble. (F. Hermann). II-IV.:—

Chopin. Marche funèbre. (7215 a).
Schubert. Moment musical. (7215 b).
Mendelssohn. Duo. Op. 38. (7215 c).
Fr. Hermann. Petite Marche. (7215 d).
Nicolai. Merry Wives of Windsor. (7215 e).
Beethoven. Marche turque des Ruines d’Athènes. (7215 f).
 Mozart. Andante du 8 me Quatuor. (7215 g).
Fr. Hermann. Barcarolle. (7215 h).
Weber. Finale d’Euryanthe. (7215 i).
Schumann. Chœur de Paradis et Péri. (7215 k).
Schubert. Entr’acte de Rosamonde. (7215 l).
Beethoven. “An die Freude”. Hymn from 9th Symphony. (7215 m).

Papini, G. “Hope” March. I.

Saint-George. L’ancien régime. Petite Suite. (7570 n). II.

String Quintets.

3 Violins, Violoncello, and Bass.

Saint-George. L’ancien régime. Petite Suite. (7570 k). II.

2 Violins, Viola (Tenor),

Violoncello, and Bass.

Beethoveniana. Extraits des Sonates pour Piano de

Beethoven, arrangés par Fr. Hermann:—
Livre A. Op. 7; Op. 10, No. 2; Op. 26, Op. 27, No. 2. (7143
a). V.
Livre B. Op. 10, No. 3. Complete. (7143 b). V.
Livre C. Op. 2, No. 3; Op. 13; Op. 14, No. 2; Op. 31, No. 3.
(7143 c). V.
Boccherini. Quintet for 2 Violins, Alto, and 2 Celli. (2231).
Borch, Gaston. Elégie. Op. 56, No. 1. (7013). IV.
Dance Movements from the Works of Great Masters. (F.
Hermann):—
J. S. Bach. Sarabande from the 2nd Violin Sonata (7151 a).
II.
G. F. Handel. Scherzo from the Concerto in G minor. (7151
b). II.
 Joseph Haydn. Nachtwächter-Menuett. (7151 c). III.
Monsigny. Rigaudon from “La Reine de Golconde”. (7151
d). III.
Mozart. Minuet from the Divertimento in D. (7151 e). III.
Beethoven. Allegretto from “Die Geschöpfe des
Prometheus.” (7151 f). III.
Mozart. All’ ongarese from Violin Concerto in A. (7151 g).
III.
Cherubini. Ballet music from “Ali Baba.” (7151 h). II.
H. Marschner. Tanzmusik from “Des Falkners Braut.” (7151
i). III.
Rameau. Chaconne and Musette. (7151 k). III.
Gluck. Musette from “Armida.” (7151 l). II.
Monsigny. Chaconne from “La Reine de Golconde.” (7151
m). III.

Smyth. Quintet for 2 Violins, Alto and 2 Celli. (2171). V.

2 Violins, 2 Violas, and Violoncello.

Beethoven. 4 String Quintets. (599).

Gade, Niels W. Quintet. Op. 8. (7138). IV.
Haydn. Quintet concertant. Op. 88.
Kreuz, E. Prize Quintet. Op. 49. (7165). V.
Mendelssohn. Op. 18, 87. 2 Quintets. (1743).
Mozart. 10 String Quintets. (18-19).
Schubert. Op. 163. String Quintet. (775).

Solos with Quartet Accompaniment.

Mozart, W. A. Adagio:—
For Violin, with Quartet. (7153). III.
 For Viola, with Quartet. (7154). III.
For Violoncello, with Quartet. (7155). III.

Pianoforte Quintets.

Piano, 2 Violins, Viola, and ’Cello.

Beethoveniana. Extraits des Sonates pour Piano de

Beethoven, arrangés par Fr. Hermann:—
Livre A. Op. 7; Op. 10, No. 2; Op. 26; Op. 27, No. 2. (7145
a). V.
Livre B. Op. 10, No. 3. Complete. (7145 b). V.
Livre C. Op. 2, No. 3; Op. 13; Op. 14, No. 2; Op. 31, No. 3.
(7145 c). V.

Brahms, J. Op. 34. Quintet in F minor. IV.

Gurlitt, Cornelius:—
— Op. 105. Ouverture des Marionettes. (7149). II.
— Op. 137. “Commedietta” Ouverture. (7141). II.
Pleyel, I. J. Œuvres arrangées par Fr. Hermann:—
— Op. 8. Six Quintets. (7160). I.
— Op. 48. Six Sonatinas. (5021). I.
Potpourris on Popular Melodies from classical and modern
operas and oratorios. Arranged by R. Hofmann. III to IV:—
Wagner. Der fliegende Holländer. (5438 q).
— Lohengrin. (5439 q).
— Rienzi. (5440 q).
— Tannhäuser. (5441 q).
Rossini. Il Barbiere. (5442 q).
— Guillaume Tell. (5443 q).
Auber. Masaniello. (5444 q).
Gounod. Faust. (5445 q).

Prout, E. Op. 3. Quintet in G. (9245). IV.

Saint-George. L’ancien régime. Petite Suite. (7570 f). II.
Saint-Saëns, C. Op. 14. Quintet in A. V.
Schumann. Op. 44. Piano Quintet. (2381). V.
Spohr. Op. 130. Quintet. (W. S. B. Woolhouse.) (9632). IV.

Piano, 3 Violins, and Violoncello.

Henkel, H. Introduction and Polacca. (7213). III.

Saint-George. L’ancien régime. Petite Suite. (7570 l). II.

Piano and 4 Violins.

Leo, Leonardo. Concerto a quattro Violini obbligati, arranged

by Gustav Jensen. (5001). II and III.
Maurer. Op. 55. Concertante. (2908). III.

Piano, Violin, Viola,

Violoncello, and Bass.

Hummel. Grand Quintet in E flat minor. Op. 87. (W. S. B.

Woolhouse.) (9622). IV.
Schubert. Op. 114. Trout Quintet. (169).

Sextets.
Bennett, W. S. Op. 8. Sextetto. For Piano, 2 Violins, Viola,
Violoncello, and Double Bass. (9621). III.
Jensen, G. Symphonies arrangées pour Flûte (ou Violon),
deux Violons, Viola, Violoncelle et Basse:—
Jos. Haydn. En RÉ major (D major). (7131). III.
— En UT mineur (C minor). (7132). III.
W. A. Mozart. En UT majeur (C major). (7133). III.
— En LA majeur (A major). (7134). III.
 Jos. Haydn. En SI bémol majeur (B flat major). (7135). III.

Potpourris on Popular Melodies from classical and modern

operas and oratorios. (Flute, 2 Violins, Tenor, Violoncello,
and Pianoforte.) Arranged by R. Hofmann. III to IV:—
Wagner. Der fliegende Holländer. (5438 n).
— Lohengrin. (5439 n).
— Rienzi. (5440 n).
— Tannhäuser. (5441 n).
Rossini. Il Barbiere. (5442 n).
— Guillaume Tell. (5443 n).
Auber. Masaniello. (5444 n).
Gounod. Faust. (5445 n).

Saint-George. L’ancien régime. Petite Suite:—II.

2 Violons, Alto, Violoncelle, Contrebasse et Piano. (7570
h).
3 Violons, Violoncelle, Contrebasse et Piano. (7570 i).

Septets.
Beethoven. Op. 20. Septet. (2466).
Corelli, Arcangelo. Œvres revues par J. Joachim et F.
Chrysander. 8vo:—
Livres IV., V. Op. 6. Concerti Grossi con duoi Violini, e
Violoncello di Concertino obligati, e duoi altri Violini,
Viola e Basso di Concerto Grosso ad arbitrio che si
potranno radoppiare. In Roma, 1712. (In Score.) 2
Books. (4936 d, e). II.
Morceaux d’ensemble, for 3 Violins, Viola, ’Cello, C. Bass,
and Piano. (F. Hermann):—II.
Chopin. Marche funèbre. (7110 a).
Schubert. Moment musical. (7110 b).
Mendelssohn. Duo. Op. 38. (7110 c).
Fr. Hermann. Petite Marche. (7110 d).
Nicolai. Merry Wives of Windsor. (7110 e).
 Beethoven. Marche turque des Ruines d’Athènes. (7110 f).
Mozart. Andante du 8me Quatuor. (7110 g).
Fr. Hermann. Barcarolle. (7110 h).
Weber. Finale d’Euryanthe. (7110 i).
Schumann. Chœur de Paradis et Péri (7110 k).
Schubert. Entr’acte de Rosamonde. (7110 l).
Beethoven. “An die Freude,” Hymn from 9th Symphony. (7110 m).

Squire, W. H. Serenade. Op. 15. Piano, 2 Violins and

Violoncello, with Flute, Clarinet, and Double Bass ad lib.
(7122 c). IV.

Octets.
Gade, N. W. Octet, Op. 17, for 4 Violins, 2 Violas, and 2
Violoncellos. (7107). V.
Mendelssohn. Op. 20. Octet. (1782).
Schubert. Op. 166. Octet. (1849).

Old Chamber Music.

Riemann, Dr. Hugo. Old Chamber Music (Alte
Kammermusik). A selection of Canzones, Sonatas, etc.
(da chiesa and da camera), for strings alone, or with a
thorough-bass, by composers of the 17th and 18th
centuries; edited and arranged. In score. 3 Bks. (5391-93).

Violin and Orchestra.

Nardini, Pietro. Adagio for Violin, arranged for Violin and
small Orchestra (2 Flutes, 2 Bassoons, Violins,
Violoncellos, and Contrabass) by Gustav Jensen. Score
and parts. (7072). III.

String Orchestra.
Beethoveniana. Extraits des Sonates pour Piano de
Beethoven, arrangés par Fr. Hermann:—
Livre A. Op. 7; Op. 10, No. 2: Op. 26; Op. 27, No. 2. (7143
a). V.
Livre B. Op. 10, No. 3. Complete. (7143 b). V.
Livre C. Op. 2, No. 3; Op. 13; Op. 14, No. 2; Op. 31, No. 3.
(7143 c). V.
Borch, Gaston. Elégie. Op. 56, No. 1. (Parts.) (7013). IV.
Corelli, Arcangelo. Œuvres revues par J. Joachim et F.
Chrysander. 8 vo:—
Livres IV., V. Op. 6. Concerti Grossi con duoi Violini, e
Violoncello di Concertino obligati, e duoi altri Violini,
Viola e Basso di Concerto Grosso ad abitrio che si
potranno radoppiare. In Roma, 1712. (In Score.) 2
Books. (4936 d, e). II.
Del Valle de Paz, E. Prélude. Op. 9, No. 3. (7045). II.
— Minuet from “Ondina”. Op. 21. IV.
Score. (7044 a).
Parts. (7044 b).
— Arioso. Op. 26, No. 1. (7046). IV.

Haydn, J. Symphonies arranged by Gustav Jensen:—

In D major. (7131). III.
In C minor. (7132). III.
In B flat major. (7135). III.

Iliffe, F. Pizzicato Serenade. Score and Parts. (7057). II.

Kreuz, Emil. Suite in G (Prelude, Allemande, Gigue,
Intermezzo, Scherzo, and Finale). Op. 38. (7015). IV.
Lee, Maurice. Gavotte du Palais-Royal. (7066). II.
Mozart, W. A. Symphonies, arranged by Gustav Jensen:—
In C major. (7133). III.
In A major. (7134). III.
Roeckel. Air du Dauphin. Ancienne Danse de la Cour. (7083).
Saint-George. L’ancien régime. Petite Suite. (7570 g). II.
Scharwenka, X. Andante religioso, for String Orchestra,
Harp, and Organ. Op. 46 B. IV.
Score. (7088 a).
Parts. (7088 b).
Schütt, E. Serenade in D. Op. 6. Score and Parts. III.
Wüerst, R. Sous le Balcon. Serenade for String Orchestra
with Violoncello Obbligato. Op. 78. V.
Full Score. (7098 a).
Orchestral Parts. (7098 b).
— Russian Suite for String Orchestra with Violin Obbligato. IV.
Full Score. (7097 a). IV.
Orchestral Parts. (7097 b).
Wurm, M. Estera Gavotte. Score and Parts. (7099). III.
Dance Movements from the Works of Great Masters. (F.
Hermann). II and III:—
J. S. Bach. Sarabande from the 2nd Violin Sonata. (7151
a).
G. F. Handel. Scherzo from the Concerto in G minor. (7151
b).
Joseph Haydn. Nachtwächter-Menuett. (7151 c).
Monsigny. Rigaudon from “La Reine de Golconde.” (7151
d).
W. A. Mozart. Minuet from the Divertimento in D. (7151 e).
Beethoven. Allegretto from “Die Geschöpfe des
Prometheus.” (7151 f).
Mozart. All’ ongarese from Violin-Concerto in A. (7151 g).
Cherubini. Ballet music from “Ali Baba.” (7151 h).
Marschner. Tanzmusik from “Des Falkners Braut.” (7151 i).
Rameau. Chaconne and Musette. (7151 k).
 Gluck. Musette from “Armida.” (7151 l).
Monsigny. Chaconne from “La Reine de Golconde.” (7151
m).
NB. Any of the pieces mentioned in the “Guide” can be procured
from Messrs. Augener & Co. It will be sufficient to give the Edition
No. where marked; where there is no No., name of author and title
should be given.
 GUIDE THROUGH VIOLA
LITERATURE.
Methods for the Viola.

Bruni, A. B. Tenor Method. Edited, with fingering, bowings, and

marks of expression by Emil Kreuz. (7659).
Hermann, Fr. The Study of the Viola (Das Studium der Viola—
L’Étude de l’Alto):—
Part I. Instruction in Viola Playing: 20 Introductory Exercises
with explanatory remarks. (7652 a).
Part II. 24 Easy Exercises (1st position), after the Author’s
“Études spéciales, Op. 24, Book I,” with 2ⁿᵈ Viola ad lib.
(7652 b).
Part III. 12 Easy Exercises and Pieces (1st to 3rd Positions),
after Op. 24, Book 2, with Pianoforte accompaniment ad
lib. (7652 c).
Laubach, A. A Practical School for the Viola (Méthode pratique
pour Alto), comprising the rudiments of music, scales,
arpeggi, progressive exercises, and pieces in all major and
minor keys. (7654).
Lütgen, H. Practical and Progressive Method, intended both for
beginners and for more advanced players. Containing
Exercises by the greatest Masters and some passages from
the Works of Haydn, Mozart, Beethoven, Schumann, etc.
Lütgen’s method consists largely of extracts from the great
masters; Hermann’s is the simplest course for young
beginners. In Laubach’s method the exercises are specially
well graduated as to difficulty.
Schroeder, C. Handbook of Violin Playing, has a chapter on
Viola Music. (9212).

Viola Studies.
 Steps I—II.

Hofmann, R. Op. 86. The first Studies. (2732).

Kreuz, E. Progressive Studies for the Viola, with
accompaniment of a second Viola. Op. 40:—
Book I. Commencing with exercises on the open strings, and
gradually introducing the notes of C major in the first position.
(7653a).
— Select Studies, taken from the works of Campagnoli,
Mazas, Corelli. Kreutzer, Spohr, Fiorillo, Wenzel Pichl,
Rode, and Gaviniés; in progressive order, phrased,
fingered, and arranged:—
Book I. 30 Elementary Studies in the first position, with
accompaniment of a second Viola, by Campagnoli and Mazas.
(7657a).
— Scales and Appeggios for the Viola, through all major and
minor keys; systematically arranged, bowed, and fingered:
—
Book I. Through one and two octaves. (7658a).

Step III.

If Laubach’s method be adopted, Book 3 of Hermann (7652c)

might suitably follow, to be succeeded by:—

Bruni. 25 Studies from his Method (E. Kreuz). (7659a).

Kreuz, E. Progressive Studies for the Viola, with accompaniment of a
second Viola. Op. 40:—
Book II. Studies in the first position in the flat keys, major and minor.
(7653b).
Book III. Studies in the first position in the sharp keys, major and
minor. (7653c).
— Select Studies for the Viola, taken from the works of
Campagnoli, Mazas, Corelli, Kreutzer, Spohr, Fiorillo,
Wenzel Pichl, Rode, and Gaviniés; in progressive order,
phrased, fingered, and arranged:—
Book II. 30 Studies in the first position by Corelli, Campagnoli,
Kreutzer, and Spohr. (7657b).
 Book III. 20 Studies in the first three positions, by Corelli,
Campagnoli, Kreutzer, Fiorillo, Spohr, Wenzel Pichl, and Mazas.
(7657c).
— Scales and Appeggios for the Viola, through all major and
minor keys; systematically arranged, bowed, & fingered:—
Book II. Through two and three octaves. (7658b).

Step IV.

Campagnoli, B. 41 Caprices pour le Viola, revus et doigtées par

E. Kreuz. (7651).
Kreuz, E. Progressive Studies for the Viola, with
accompaniment of a second Viola. Op. 40:—
Book IV. Introduction of the 2nd and 3rd positions, and studies in the
first three positions. (7653 d).
— Select Studies for the Viola, taken from the works of
Campagnoli, Mazas, Corelli, Kreutzer, Spohr, Fiorillo,
Wenzel Pichl, Rode, and Gaviniés; in progressive order,
phrased, fingered, and arranged:—
Book IV. 20 Studies in the higher Positions. (7657 d).
Book V. 20 Studies in the higher Positions. (7657 c).

Pieces for Viola and Piano.

Step I.

Kreuz, E. The Violist. A Series of progressive pieces. Op. 13:—

Book I. 12 very easy pieces, commencing with the open strings, and
gradually introducing the notes of C major in the first position (7636
a).
— 25 Pieces in progressive order. In the 1st position:—

1. Kreuz. No. 1 Prelude; No. 2 Melody.

2. Schumann. Op. 68, Nos. 1, 2. Melodie; Soldatenmarsch.
3. Gurlitt. Berceuse, and “Heiterer Morgen.”
4. Schumann. “Trällerliedchen” and “Jägerliedchen.” Op. 68.
5. Fitzenhagen. Cavatine.
6. Reinecke. Air, “Unbekümmert,” from Op. 213.
 7. Kreuz. Melody.
8. Schumann. “Kleine Romanze” and “Fröhlicher Landmann.”
9. Gluck. Air from “Orfeo.”
10. Gurlitt. “Ständchen” and “Jagdstück.”
11. Mendelssohn. Lied ohne Worte, Op. 30, No. 9.
12. Haydn. Aria from “Die Jahreszeiten.”

Step II.

Kreuz, E. The Violist, Bk. 2. Easy Pieces in C. (7636 b).

— The Violist, Bks. 3, 4. 20 progressive melodies in the 1st position.
(7636 c, d).
— 25 Pieces in progressive order. (In the 1st position):—

13. Schumann. “Canonisches Liedchen” and “Schnitterliedchen.”

14. Kreuz. Gavotte, from “The Violist.”
15. Mozart. “Gib mir die Hand” from “Don Giovanni.”
16. Schubert. “Das Fischermädchen.”
17. Mendelssohn. Venetian Gondola Song.
18. Schumann. ⁂ & Siciliano.
19. Kreuz. “Pensée fugitive,” from “The Violist.”
20. Reinecke. Farandole, Op. 213, No. 10.
21. Weber. Air from “Der Freischütz.”
22. Beethoven. Sonatina.
23. Handel. Aria from Ouverture to “Ariadne.”
24. Kreuz. Romance, from “The Violist.”
25. Bach. Gavotte, from French Suite.

MacCunn, Hamish. 3 Romantic Pieces. Op. 27:—

No. 1. L’Espérance.
Mendelssohn. Op. 72. 6 Pieces. Arranged. (7631).
Reinecke. Op. 122 a. 10 Petits morceaux. (7642).
— Op. 213. 10 Petits morceaux. (7643).
Albums. Vols. 1 and 2. (7625 a, b).
Album Classique. (Moffat-Laubach). (5566).

Step III.
Burgmüller. 3 Nocturnes. (7626).
Goltermann, G. Op. 114. Sonatina. (7635).
Handel. Sonata for Viola da Gamba and Cembalo concertato,
arranged by G. Jensen. (5551).
Hermann, F. 12 easy Exercises and Pieces (1ˢᵗ to 3ʳᵈ positions).
(7652 c).
Kalliwoda. Op. 186. 6 Nocturnes. (2104).
Kreuz, E. Select pieces in progressive order, Viola Part in the
first three positions:—
26. Mozart. Song from “Figaro.”
27. Weber. Air from “Der Freischütz.”
28. C. Gurlitt. “Buds and Blossoms.” Op. 107, No. 4.
29. Mendelssohn. Song without Words, No. 14.
30. Handel. Largo.
31. Schumann. Revery. Op. 15, No. 7.
32. Mendelssohn. Song without Words, No. 22.
33. Gluck. Ballet from “Orfeo.”
34. C. Gurlitt. Slow waltz. Op. 146, No. 1.
35. Kjerulf. Longing.
36. Strelezki. Cavatina.
37. Mendelssohn. Song without words, No. 25.
38. E. Kreuz. Sketch. Op. 13e, No. 3.
39. Schubert. Serenade.
40. Fr. Hermann. Rondino. Op. 24, No. 2.
41. Mendelssohn. Christmas Pieces. Op. 72, Nos. 4 and 5.
42. Handel. Sonata.
43. Haydn. Air from “The Creation.”
44. Mendelssohn. Song without Words, No. 13.
45. Schumann. Fairy Pictures. Märchenbilder. Op. 113. No. 4.

Kreuz, E. Op. 5. Liebesbilder. (7627).

— Op. 9. “Frühlingsgedanken” (Spring Fancies). (7628).
— Op. 13. The Violist. A Series of progressive pieces.
Book V. Three easy Sketches in the first three positions. (7636e).
Book VI. Sonata in A minor. (7636f).
— Op. 45. Suite de Pièces. (Prélude, Nocturne, Le Rêve,
Danse rustique.) (5572).
Kücken. 6 Duos Concertantes. 6 Bks. (7629a—f).
Laubach, A. 20 Scottish Songs. (7633).
Mendelssohn. Op. 4. Adieu à Berlin. (7632).
Sitt, Hans. Op. 39. Albumblätter. (2549).
Stehling, K. A. Morceaux Favoris. 10 arrangements in separate
Nos:—
Albumblatt, Wagner; Consolation, Liszt; Abendgebet,
Reinecke; Tears, Reinecke; La Fontaine, Henselt, Gavotte
and Rondeau, Lully; Romance, Ries; Scherzo, David;
Berceuse, Reber; Mazurek, Rheinberger.
Squire, W. H. Gavotte Humoristique. (7647).
Thomas, E. Sans Souci Waltz.
— Sonatina in C. (7644).
Volkmann. Op. 11. Musical Picture Book. Arr. by Hermann.
(7650).
Wagner, R. Album-leaf. (7649).

Step IV.

Goltermann. Op. 15. Duo. (1997).

— Op. 25. (2207).
Kreuz, E. Select Pieces in progressive order. Viola Part in the
higher positions:—
46. Schumann. Little Study. Op. 68, No. 14.
47. Schubert. Am Meer.
48. G. Goltermann. Romance from Sonatina. Op. 114.
49. W. H. Squire. Gavotte Humoristique.
50. Schumann. “Stücke im Volkston.” Op. 102, No. 2.
51. Schubert. Romance.
52. A. Strelezki. L’Absence.
53. E. Thomas. Sans Souci Valse.
54. Mendelssohn. Song without words. No. 1.
55. W. H. Squire. Réverie.
56. Schubert. Ave Maria.
57. A. Strelezki. Asphodel. Chant sans Paroles.
 58. J. S. Bach. Air from the Orchestral Suite in D.
59. E. Kreuz. Liebesbilder. Op. 5, No. 2.
60. Schumann. Evening Song. Op. 85, No. 12.

Joachim. Op. 9. Hebrew Melodies. (7630).

MacCunn Hamish. 3 Romantic Pieces. Op. 27:—
No. 2. Sérénade.
” 3. Rêve d’amour.
Mozart. Adagio. (7634).
Popper. Op. 5. Romance. (7637).
Prout, E. Op. 26. Sonata in D major. (7639).
Schumann, R. Evening Song. (9676).
— 3 Romances. Op. 94. (7641).
— 5 Stücke im Volkston. Op. 102. (7645).
— Märchenbilder (Fairy Pictures). Op. 113. (7646).
Vieuxtemps. Op. 30. Elegie (Scholz). (7648).

Step V.

Brahms, J. Op. 120. Sonatas in F minor and E♭.

Kreuz, E. Op. 20. Concerto in C minor. (5571).
An effective modern work. The Barcarolle is published
separately as No. 65 of “Select pieces.”
Kreuz, E. Select Pieces in progressive order, in the higher
positions:—
61. Meyerbeer. Air from “Les Huguenots.”
62. E. Kreuz. Spring fancies. Op. 9. No. 2.
63. Chopin. Nocturne. Op. 37, No. 1.
64. Beethoven. Romance in F major. Op. 50.
65. E. Kreuz. Barcarolle from Concerto for Viola and Orchestra. Op. 20.

Rubinstein, A. 3 Salon Pieces, Op. 11, edited by F. Hermann:—

Moderato. (7638a).
Allegro con moto. (7638b).
 Allegretto. (7638c).
— Op. 49. Sonata.
One of the finest compositions for the viola.

Duets for Violin and Viola.

Fiorillo. Op. 9. 6 Sonatas. II.

Jansa. Op. 70. 6 Duets. 2 Bks. (2234a-b). III.
Kalliwoda. Op. 208. 2 Duets. (2105). III.
Kreuz, E. 4 Duos. 2 Bks. (5594a, b). II.
Mozart, W. A. Op. 28. 2 Duets. III.
Pleyel. Op. 44. 3 Duets. (7858). III.
— Op. 69. 3 Duets. II-III.
Schoen, M. 6 Easy Duettinos. 1ˢᵗ and 3ʳᵈ positions. (7620). I-II.
Spohr, L. Op. 13. Grand Duo. V.

Trios for Violin, Viola and Piano.

Gade, Niels, W. Novelletten. Op. 29. Arranged by Ernst Heim.

(5268). IV.
Jensen, G. Phantasiestücke. Op. 27. (5275). IV.
Kreuz, E. Trio in C. Op. 21. (5271). V.
— Trio facile, in C. Op. 32. (5272). II.
Lachner, Ignaz. Grand Trio. Op. 102. (5277). II.
— Trio in C. Op. 103. (5278). II.

Mozart. Trio. Op. 14. in E♭. Clarinet or Violin, Viola and Piano.
— Symphonie Concertante. (2206).
Pleyel. 3 Trios. Op. 44 (Hermann). (5280). II.
Potpourris on Popular Melodies from classical and modern
operas and oratorios. Arranged by R. Hofmann:—