This little work is the outcome of some little thought, born of hesitation. To be clear, I should mention that some years ago I completed a somewhat exhaustive work on the violin, the first portion of which reached the stereotype stage, but unfortunately owing to a fire the plates were destroyed. Other business pressing, the work was laid aside. In the meantime other books on the violin have been published, a fact which might be taken as rendering any further work on the subject superfluous. However, it has been suggested to me by some musical friends that if I could produce a popular work which could be issued at a low price it would be well received. Buoyed up with this hope, I set to work with the object of presenting in a concise form such information as I have thought necessary or at least of interest to every one who elects to take up the violin, either as an object of recreation or serious study. Time alone will prove whether or not the appearance of this addition to the literature of the violin is justified.
In order to facilitate my labours I have consulted the leading British and foreign authorities on the violin and kindred instruments. I have also during many years devoted much time to the inspection and study of genuine old instruments.
A. M. C.
Forest Hill, London.
CONTENTS.
PART I. HISTORICAL. PAGES [I.—Introductory and Early English] 1-29 [II.—Italy] 30-35 [III.—France] 36-40 [IV.—Germany] 41-44 PART II. BIOGRAPHICAL. Violin Makers of the Old Schools. [I.—Italian, with Labels] 45-71 [II.—German and Tyrolese, with Labels] 72-82 [III.—French, with Labels] 83-89 [IV.—British, with Label] 90-103 PART III. [On the Development of Classical Music for the Violin and other Stringed Instruments] 105-117
PART I.
HISTORICAL.
I.—INTRODUCTORY AND EARLY ENGLISH.
The origin of the violin is always a very interesting subject for study. It is one upon which many great writers have devoted much time and thought, but as they arrive at varying conclusions, and in some cases opposite opinions, the result is to leave the mind of the student in a state of conjecture and speculation.
In tracing the development of certain species of stringed instruments the arguments of some authorities often appear pretty conclusive, but generally we are confronted with such a mass of contradictory assertions, that we can only treat the theories put forward as approximate. The professor, teacher and matured student approaching this subject, of course do so with great profit, as they are better able to accept or reject whatever may be said concerning the ancestry of the violin family, than is the young beginner.