Of all productions of art, the violin is the most difficult to judge, and I have nearer illustrated the different characters of tone which violins produce, and tried to make these things more comprehensible, in order that this medley of opinions and judgments which have been given may be put in a clearer light.
I was highly astonished at the manner in which my "Emperor" violin ("Kaiser" violin) was judged, which was sent to the Exhibition of Vienna three weeks after it had been finished. The violin had attracted not only many admirers, but also a great number of gazers who have no idea of a violin, and who stared at it only on account of its price.
Thus, the New York Staats Zeitung had a correspondent in Vienna, who also stared at the violin from the same reason. His ignorance, which he exposed in his correspondence to the newspaper which he represented, led him to make the following remark, which was published on the 27th of June, 1873, and runs as follows: "From Salzburg several violins, mostly the former property of Mozart and Beethoven, were sent, and the one which Beethoven owned was made by Hellmer, at Prague, in 1737, as was noted on the label, (saleable for 200 Florins,) while for a Gemünder violin in the American division of the Industrial Palace, $10,000 (!) are asked. Of course, everybody laughs at the simpleton who believes this is the only curiosity of the kind, and thinks he can obtain such a fabulous price for it. The Commission that for this time has made us very ridiculous with our 'Go ahead,' should remove that label as soon as possible, that one of the exhibitors may not become a public laughing stock." But that writer soon found how much this violin was admired; he learned to see that it was the only curiosity of the kind, in fact, for soon afterward I read again in the Sontag's Staats Zeitung that "the violin was admired very much."
This violin was exhibited by me for the purpose of proving to the world that I can make violins that have the tone which has been sought for a long time since the death of the celebrated Italian masters, since which all attempts have miscarried, and I confirmed this fact in a circular added to it.
But what was the result? It was not believed. In the Exhibition of Vienna my violin was mistaken for a genuine Cremonese violin, not only for its tone, but for its outer appearance, which was so striking an imitation according to Joseph Guarnerius, that a newspaper of Vienna made the observation: "George Gemünder cannot make us Germans believe that the violin sent by him is new; a bold Yankee only can put his name in a genuine instrument, in order to make himself renowned!"
Although this was the highest prize which a violin maker had ever obtained, it was no advantage either for me or the public; for the art of violin making was not furthered by it, but rather still more impaired by the correspondence of the Staats Zeitung and the New York Bellestristic Journal. The latter writes as follows: "S. F., Pittsburg.—G. is a pupil of Vuilliaume; his violins are much demanded, but their prices are so high that purchasers are frightened!"
Thirty years ago I sold violins at from $50 to $75; ten years ago I sold violins at from $100 to $300; now I sell them at $100 and upwards; and violin makers here and in Europe ask the same prices. Nay, amateurs who do best in their ignorance, ask still higher prices. Wherein, therefore, do we find that which frightens the purchasers? The effrontery of writers who make such statements as the above will bring them no honor.
Many may still remember that I had determined to send six violins of different forms, copies of the best old master-violins, to the Vienna Exhibition, and intended myself to take the matter in hand, but, owing to an accident, I was compelled to give up this intention. In consequence, I resolved to send only one violin. To select one of them, artists such as Wollenhaupt, Dr. Damrosch, Carl Feinninger and others were consulted, but they differed in their opinions, which may be taken as a proof that the instruments were very much alike in character; they are also witnesses of the fact that I made them. In order to call attention to the one selected, I noted the price "ten thousand dollars!" Nobody, however, was charged to dispose of it, although three thousand dollars were offered.
The circumstances connected with the construction of this violin gives it more than an ordinary interest. Ridicule and praise in the highest degree are interwoven with its history; therefore, it has been hitherto the most interesting new violin in this century. Why I could not be its representative and had to leave it to fate can be learned from what I have already written about it, and how I have judged every thing connected with it. I was, however, sure of one fact, namely, that it would be acknowledged as a production of art. The admission must then be made, and the claim is amply justified by facts, that, as new violins are frequently mistaken for genuine Italian instruments, even when most particular attention is given to the varnish, the art of violin making must no longer be considered as a lost one.
May the foregoing satisfy all doubters and those who have lately, especially in America, written about the lost art of varnish and tone, and may it cause them in future to refrain from investigating into the so called lost arts. He who would give a scientific explanation of this art and be a critic, must be thoroughly acquainted with it.