Tone-Failure.—It is sometimes remarked by players that certain violins and other bow instruments “lose their voice” after being played for a time under certain conditions. This would appear to take place in heated and crowded rooms and halls. It would further appear that it is certain old violins which are most affected, but new instruments are not entirely exempt, although less susceptible. There is, without doubt, a scientific reason for this, but I have not seen any explanation of the phenomenon in print. I mention it only as an eccentricity of tone, and one which would appear to present difficulty in regulating, and it may be said that an instrument possessing this peculiarity must, indeed, be near to tonal collapse when heat, humidity, and general heaviness of the air are sufficient to produce such a fatal effect. Old wood is spongy in nature. When too old it is dark brown in colour and almost crumbles to the touch. It is not difficult to imagine old wood, particularly if affected with some slight degree of dry rot, absorbing moisture which, together with heat, would cause it to become leathery and lose the crispness it would possess under opposite conditions. If the new violin is affected the cause may possibly be found in the fact that its tone is, under the most favourable conditions, hanging on the very brink of failure, which the mere touch of a heavy atmosphere is sufficient to consummate. If this be the reason for tone failure we should expect the old violin to become affected after some exposure to the conditions stated, and the new instrument immediately.
Fiddles Classified.—It is a task of extreme difficulty to classify violins according to their tonal value; while they may be dealt with singly, any attempt to separate them into well-defined groups, in which certain makers are associated with certain tone characteristics, will yield a result which, for reasons that are well understood, can only be considered approximately correct. Yet they may be roughly divided into four groups which I may be allowed to indicate as follows:—
(1) Superior Tone.—This must be sought for among the violins of the old Italian masters; among those produced by one or two old makers in other countries, and among the instruments produced by the best makers of the present day. The first are the most difficult to obtain, and by far the most expensive, due to their scarcity and to the fame of their builders. Owing to the ravages of time, to the influence of damp, wear, accident, much repairing (not always skilful), and the vandal efforts of “improvers,” many violins by old masters have greatly depreciated in tone.
(2) Excellent Tone.—The lesser lights of the “Palmy Days” turned out an occasional great violin, worthy to rank with the master fiddles of any age, and the same may be said of some of the great copyists of the eighteenth and nineteenth centuries. These are rare examples, and so mixed with others of less tonal worth by the same makers as to render their discovery possible only to the expert. Consecutive reproduction of superior tone is such a difficult part of violin construction that only masters can accomplish the feat successfully. The celebrated old makers are known to have succeeded, and so have a select few of the living makers. Mr. Towry Piper, writing in the Strad, says of a modern builder: “He can build a fiddle with a certain quality and volume of tone, and within human limits, repeat the process ad lib.” It need hardly be pointed out that the old masters also laboured “within human limits.” Apart from the specially good examples, the old violin makers of the second class produced in their instruments a quality of tone in every respect worthy of being termed Excellent.
(3) Good Tone.—Within this category is a wide range of fiddles suitable for all ordinary uses, made in all ages of the art, but usually found among violins by old makers of the third class in Italy, those of the second class in France, Germany, and England. The tone of some of these violins deserves to rank as excellent, but here, again, is found a wide difference in fiddles by the same maker. In this class the inexperienced will also find difficulty in making a selection, and the advice of an expert should be secured.
(4) “Just Fiddles.”—Nameless, but “old” Italian, French, German, or English fiddles. Violins of all sorts, old and new, bearing unfamiliar names. The age-baked imitations by makers with and without repute. “Pawnshop” fiddles, manufactured to catch the eye of those seeking the rare but unrecognised! Factory-made “copies” of Amati, Guarneri, Stradivari, Stainer, etc. Numbered by thousands, such fiddles as these are carefully avoided by the knowing seeker after tone. Because one or the other rarely fail to deceive the well-meaning but uninformed, it does not follow that they lack any legitimate place in the world of fiddles. When sold on their merits, or by dealers of repute, they are low in price. On them one may “whack out” a lively tune of sorts and bring pleasure to the uncritical atmosphere of many homes—may, indeed, be a direct lead to better things. The King of Instruments rules over the pleasures of the great, and the little princes of his house bring an equal happiness to those whose lives and tastes are humble. Thus may these instruments bring music to the forecastle and the farm, and pleasure to those who, by one circumstance or another, are barred from better things.
A Strange Belief.—As an illustration of the extraordinary beliefs held regarding tone and its connection with the violin, I quote the following from a recent issue of an American journal: “If Stradivarius were living to-day and was a violin-maker ... he would be just as big a failure as our best modern makers are to-day ... he builded better than he knew.” The writer of this is without first-hand knowledge, either of Stradivari or the “best modern makers,” else he would cite a different explanation of failure. But what are we to say of such beliefs—long since exploded—being revived in a modern journal? Unfortunately for the accuracy of this theory, time has not dealt in a like manner with Stradivari’s sons. They did not build “better than they knew.”
Tone Health.—It is said a violin should always be kept in its case when not in use. While small objection can be found with this advice, I believe good fresh air is beneficial, and it is my practice to make the fullest use of this reviving and antiseptic influence on suitable occasions. I hang the violin away from the wall if indoors, and in a shady place if in the open, so arranged that it will not strike against anything should it swing about through the action of a passing breeze. Violinists are apt to neglect their cases, which should also be kept well aired and dry, together with the cloth used to cover the instrument. The function of a case is to keep out damp, not to keep it in, but I have seen some cases so musty and damp that steam has risen from the covering cloth when held before the gentle warmth of a fire. No wonder violinists are troubled with their tone by thus neglecting the first principles of hygiene. It may be thought superfluous to add that the violin should be kept perfectly clean, but every one experienced in these matters is aware that many players are exceedingly careless, while others actually look upon dirt as an ornament. The interior of the instrument may be cleaned by pouring a handful of rice through the soundhole, shaking it about, and emptying through the same orifice. On the exterior use a very soft cloth or chamois leather, and remove every trace of dust and dampness. This last is deposited from the hands, and may prove fatal to the varnish because of its saline properties. Where the hand touches the body of the instrument most frequently it is not uncommon to see, particularly in the old violins, the varnish entirely removed and the bare wood left to absorb, not only moisture, but grease, which is difficult to extract without injury to the wood. I am aware that, even to mention such a thing, is to suggest something in the nature of vandalism, but I do say these bare places should be carefully cleaned and revarnished—but only where the hand touches when in the high positions, a chin-rest will protect the other end of the violin. The owner of the violin may, however, do as he pleases; it is merely a question whether health in tone or wealth in fiddle is to have the most consideration.
Tonal Misjudgment.—The violin presents many strange difficulties, and, in order to indicate that the judging of tone is no simple or easy matter, I will cite a few cases to show how some excellent and experienced players have been deceived. A professional played upon two violins at a public entertainment—his own, an old Italian which cost one hundred and eighty pounds, and a modern instrument worth about thirty pounds. He played the first half of a selection on the Italian and the second half on the modern, the change occupying but a few seconds. The numerous audience were unaware of any test being made. The instant he began playing the modern instrument the surprise was general, the contrast being extraordinary, the intensity, richness, and telling qualities of the new fiddle’s tone completely eclipsing that of the older violin, which, in comparison, seemed weak and wailing. Note the sequel. Immediately the piece was finished the player, who was unaware of the impression created on his hearers, observed to a friend: “The new fiddle is good, but too weak. I could never lead with it!”
A Stradivari violin, once the property of a celebrated artist who used the instrument until his death, playing in all the great cities in Europe, was borrowed by a very talented amateur for the purpose of playing a solo at his farewell concert, as he was about to live abroad. He did not use this violin, however, the excuse being that he did not think it would carry sufficiently well to fill the hall, not by any means a large one. He used, instead, another instrument, the property of a local player, and, it is hardly necessary to add, treated his hearers to a tone not only less in quantity, but with no quality whatever.