| [CHAPTER I ANOMALOUS POSITION OF THE VIOLIN] | |
|---|---|
| PAGES | |
| Its dual status—More of a curiosity than a musicalinstrument—How the curio interest originated—Itspernicious influence—Tarisio and the formation ofthe Fiddle Cult—Exploitation of violins of small tonevalue—Consequences to the player | [1-6] |
| [CHAPTER II A TONELESS METHOD OF VALUATION] | |
| How the old violin is judged—Valued without referenceto tone—Bought and sold by the same method—Examples—Whythe method should be abolished ormodified—A guarantee for tone-value needed—Smalltone-value of many old violins—The violin’s properposition as a “work of art”—A toneless pariah | [7-13] |
| [CHAPTER III TYPES OF STANDARD VIOLIN TONE] | |
| Amatisé, Bergonzian, Brescian, “Cremonese,” Guarnerian,“Italian,” Stradivarian—Other ancient makers andstandard tone | [14-18] |
| [CHAPTER IV THE OLD MASTERS AS VIOLIN MAKERS] | |
| Violins frequently made by workmen and “pupils”—Finishedand tone-developed by the master—Twoentirely distinct arts—Tone the result of ideal—Effectof model on tone—Methods of tone development stillin use—Only possible means of creating a tone to anideal—Reasons—Why the great masters attractedpupils—Tone versus cabinet making—Why pupilssucceeded and failed—Most striking tone-feature ofthe old masters—Construction no guarantee for tone | [19-26] |
| [CHAPTER V THE DECLINE OF TONE] | |
| Position of violin makers after 1750—Difficulty of sustainingsupreme ideals—Overshadowing influence of thegreat violins—The demand for low-priced fiddles—Afew tone-builders always living—The art abandonedby all save the few—Attempts at a revival of the“lost” art—Mechanical efforts of Savart—Scientificexperimenters—Scientific side of tone unknown to theold masters—Results following “attuning” process ofSavart—Copyists, old wood theorists, and varnishers | [27-34] |
| [CHAPTER VI RELATIONSHIP BETWEEN A NEW VIOLIN AND TONE] | |
| No mystery about construction—Tonal results of mereconstruction—The tone of a new fiddle likened toraw material—Its refinement and the result—What asatisfactory relationship between violin and tonedepends upon—Tonal position of the modern violin—Influencesthat have worked to its detriment—Itssurvival—Its test of merit—Idolaters of the fiddle andtone seekers | [35-42] |
| [CHAPTER VII OLD TONE AND NEW—A CONTEST] | |
| The Paris competition of 1912 reported by the Daily Mailcorrespondent—The more extended report of Mr. D. I.Cardozo and its particular interest—Six old violinscompete with six new violins—How the competitionwas arranged—The violins and their makers—Theresult of the contest—The winner’s advice to violinmakers—Obvious criticisms on the contest—Theresult decisive—Great strides in tone since the contest—Theimportance of these comparisons to theviolinist—Comparison between the ancient andmodern violin maker | [43-50] |
| [CHAPTER VIII A -BARRELLED THEORY] | |
| A consideration of some of the pitfalls besetting the tone-seeker—Theaccommodating qualities of age—Thepermanency of tone—Why the age theory is advanced—Sowingthe seeds of suspicion—The result | [51-52] |
| [CHAPTER IX THE EXPERT DEALER] | |
| Two kinds of dealers—The “expert” dealer’s first consideration—Hisstock-in-trade—Why he does notexploit new violins—His one serious trouble—Hisview of tone—What he considers violins are notpurchased for—Why he prospers—The type ofdealer that is opposed to him—The genuine dealerand expert—The reliability of famous houses—Hazardsconfronting the buyer and how they may beavoided | [53-57] |
| [CHAPTER X IMITATION OLD MASTERS] | |
| Ancient copyists—Genuineness of their work—Forgerythrust upon them—The substitution of labels—Allthe great makers copied—Difficulties of detection—Genuinelabels of the masters in the copies—Tone ofthe copies—Another class of copyist—Those whoimitated age—Their object in so doing—Process ofageing destructive of tone—Honesty of these “fakes”—Anotherclass: the factory imitation—Deceive onlythe ignorant—Another class: those intended to deceive—Theirvictims—Their danger to the player—Aquotation from a letter and its lesson | [58-61] |
| [CHAPTER XI LITERATURE OF THE VIOLIN] | |
| The authoritative histories of the old makers—Their chiefvalue—Their status as guides to tone—The impressionsthey convey—The limitations of the authors—Theirattitude towards the modern builder—Themodern builder’s “revenge”—The one idea which theplayer absorbs from these histories—The good faithof the authors—Their honesty of purpose—Theirrenown as connoisseurs and judges—The wide-spreadinfluence of their work and its effect—Books on violinmaking—What they do and do not teach—A classicalwork—Instructions on how to play the violin—Theirservice—Their neglect of tone—The periodical literatureof the fiddle—Its interest and value—Whereinit fails—A warning—The “Lives” of famous oldmakers—Their value | [62-67] |
| [CHAPTER XII WANTED: A TONE GUARANTEE] | |
| The business of the dealer—What he guarantees—Hisattitude towards tone—The dealer’s guarantee of notone value to the player—The fiddle warranted butnot its tone—Why the dealer should give a toneguarantee—How it could be done—Mere statementsregarding tone not enough—An independent judgeneeded—The present situation reviewed—The perfectviolin model—The modern maker’s relation thereto—Howthe critics view his work—The player without aguide to tone—His procedure under the circumstances—Nostandard of tone recognised by experts—Theresulting difficulties—Capable judges of tone—Theunsatisfactory judge | [68-76] |
| [CHAPTER XIII HOW TO TEST A VIOLIN’S TONE] | |
| An infallible method—The violin weighed in an impartialand accurate balance | [77-79] |
| [CHAPTER XIV EFFECT OF AGE ON TONE] | |
| Most theories held as mere beliefs—Mellowness of toneand age—Reasons why age is not responsible formellowness—How mellow tone is created—The realeffect of age on the instrument and its tone—Its effectpurely mechanical—An appeal to violin lovers | [80-85] |
| [CHAPTER XV VARNISH AND TONE] | |
| A controversial subject—Effect of varnish on tone—Whyit is misunderstood—Why experiments fail—Thegoverning factor—The effect of a fine oil varnish—Howthe effect of the best varnish may be nullified | [86-89] |
| [CHAPTER XVI TONE AND THE VIOLIN PLAYER] | |
| Relationship between player and violin—The inexpert,beginner, amateur, artist, and tone—The player’srelation to tone: an illustration—The gulf betweenplayer and fiddle—Artist and player—Why playersfail or succeed in tone | [90-94] |
| [CHAPTER XVII THE IDEAL TONE] | |
| The ideal tone—How a famous violinist secured his ideal—Difficultiesof tone selection—What the averageplayer seeks—Statement by a pupil of Joachim | [95-97] |
| [CHAPTER XVIII HOW TO ACQUIRE AN IDEAL TONE] | |
| The appeal of technic and the appeal of tone—Importanceof tone—The development of tone-sense—Subjectsfor tone-study—What the student should avoid—Thetone of technic—Tone of technic and ideals combined—Progressof the student explained—Advice to thebeginner | [98-102] |
| [CHAPTER XIX TWO STYLES OF TONE PRODUCTION] | |
| The artist of the bow and the artist of the brush: a comparison—Thedelicate style of playing—Its dangers—Therobust style—How the player is handicapped—Thedifficulties of judgment—Importance of therobust style | [103-105] |
| [CHAPTER XX MODERN VIOLIN MAKERS] | |
| Attractions of violin making—Makers who have discoveredthe “secret” of Stradivari—Violin makersand tone—Modern view of art and artists—Fiddle-makersand advertising—Worth of testimonials | [106-110] |
| [CHAPTER XXI NOTES ON TONE] | |
| Carrying Power: Carrying power distinct from loudnessof tone—True toned violin rarely seems loud tothe player—How such violins are abused—Whatplayers do not always realise—Carrying power andits relation to tone explained. Quantity versusQuality: A quotation very much to the point—Awarning to be remembered—Importance of good tone—Theplayer’s limits in tone—How the violin’s tone-capacityaffects the player. Flexibility of Tone:The meaning of flexibility—What the tone loses withoutit—Its importance to the student and artist.Tone Failure: Violins which “lose their voice”—Conditionsresponsible—Reasons suggested for thefailure in old violins and new. Fiddles Classified:Difficulties of tonal classification render results onlyapproximately accurate—May be roughly dividedinto four groups: (1) Superior tone—The violinspossessing it; (2) Excellent tone—Where it is found—Difficultiesof selection—Ancient and modernfiddles—Human limits and consecutive reproductionof superior tone; (3) Good tone—Wide range forselection. Where this tone is usually found. Expertadvice essential in selection; (4) “Just Fiddles”—Whatthey are—Their legitimate place—Those towhom they bring pleasure. A Strange Belief:A quotation and comments thereon—“Stradivari as afailure if living to-day!” Tone Health: Somehabits and fallacies—Fresh air and the fiddle—Mustyfiddle cases—The carelessness of violinists—A suggestedvandalism. Tonal Misjudgment: A fewinstances—A professional violinist and two violins—Theopinions of himself and those of his hearers—AStradivari violin and a talented amateur—His mistakeand the result—An artist, an expert, and a poor tonedviolin—The result—Some great players and their tone—Whereit fails—A player of ability and a factoryfiddle—Its “suitable” tone—Accessories and tone—Theimportant accessories of the violin—The soundpost—What it may do and what the player should do—Thebridge—How to keep it in the correct position—Strings—Somesimple advice—The bow—A fewremarks on its selection—The fiddle doctor—Deceptivesimplicity of the violin—What to do inthe case of accidents, etc. | [111-126] |
| [Conclusion] | [127] |
| [Account of the Principal Violin Makers] | [129] |
VIOLIN TONE AND VIOLIN MAKERS
CHAPTER I
ANOMALOUS POSITION OF THE VIOLIN
It would be difficult to present the subject of tone in a manner calculated to inspire both appreciation and confidence without first making an effort to rescue the violin from its present position of uncertainty, and the player from influences detrimental to an impartial judgment of the instrument as a tone-producing medium. This position has been forced upon the violin gradually; has become more menacing with the passing years; and is due to the addition of an interest which it did not originally possess, and which has finally become so paramount that tone, when considered at all, actually plays second fiddle in a dual value. The violin may still be the “King” of instruments, but this added interest has made it of even greater value as a curiosity. Thus has its position come to be extraordinary and without counterpart in the world of art.
This dual interest is, of course, well known. When associated with certain special instruments it is harmless enough. But what is not fully appreciated by players is the pernicious influence this world-wide curio interest exercises over all violins when the attempt is made to value them from a purely tonal point of view.
Mr. Hart says in his book, “The Violin, Famous Makers and their Imitators:” “In those days when the old Brescian and Cremonese makers flourished, the only consideration was the tone-producing qualities of their instruments; the violin had not then taken its place among curiosities.” So, then, tone was once the only value considered, presumably because the instrument was originally made to satisfy the requirements of players, and not the curiosity-hunting instinct of collectors. And the player’s interest in tone has never wavered. It still overshadows every other consideration, and is the object of constant search. Tone being the player’s elementary necessity, the desire for tone has always eclipsed interest in the merely curious. But being a curiosity, the old violin with the finest tone is placed practically beyond the player’s reach, and this has made the pursuit of even good tone, in all old violins, an uncertain and financially hazardous enterprise.
Let us now explain how this curio value originated; how it advanced; the mighty interests surrounding it; how it usurped the position of tone; and how it has come about that the old violin is valued, bought, and sold entirely regardless of its tonal capacity.
Between the years 1550 and 1875 there worked in Italy and elsewhere some seven hundred makers of violins and kindred instruments who were sufficiently well known to warrant the inclusion of their names in modern books of reference. As a large number of existing old fiddles are by unknown makers; as no amount of research will unearth all who made violins during that period, it is safe to add as many more as would make the total nine hundred. Among these nine hundred makers two take the first rank, closely followed by three or four who take second place, and a dozen or so who occupy the third position as creators of really great tone in the violin. Let us say the total is twenty, and we shall then have eight hundred and eighty violin makers of olden times who simply “made fiddles.” Upon the violins turned out by the twenty who rank as “Old Masters;” whose instruments, and especially choice specimens of them, were always few in number when compared with the productions of their more numerous confrères, and are to-day almost priceless; upon these violins was founded a cult, pioneered by one Luigi Tarisio in the early years of the last century. Tarisio was a carpenter by trade; never made a violin, and could play the instrument but indifferently. In due time, however, he began the collection and sale of violins by the famous old makers of Italy and became the chief instrument in spreading the cult over France and England. Originally founded upon the great master violins, first one and then another of the lesser known makers has been embraced, until now all old fiddles of every country are included, whether the maker be known or not, and regardless of whether the instrument has anything other than age to recommend it. This cult is scarcely distinguishable from any other cult, whether of furniture, pottery, or stamps. It differs only in the object upon which it is founded. It has its experts, dealers, collectors, and its host of followers. It is due to the scarcity of fine old master violins that the more plentiful supply of minor old fiddles, many of which are tonally worthless, is so diligently exploited. Without them the cult could not now be kept alive for a single day.