Guarnerian.—A tone distinguished for its remarkable qualities of clearness, brilliancy, virility and intensity. Peculiar to the violins of Joseph Guarnerius del Gesù. Rarely imitated with any degree of success. Rare.
(Guarneri) Length of body 13¾ to 137/8 ins.
Width across lower bouts 81/8 ins.
Width across upper bouts 69/16 ins.
Arching variable but tending to flatness.
“Italian.”—Not a type, but an expression, used to distinguish the tone of ancient Italian violins from those made in other countries. Now rather loosely applied to any instrument possessing tonal qualities above the average.
Stradivarian.—Rich, mellow, sympathetic and powerful. The favourite with most players although Guarnerian tone is preferred by some—to quote the opinion of one celebrated expert, “The tone of a good Joseph beats that of the average ‘Strad’ into a cocked hat!” Stradivarian tone has been said to combine the good qualities of both Brescian and Amatisé. It possesses in a marked degree that rich woody quality admired by connoisseurs. To appreciate the meaning of “woody” quality, one should hear an organ containing both wood and metal pipes and note the difference in tone quality between them. The best organ of this kind I know of, and one of the richest toned instruments it has ever been my pleasure to hear, is located in the Tabernacle at Salt Lake City, Utah, U.S.A., and was built by an Englishman, Joseph H. Ridges (1826-1914) about sixty years ago.
| (Antonio Stradivari 1700-1724 period.) | |
| Length of body | 1315/16 to 141/8 inches |
| Width across lower bouts | 8¼ inches |
| Width across upper bouts | 6½ to 611/16 inches |
| Arching variable but always tending to flatness. | |
Of all the five types of tone Stradivarian is the most plentiful. Apart from the violins of Stradivari, which are more numerous,[C] perhaps, than that of any other famous old maker, the type is found in a high state of perfection in some of the instruments of his followers, and in not a few violins by modern makers.
It may be thought that other great makers should be credited with the creation of a tone-type; but I think their violins will, in tone, be found to fall into one or another of the groups named above, varying only according to the ideals and individuality of the several makers.
I shall now investigate the relationship between tone and the old instruments, and explain why a master of tone was not always a master of handicraft, and why many excellent workmen were unsuccessful as creators of a grand tone. In the next chapter, therefore, I deal with the old masters as violin makers.
CHAPTER IV
THE OLD MASTERS AS VIOLIN MAKERS
There is a “Life” of Stradivari[D] by Messrs. Hill which contains a deal of valuable and reliable information of the utmost importance to those interested in violin tone. It does not, indeed, deal with the subject from the point which we are now about to approach, but it makes such a fitting prelude to our theme that I regret my inability to quote this work extensively. I therefore earnestly advise my readers to procure a copy of that work if they are not already acquainted with it, as, in dealing with the subject of tone from my own point of view, I am prevented, through considerations of space, from giving much information which would add background and perspective to this discussion, and thereby add materially to its interest and understanding. With this digression I will now proceed.