Violin tone and violin makers

by Hidalgo Moya; Towry Piper

STRADIVARI, Antonio.—Cremona. Born 1644; died December, 1737. The bulk of the biographical matter concerning this, the most famous of all fiddle makers, was collected by George Hart, who published some of it in the first edition of his celebrated work on the violin, but was unable to include the whole of it until the appearance of the second edition in 1884. He was largely assisted in his researches by Signor Sacchi, a Cremonese gentleman of considerable literary ability. In 1902 appeared the well known and sumptuous volume by the Brothers Hill, republished in cheaper form in 1909, entitled “Antonio Stradivari, his Life and Work,” the most exhaustive critical survey of the subject which has yet appeared. These two books form the chief English authorities for all that is known concerning the great Cremona master. Readers may also consult the very able article contributed by the late E. J. Payne to Grove’s Dictionary of Music, and the little volume of Horace Petherick published in the Strad Library in 1900. The writer’s observations on the work done by Stradivari during the time he was employed by Niccolò Amati will be found in the notices of that maker and of his son, Hieronymus Amati II. One or two labels still survive—one of them dated in 1666—in which Stradivari describes himself as a pupil of Amati. Early works usually exhibit an outline and arching similar to those employed by his master in his ordinary 13⁷/₈-inch instrument. The varnish seems identical, and is of the usual yellow colour, although darker shades may be seen almost from the first. The chief points of distinction lie in the heavier edges, the cutting of the sound-holes, and the form of the scrolls. This type of violin he continued to make with certain exceptions, such as the “Hellier,” a large fiddle of the “inlaid” class, measuring 14¹/₈ inches in length, until 1684. Between that year and 1690 the pattern and details are somewhat variable. According to Messrs. Hill, Stradivari first began to pick out the edges of his scrolls with black in or about the year 1688, and continued the practice, with rare exceptions, until the end of his life. In 1690 he made the remarkable violin known as the “Tuscan,” a large instrument of exceedingly handsome wood and build, and in the years 1691 and 1692 a few violins of exceptionally large proportions. The year 1690 also saw the advent of the “long Strad,” a pattern the dimensions of which have given rise to a certain amount of controversy. As a matter of fact, the lengths of these instruments vary between about 14¹/₈ inches and 14⁵/₁₆, the latter being the extreme limit. About 14³/₁₆ inches would seem to be the more usual length. The widths are about 6⁷/₁₆ in the upper bouts, and 8 inches in the lower ones. These narrow violins were made until the year 1700, with the exception of the year 1698, from which year no examples seem to have been seen. A large number of them—something like fifty—are still in existence. During this period, however, he did not confine himself entirely to the long pattern. Some of the long Strads are of great beauty of form and material, and by the time he began to make them he had adopted a varnish of deeper colour. The maker’s best period is commonly supposed to begin about the year 1700, but some of the finest efforts are dated from 1704, in which year he made the “Betts,” a specimen in a remarkable state of preservation, and with rather long corners. In the same year he produced a violin bearing a close resemblance to the “Betts,” and which is in the possession of Colonel Glennie. The year 1709 seems to have been one of the most prolific in Stradivari’s career, and many fine examples, such as the “Ernst,” and “La Pucelle,” were made in that year. At about this period the violins having a body length of 14¹/₈ inches begin to appear. In the preceding period 14 inches was the general rule. The backs of these violins are mostly made from handsome wood with a broad curl. The years 1710 to 1716 inclusive were productive of many of the finest violins ever made by Stradivari. Amongst them are the “Parke,” 1711, the “Dolphin,” 1714, the “Gillot,” now rather absurdly called the “Emperor,” the “Alard,” all made in 1715, and the famous “Messie,” remarkable for its unique state of preservation, and the magnificent “Cessol,” both of which belong to 1716. Between 1720 and 1725 the outline changes somewhat, and is squarer in the shoulders and the curves of the lower bouts. So far as tone goes some of the best toned fiddles in the world were made about this time, and it may be here added that of late years the later works of Stradivari have received much attention from concert players on account of their masculine tone. In the years immediately preceding his death the maker was in the habit of recording his age in manuscript either upon the labels or on a slip of paper just beneath them. Messrs. Hill enumerate eight examples of this practice; another from the year 1731 came under the writer’s notice in 1912. In the labels dated prior to 1730 the maker’s name is spelt “Stradiuarius,” but from that year onwards it appears as “Stradivarius.” The number of ornamented and inlaid instruments which have survived seems to be about a dozen. Messrs. Hill record ten of these; others are known to have been made, but traces of them, if still existing, have disappeared. The earliest seems to date from 1677, and the latest is the “Rode” violin made in 1722. These examples include a viola dated 1696, and a violoncello. Three of the inlaid violins are dated 1709. The violas at present known number only about a dozen. One of these, a “tenore,” dated 1690, measures 18⁷/₈ inches in length. The smaller examples average about 16³/₁₆ to 16⁵/₁₆ inches. There are about fifty violoncellos, the older specimens being over 31 inches long, and the later type about 29½ inches or a little over. These include many notable instruments, such as those owned by Piatti, Duport, Servais, and other celebrated players, after whom they have been named. Notwithstanding repeated assertions to the contrary, there is no trace of any double basses made by Stradivari; specimens formerly assigned to him have long been rejected as spurious, and no patterns for such instruments are to be found amongst his drawings, moulds and other working apparatus. These last were bought from Stradivari’s son by Count Cozio di Salabue, and from him descended to the Marquis dalla Valle, who is, or was recently, still in possession of them. Stradivari’s output was enormous, even when due allowance is made for the length of time during which he was at work; and the estimate made by Messrs. Hill, which gives a total of 1116 instruments, is by no means an excessive one. No other maker, who has not degenerated into a “manufacturer,” like Vuillaume and “didier” Nicolas in the last century, can compare with him in this respect, and the marvel of it all is that his own hand is plainly visible in all his works, even to the very last. There can be no reasonable doubt that he was assisted by a considerable number of workmen, including his sons Francesco and Omobono, Carlo Bergonzi, and others whose claims to have been his pupils are more open to question; but whatever share these may have had in the earlier and rougher stages of the work the master left but little trace of it in the finished article. Since the beginning of the last century his fame in this country has steadily increased; his name has become a household word. In his own day his consummate abilities were widely recognised, and orders were sent to him from royal courts and noblemen all over the continent of Europe, as appears by contemporary evidence. To-day his violins command higher prices than ever, and although some of his earlier instruments are more or less played out by the successive generations in whose hands they have seen service, their authorship is of itself sufficient to maintain their market value at a high figure.

STRADIVARI, Francesco.—Cremona. Born 1671; died 1743. The elder of the two sons of Antonio who followed his calling. A good many violins of considerable intrinsic merit but dubious authenticity are assigned to him, but several which were formerly accepted as genuine have failed to obtain a favourable verdict amongst some of the later judges, and it is difficult to speak with any certainty about them. One magnificent violoncello, the proportions of which have been slightly reduced, is known to the writer, and its authorship appears to be unquestioned. This instrument is covered with very fine varnish of golden-red colour, and considerably more substance than that seen on violins supposed to be of his make.

STRADIVARI, Omobono.—Born 1679; died 1742. Son of Antonio. The writer is acquainted with three or four violins which are assigned to him upon good authority. These are of bold pattern and bear some resemblance to the work of Antonio, but do not display any of his fine finish. The wood of the backs is with one exception of small figured native maple. The varnish thinner in texture than that of the father. The sound-holes are somewhat like those of Bergonzi, and in one case are very slightly pointed. The back and sides of the other violin referred to are of beech. The tone of all these specimens is very fine and full. Most of Omobono’s tickets seem to have been in neatly written manuscript. A favourite date, which leads one to suspect their genuineness in some cases, is 1740.

STRAUB.—Chiefly eighteenth century. About a dozen workmen of the name are enumerated.

STRAUBE, Johann Augustin.—Born 1725; died 1802. Worked chiefly in Berlin. Instruments seemingly very scarce.

STRNAD, Caspar.—Prague. Died 1823. Fine red varnish, pattern usually that of Stradivari. He used several different labels, engraved with musical instruments and other devices.

STROBL.—Eighteenth century. There were at least three makers of the name. Two named Johann worked in Hallein, and a third named Tobias in Krems.

STUMPEL, H. C.—Minden. Born 1838. A maker who produced instruments of various models, built according to a system of thicknessing of his own. He used a label bearing a diagram showing a violin belly graduated according to his method.

STURTZER, or STURZER.—Breslau. Eighteenth century. Two makers named Johann Michael Sturzer worked in Breslau.

SÜSS, Johann Christian.—Markneukirchen. Died 1900. Worked for a time in Dresden. He was one of the best bowmakers Germany has produced.