What is known as the old Brescian type of tone was doubtless suitable to the tastes of musical circles, among whom the then new style of musical instrument was introduced in Brescia. When settled down, the Amati family, a group of thorough artists, proved themselves alive to the requirements of the fresh district that was henceforth to be the scene of their labours for generations. The Brescian quality had either been found by them, or was known beforehand, to be too ponderous or insufficiently endowed with the more feminine quality desirable in the minds of the Cremonese. The Amatis seem to have been in full possession of the means necessary for producing the kind of violin in demand and supplied it.
As time went on, musical compositions changed in style, advancing by degrees towards the culminating point of nearly a century later. The simple, oft-times wondrously sweet, yet quaint effusions of the early composers for the violin, were gradually giving more and stronger indication of what was possible and likely to follow soon and in its turn, like all other things, become antiquated and old-fashioned. Undoubtedly, it was this progressive condition of the music of the period that induced Stradivari, early in his career, if not at the time he was with Nicolo Amati, to take up the study of tone calibre as a matter of essential importance, in order not only to keep pace with the times, but if possible, anticipate further advances in musical development.
It was daily becoming more evident that the qualities of refinement and sympathy would not in themselves be sufficient in an instrument with such a future as the violin seemed to have. Melodic forms were being modified, while harmony was becoming more varied and divided.
The art of appropriate phrasing was also being studied, while practical musicians were bowing to the necessity of leaving old stereotyped forms for those having more emotional qualities. In short, the violin wanted in Cremona was one of substantial power and suitable for more dramatic expression on the part of the performer. To bring forth a violin of this desirable type, Stradivari directed his energies. With what measure of success, the whole musical world up to the present day have emphatically declared.
Now, we may ask, was the difference of tone between the violins of Stradivari and those of the other makers of the Brescian, Cremonese, Venetian, Milanese, or Neapolitan school, in consequence of the tonal difference between the upper and lower table, as supposed to have been discovered by the modern Parisian investigator? was it resulting from the correct air mass inside? the relative thickness of the tables, or we may as well include the straight and fine grain theorists, the amber varnish in the wood theorists, the wood of great age theorists, and the generations of use theorists, and lastly those who mix them altogether. If Stradivari practically worked upon one, some or all of these theories, there is still more mystery concerning the close proximity at which his pupils or assistants arrived, several of whom we might conclude were possessed of all necessary means of acquiring to the full their master's excellencies.
Just for a moment or two we may turn aside and notice the kind of variation or the distinguishing difference between the tone in the general acceptation of the term—of Antonio Stradivari and other makers, or, as time has proved, masters of their art, if not on an equal standing with him. There is frequently among musicians a disposition to set down as inferior any tone that may seem to differ in degree or kind with that of Stradivari; that is the ideal type, it must be Stradivari and no other; some have even gone so far as to say, "there is only one quality," that of Stradivari, and when other masters did not produce it, they were unable to do so; this is more than a hint at condemnation of the head of the Cremona school as having been very lax in the proper and thoughtful training of his number of pupils; this latter an almost necessary consequence of eminent rank, taken apart from the usual assistance found to be obligatory from pressure of work. If we glance over the Italian schools taken one after another, the facts, if acknowledged, will be seen to point in other directions. Taking for instance the Milanese master, Lorenzo Guadagnini, who tells us himself that he learnt his art under Antonio Stradivari, we find distinct traces of it in his tone, the general calibre is the same and most of the fine, distinguishing features noticed in the tone produced by his master; the difference, however, is that which is peculiar to the master makers of Milan, that of a slightly less reedy emission of sound. Some have called it harder, which is not a correct description. Chords are produced with it as easily and roundly as with any other, the individual notes blend beautifully and give an impression of homogeneousness in no wise inferior to anything produced in Italy. There was no apparent difficulty in the way of Milan acquiring and cultivating the variety of Italian tone known as the Cremonese had they been so disposed; we are therefore led to infer that each place with its musical world held its own opinions as to the most satisfactory quality of tone for its purpose and considered it the best. Milan is situated in Lombardy, north-west of Cremona, and distant from it between forty and fifty miles; not a very long way at any time, but quite sufficient for each place to cultivate or indulge in any artistic or musical fancies or whims independently of the other. We find maker after maker in Milan keeping within certain limits as regards the quality of tone produced there; I do not know of one whose instruments emitted other than the Milanese quality.
We may, I think, safely assume that so far from loosely and superficially instructing his pupils, Stradivari's tuition was of a deeper, far-reaching kind than has ever been suspected. If the tone of Lorenzo Guadagnini is compared with that of the makers who were working in Milan when he arrived, it will not be difficult to perceive that the Milanese type is still retained, although much enlarged and matured, in fact become freshly developed, throwing out the additional qualities for the obtaining of which the great master of Cremona had carefully trained his gifted pupil. All this is not in the least interfered with by the fact of Joannes Battista Guadagnini's tone differing in some respects—and more at times—with that of his father, but rather helped by it; both assert on their tickets that they were instructed by Stradivari, and both show the results of their training in that largeness and impressiveness which is so much beloved of violinists and which without doubt came from their great teacher. Josef, the son of Joannes Battista Guadagnini, appears also to have either been instructed by Stradivari or to have assisted under his personal supervision—which would amount to much the same thing. We may perceive in the tone of this maker also the influence of the great master in the same directions as are manifested in the works of his father and grandfather, they are all of the Stradivarian school.
Let us now turn in another direction. Alexandri Gagliano of Naples tells us that he too was a pupil of Stradivari, and looking at his work there is nothing about it inconsistent with his statement; his typical design is formed upon that of Stradivari, and many of his details of workmanship are such as can only have been carried out as the result of either a lengthy study, or from being under the immediate supervision of the master.
The quality of tone produced by the Neapolitans is as distinct as possible from that of Milan, it is clear, lively, suggestive of a sunny clime, and free in its emission, but leaves an impression on the ear of a lack of sufficient profundity, nearly the opposite in fact of the early Brescian school. Here the best of the Gaglianos—for it is not at all certain that there were not more than two of them assisting at different times in Stradivari's atelier—brought the same kind of improvement to Naples as the Guadagninis did to Milan, the scale was better regulated so as to give greater breadth of effect, notwithstanding the general quality—seemingly native to the place—being uninterfered with. Here then was the influence of Stradivari having taught his pupils the means whereby the particular tone quality most appreciated in the locality could be brought forward in its most developed, or mature condition.
Carlo Bergonzi we shall have to consider more fully further on, and for the present only refer to him as a pupil or assistant much more in immediate connection with the atelier of Stradivari than any maker known to us. Irregular workman as he was, swayed about this way and that by matters unknown to us, he kept steadfast to the Stradivarian lines to the end. The rest of his family were either his own pupils, or they may have even been at times with his master, as they all—so far as I am acquainted with them—are of the same school. These particulars all point in one direction—that Stradivari was not anxious and made no special efforts at introducing any new kind of tone—development of that already in existence was his aim, and on this line he appears to have led his immediate or personal pupils.