Ole Bull: A Memoir

by Sara Chapman Thorp Bull

The form of the violin varied with the epoch in which it was used. The lifetime of Tartini (born A. D. 1692, died A. D. 1770) marks the period during which the powers of the violin in all varieties and styles were completely developed. The violin–makers had to adapt their instruments to the wants of the performers. The efforts of Stradivarius and Guarnerius contributed in a marked degree to assist Tartini in creating a new era for the violin. The best epoch of Stradivarius was from 1700 to 1720 or 1725. It was during Tartini’s lifetime that considerable rise in the pitch took place. This, in the violin, necessitated a new arrangement to withstand the greater strain. The instrument kept pace with the new demands made upon it. In consequence of the increased powers of the general orchestra, the old delicate sweetness of the Amatis ceased to be the chief desideratum, a more masculine and heroic tone gaining the preference. This quality of tone reached its climax in Joseph Guarnerius.

When Francis I. was in Rome and heard the choir of the Vatican Chapel, he was so charmed with the violin, that he induced the lutier Gaspar Duiffoprugcar, also, as I believe, called Da Salo[28] after his native town on Lake Garda, to accompany him to Paris, there to make violins, violas, and contrabasses for his court. It is known of Gaspar’s history that he was quite unable to endure the climate of Paris, and therefore removed to Lyons; so that his instruments date from three places,—Brescia, Paris, and Lyons.

His instruments, at least those made during his life in Italy, are for the most part roughly constructed. His varnish is of a brownish yellow color, exceedingly fine and soft. The thickness of wood in the top and back is so adjusted as to give to the tone quality, power, and solidity, and great variety of color. Da Salo violins of any of his periods are very rare.

The viol in Raphael’s “Parnassus,” where Apollo is represented as playing it, was introduced in honor of the then admired improvisatore and violist Giacomo Sansecondo, who had inspired in Raphael so great an admiration for the viol that he considered it worthy of being placed in the hands of the god of song. In Giacomo Sansecondo’s time the violin had been already introduced, and he was doubtless able to play that instrument. As Gaspar da Salo was then living, it is probable that the viol in the picture was drawn from a model supplied by him. In the first changes from the form of the viol to that of the violin, the new offshoot retained many of the peculiarities of its older kindred, notably in the broad, full oval of the back and top, and the pointed f holes.

The violins of Gaspar da Salo and Joseph Guarnerius have the sound of a trumpet, horn, or flute; those of Stradivarius have the sound of the oboe and clarinet; and those of the Amati family, of the English horn and the human voice. The Steiner violins have the greatest diversity of color between the upper and lower strings, and resemble a sharp oboe. The violins of Maggini are grand but somewhat hollow in tone, inclining to the viola; this quality is due to their curves and large proportions.

Andrew Amati, the earliest of the Cremonese makers, is supposed to have learned the principles of his art in the Brescian school. He made violins for the courts of France, Italy, and Spain; and these instruments were often ornamented by gilding or painting—covered with devices in gold, Latin adages, and in some instances the coats of arms of the different courts for which they were made. His violins are all of high model. His workmanship in all the details of outline, swells, f holes, scroll, etc. is exceedingly fine. They have enough wood at the centre of the top and back, but are rather thin at the extremities. The tone is sweet and vocal, but sometimes inferior on the G and D strings. He discarded the serious cathedral style of Da Salo and Maggini, together with the broad, thick, and strong extremities of their instruments; and it must be said that his narrow, hollow, rounded, thin violins were admirably adapted to their purpose; the sweet and subdued tone harmonizing with that of the viol d’amour and its kindred in the interpretation of the ballad music of the royal chambers.

Antonius and Hieronymus Amati, the two sons of Andrew, at first worked together in the style of their father, but later they adopted a model somewhat flatter at the edges. These violins combine great beauty of form with superior wood, and have a fine and brilliant though delicate tone. After some years the brothers ceased working together.

I have seen several violins of Antonius Amati. They were all of rather high model. The wood of the back and sides was frequently of pear–tree, but they were made quite strong in wood, and therefore possessed a rather strong tone, particularly on the G string.

The violins of Hieronymus Amati are of larger pattern and flatter model than those of his brother, but are not so finely finished. Their tone, however, is much finer.