We may also mention here that the late eminent violinist Ernst, played upon a very fine Stradiuarius Violin which was presented to him by A. Fountain, Esq., an ardent admirer of that famous player. Joachim also uses a Stradiuarius. Servais, the great French performer, uses a Stradiuarius Violoncello, which is said to be the handsomest known, and which cost him 500 guineas.
The value of the best productions of the genius of Stradiuarius is now very great. Mr. Betts, of London, had one for which he refused the enormous sum of £500, and Dragonetti also refused £800 for a double bass. The highest price, £600 however was given twice for the violin now belonging to Mr. Plowden. But even such prices have been exceeded by that of the celebrated King Joseph Guarnerius mentioned elsewhere, which realised £700. It must not be understood however that such prices are the rule, for it is only for extraordinary specimens that any such great sum can be obtained. Excellent instruments are frequently sold for much smaller amounts, and it must also be remembered that none but those made from about 1700 to 1725 realise such enormous sums. His earlier productions, which resemble those of his master, and which are known by the name of Stradiuarius Amatis, can be had occasionally for moderate prices. An undoubted violin of any period of this great master's make, is well worthy the attention of the virtuoso. They are all good, but the grand pattern of this wonderful genius, possessing equal sweetness with greatly increased power, are only now to be had by connoisseurs of unlimited means.
As an illustration of the more moderate prices which these fine productions command, we think it may interest our readers to give here the result of a public sale of Cremona instruments belonging to the Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his work states that the Count possessed "two quartetts of Stradiuarius, very remarkable instruments; another of Joseph Guarnerius; a fourth of Nicholas Amati, and lastly a quartett of Steiner," of which he specially particularises the Tenor as "being a model of perfection as to workmanship, and the tone of which is of extreme beauty." These instruments were sold by auction by Messrs. Puttick and Simpson, on the 26th June, 1862. We quote the report of the "Times," by which it will be seen that our English connoisseurs did not appreciate them so highly as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner at all, we presume because the prices were nothing remarkable.
At the same sale a Grand Amati Violin, jewelled at the corners, £60; Violin by Guarnerius, 38 guineas.
In addition to the above we may mention that the Stradiuarius Violin, which once belonged to a member of the Medici Family, was sold by auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f., about £230, an excellent price for a Parisian connoisseur. We have already mentioned many fine instruments by Stradiuarius which are in the hands of connoisseurs and performers. We will now mention a fact which in the estimation of all true lovers of these fine violins is to be greatly regretted. It is not the only instance, as probably our readers are aware that the celebrated Guarnerius Violin of Paganini, is now locked up in a museum at Genoa. There is at a museum in the city of Florence, a quartett of beautiful instruments by Stradiuarius, consisting of two violins, tenor, and violoncello, which were presented to the institution by an Italian Nobleman, whose ancestors purchased them from the master himself. These instruments are most beautiful and in the highest preservation. But of all other curiosities, Cremona Violins are the most unsuitable for a museum, because they lie there dead, and are no more than names. The soul of music which is embodied in them is imprisoned within wood and crystal, and is no more heard of men. Let no one leave his Cremona to a museum.
Before closing our account of this great master, it may not be uninteresting to state in his life time, he appears to have charged about £4 for a violin, and that he made so many during the course of his long and industrious career, that his fellow citizens spoke of him as rich. "As rich as Stradiuarius," was a common remark, as we see by M. Fetis' notice. Another anecdote is, that Cervetto, an Italian merchant in London, had a consignment of violins from the master himself, and as he could not get four pounds each for them he returned them. This appears strongly to disprove the assertion that his instruments were as good when made as they are now, especially when we find that in 1662, £40 was given for two Cremona violins for King Charles' band, no doubt the elder Amati's, which at that date would be getting mellowed by time. It is clear that King Charles, or the leader of his band, knew the value of Cremona instruments, for reckoning the difference in the value of money at the two periods, £20 then would purchase £120 worth of goods now. It is therefore extraordinary that if they were as good new as when they are old, the paltry sum of four pounds could not be got for them. The real truth no doubt is that whoever the maker, time must be the refiner, and even genius like that of Stradiuarius and Guarnerius could not impart that grand, rich, and mellow tone which distinguishes them without the aid of old Father Time.
The Cremona Varnish.
Those who desire to make themselves acquainted with the chief characteristics of the great Cremona makers should take every opportunity of examining genuine instruments. In addition to the other external indications we have pointed out, one of the most important, which is also the most difficult, if not impossible to imitate, is the varnish, including the colour. None of them seem to have adhered to one colour only. The present master for instance covered some of his finest violins with a deep rich yellow, almost approaching to orange. Others again will be found of a fine red, having something of a most lovely light cherry tint. Now these colours were mixed by the best makers with amber varnish of the purest and clearest consistency, and both colours and varnish are perfectly free from that muddy sort of appearance which so often disfigures modern instruments. The effect is that of perfect transparency. You look at a clear perfect rich colour, as it were, through the purest crystal. This is one of the most certain indications of a genuine instrument. The moderns unfortunately seem to have lost the secret of making this lovely transparent clear coloured varnish, and the consequence is that a connoisseur of ability and experience never doubts when he sees an instrument whether it be the work of a great master. It is however supposed that all the genuine productions of the chief Cremona makers are now known, and we would not therefore have our readers flatter themselves they can pick up any of them in a casual way. Vigilant eyes and sharp judgments have long swept over Europe in search of them. But the advantage is this—that a knowledge of the best enables the amateur to discern a near approach to it, and thus distinguish those makers who are not so well known, though, being the pupils and followers of the great masters, they are well worthy of his choice. Large diamonds are rare and very dear. A smaller gem must suffice the amateur of moderate means.
THE GUARNERIUS FAMILY.
This is another glorious name in the annals of Cremona. Many of the first connoisseurs, now hesitate whether to apply the epithet greatest to Guarnerius or to Stradiuarius. The palm is therefore divided between them. Certain it is however that inasmuch as money rules the world, if we resort to that test, Guarnerius is the brightest gem, for it is recorded that he has sold for £700 and Stradiuarius for only £600. Most of the rich connoisseurs therefore desire to possess both. The great players, to whom money is more an object, divide their affections between them, and are satisfied with either one or the other, as chance or opportunity may decide.
The first of this celebrated family was Andreas, who was born in 1630 and died about 1695. He appears to have been a pupil of Nicholas Amati, and shows much of his teacher's careful finish. His instruments are generally beautifully made, of good and handsome wood, with excellent varnish, principally of amber colour like that of the Amatis. He also occasionally, but much more seldom, used red coloured varnish. This artiste is not famous for producing a great tone in his instruments, and he is therefore not elevated to the first class, but he made very good violins which are well worthy the attention of the amateur. We have seen a very fine specimen in the hands of A. Bright, Esq., of Sheffield, which was purchased of Mr. Hart, and which is decidedly the best instrument we have seen of this master. It is remarkably handsome, of a beautiful yellow colour, the back of one piece with rather small figure, the ribs similar, the head most carefully and accurately formed and the belly of fine wood. The tone is also more powerful than Andrew's violins generally are, and it is altogether a very fine example of his work.
Guiseppe Guarneriusis considered to be the son of Andrew, and his instruments are generally signed as filius Andræ, very probably to distinguish him from his more celebrated cousin and namesake, who is besides generally known by the name of Joseph del Gesu. Guiseppe's instruments are very similar to his cousin's in quality—but less powerful and probably not so round in tone. They have however, a firm well defined kind of sound, which is always pleasing both to the player and the hearer, the former never feeling that the tone will give way under his bow. There are a great number with "slab" backs. The varnish is of first quality, and his violins are yearly becoming more valuable and of greater importance. We have seen a violoncello by this master, which is very fine. The back, ribs and head of very beautiful small figured wood. The belly of very fine grained wood, the bate looking like fine threads of silk stretched at regular intervals the whole width and length of the instrument, and with an exceedingly rich red varnish. It possesses also a fine quality of tone, and is dated 1713.
Pietro, another son of Andreas, dates from 1690 to 1720. In the latter part of his life, he appears to have removed from Cremona to Mantua, his labels bearing date from thence. He was a pupil of his father, but is said not to have equalled him in careful finish. His instruments, however, command considerable respect and fetch a good price, a violoncello of his being recorded to have sold a few years ago for £120.
Joseph, nephew of Andreas, born in 1683, and died in 1745, is the last and best of the race of violin makers of this name. He was distinguished by the title of Joseph del Gesu, through his using on his labels, the monogram I.H.S., with a cross over or through the H. His career appears to have been of a very chequered complexion. From all the accounts that have come down to us, he seems to have been a man of irregular habits and eccentric genius. In consequence of these peculiarities, his instruments differ greatly in their characteristics. Neither the model, the wood, nor the varnish possesses much verisimilitude at different periods of his career. They are all, however, marked by the stamp of genius, and give but little trouble to a well informed connoisseur. Even under the most distressing circumstances, when on some account, he was confined in prison, and was obliged to be indebted to his gaoler's daughter for the materials with which he worked, they still bear the characteristics and originality of a great master. The finish, however, of those which he made at this period was inferior to the others, being rather coarse and slovenly, and the work altogether little indicating externally the signs of that real excellence which they possess. At his best period, however, his instruments are of rare beauty and merit, and equal or perhaps excel those of Stradiuarius. The wood he then used was of fine quality, and the varnish rich and lustrous and very often of similar lovely tints as those of that master. Many of his instruments are of rather small pattern, but in his best period, he produced some of large size and of extraordinary power and grandeur of tone. Among them was the famous favourite violin of Paganini, the renown of which, says M. Vuillaume, "was equal to that of its master." This was the instrument on which, the most celebrated of all violin players the world ever saw, produced those extraordinary effects which astonished the whole musical world, and which will never be forgotten by those who heard them, nor perhaps excelled by any other. These instruments are however unfortunately very rare, and as rich connoisseurs will have them if possible, the value of them has come to be very great. We have elsewhere mentioned the magnificent violin known by the name of the King Joseph Guarnerius, for which Mr. Hart received the enormous sum of £700, which is the largest amount ever obtained for a violin on record. This splendid violin is of large pattern, with beautiful rich orange yellow varnish and splendid wood. It was imported into this country by Mr. Hart, and has been in the hands of those enthusiastic and judicious collectors, Mr. James Goding and Mr. Stewart. Joseph Guarnerius appears to have endeavoured to produce the grandest tone, combining majesty and refinement. Many people think he did so without thought or design, but we think otherwise. In the first place he seems to have fixed on Gaspar di Salo and Magini as his models, for if a comparison be made we shall find there are many points which resemble these instruments, for example, the peculiar shaped sound holes, the manner in which they are placed and the flat model, all of which tend to produce power, while he obtained the quality from the wonderful ingenuity he exercised in leaving the thicknesses of the wood in evidently the correct places, which was the necessary step in advance. He certainly made many rough instruments which are ascribed to his imprisonment, and which are now called the Prison Guarnerii, but the varnish on these even is not surpassed. He made many of a rich yellow colour, and others of red, the latter of which are matchless instruments. His heads are not finely cut, but the character he gave them has never been excelled.
In the first rank of Joseph Guarnerius instruments we must no doubt place that belonging to Paganini, which would, if it could be obtained, command an extraordinary price, and there are also many other noble productions of his skill extant. The King Joseph Guarnerius we have before mentioned. Mr. Plowden has four very valuable violins by this master. One was formerly the property of Mr. Goding, and was esteemed by him the finest in his collection. Another is quite equal, more highly finished and has his splendid red varnish. The third was formerly the property of Ole Bull, and is considered of the finest model of the master in his more unfinished and larger sized instruments, dated 1714. The fourth, less well known, but perhaps more perfect, certainly in tone, 1742. These four instruments are considered by most of the virtuosi, to be probably the finest examples extant of this great master. Certainly there are few collectors who can boast of having so many fine violins as these four by Guarnerius, and the four by Stradiuarius previously described. Mr. Plowden has always gone on the principle of getting the very best instruments of each master, and his taste and judgment are well evidenced in his collection. The late Earl of Falmouth possessed some very valuable instruments such as the Kiesewetter Guarnerius and the Jarnovick Guarnerius, so named after their owners, and also a fine Magini Tenor, all of which were purchased by Mr. Hart. The late lamented Prince Consort had a very fine tenor by Joseph Guarnerius, which was highly finished and had belonged to Dragonetti. There are many other fine specimens of Guarnerius in this country. English collectors, with that splendid contempt for cost which distinguishes them, allow no fine instruments to leave the country if they know it, and the consequence is that in the present day, and for some time back, England ranks first in the number and value of the Cremona Violins she possesses. Next comes France, who has some able connoisseurs; then Russia and Germany. Italy, strange to say, has suffered them all to leave her, and though the native country of Stradiuarius and Guarnerius, it is doubtful whether other nations have not attracted all the finest instruments out of her own possession. The great rise in the value of these extraordinary instruments is no doubt due to the fact that they were built very strong in wood, the effect of which would be to depreciate the tone when they were built, but which, now time has ameliorated them and the wood has become capable of free vibration, has refined the quality and increased the tone. Fifty years ago, a Guarnerius of the best time might have been bought for £50 that will now command £500. Neither does it appear that they have yet reached their climax, for they are yearly increasing in value as the examples we have mentioned clearly show.
THE GREAT TYROLESE MAKER.
JACOB STEINER.
The time has been when the instruments of this master, whose name is perhaps yet as widely known as the Cremonese, were very highly esteemed in England. In Germany it is so yet, and many of the amateurs of that country flatter themselves that Steiner ranks first in the roll of famous violin makers. Their celebrated violinist, Spohr, however, in his remarks on the subject inserted in his Violin School does not coincide with the opinion of his fellow countrymen to this effect, for he puts Steiner in the second rank, reserving to the first Nicholas Amati, Antonius Stradiuarius, and Joseph Guarnerius. In this decision he also generally expresses the opinion of the travelled professional violinists of his own country as well as all Europe. But it is well known that in Germany a well preserved instrument of Steiner's best period will sell for much more money than any where else. In England more especially we adopt exactly the reverse valuation. Steiner will not now command a greater price than many of the pupils of the great masters, and perhaps to some extent this may arise from the immense number of spurious instruments bearing his name, which the inferior Tyrolese makers put forth to the world and palmed on a credulous public as his genuine instruments. Perhaps no master has been more copied and imitated, both in Germany and elsewhere. In England the violin makers in the beginning of the eighteenth century, mostly copied the pattern and model of Steiner. There must, therefore, be some good and powerful reason for this general depreciation in value and reputation which Steiner has suffered. This the candid inquirer readily finds in the fact that the instruments of Steiner, which were generally constructed on a high and peculiar model were only calculated for the production of a thin though sparkling tone, while the Italians aimed, particularly in the flatter instruments, to obtain a full rich and round tone. This distinction is apparent even in the older Cremona makers, but if we compare those of Steiner with those of Nicholas Amati, of Stradiuarius, or Guarnerius, the thin tone of the former and the rich round tone of the latter become instantly most striking. The consequence is that the rich amateurs who form collections, and the great performers whose interest it is to please by the quality of tone as well as the grace and finish of their execution, no longer purchase the Steiner violins except as matters of curiosity in the case of a very fine example. We do not know any great player who uses a Steiner instrument, as we shall show in another article. We therefore only now class Steiner among the great masters, from his past reputation, and for certain special instruments.
Jacob Steinerwas a native of the Tyrol, and was born at Absom, near Inspruck, about 1620. It is said that an old instrument by Kerlino, which he found in the house, gave him his first tendencies towards the art of violin making. Certain it is however that while yet a youth he obtained employment in the workshop of Nicholas Amati. This was an excellent school for the young aspirant, and after some years he made some instruments which, with the exception of sixteen which will be mentioned later, are considered to be the finest specimens of his talent. These fine violins are the product of his Cremonese inspiration, and bear a written label signed by himself and dated from Cremona about 1644. These instruments are modelled higher than those of his master, thus showing a singular divergence from the principle of gradual decrease in the height of the model of the Amatis, from Andrew to Nicholas. This divergence from that principle, which ended in the flat model of Stradiuarius, must be considered to be the real cause of the loss of favour which the Steiner violins, though beautiful in other respects, have undergone. Steiner exaggerated the old practice instead of following the new lights of science, and while the latter have yielded the brightest results, the former has tarnished the real talent of this otherwise excellent artiste. Probably another reason for the defective tone of Steiner's instruments in comparison with the Cremonese and Brescian, is the practice of modelling his violins with an extraordinary and peculiar rise to about the foot of the bridge, and then keeping it nearly flat. Otto describes it thus, "the breadth of this raised part is about the same as the bridge itself, and then it falls off towards the edges. The model is precisely similar towards the neck and on the broad part (beneath the finger board.)" This description is only imperfect in this point that sufficient stress is not laid on the wordsfall off. It is literally a falling off, and on the principles of acoustics must of necessity make the tone thin. Andrew Amati, on the contrary, built nearly as high, but beautifully and gradually sloped them down to the purfling, and his instruments, though small in tone, are yet full, round and sweet. In other respects Steiner at this period was a most careful maker, and his instruments show very fine finish and workmanship. They are of the small pattern, with the S holes rather shorter than the Cremonas, somewhat narrow and beautifully formed; the head also smaller and particularly round and smooth. The varnish is similar to that of the Amatis, and the wood of the belly has a fine open grain.
After the production of these instruments at Cremona, Steiner removed to his native place and having married the daughter of Antonius Amati appears to have lost his ambition, and made many very inferior instruments. His history at this period is somewhat melancholy. Pressed by the necessities of a family and the want of active patronage, his genius languished and he became negligent and careless in his work. This continued for some time till fortune again smiled upon him, when not being compelled to sell for immediate wants he again resumed his careful finish and began to be distinguished as a good maker. At about this period Klotz and Albani became his pupils, and he produced some excellent instruments, which are often distinguished by the scrolls being ornamented with lions heads which are beautifully carved. These and the heads of other animals are supposed to denote the crests of his patrons at this period. They are dated from about 1650 to 1667 at Absom. Fetis says the French violinist, Alard, has a violin of this period of the greatest beauty, and that there is in Paris a genuine Steiner, which he has heard Sivori play upon, which although of a very small pattern has an unusually brilliant tone.
Now comes the most brilliant period of this artiste's history in a musical sense, though somewhat romantic and mysterious otherwise.
Retiring to a monastery, it is said after the death of his wife, he there passed the remainder of his life, but there does not appear to be any positive information when he died. While there, however, he resolved to distinguish the close of his career by the construction of some violins of super-eminent beauty and quality. This he accomplished by the aid of the superior, who obtained for him some very fine wood, out of which those most famous instruments, known by the name ofElector Steinerswere made by him. These are the violins which by common consent most entitle this artiste to rank with the great masters. They are of the very highest quality of the Steiner tone, which Dubourg describes as "a pure ringing ethereal tone, comparable to that of a woman's perfect voice—a shape of elegance—studied finish in every detail, and a diaphonous varnish of golden hue." Such are the characteristics, says this enthusiastic admirer of these productions of Steiner's third or last epoch. There were sixteen of these violins, one of which he presented to each of the twelve Electors, and the remaining four to the Emperor. Unfortunately thirteen of them appear to have been lost, and the remainder have all been in royal hands, the Empress Maria Theresa, the Duke of Orleans, grandfather of King Louis Philippe, and Frederick William of Prussia, and been presented by them (except the last) to eminent foreign violinists.
We have now presented a concise sketch of the career of this celebrated artiste, and it is to be regretted that none of his more celebrated violins are known to be in this country, to enable us to judge more accurately, whether he succeeded, in any of them, in producing any close approximation to the rich round tone of the best Cremona makers. The best of those known to English connoisseurs are characterised by the thin though brilliant tone we have described, which, when compared with the Italian masterpieces, has led to their general depreciation in the estimation of the highest authorities and the most distinguished performers on the violin.
WHY ARE CERTAIN VIOLINS OF MORE VALUE THAN OTHERS?
In considering this question, several difficulties present themselves to the inquirer. We are all aware of the infinite diversity of tastes in the first instance, and in the next, accurate judgment is a matter which depends on the union of so many qualities that it is rare indeed to find two opinions completely alike. Nevertheless we do find that there are a few instruments which by universal consent have become the standard of taste. They are "the glass of fashion and the mould of form" in the violin world. An appeal to these famous violins must therefore be of some service in this inquiry, which is of very considerable importance, because its object is to decide what is that tone which confers that immense value which some violins have realised as distinguished from that which possesses only a merit of so inferior a character as to become scarcely valuable in any degree. In other words, what are the distinguishing characteristics of tone of the violins made by Nicholas Amati, Antonius Stradiuarius, and Joseph Guarnerius. These three makers are now the Raphaels, the Titians, and the Claudes of the musical world, and a few thoughts on their works in connection with this subject may help us to a decision on this difficult point, at least to the great bulk of amateurs. We will divide the inquiry into three heads.
In considering the first point, power, the amateur will have to beware of a very possible mistake he may fall into. There isapparentpower under the ear, arising from coarseness. This is a species of power which is observable chiefly by the player. The listener, especially if at a little distance, does not hear this power. The tone is clogged and thickened with the resinous particles which have remained in the wood and which perhaps, from its nature may never leave it altogether, and the vibration is not therefore perfect. Another cause of false power is a certain imperfect build wherein the parts are not properly calculated as in the fine Cremona productions. These two classes of instruments are very apt to deceive unpractised ears. But a moment's comparison with one of the genuine great masters will show them in a most unmistakable manner the difference. What then is real power? It is simply musical tone, divested of all adventitious qualities. When tone of this class is heard near, the effect is charming to the ear. When heard afar off, it seems to swell out and become magnificent and telling. Who that has heard a great player on a fine instrument, that has not been astonished at the immense quantity of tone which arises from this exceedingly fine quality. And it is in this way that even the small Amatis, built when great amount of tone was not wanted and would not have been appreciated, are still most delightful as solo instruments. Its purity and fine quality carry it to a much greater distance and produce a greater effect, than would arise from larger instruments of less careful build and euphonic qualities. Herein is discovered the difference between violins of the three great masters named and others of the same name. If a small Nicholas Amati be compared with a large model, it will be found that the quality is similar, but the quantity is greater, and therefore the instrument becomes more valuable. Again, in a Stradiuarius or Joseph Guarnerius of the best period, which are of the flat model and most accurate build, we find a pure ringing and deliciously rich quality, without roughness or coarseness, that finds its way through everything to a great distance, even in a crowded concert room. The differences in the three great makers seems to be now decided to consist in fullness of tone and quantity of power. The Amatis are essentially sweet and vocal. The Stradiuarius—of similar quality, greatly increased in body and of a more ringing bell-like character. The Guarnerius of the best model is even still more powerful. But they all possess that essential purity and richness of tone without which there is no real excellence. On this head we find, therefore, that power, providing it be accompanied by the other essentials of sweetness and purity, confers on violins the greatest value. A Nicholas Amati of the grand pattern—a Stradiuarius of the large flat model, or a Guarnerius of similar characteristics—all of which have been built with the greatest care and attention to the resonant qualities of the wood, and possess all these essentials—are therefore the instruments that have and will always command the greatest admiration.
The next essential point in a good instrument we have to consider is sweetness. This combines characteristics which are not essential to power. A violin may possess the latter without the former. The tone may be of a quality which will tell and carry, but not of that soft delicious voice like nature which we call sweetness. The most admirable instruments of this characteristic have been variously compared to a flute or to the female voice. The latter is the best comparison. For the brightest examples of this quality alone we must look to the small violins of Antonius and Hieronymus, and also of Nicholas Amati. They are of the most delicious quality, and for solo instruments cannot be excelled. They respond with the most charming effect to the most touching and passionate expression. A great player can really sing on these with such a delightful effect as almost to compensate for the want of speech.
The third point is purity of tone. We may be said to have touched upon this already in treating of the other two. But it is necessary to allude to this also, because it is possible to have purity of tone without sweetness or power. There are many instruments which from age and use have lost all harshness or roughness of tone, but are still of a thin piercing quality. These may be said to be pure in tone, but not possessing the other requisites they fail in commanding attention. What we have to look for in a violin is that roundness and fullness of quality which are combined in the term sweetness. Tone cannot be said to be sweet which is thin or piercing. It lacks one essential characteristic. It is on this account that in the present day many of the Steiner instruments have lost favour. There are a few which possess both sweetness and purity, and they rank with the small Amatis. But the best of them are wanting in power. This characteristic is only heard in perfection in the Stradiuarius or the Guarnerius of Cremona, and the great Brescian makers Gaspar di Salo and Magini. An amateur should look therefore in purchasing an instrument whether it possesses these three characteristics or any or which of them.
We have now shown what are the essentials of a fine instrument, but as the genuine productions of these great masters are mostly in the hands of rich amateurs it is scarcely possible to become the happy possessor of one of the perfect instruments. What then shall we do? The reply is simple. Study the characteristics we have described, and you will find in some of the pupils of the Amati, Stradiuarius, or Guarnerius a near approach to this excellence. In fact it is well known that in the scarcity of originals fine examples by the pupils have frequently been sold as the work of the masters themselves. The Dictionary we have compiled will tell the amateur what names will most probably supply the qualities he desires. Care and attention will do the rest.
ON THE PRODUCTION OF GOOD TONE IN VIOLINS.
In the preceding chapter we have endeavoured to solve the question what are the qualities that constitute good tone. We now propose to inquire how good tone is provided for in the construction of the violin. We are not about to enter into the scientific question. We wish merely to give to the general amateur a knowledge which is often only acquired after years of patient study and trial of instruments, by certain general principles which will seldom or never be found to be incorrect in fact, and then only through instruments being built on false rules in other respects. In good instruments these rules may be said to be infallible.
It is a curious fact that Gaspar di Salo and Magini, both early makers, started with the principle which has since been brought to the greatest perfection by the Cremona makers, and built on the flat model. Their instruments are consequently found to possess much of the fine and powerful tone which distinguishes Stradiuarius and Guarnerius. The early Amatis, in the second place, built on a higher model, and their instruments possess a sweet but not powerful tone. Steiner, thirdly, built on a higher model still, and his instruments have a thin piercing tone. We can only draw one conclusion from these facts—namely, that the nearer we approach an entire flat in the model of a violin the fuller, rounder, and more powerful the tone; other points of careful work and good varnish being taken into consideration. This fact has strongly impressed itself on the minds of scientific inquirers, and the result has been, as tests of the principle, the production of flat violins. These have been tried and reported satisfactory in the matter of tone. But there are other points to provide for which a flat box does not allow. To gain the requisite mass of air to produce good tone a flat violin has to be made of a clumsy awkward shape. In the beautiful modelled violin this is provided for in the rise of the back and belly. The ribs may therefore be more or less shallow according to the height of the model, and yet provide a sufficient space for the necessary amount of air for the production of good tone. We arrive then at this one certain fact, that the flatter the model of a violin the greater the probability of a good fine tone. It is of such violins therefore that we find the great performers possess themselves. This may be said to be an infallible rule, and an examination of the instruments of the most celebrated makers fully confirms it.
Why therefore did the elder Amati, contemporary and probably pupil of Gaspar di Salo, change the model and size of the instrument? This inquiry brings us to the second rule for the amateur. There cannot be a doubt that he adopted this plan because the flat model produced a more powerful tone than was then required. He therefore, no doubt acquainted practically, if not theoretically, with the principles of acoustics, raised his model and decreased his size to provide for the production of that eminently sweet tone which characterises his instruments. The amateur therefore who desires tone of this description, but does not want power, will generally find it in the model of medium height, providing as in all other cases, the work and the wood are good. Of this model are some of the sweetest toned violins to be found, of which the Amatis are the type.
Finally, many instruments are to be found constructed on Steiner's plan with very elevated model flat on the centre, and falling off abruptly towards the sides. These are all contrary to acoustic principles, and their thin piercing tone is to be ascribed to the want of that harmonious communication of vibration which their peculiar construction inevitably indicates.
Let, therefore, the amateur who wishes to be his own purveyor, examine, with these principles impressed on his mind, whatever instruments he can gain access to and the result will be that he will seldom err in this matter.
After this he must study the characteristics of good wood, careful finish, and fine varnish. A knowledge of these is best acquired by examining the instruments of the great masters. To go fully into these also is not necessary here, having already commented on them under their respective heads. One remark is, however, necessary here. Many people foolishly imagine thatanyviolin may be made to produce as sweet sounds in the hands of a skilful player as a high class instrument. This is a great mistake, and a convincing proof of its fallacy may be drawn from the fact that all the great soloists play upon high class violins. They do this moreover at a time when they would gladly save the expense were it possible. A few instances may interest the reader.
Great Players and their Instruments.
Joachim plays upon a Stradiuarius, Vieuxtemps on a Guarnerius, Ole Bull on a Guarnerius and an Amati, De Beriot on a Magini, (of which he had two very splendid examples, the second being now in the possession of the author,) Carrodus a Guarnerius, and many other living instances. Piatti a Ruggerius violoncello, Servais a Stradiuarius violoncello. Past examples may be cited in Paganini, who played upon a Guarnerius, Mori a Guarnerius, and Spagnoletti the same. Ernst used a Stradiuarius. Dragonetti played on a Gaspar di Salo and a Stradiuarius double bass.
GENERAL NOTES.
In the last article, we have given some general rules for judging of the probable tone of an instrument from its model. A few further remarks on this and other important topics will well supplement what we have said.
1.—Accurate judgment in violins can only be obtained by long experience and seeing many instruments, and if possible those of a high class. There are many little points which to a casual or careless observer are invisible, but which a practised connoisseur detects immediately, and thereby is enabled to declare the maker. A difficulty will often present itself to a tyro in the knowledge of violins, from the family likeness which it is possible to trace, for example, between Amati, Stradiuarius and Bergonzi. These have a general resemblance which indicates the coming from one school. This applies also in many other cases—but every master has some distinct difference which is perceptible to the practised eye. The faces of a flock of sheep are to a stranger all alike; to the shepherd, each has its personal individuality. It is the same with violins, which can be read by the practised student as easily as we know each other by the countenance.
2.—It is erroneous to imagine that Cremonese instruments can be successfully imitated, a very popular story about Paganini's Guarnerius to the contrary notwithstanding, as the lawyers say. An attempt to impose an imitation on a practised judge is always productive of an unpleasant result. To fall from the sublime to the ridiculous is especially awkward, and results in becoming very particularly ridiculous yourself. Thismustbe whenever a modern maker attempts to make an ancient violin. There are practical difficulties impossible now to get over—such as the varnish. The secret of making the grand old varnish is lost, and therefore whatever is put on by a modern tells the tale and cries aloud to the judge—This is a cheat!
3.—It is easier to imitate an old painting than an old violin, though that is difficult enough to a good judge, but such an insuperable obstacle as the old amber varnish does not puzzle the picture forger.
4.—In choosing an instrument it is better to select one of a flat model, the sides of medium height, well proportioned and with good oil varnish.
5.—We are inclined to think that all the great instruments of the great makers are well known, and that there are none lying by unknown to fame.
6.—Most of the more celebrated instruments are given a name of distinction, such as the Yellow Stradiuarius, the Blood Red Knight Guarnerius, the Ole Bull Guarnerius, the De Beriot Magini, the Emmeliani Stradiuarius, the General Kidd Stradiuarius Violoncello, the Servais Stradiuarius Violoncello, and others. These can be recognised like the human face.
7.—The reason why Italian instruments are so superior to all others must be ascribed to their exquisite make, the careful adjustment of the various thicknesses of wood and the varnish, the secret of which appears gone for ever. Perhaps another reason may be named in the wood being so ripe and dry as to permit free vibration.
8.—The Cremonese obtained their colour in oil. The moderns get it only in spirit, which imparts a hardness to the tone. Compare a Cremona with the German and other imitations. Can't you hear how perceptible the difference? The former is mellow and rich—the latter flinty and harsh. This arises no doubt from the varnish.
9.—The Cremonese violoncellos were mostly made deeper by half an inch at the bottom than at the upper part. Guiseppe fil Andreæ, Guarnerius, Stradiuarius, Landulphus, and others observed this rule. The tone is said to be greatly improved by it.
10.—Some persons think it is very difficult to obtain an Italian violin at a moderate price. It is not so. There are many whose makers are not known, and also third class instruments of good qualities, which can be obtained from £10 to £25. It is better to purchase one of these than a baked copy or a new violin. Then again amateurs may resort to the old French makers, some old English and the Tyrolean, which may be had cheaper still.
11.—A respectable dealer who is known to be a connoisseur of experience, will never sell you a modern copy for an old Italian violin with a long story of how he got it in some wonderful way. His character is at stake. Beware of ignorance which assumes the mask of knowledge, or of designing roguery which apes the appearance of innocence.
12.—The present excellence of the old instruments arises from their having been made thick in wood, which time has ameliorated and mellowed, and now permits free vibration. It is much to be deplored that many instruments have not been suffered to remain as the makers left them, and that others under a false notion of giving an old tone have been made too thin.
13.—Had Magini, Gaspar di Salo, and other very old makers used as little wood as some of their successors, where would their instruments have been now? We are at the present time reaping the benefit of their foresight.
14.—There is evident proof of the deep interest the high class makers took in endeavouring to advance the interests of their art. For example, Stradiuarius sometimes put the widest grained wood on the fourth string side, feeling it was the weakest and needed the open grain. Sometimes he put it on the first string side. He was evidently trying experiments. But he mostly adopted the former plan, no doubt correctly. Again, they made instruments larger at the bottom than at the upper part, gradually reducing in size and depth, an experiment which observation has since found to be correct. They also made instruments thicker under the bridge to enable them to bear the great tension to which they are subject, and many other points showing how perfect they became. They left little for modern ingenuity to discover.
15.—Old instruments of character should be greatly prized and carefully preserved, for it seems probable that there will be no others to take their places, from many well known causes.
16.—Makers of the present time have perverted their talents to discover a means of producing the qualities of old instruments in new ones, an achievement utterly impossible, as their efforts show. Many make instruments with the greatest care, copying the plans of the old masters—but instead of allowing Father Time to ripen them, they use an acid to dry up the wood, or bake them. These are known by a peculiar smell which tells the tale, and they get worse instead of better. Again, they deem it wise to get a colour at any price, which can only be done in our day by the use of spirit varnish. Did they use oil varnish, our successors would at all events reap the benefit, if not ourselves. The great masters were willing to wait for fame and tried none of these dodges. Others again put the varnish on and rub it off in places to resemble the wear of age. Much better would it be to cover the instrument with varnish and leave age to do the rest. Such schemes are futile and reflect discredit on those who adopt them.
17.—The peg holes seen in old Italian violoncellos in the middle of the back are where a peg was put to fasten the instrument round the neck while playing in the Catholic Churches.
18.—Stradiuarius in his early career frequently cut his wood to form what are called slab backs, (explained elsewhere,) and sometimes used pear tree for violoncellos.