Joseph Pearce

“ If a merry dance is produced by the agile bow, its sympathetic tones at once excite a corresponding feeling. If a plaintive air streams in delicious and heart-touching cadences from the strings, what soul is there so dead to feeling as not to respond?
The perfection of the Violin is that its master, if alive to the subtle and mysterious influences of the imagination, can elicit from it the most perfect and touching "songs without words." ”

“ 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. ”

“ Suffice it to say that whoever boasts of an excellent violin should match it with a superior bow. One is incomplete without the other. There are many excellent makers, but we must content ourselves with briefly noticing the most prominent. Suffice it to say in the way of advice and warning that whether the amateur buy an old or a new bow, let him see that its flexibility, which is its great merit, is perfect, and that it is still strong though light and straight. Mr. Bishop in his edition of Otto says the finest bows are those of Vuillaume! ”

“ 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. ”

“ 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. ”

“ The Violin is an instrument which, though small and of trifling original cost, has yet commanded most extraordinary prices. The reason of the immense difference in the value of these instruments must therefore be a subject possessing strong claims to notice from virtuoso and amateur.
To distinguish by the outward characteristics and peculiarities of tone, that which will be of pecuniary value to the possessor, and yield the utmost delight to the hearer, is an acquirement at once difficult to obtain and very valuable when obtained. ”

“ HART, JOHN, of Princes Street, Leicester Square, London, pupil of Samuel Gilkes, is a maker; and restorer of instruments, in which latter capacity we have pleasure in stating him to be worthy of the extensive reputation he has acquired. He is also a great connoisseur in old instruments, and has the honour of having formed most of the fine collections in this country. The largest price ever given for a Violin was for one imported by him and which from its beauty, model, varnish and perfection of condition is known by the name of the King Joseph Guarnerius. ”

“ 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. ”

“ It will not be considered out of place in the course of a biographical account of the principal makers of violins, to give a short notice of some eminent persons without whose labours, the violin itself would never have been developed as it has been, to wit, violin bow makers. Much of the elegant finish and refinement of tone and style which distinguish the great players of the violin, if not due altogether to the bow, by which the tone is produced, is at all events greatly aided by it. A Paganini will have a Tourte bow, and so will every other great master, if he can get one. ”

“ From all past experience, there can be no doubt that whatever pains or trouble a maker may take to bring his instruments, while new, to bear the character of old, his labour is quite useless. There is no instance of an instrument becoming famous for its fine tone till it had attained a good old age. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ An ear accustomed to the fine tone of a good violin will not now tolerate a bad piano-forte.
The Piano-forte and the Violin are the most general instruments, and they have alike participated in the improvements effected, in becoming cheaper by the advance of science. Every description of machinery has within the last fifty years received the attention of able men, and the mechanical construction of the Piano-forte is one prominent proof of the advantages which can be conferred by science on even the luxuries of life. ”

“ 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. ”

“ 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. ”

“ The labours of many eminent violin makers who have followed in the steps of the great masters have of late so immensely improved the art, that a good instrument may now be possessed by any one. And it may safely be said that with its improvement, has arisen also the extension and wide spread practice of music generally. ”

“ 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. ”

“ The present work is intended chiefly for the use of those who desire a handy guide to the principal characteristics both of make and tone which mark the chief builders of this most famous instrument. Many persons anxious to possess a good instrument, and led away by the very natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are tempted into purchasing Violins which are presented to them under false and delusive titles, and reject frequently good and genuine instruments of less famous makers, but still valuable because they are good and genuine. ”

“ 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. ”

“ 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. ”

“ It cannot, therefore, be questioned that a knowledge which will lead the amateur to buy an instrument for what it really is, instead of what it professes to be, will at once save him from the unpleasantness of paying too dearly, and in real enjoyment yield all that can be desired. ”

“ 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. ”

“ 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? ”

“ 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. ”

“ 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. ”