The manner in which violins are so often ruined seems almost beyond
comprehension, or rather the way they are generally treated must
necessarily involve their ruin. The cause of this can not be entirely
ascribed to those destroyers of violins who pretend to be repairers, but
it generally rests with the owners of violins themselves, because they
are usually ignorant as to who is master of the art of violin making and
to whom a master violin may be entrusted. They therefore make inquiries
for such experts, and apply for that purpose, generally, to renowned
violin players, not realizing that even these are not always endowed
with discrimination, frequently not more so than the one asking advice,
and thus the latter is led astray.
To find an adept repairer is as difficult as to find a thorough master
of the art of making violins; for the repairer must possess the same
knowledge of the production of tone as the best violin maker. The man
who cannot make excellent violins cannot be an excellent repairer. To
obviate all doubts on the subject, I will state that the foundation of
the whole secret is simply this "Every violin maker will make repairs in
accordance with his knowledge, as he would make violins, and violins as
he would make repairs!" This principle is so scientifically correct as
to be conceded even by the most severe critics.
Many a man achieves a reputation by certain meritorious accomplishments
in which he has distinguished himself, and in consequence thereof
everyone believes him an artist in the fullest meaning of the word. For
instance, Ludwig Bausch, of Leipsig, gained a deserved and world wide
celebrity as an artist in making bows. I also esteemed him as an
excellent and very accurate worker. But to my astonishment I found, as I
regret to say, that his fine repairs were mostly devoid of value, as
also were his new violins, so far as the production of tone was
concerned. But artists and amateurs, far and near, adored his useless
repairs and new violins, which latter usually sold for high prices.
Thus the public are unable to form a proper judgment in regard to the
art. It would pain many a one, if they could realize the manner in which
valuable violins are treated by such violin makers and repairers.
Repairing violins, therefore, is as little understood as violins
themselves, in consequence of which not only the interior of many an
Italian instrument is ruined, but also the exterior is often deprived of
its classical appearance by an alcoholic varnish, which is smeared over
it and which impairs its value; and yet many owners of such instruments,
who do not know any better, rejoice to see their violins with such a
glossy surface.
To rehabilitate a valuable instrument, and repair the exterior if
necessary, requires a skill as artistic as the rehabilitation of a
painting by a celebrated painter. Such instruments are also often
peculiarly tortured by unskilled hands, and many a valuable top has been
damaged by the operation of putting, or rather forcing, in the sounding
post.
Owners of violins should take particular precaution never to permit the
cutting away of wood out of the bottom or top of a violin, without being
fully satisfied that the repairer is an adept in the art. In Italian
violins made by the old celebrated masters there is no necessity at all
for doing this, as they have not as a rule any too much wood, and most
of them are poor enough in this respect; in case those artists made no
mistakes others have brought them in by their repairs.
OF THE CAUSES WHY THE JUDGING OF VIOLINS AND THE REPAIRING OF THEM
IS LESS UNDERSTOOD THAN OTHER ART PRODUCTIONS.
Beautiful and interesting as is this art of making and repairing
violins, and however great has been my enthusiastic devotion to it, I
should never have engaged in it had I in starting possessed my present
experience, for the ignorance which the public has shown by the
confusion of opinions in this branch might almost make one believe these
judgments emanated from a mad-house.
Why is it we hear no such conflicting opinions about the productions of
any other branch of industry or art? Because in no other business do we
find so many pretenders. And why is it they infest this particular
branch of business more than any other? Simply because the art of violin
making is not founded on a correct system, and this may account for the
medley of ideas which have been spread broadcast throughout the musical
countries, except France, where a regular system is recognized.
Yet in spite of the lack of correct system of making violins, I have
become acquainted with a few German musicians who have acquired an
excellent schooling in the art. In this respect I cannot refrain from
mentioning my admiration for a thoroughly skilled musician, Mr. Herman
Eckhardt, of Columbus, Ohio, a man of rare genius in the knowledge of
music, who was able to define clearly and accurately the different
periods of the progress I made in violin making.
Such a man I must respect the more, because he is endowed with sound
judgment, which other musicians, often of very high standing, could only
acquire by instruction, a method which to some of them would seem to be
impossible, as they are devoid of judgment, having their ability warped
by false ideas about violins, and rendering them incapable of correctly
understanding and appreciating the latest and best productions; this may
account for their fanatical admiration of Italian violins, even if they
possess only imitation, but, as "ignorance is bliss," they are happy.
On the other hand, there are amateurs who take such a practical view of
the matter that they are just opposite in their beliefs to this class of
fanatics. They do not see why a new production, which answers the
purpose as well and which in more ways than one is preferable to an old
production of the same kind, should be regarded as of less value. They
do not understand why a desirable article should command an enormous
price when another article accomplishing the same effect can be bought
much cheaper. And in this they show a common sense which might well be
emulated by many others. While it is true that an enthusiast ought never
to be blamed for his enthusiasm, if it has a reasonable base, it is no
less true that lacking in this respect he is nothing more or less than a
fanatic. This class of people is by no means exclusively confined to
amateurs, but even includes in its ranks many true artists in music.