TYPES OF STANDARD VIOLIN TONE
In order to distinguish the types of tone which, at various periods,
have been looked upon as Standard--that is to say, representing an ideal
of perfection, and at all times have had adherents,--I set out below
five types that may be said to represent the five great groups of tone.
Violins embraced by any one of these groups will vary in the perfection
with which they present the type according to the tone-developing skill
of the maker; according to his ideals of perfection, and according to
the condition of the instrument. It is unlikely that two makers, engaged
upon the development of the same tone-type, would succeed in copying
each other exactly. Individuality would be sure to assert itself in tone
as it does in handicraft. As to this individuality, it is somewhat
difficult to describe, but may be said to be a sort of uniform
peculiarity noticeable in the tone of all violins produced by a certain
luthier.
AMATISÉ.--Sweet, sympathetic, and more or less lacking in power. Found
in the violins of the numerous Amati family, Jacob Stainer, those of
Antonio Stradivari prior to 1667 and his smaller instruments made after
that year, and in the violins of the followers of these makers.
Plentiful.
Length of body 13-3/4 to 13-7/8 inches
Width across lower bouts 7-13/16 to 7-15/16 inches
Width across upper bouts 6-1/4 to 6-3/8 inches
Arching elevated.
BERGONZIAN.--Virile, powerful, partaking of the qualities of Stradivari
and Joseph Guarnerius del Gesù to some extent. Rare.
Length of body 13-7/8 to 14 inches
Width across upper bouts 6-9/16 inches
Width across lower bouts 8-3/16 inches
Arching flat to medium.
BRESCIAN.--Dark, sombre, “brilliantly melancholy.” Any violin possessing
a tone sombre in character is said to be Brescian, frequently without
much regard to other characteristics. Found in the violins of G. P.
Maggini, and da Salò, which are rare, and in less perfection in a number
of instruments by other makers, both ancient and modern.
(Maggini) Length of body 14-9/16 inches
Width across lower bouts 8-9/16 inches
Width across upper bouts 6-14/16 inches
“CREMONESE.”--Not a type, but a generic term, used to designate the
general superiority of tone produced by violin makers of Cremona, prior
to about 1775,[B] over instruments produced in other centres.
GUARNERIAN.--A tone distinguished for its remarkable qualities of
clearness, brilliancy, virility and intensity. Peculiar to the violins
of Joseph Guarnerius del Gesù. Rarely imitated with any degree of
success. Rare.
(Guarneri) Length of body 13-3/4 to 13-7/8 ins.
Width across lower bouts 8-1/8 ins.
Width across upper bouts 6-9/16 ins.
Arching variable but tending to flatness.
“ITALIAN.”--Not a type, but an expression, used to distinguish the tone
of ancient Italian violins from those made in other countries. Now
rather loosely applied to any instrument possessing tonal qualities
above the average.
STRADIVARIAN.--Rich, mellow, sympathetic and powerful. The favourite
with most players although Guarnerian tone is preferred by some--to
quote the opinion of one celebrated expert, “The tone of a good Joseph
beats that of the average ‘Strad’ into a cocked hat!” Stradivarian tone
has been said to combine the good qualities of both Brescian and
Amatisé. It possesses in a marked degree that rich woody quality admired
by connoisseurs. To appreciate the meaning of “woody” quality, one
should hear an organ containing both wood and metal pipes and note the
difference in tone quality between them. The best organ of this kind I
know of, and one of the richest toned instruments it has ever been my
pleasure to hear, is located in the Tabernacle at Salt Lake City, Utah,
U.S.A., and was built by an Englishman, Joseph H. Ridges (1826-1914)
about sixty years ago.
(Antonio Stradivari 1700-1724 period.)
Length of body 13-15/16 to 14-1/8 inches
Width across lower bouts 8-1/4 inches
Width across upper bouts 6-1/2 to 6-11/16 inches
Arching variable but always tending to flatness.
Of all the five types of tone Stradivarian is the most plentiful. Apart
from the violins of Stradivari, which are more numerous,[C] perhaps,
than that of any other famous old maker, the type is found in a high
state of perfection in some of the instruments of his followers, and in
not a few violins by modern makers.
It may be thought that other great makers should be credited with the
creation of a tone-type; but I think their violins will, in tone, be
found to fall into one or another of the groups named above, varying
only according to the ideals and individuality of the several makers.
I shall now investigate the relationship between tone and the old
instruments, and explain why a master of tone was not always a master of
handicraft, and why many excellent workmen were unsuccessful as creators
of a grand tone. In the next chapter, therefore, I deal with the old
masters as violin makers.