THE EXPERT DEALER
While there are numerous experts and dealers of great renown and
unquestioned repute, there is no denying the existence of those who
would do well to drop the “and” from this title and thus become what
they really are, “Expert Dealers”--experts in acquiring old fiddles
(usually of low grade), experts in advertising their praise, and experts
in selling them.[I]
The first consideration of this type of dealer is to keep alive the
interest in old fiddles--the type of old fiddle that is acquired for a
few shillings and sold for as many pounds. New violins, even of the
finest-tone quality, are nothing to him. They cannot be purchased
cheaply, or sold at an extravagant price. The new violin has but one
asset--Tone. Its value depends upon the quality of its tone and nothing
else, while the old, even the very cheap old, is lifted above tone
because it is a curio as well as a fiddle, although it may be downright
flattery to say its tone is third rate.
This dealer has but one serious trouble, namely, to keep his patrons
satisfied with the species of “tone” which, when the glamour of owning a
“fine old violin” has worn off, begins to whine for attention. His
ability to meet this issue really justifies his claim to the title of
“expert.” He is full of advice regarding adjustment, alteration of
bridge, post, bar, etc., or an exchange for another fiddle if these
prove unavailing. Whatever he may advise it will not be to try a new
violin. He does not realise the gulf that is fixed between himself and
the purchaser of the instrument. His interest is centred in the sale of
a fiddle, while those who patronise him are interested in the purchase
of tone. This type of fiddle merchant sometimes admit, with cynical
candour, that “people do not buy violins for their tone (_sic_)
nowadays.” If so, the fault lies with the dealer rather than with the
“people.”
But if violins are not bought for their tone, what are they purchased
for? If the dealer and his patron were in agreement that a violin has no
other mission than to pose, like a Chippendale chair, as a curiosity,
the tone of the instrument may well be relegated to a secondary
position. It can, like the chair, be used; from its time-stained
interior a sound may be produced which, if it does nothing else, at
least proclaims the thing to be a fiddle. And that is all it is bought
for!
It is doubtless quite true that the majority of violins are not “bought
for their tone nowadays;” but the only one perfectly aware of the fact
is the dealer himself, and he is, perhaps, justified in making the
statement, for _he_ knows what the instrument is bought for if the
purchaser does not. It might have been more accurate to state that
violins are not _sold_ for their tone, but for their age or appearance.
It is only the dealer who buys an old fiddle simply because it is old.
This kind of dealer prospers because few people realise that fine tone
is not to be acquired cheaply in an old violin; that age and tone are
not synonymous terms. They are misled through the spell cast over all
old fiddles by the masterpieces of Cremona. Tone of superfine quality
seldom comes their way. It is rare their acquaintance with it is close
enough, or frequent enough, for them to appreciate more than its
superficial beauties. Age, or its simulation, is visible to the eye, and
tone of some rare sort is therefore considered an assured thing. Their
ideas are stronger than their ideals and their imagination superior to
both, with the result that the progress of many talented students, and
not a few good players, is seriously retarded through the use of some
“genuine old” but poor-toned violin.
Opposed to this type of dealer are the _genuine_ dealers and experts,
men of a vastly different class. It need hardly be said that, while the
first are many the last are few. Still, they may be found in most great
cities of the world, the two most famous houses being located in London.
Here one may find all kinds of old violins and new ones as well, the
last being, in most cases, produced in their own workshops. Through
these houses have passed the most famous violins known, and there one
may be sure of finding old instruments of fine tone and undoubted
pedigree and repute. It is from _this_ kind of dealer that most of the
world’s greatest players have purchased their instruments, and it is
here they send them for adjustment or repair. As it is extremely
hazardous for the ordinary buyer to rely upon his own judgment when
purchasing an old violin, he cannot do better than place his wants in
the hands of one of these specialists. In most cities and towns are
also to be found reputable dealers and repairers. Their stock of old
instruments is, however, necessarily limited.