LITERATURE OF THE VIOLIN
While the literature of the violin deals with every phase connected with
the subject--its history, manufacture, repair, music, old masters, great
players, celebrated instruments and many instructions on how to play the
fiddle, the most celebrated and authoritative works are those which
contain a historical reference to all the ancient makers, so far as
known, and their work. Their chief value lies in the fact that they
catalogue the names of over six hundred old violin makers and give much
information regarding their fiddles. So far as the known old makers are
concerned they are not only reliable, but invaluable guides to all
dealers in and lovers of the old instruments. As guides to tone,
however, they are hopelessly out of date. The best of these books were
originally published about thirty years ago, and while their value as a
list of old makers is in no way depreciated, the passing of time has, in
some other respects, rendered little honour. From them one gains the
impression that the fiddle, and especially its tone, belongs to an age
that is past; that its best days are gone, never to return. While tone
is rarely mentioned, we are led towards the supposition that the art of
its creation is as dead as the dodo; that it stopped short (like
grandfather’s clock) a very long time ago. The idea is conveyed that,
since that time, no maker has succeeded in producing a really worthy
fiddle. In fact, all other makers are definitely stated to be imitators,
which shows their authors were entirely ignorant regarding tone
creation, however versed they were in the lore of fiddle manufacture.
Yet there is no intentional slight cast upon the modern, nor is he
singled out for obloquy. He is considered merely as a living nonentity.
The idea seems to prevail that, to become famous, the fiddle maker must
die, and the longer he is dead the more worthy he becomes of inclusion
among the immortals. His sin is not that he cannot make a good violin,
or even that he cannot create a tone equal to the antiques, but that he
cannot, by any means whatever, make an _old_ violin. Some of these
“imitators” have, however, revenged themselves by almost accomplishing
the feat;[J] at least they have succeeded so well as completely to
deceive some of the age worshippers. They have baked or stained their
fiddles to the colour of ancient wood, grafted the head, counterfeited
wear; created and repaired cracks, and even reproduced the label in
facsimile--and sold the result at a fine “old” figure! Without any doubt
these fiddles are treasured by more than one player to-day through
absorbing from these books one conclusion over-mastering every
other--the age value of a violin.
These histories voice sentiments which have been dear to the collectors
ever since the fiddle “took its place among curiosities.” And these
sentiments are honestly held and expressed in good faith. The authors
were men of renown in the fiddle world. There is no mistaking their
enthusiasm for the old instrument and everything connected with it. They
were connoisseurs, experts, dealers, and great judges of tone; also, in
some instances, fine players of the instrument, and they covered the
field of the old fiddle so completely that most books of a like kind
which have appeared during the past twenty-five years are founded upon
their efforts. In absorbing the facts, however, these later works have
also absorbed the fancies of their mentors, and thus we have the old
fallacies multiplied and spread further afield until the influence of
the old instruments has come to be truly amazing. Consider the fabulous
sums now cheerfully paid for them; the advertisement they receive from
painters, poets, and novelists; their possession by the greatest
players; the interest attached to certain rare examples, and note the
effect of all this upon the more humble followers of the fiddle cult,
who have come at last to see every old instrument--even the
imitation--glowing with a brilliance reflected by the beacon-lights of
Cremona! These books hold an important place in violin literature, but
not as guides to tone.
Books on violin making are of two kinds: those that instruct and those
that amuse. Fortunately the last are few, but still plentiful enough to
cause trouble--not because the writers were unskilled in their art, but
because the reader is told very much less than enough of some matters
and too much of others. The excellent work of Mr. Ed. Heron Allen,[K]
however, does not suffer in either of these respects.
Instructions and books on how to play the violin are almost numberless,
and the technic of the art is covered at every point. With hardly an
exception they are of real service, although woefully neglecting the
matter of tone--save from the necessities of technic. I have endeavoured
to repair this omission in Chapter XVIII.
There are a few monthly journals, or magazines, devoted to the interests
of those who play the violin and kindred instruments. Their subscription
price is exceedingly moderate, and they deal with subjects most of which
the earnest student can hardly afford to miss. Amongst all the
literature of the fiddle these journals are of most value and interest
to the player. Their columns are, naturally, open to correspondents and
some valuable letters appear, while others are interesting if only to
indicate the peculiar working of the speculative mind when applied to
the violin and matters connected therewith. The work of modern builders
is occasionally reviewed, this being faithfully and fairly done,
although not, perhaps, entirely dissociated from considerations binding
the reviewers to other and older interests.
It is surprising that, in this progressive age, with many thousands of
violin makers scattered throughout the world, there has not appeared a
periodical which, while catering to the needs of the modern player,
would also weigh the work of the modern builder in a balance more evenly
held between himself and his ancient competitor. It is a simple fact
that the present-day builder receives but scant encouragement from
practically all fiddle literature, while any nondescript is lavishly
(and freely) advertised if he should happen to be ancient--which, more
often than not, is the extent of his virtues. The modern is becoming
impatient of the perpetual insinuation that he is inferior, as a creator
of tone, to the worst old fiddle-maker that ever died, and as he forms
no inconsiderable section of the fiddle community, with an influence and
patronage not to be despised, his interest would naturally trend in the
direction where he found that justice which is his due.
One other type of fiddle literature is of interest to the lover of
violins. The “Lives” dealing with famous makers singly. In practically
all cases these deal with the creators of a standard of tone. These
should find a place in every fiddle fancier’s library, not because
everything they contain may be taken as absolute truth, but for the
light cast upon the maker’s work and times.