HOW TO TEST A VIOLIN’S TONE
The method of testing tone which I have used for many years, with
uniform success, is this: I procure a fine-toned old master violin, a
really first-class solo instrument and one possessing those qualities of
voice and carrying power most desired by artists. I then secure the
services of a competent critic. The old master and the violin to be
tested are then played under two environments: in a large hall, and in a
room, carpeted, furnished, and curtained. The piece to be played is
selected with a view to placing upon both instruments (which are tuned
to exactly the same pitch) a severe tonal and operative test, and this
piece is played successively upon both violins. The critic is never
allowed to know which fiddle is being played, but must judge by the
tone, and decide which possesses (1) the best carrying power, (2) the
greatest depth and richness on the lower strings, (3) the most incisive
and telling qualities of clearness and brilliancy in the upper
register, and (4) which of the two violins conveys the best general
impression of tonal refinement.
Where the slightest doubt exists regarding the flexibility of tone, that
is to say, the ease with which it can be produced under the bow, I
submit the violin to some great player. This last is a very important
test, for it determines the playing possibilities of the instrument. If
the violin passes with honour through these trials it is a very
fine-toned and satisfactory fiddle indeed. Should it fail to equal the
old master on any tonal point, or not prove perfectly satisfactory to
the artist as a responsive instrument, the points wherein it is at fault
are clearly indicated.
Those who wish to settle the question of a violin’s tone, therefore,
should carry out the test upon these lines, or follow them as closely as
circumstances permit. Thereafter the instrument may be treasured or
condemned with equal confidence, for it has been weighed in an impartial
and accurate balance. The violin submitted to test must, of course, be
in proper adjustment and equipped with suitable strings. If there is
doubt about this, place it in the hands of a qualified expert in such
matters.
* * * * *
Since age is so universally invoked; since it is this element which
gives to the old violin its greatest value and (so it is said) to tone
its quality and mellowness, let us endeavour to determine just what
relationship exists between age, the violin, and tone.