VARNISH AND TONE
Among the attributes which constitute the finished violin, varnish holds
the premier position as a controversial subject. For more than a century
it has provided an unfailing source of argument, speculation,
experiment, and theory, waged around two issues, the material itself,
and its effect on tone. The first is concerned with efforts to discover
the formula[O] of the “old Cremona” varnish, and the second with the
effect of all varnish on tone. Notwithstanding the claims which appear
(and disappear) with unfailing regularity that this “secret” of the old
Italian varnish has, at last, been found, the world remains unconvinced,
and the subject therefore remains very much where it was. And where, for
my part, I am quite content to leave it.
The effect of varnish on tone would appear to be equally uncertain if we
are to judge by the statements we see in print from time to time. We are
confronted with such widely divergent statements as, on the one hand,
the effect of varnish on tone is absolutely nil; and, on the other, that
varnish actually creates the tone. There is an indication here that
investigators have not yet succeeded in convincing each other, and,
until some closer agreement is come to, they can hardly blame the public
for its attitude of profound and uncompromising scepticism towards
individual statements and theories. I believe most violin makers have
solved this problem to their satisfaction and in their own way. Those
with much experience of fiddles “in the white,” as well as instruments
coated with various kinds of varnish, are well enough aware of the
effect of varnish on tone. Experiment in this matter is particularly
ineffective, especially when it seeks to determine a result which may be
considered uniform, for the reason that, while the cause is well enough
understood, the effect is not. The cause is varnish and the effect is
its influence on tone, and the elements of tone are never exactly the
same in any two violins, and are rarely affected by varnish in the same
manner. The effect of varnish on tone cannot, therefore, be considered
in the light of exact science.
It is for this reason that failure so often follows the second
application of a successful experiment; or a series of failures may be
punctuated with a few successes varying from partial to full. If the
varnish and method of application be the same, it is fairly obvious the
failures, as well as the successes, can only be due to the different
tonal conditions presented by the instruments. Yet it would seem this is
not appreciated, and investigators are led astray through efforts to
produce a varnish capable of meeting all these changes--an impossible
task. Tone is the determining factor and not varnish. A good, modern oil
varnish will leave unaffected all the varying conditions which tone
presents, provided the latter be carefully regulated so as to offer, as
far as it is humanly possible, a uniform tonal combination in each
violin.
If the tone of a violin be developed to a rich, telling, and vigorous
quality, with the element of vigour slightly in excess of what is
required (particularly in the lower register), experience indicates that
such a tone would be best preserved and most (if at all) improved by
the application of a fine oil varnish. The best varnish will, however,
affect one or another of the elements of tone to its detriment if
wrongly applied. It is the fashion among many violin makers to aim at
the production of a fine mirror-like surface. While this undoubtedly
adds to the appearance, the “rubbing down” and polishing necessary to
its achievement is bound to affect the texture of the varnish and, under
certain tonal conditions, the voice of the violin. In our opinion it is
better to sacrifice this superfine surface and allow the varnish to
remain as applied, with all its natural softness undisturbed. It is
unlikely the old masters acted otherwise; the fine, flat surface which
their varnish now presents, being due to use.