A most interesting account of Antonius Stradiuarius, who is generally
thought to be the greatest maker of the violin--has been published by
M. Fetis, and translated into English by Mr. Bishop of Cheltenham. In
addition to records of his family, which was an ancient one in Cremona,
obtained by M. Vuillaume in his persevering labours in search of
information, and which he placed at the service of M. Fetis--the latter
enters deeply into what we may call the science of violin making, and
presents us with many interesting and valuable experiments which have
been made on fragments of the great instruments, in order to ascertain
the exact principles which enabled Stradiuarius to build with such
undeviating and brilliant success. The book is well worthy the perusal
of all amateurs of the violin.
ANTONIUS STRADIUARIUS was born in Cremona, in 1644, and died there in
1737, having lived in the peaceful exercise of his art to the great age
of ninety-three. There is a violin still extant which bears his
signature and proves this fact. In the early part of his life, he was a
pupil of Nicholas Amati, and some of his early productions bear his
master's name, as seems to have been the custom. These instruments have
the Amati characteristics, and have some of the backs cut the contrary
way of the grain, forming what are known by the name of "slab" backs.
He afterwards enlarged his model and adopted a flatter pattern, and
arrived at the greatest perfection about 1700. From that period to
1725, everything he made bore the impress of the great master. In
shape, the cutting of the S holes, the varnish, and the accuracy with
which all the parts were adjusted in harmonical relation, from that
time he excelled all who had gone before him, or who have since
attempted the difficult task of vying with him. All these instruments
are of the flat pattern, which is now proved to be best adapted for the
production of a rich, deep and powerful tone. It would appear that the
more elevated model used before his time, although it allowed of very
fine quality of tone, tended to prevent that strong vibration which is
the cause of great tone. M. Fetis insists that the violins of
Stradiuarius were as good and fine in quality of tone when made as they
are now, contrary to the established opinion that time is necessary as
well as use for refining and perfecting all violins. He gives an
instance of a violin made by Stradiuarius, now in Paris, which he
states has never been played upon--but we must beg to doubt this fact.
Though we are ready to admit that the careful adjustment of the
different parts and the selection of fine wood, would tend to perfect
the tone of these instruments, much sooner than others less carefully
fashioned, yet in the instance he brings forward in support of his
theory, it does not appear quite so clear that the violin never had
been played upon. On the contrary, there are many years unaccounted
for, in his description of it, during which it might have undergone
considerable use. It appears almost impossible that while in the hands
of various possessors, so fine an instrument should have been suffered
to lie idle in a cabinet, as though it were a picture to be looked at,
but not touched. From its condition, however, it is clear that it had
always been in hands that prized it, for he describes it as having
quite the appearance of a new instrument. In this respect, therefore,
we must still adopt the opinion of the most eminent judges, including
that recorded by Spohr, that it requires both time and use to perfect
all instruments of the violin class. It would appear moreover that this
has always been a settled belief, for even Mace in his "Music's
Monument," published in 1676, says "We chiefly value old instruments
before new for by experience they are found to be far the best." As to
the condition of this instrument which Fetis states to be quite unique
for its perfection and apparent newness, our countryman, Mr. Gardiner,
in his interesting work, "Music and Friends," says that Mr. Champion,
an amateur had given 300 guineas for a Stradiuarius violin and tenor,
of a beautiful yellow colour inclining to orange, and which appeared to
have been untouched since the day they were made. Here then in this
country is a double instance of the same fact as to condition, for
which M. Fetis claims for the Paris instrument the title of unique. The
fact is that these fine violins have for many years been so highly
appreciated that their possessors have taken the most extraordinary
care to prevent their being damaged or disfigured, and there are many
instances of violins in equally perfect condition.
After 1725, at which date Stradiuarius was 80 years old, his work lost
some of its characteristic excellence though still of great merit. His
sons, Homobono and Francesco, now assisted him, but he appears still to
have signed them, occasionally adding to their names however, the words
_sub disciplina A. Stradiuarius_. He had many pupils, the chief and the
best of whom was Carlo Bergonzi. There were also Gobetti of Venice,
Guadagnini of Cremona, Michael Angelo Bergonzi, and others mentioned in
the dictionary. Fine examples of the works of his pupils are now
becoming very valuable, and are well worthy attention.
Stradiuarius made a few instruments inlaid with ebony and ivory round
the edges. There is a quartett of them, all bearing the same date 1687.
One is in the collection of Charles Plowden, Esq.; the other violin
belongs to a gentleman in Staffordshire; the violoncello belongs to the
Queen of Spain, and the tenor was once the property of Sir Wm. Curtis.
This is a very curious and remarkable set of instruments, very highly
finished and in fine preservation. There is also another violin inlaid
which belonged to the late Dr. Camidge of York, bearing date 1713. A.
Fountain, Esq., has in his possession, the last violin which
Stradiuarius made. This instrument is known as the Habenock Violin from
the previous owner's name from whom Mr. Fountain had it. Charles
Plowden, Esq., has a quartett of splendid instruments by Stradiuarius,
of which one violin is of the Grand Pattern, dated 1719; another dated
1711; which are perfect in model and preservation, and both
first-class; the third is a remarkable violin, with rich golden
varnish, dated 1709--a perfect instrument, which has been twice sold
for L600, was formerly the property of Emiliani and is still known by
his name. The fourth violin is the inlaid instrument mentioned above.
Besides these, Mr. Plowden possesses a magnificent violoncello by
Stradiuarius--a remarkable specimen both for beauty and tone; and also,
four violins by Joseph Guarnerius which will be mentioned under the
head of that master.
There is in Derbyshire a very fine Stradiuarius which was purchased by
Viotti for his friend Mr. Hankey, from whom this and the Amati
mentioned elsewhere went to his brother, a distinguished amateur, who
died some years ago. Wm. Howard, Esq., of Sheffield, has a fine
Stradiuarius violin, of the most beautiful yellow varnish, splendid
wood, fine tone, and perfect condition, which formerly belonged to
Salomon.
We may also mention here that the late eminent violinist Ernst, played
upon a very fine Stradiuarius Violin which was presented to him by A.
Fountain, Esq., an ardent admirer of that famous player. Joachim also
uses a Stradiuarius. Servais, the great French performer, uses a
Stradiuarius Violoncello, which is said to be the handsomest known, and
which cost him 500 guineas.
The value of the best productions of the genius of Stradiuarius is now
very great. Mr. Betts, of London, had one for which he refused the
enormous sum of L500, and Dragonetti also refused L800 for a double
bass. The highest price, L600 however was given twice for the violin
now belonging to Mr. Plowden. But even such prices have been exceeded
by that of the celebrated King Joseph Guarnerius mentioned elsewhere,
which realised L700. It must not be understood however that such prices
are the rule, for it is only for extraordinary specimens that any such
great sum can be obtained. Excellent instruments are frequently sold
for much smaller amounts, and it must also be remembered that none but
those made from about 1700 to 1725 realise such enormous sums. His
earlier productions, which resemble those of his master, and which are
known by the name of Stradiuarius Amatis, can be had occasionally for
moderate prices. An undoubted violin of any period of this great
master's make, is well worthy the attention of the virtuoso. They are
all good, but the grand pattern of this wonderful genius, possessing
equal sweetness with greatly increased power, are only now to be had by
connoisseurs of unlimited means.
As an illustration of the more moderate prices which these fine
productions command, we think it may interest our readers to give here
the result of a public sale of Cremona instruments belonging to the
Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his
work states that the Count possessed "two quartetts of Stradiuarius,
very remarkable instruments; another of Joseph Guarnerius; a fourth of
Nicholas Amati, and lastly a quartett of Steiner," of which he
specially particularises the Tenor as "being a model of perfection as
to workmanship, and the tone of which is of extreme beauty." These
instruments were sold by auction by Messrs. Puttick and Simpson, on the
26th June, 1862. We quote the report of the "Times," by which it will
be seen that our English connoisseurs did not appreciate them so highly
as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner
at all, we presume because the prices were nothing remarkable.
LOT.
1 Violin by Stradiuarius, 1712 L 70
2 Violin by Stradiuarius, 1699 L 56
5 Tenor Violin by Stradiuarius, 1715 L100
6 Violin by Stradiuarius, 1701 L135
8 Violin by Stradiuarius, 1685 L135
9 Violin by Stradiuarius, 1713 L 90
12 Violin by Nicholas Amati 39 gs.
13 Violin by Andrew Amati 36 gs.
26 Violoncello, Stradiuarius 1697 L210
28 Violoncello, Stradiuarius 1687 L115
30 Violoncello, Nicholas Amati 1687 L130
31 Original Letter by Stradiuarius L 8
At the same sale a Grand Amati Violin, jewelled at the corners, L60;
Violin by Guarnerius, 38 guineas.
In addition to the above we may mention that the Stradiuarius Violin,
which once belonged to a member of the Medici Family, was sold by
auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f.,
about L230, an excellent price for a Parisian connoisseur. We have
already mentioned many fine instruments by Stradiuarius which are in
the hands of connoisseurs and performers. We will now mention a fact
which in the estimation of all true lovers of these fine violins is to
be greatly regretted. It is not the only instance, as probably our
readers are aware that the celebrated Guarnerius Violin of Paganini, is
now locked up in a museum at Genoa. There is at a museum in the city of
Florence, a quartett of beautiful instruments by Stradiuarius,
consisting of two violins, tenor, and violoncello, which were presented
to the institution by an Italian Nobleman, whose ancestors purchased
them from the master himself. These instruments are most beautiful and
in the highest preservation. But of all other curiosities, Cremona
Violins are the most unsuitable for a museum, because they lie there
dead, and are no more than names. The soul of music which is embodied
in them is imprisoned within wood and crystal, and is no more heard of
men. Let no one leave his Cremona to a museum.
Before closing our account of this great master, it may not be
uninteresting to state in his life time, he appears to have charged
about L4 for a violin, and that he made so many during the course of
his long and industrious career, that his fellow citizens spoke of him
as rich. "As rich as Stradiuarius," was a common remark, as we see by
M. Fetis' notice. Another anecdote is, that Cervetto, an Italian
merchant in London, had a consignment of violins from the master
himself, and as he could not get four pounds each for them he returned
them. This appears strongly to disprove the assertion that his
instruments were as good when made as they are now, especially when we
find that in 1662, L40 was given for two Cremona violins for King
Charles' band, no doubt the elder Amati's, which at that date would be
getting mellowed by time. It is clear that King Charles, or the leader
of his band, knew the value of Cremona instruments, for reckoning the
difference in the value of money at the two periods, L20 then would
purchase L120 worth of goods now. It is therefore extraordinary that if
they were as good new as when they are old, the paltry sum of four
pounds could not be got for them. The real truth no doubt is that
whoever the maker, time must be the refiner, and even genius like that
of Stradiuarius and Guarnerius could not impart that grand, rich, and
mellow tone which distinguishes them without the aid of old Father
Time.