In considering this question, several difficulties present themselves
to the inquirer. We are all aware of the infinite diversity of tastes
in the first instance, and in the next, accurate judgment is a matter
which depends on the union of so many qualities that it is rare indeed
to find two opinions completely alike. Nevertheless we do find that
there are a few instruments which by universal consent have become the
standard of taste. They are "the glass of fashion and the mould of
form" in the violin world. An appeal to these famous violins must
therefore be of some service in this inquiry, which is of very
considerable importance, because its object is to decide what is that
tone which confers that immense value which some violins have realised
as distinguished from that which possesses only a merit of so inferior
a character as to become scarcely valuable in any degree. In other
words, what are the distinguishing characteristics of tone of the
violins made by Nicholas Amati, Antonius Stradiuarius, and Joseph
Guarnerius. These three makers are now the Raphaels, the Titians, and
the Claudes of the musical world, and a few thoughts on their works in
connection with this subject may help us to a decision on this
difficult point, at least to the great bulk of amateurs. We will divide
the inquiry into three heads.
1. Power.
2. Sweetness.
3. Purity.
In considering the first point, power, the amateur will have to beware
of a very possible mistake he may fall into. There is _apparent_ power
under the ear, arising from coarseness. This is a species of power
which is observable chiefly by the player. The listener, especially if
at a little distance, does not hear this power. The tone is clogged and
thickened with the resinous particles which have remained in the wood
and which perhaps, from its nature may never leave it altogether, and
the vibration is not therefore perfect. Another cause of false power is
a certain imperfect build wherein the parts are not properly calculated
as in the fine Cremona productions. These two classes of instruments
are very apt to deceive unpractised ears. But a moment's comparison
with one of the genuine great masters will show them in a most
unmistakable manner the difference. What then is real power? It is
simply musical tone, divested of all adventitious qualities. When tone
of this class is heard near, the effect is charming to the ear. When
heard afar off, it seems to swell out and become magnificent and
telling. Who that has heard a great player on a fine instrument, that
has not been astonished at the immense quantity of tone which arises
from this exceedingly fine quality. And it is in this way that even the
small Amatis, built when great amount of tone was not wanted and would
not have been appreciated, are still most delightful as solo
instruments. Its purity and fine quality carry it to a much greater
distance and produce a greater effect, than would arise from larger
instruments of less careful build and euphonic qualities. Herein is
discovered the difference between violins of the three great masters
named and others of the same name. If a small Nicholas Amati be
compared with a large model, it will be found that the quality is
similar, but the quantity is greater, and therefore the instrument
becomes more valuable. Again, in a Stradiuarius or Joseph Guarnerius of
the best period, which are of the flat model and most accurate build,
we find a pure ringing and deliciously rich quality, without roughness
or coarseness, that finds its way through everything to a great
distance, even in a crowded concert room. The differences in the three
great makers seems to be now decided to consist in fullness of tone and
quantity of power. The Amatis are essentially sweet and vocal. The
Stradiuarius--of similar quality, greatly increased in body and of a
more ringing bell-like character. The Guarnerius of the best model is
even still more powerful. But they all possess that essential purity
and richness of tone without which there is no real excellence. On this
head we find, therefore, that power, providing it be accompanied by the
other essentials of sweetness and purity, confers on violins the
greatest value. A Nicholas Amati of the grand pattern--a Stradiuarius
of the large flat model, or a Guarnerius of similar characteristics--all
of which have been built with the greatest care and attention to the
resonant qualities of the wood, and possess all these essentials--are
therefore the instruments that have and will always command the
greatest admiration.
The next essential point in a good instrument we have to consider is
sweetness. This combines characteristics which are not essential to
power. A violin may possess the latter without the former. The tone may
be of a quality which will tell and carry, but not of that soft
delicious voice like nature which we call sweetness. The most admirable
instruments of this characteristic have been variously compared to a
flute or to the female voice. The latter is the best comparison. For
the brightest examples of this quality alone we must look to the small
violins of Antonius and Hieronymus, and also of Nicholas Amati. They
are of the most delicious quality, and for solo instruments cannot be
excelled. They respond with the most charming effect to the most
touching and passionate expression. A great player can really sing on
these with such a delightful effect as almost to compensate for the
want of speech.
The third point is purity of tone. We may be said to have touched upon
this already in treating of the other two. But it is necessary to
allude to this also, because it is possible to have purity of tone
without sweetness or power. There are many instruments which from age
and use have lost all harshness or roughness of tone, but are still of
a thin piercing quality. These may be said to be pure in tone, but not
possessing the other requisites they fail in commanding attention. What
we have to look for in a violin is that roundness and fullness of
quality which are combined in the term sweetness. Tone cannot be said
to be sweet which is thin or piercing. It lacks one essential
characteristic. It is on this account that in the present day many of
the Steiner instruments have lost favour. There are a few which possess
both sweetness and purity, and they rank with the small Amatis. But the
best of them are wanting in power. This characteristic is only heard in
perfection in the Stradiuarius or the Guarnerius of Cremona, and the
great Brescian makers Gaspar di Salo and Magini. An amateur should look
therefore in purchasing an instrument whether it possesses these three
characteristics or any or which of them.
We have now shown what are the essentials of a fine instrument, but as
the genuine productions of these great masters are mostly in the hands
of rich amateurs it is scarcely possible to become the happy possessor
of one of the perfect instruments. What then shall we do? The reply is
simple. Study the characteristics we have described, and you will find
in some of the pupils of the Amati, Stradiuarius, or Guarnerius a near
approach to this excellence. In fact it is well known that in the
scarcity of originals fine examples by the pupils have frequently been
sold as the work of the masters themselves. The Dictionary we have
compiled will tell the amateur what names will most probably supply the
qualities he desires. Care and attention will do the rest.