Books › An Encyclopedia of the Violin, 1925 › scan 195
Scan 195
An Encyclopedia of the Violin, 1925
16 lines. Read by computer on 28 September 2026. Printed page 167. See the scan on archive.org.
1The French and Italians, in general, have an attractive quality of tone; the Belgians and Dutch, in addition to the qualities of the French and Italians, show grandeur and virility in their mode of playing.
3It might be said that the violinist of every race presents in his playing something of the character, the defects and the qualities of the people of which he is a member. It is, however, strange to see the Spaniards, when they happen to be musicians, the children of a land of ardent sun, of pulsing life, where the air is balmy with captivating perfumes, where the women are entrancing, the home of the most chivalric spirit in the world—quiescent with a calmness which almost wakes despair.
5The cellist, Pablo Casals, is the most ardent among the artists Spain has produced; all others whom I have known and heard play were great musical pacifists, and never inclined to take the bit in their teeth and bolt. Sarasate was very witty and clever, but also very calm; Arbos was chilling, and many others were altogether frozen. The further north one goes, the more temperament the violinists seem to have, the Russians in particular, and the Slav in general, offering the most noticeable proof of this contention. The Hungarians, too, have supplied the world with a number of great artists. Hungary has been a veritable nursery for violinistic talent, and has produced Joachim, Auer, Hubay and others. I mention Hubay in particular, since he is much younger than the other masters cited, although he holds an enviable position among violinists. Without any other, incidentally, Joachim, that high priest of the violin, suffices to glorify a whole country.
7The Germans cultivate a style of playing far more severe and studied than do the Slav peoples; yet as a rule they are less gifted.
9By tone we understand the quantity of sound which may be drawn from an instrument, and it is not too much to say, under this head, that the violin, in so far as tone is concerned, may be transformed into a trumpet or trombone.
11On the other hand, the quality of the tone plays a very great part in the endowment of the solo player, and is a point of capital importance in the consecration of an artistic talent. The fact that a solar artist must play to an accompaniment of six stands of first violins, eight stands of second violins, eight cellists, ten violas, and eight double basses, makes it necessary for him to possess a very powerful instrument in these days, and for this reason, Guarnerius' and the Maggini violins, which exceed all other master instruments in power and brilliance of tone, are extremely popular with concert performers.
13Many instruments having a big tone are to be found, but those in which the tone is absolutely equalized on all four strings are decidedly rare. The strength of each individual player is unequal, that is to say, the strength of the individual violinist is a mystery. One may see violinists who are small and slight in stature draw an enormous tone from their instruments, while large men only produce one which is small and disagreeable.
15I am convinced that the violin tone increases and becomes more and more
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