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Scan 93
Antonio Stradivari, 1900
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1doubtless suitable to the tastes of musical circles, among whom the then new style of musical instrument was introduced in Brescia. When settled down, the Amati family, a group of thorough artists, proved themselves alive to the requirements of the fresh district that was henceforth to be the scene of their labours for generations. The Brescian quality had either been found by them, or was known beforehand, to be too ponderous or insufficiently endowed with the more feminine quality desirable in the minds of the Cremonese. The Amatis seem to have been in full possession of the means necessary for producing the kind of violin in demand and supplied it.
3As time went on, musical compositions changed in style, advancing by degrees towards the culminating point of nearly a century later. The simple, oft-times wondrously sweet, yet quaint effusions of the early composers for the violin, were gradually giving more and stronger indication of what was possible and likely to follow soon and in its turn, like all other things, become antiquated and old-fashioned. Undoubtedly, it was this progressive condition of the music of the period that induced Stradivari, early in his career, if not at the time he was with Nicolo Amati, to take up the study of tone calibre as a matter of essential importance, in order not only to keep pace with the times, but if possible, anticipate further advances in musical development.
5It was daily becoming more evident that the qualities of refinement and sympathy would not in themselves be sufficient in an instrument with such a future as the violin seemed to have. Melodic forms were being modified, while harmony was becoming more varied and divided.
7The art of appropriate phrasing was also being studied, while practical musicians were bowing to the necessity of leaving old stereotyped forms for those having more emotional qualities. In short, the violin wanted in Cremona was one of substantial power and suitable for more dramatic expression on the part of the performer. To bring forth a violin of this desirable type, Stradivari
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