Scan 17
Antonio Stradivari, his life and work (1644-1737), 1909
22 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1CONTENTS
3CHAPTER III.
4STRADIVARI'S VIOLAS.
6The small number existing—A retrospect of violas made previously to his time—The proportions as adopted by him founded on the work of Antonius and Hieronymus Amati—The difficulty in accounting for the adoption of a smaller size—The music of the period—Comparison of the different examples and their tone—The tenore and contralto violas—The Paganini example, 1731, and the Berlioz incident—Characteristics of the violas as a whole—The maker's shortcomings. . . . 96
8CHAPTER IV.
9STRADIVARI'S VIOLONCELLOS.
11Their excellence—A retrospect of the instruments made previously—The gradual adoption of an instrument of smaller proportions—Stradivari's non-participation in the movement—His early productions—Review and comparison of his pre-1700 examples—The "Medici," "Aylesford," "Cristiani," and "Servais" instruments—His tardy adoption of the smaller proportions—The earliest dated example known—Examination of the designs left by him—The supreme merit of the examples of this form—Their tone—The views of Piatti, and Romberg's statement—The number existing, and their history—The master's adherence to this type until 1730—A narrower form adopted in that year—A retrospect. . . . 113
13CHAPTER V.
14STRADIVARI'S AIMS IN RELATION TO TONE.
16The achievements of Gasparo and Maggini—The four generations of the Amatis—The tonal success of their instruments—The non-existence of any record by past great players of the tonal merits of their instruments—The pre-1684 Stradivari—Its character of tone—Changes between 1684 and 1690—The Long Strad of 1690—Its tonal quality—The "Tuscan"—The brilliancy of its tone—The production of tone in relation to Stradivari instruments—Lady Hallé, Joachim, Sarasate, and Piatti—Prejudice against certain violins—The difficulty of forming a correct judgment—The "Betts" Stradivari—The distinguishing characteristics of its tone—The result attained by Stradivari—The "Ernst" Stradivari—The "Viotti"—Joachim's violins, their tone—The "Alard" example—Violins of the years 1720-22—Sarasate's violin, 1724—Other examples—Reason why Stradivari instruments are in universal use—A resumé. . . . . . . . . . 152
18CHAPTER VI.
19STRADIVARI'S MATERIAL.
21Erroneous views disseminated concerning its magical properties—Its part in relation to the successful construction of an instrument—A retrospect concerning the wood used by the
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