Books › British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904 › scan 276
Scan 276
British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1Mr. Shrosbree's favourite musical instrument, has had a great charm for him through life, and all his spare time for years was spent in the study of music and the mechanism of the violin. He has made some excellent specimens, which were awarded first prize and certificate of merit for workmanship, model, and tone at the 1895 Exhibition of Art and Industry in Adelaide. That year's competition in violins was the largest yet held in Australia. Mr. Shrosbree is a practical musician and good violinist, and as an expert on model and tone is able to tell at a glance the method to adopt for restoring an old instrument. The profession recognise him both as a skilful repairer and a maker unrivalled in Australia, and as a self-taught man he is to be congratulated on his success. His instruments produce a fine rich Italian tone.
3"He has invented a 'relieving bar system' for repairing violins, by which the bars must be located with mathematical accuracy. After years of labour and considerable cost Mr. Shrosbree has discovered the varnish which he uses on his violins, and which is pronounced by experts to be second to none. Besides a valuable testimonial signed by many of the leading musicians of Adelaide, in which Mr. Shrosbree is recognised as a practical musician and first-class violin-maker, he holds others from a number of eminent artists and well-known members of the profession."
5An eminent critic writes of one of Shrosbree's violins as follows: "A severe trial of Mr. Shrosbree's latest violin reveals the fact that a more perfect or finely-finished instrument it would seem almost impossible to possess. It is fuller in model than any of his previous ones, giving to it that sonorous tone-quality which is all the more surprising when on playing in the different positions (even to the highest of them) it does not affect that gentle refinement of tone when any delicacy is required. This important feature is not generally the case with new violins. The archings are most beautifully worked out, pronouncing it by its appearance a product of art. In quality of tone the lower strings resemble the rich qualities of the clarinet in all its power and endurance, while the notes
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