Scan 20
Chats to violin students on how to study the violin, 1895
8 lines. Read by computer on 3 September 2026. Printed page 4. See the scan on archive.org.
1The correctness of the student's ear is, of course, of indispensible importance in this, as in all else which has to do with the violin. If it is naturally accurate so much the better, but constant practice and listening to good music, thus accustoming the ear to correctness, will cultivate and assist very considerably.
3The quality of the violin of course is of considerable importance. New violins even when made of well-seasoned wood are apt to have a rough, harsh tone, and time and use only overcome this. Old instruments (always understanding that they are originally of good quality) are sure to prove the most satisfactory in all ways to the player.
5The old Italian instruments made by the three Cremonese masters, Stradivarius, Guarnerius and Amati can only be bought by the few, as they command really phenomenal prices, being rare and of great intrinsic, as well as some fictitious value, in consequence of amateurs and collectors desiring to possess examples of their make.* There are, however, some very good makers whose instruments are within most student's reach, and a sweet toned, well seasoned instrument will much add
7* Apropos of the high prices paid for Cremonese instruments it may be of interest to give a few examples. As far back as 1662 we find one John Bannester, musician in ordinary to Charles II., receiving the "some of fourty poundes" for two Cremona violins procured by him for use in the royal band. Coming to the present century we find in 1862 Strads fetching "under the hammer" from £80 to £249. Since then there has been a steady rise and the average price of a Strad now is from £800 to £1,200. "Le Messie" Strad was recently purchased by Mr. Crawford for £2,000, and Lady Hallé's Strad has been valued at the same colossal figure. The artist trembles to think where this sort of thing will end.—ED.
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