Scan 37
Musical Courier 1894-02-14: Vol 28 Iss 727, 1894
65 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 38. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Violins, Antique versus Modern.
2(no line here) one of two readings
4Much having been written on the comparative merits of old and modern violins, it seems worth while to compare impartially the practical differences existing between them, presuming, however, each alike in construction, model and representative of its time and kind.
6The first great difference between two such violins exists in their respective carrying ability. Age has concentrated or focused the tone of the one, while the tone of the other is a divergent or radiating one, like that of all young things.
8That the focused tone must possess a greater carrying quantity is beyond all dispute in physics; that the radiating tone cannot possess this attribute to a like or equal extent is just as certain. Yet the comparison does not end here, for the radiating quantity (most logically) must possess a greater dynamic expansion in crescendo and decrescendo; naturally, otherwise the carriage of both would be alike.
10The next comparison is that of tonal quality. The difference therein affects preference of expression alone, since there exists no kind of a musical tone quality which is not at its best somewhere in the temperamental scale of musical expression.
12So the focused tone is more appealing and impressive through its unvarying logical sweetness, the radiating one more aggressive and imposing by virtue of its vigorous attack and dramatic exuberance. Therefore it seems as if either of them could be used for a musical purpose not within the nature of the other to express equally well.
14In tone color both can be alike dark, light or medium. That easily perceptible difference between two alike in color cannot, however, be attributed to a difference in color, but only attributable to the fact of one having a focused, the other in a radiating light, dark or medium tone, as may be the case, which affects not the question of tone color, but the question of tone quantity only.
16It may be well to mention here that nothing is more difficult to teach, to learn or to understand than the musical truthfulness of tone color in relation to the emotion and sentiments to be expressed, conveyed and imparted to others. And as to being objectively positive in this most subtle of all the sciences, to apply it consciously, not incidentally, to the psychic unsubstantialities of varied expressions in music, would take no less a genius than that of a Berlioz or of a Wagner!
18There is no visible standard to teach, learn, understand and judge it by; in its extensive application to diversified musical meaning, except the high standard possessed by a dramatist or lyric poet, in combination with the genius and erudition of a very great musician who is equally talented and skilled in the subtleties of dramatic or logical orchestration.
20That is the rara avis, however. The general rule seems to be that tone color, tone quality and tone quantity are identical; and nowhere is this so evident as by the one-sided opinions and preferences of violinists and fiddle antiquarians on the subject of violins.
22In point of responsiveness to touch both the new as well as the old violin can stand on the same plane of acutest sensibility.
24The advantage of physical resistance and endurance is with the new violin. This advantage, however, is not so necessary to the older instrument, because its carrying quantity is obtained and produced by a lesser use of force or effort.
26It would be hasty to infer from this fact—and many do—that responsiveness and resistance are therefore unqualifiedly at best in the old violin. The real question arising from this advantage in the old violin is not one of comparative sensibility and resistance with the new one, but whether it is not a very great profit to be enabled to produce a heavy or strong tone with but a light effort? Decidedly so. Herein the superiority of the old over the young instrument is undeniable, for—technically and mechanically considered from the point of voluble execution—the equally rapid utterance of the older will contain in each note, no matter how short, a much greater tone volume than that which the younger one is able to give. And the quicker the tempo the greater the proof thereof.
28This fact constitutes an immense physical and psychical advantage in favor of the old violin; and this advantage is nowhere so clearly demonstrated as in the capability to produce much power and distinctness with rapidity by little effort and expenditure of strength.
30The preference for one over the other instrument lies generally less—perhaps invariably so—in the chooser's knowledge of the respective merits contained by two such violins side by side (barring of course name of maker and antiquity), than in the natural affinity the chooser has for one of them at the time of his selection.
32The choice is mostly an entirely relative one to himself, depending probably less on what the instrument absolutely needs or contains than upon what the chooser absolutely wants. This accounts to a large extent for the fitful changes of affection so often observable in the owners of violins toward their instruments; and that, too, after having enthusiastically the last dollar they could spare for the ownership of them.
34A blending of the virtues in each violin into one instrument is the only possible way of solving the problem as to what constitutes a perfect violin. Such a perfect instrument is not impossible of conception and attainment, since it is easily conceivable that the blending must exist at one period of its life—during the acme of transition from the new into the qualities of the old violin. The arrival of this period constitutes the violin in its prime, and that prime arrives about the time when its age is neither too young nor too old, a fact which it will proclaim most truthfully of its own accord, in response to a capable appeal and judgment, by its own inimitable language.—"Violin World."
36Copyright.
37(no line here) one of two readings
39In the spring of 1892, after long negotiations between Secretary Von Marschall and the American Government, the German Imperial Parliament, after a discussion of about fifteen minutes, accepted the treaty (the so-called copyright law) which German publishers had desired for many years, and which protects the authors of intellectual works and their successors against reprints in the United States. That in concluding this treaty the Americans looked only to the obtaining for their citizens some advantages in the German Empire is evident by the different treatment of such works there and here. While the works of American authors are protected against reprint in Germany without further formalities or obligations, the American authorities impose on the works of German authors a series of oppressive requirements and obligations which in many cases render the object of the treaty almost illusory for us Germans. The writer of these lines, to quote a personal case, announced, as required by the law, to the Library of Congress, Washington, a musical work of eight small numbers filling eight pages. Works of this kind, however, are not regarded at Washington, as might otherwise be assumed, as one work, but the fees for entry are multiplied just as many times as there are numbers in a part. In the present case the fees amounted to $12.51 marks.
41As the production of the little work here cost altogether only 52 marks, the author naturally refused to enter it, and so renounced protection against reprints. This means, in other words, that in the case of all works which are set up and printed in Germany and wish to enjoy protection against reprint in the United States the sums that are not taken by American printers go into the pockets of the American Government.—"Vossische Zeitung."
43The directions issued by the Librarian of Congress say, among other things:
45For publications which are the production of persons not citizens or residents of the United States the fee for recording title is $1 and 50 cents additional for a copy of the record. Certificates covering more than one entry in one certificate are not issued.
4710. In the case of books published in more than one volume, or of periodicals published in numbers, or of engravings, photographs or other articles published with variations, a copyright must be entered for each volume or part of a book, or number of a periodical, or variety, as to style, title or inscription, of any other article. To complete the copyright on a book published serially in a periodical two copies of each serial part, as well as of the complete work (if published separately), should be deposited.
49The snag the German struck was in the words "variety as to style, title or inscription." If he had called his little volume "Aus einer Bierstube," and subheaded his numbers (1) "Münchener Hofbrau," (2) "Schnapps, mein Schnapps," (3) "Il braccioletto," (4) "Erinnerungen aus Lemburg," &c., we think it would have been covered by one entry—always provided that it was manufactured and printed in America.
51Do You Want a Piano?
52(no line here) one of two readings
54Owing to an unforeseen delay in obtaining possession of my new store, No. 92 Pearl street, consisting of four floors, which I have leased for a term of years, I have been compelled to secure temporary accommodation for my large stock of specially-selected pianos, which will arrive from factories during the coming week. To compensate intending buyers who favor me with a call while in this unsettled condition and cramped space, I will offer special inducements to purchase, either for cash or easy terms. Note the address carefully. C. Strathy (temporary store), 38 West Eagle street, opposite Agency Building, Buffalo. N. Y.
56We Lose Orders
57(no line here) one of two readings
59Occasionally because we won't cut prices too low. They're low enough now. We can't sell for less than cost, and don't mean to bust and beat our creditors. Best piano in market for the money.
61Claflin Piano Co., one of two readings
62517-523 West 45th St. one of two readings
63New York. one of two readings
64Claflin Piano Co., 517-523 West 45th St. New York. one of two readings
The computer misreads some letters and numbers. Where a name matters to you, read the scan.