Scan 29
Musical Courier 1900-10-31: Vol 41 Iss 1075, 1900
26 lines. Read by computer on 21 September 2026. Printed page 30. See the scan on archive.org.
1The "Hunting Mania" After Old Fiddles.
2By George Gemunder.
3(Reprinted from last week's Musical Courier Extra.)
4ASSOCIATING the word "hunting" with fiddles seems odd, but as used in the title to this subject I think I am justified in applying the term.
5There are certainly several ways to go "hunting." To hunt generally means "to find" something, and that particular something varies as to notions and hobbies or circumstances. The wealthy in general can gratify a desire "to hunt," whether for sport or knowledge, but many a wealthy "fiddle fancier" has hunted to gratify his hobby and is still disappointed and dissatisfied and is still hunting!
6The following narration may touch upon points relative to the subject of Old Fiddles that may have been quoted before, but I doubt whether in conjunction with its purpose. Many essays and alleged historical facts have been rehashed on the subject of "old fiddles," but why "old fiddles" should have caused such a mania among the fiddle fanciers and lovers of the violin for hunting for them, I think has never been considered or properly explained.
7It will always remain a fact that the making of fine violins belongs to the art class. History and actual productions give us the assurance that Italy saw the art at its height, and many writers allege that with the death of the greater masters the art became extinct. This is merely an opinion of the writers upon which I will not comment further. Many works have been written on the violin, its masters, and when and where made, but not one coincides with the other as to data or actual facts. I have perused many of them in my time and find that all quote many theories and legends, but none give positive facts about the art.
8Such books have been read by many who have acquired a certain reverence for the master works and with the fine specimens still left in some fortunate hands. This gave the opportunity of seeing and hearing them and has also created the desire in the violin lover to possess one at some future time.
9When we look back to the time these fine instruments of the great masters were made, over 200 years ago, we must involuntarily wonder that there are still so many left as really are. Through the reverence created for the Italian school of violin making many writers alleged that only Italians made the first violins, and that the art was handed down by the great masters to only a few pupils, whose works later resembled their masters very closely, and many were bought as such.
10This may be so in a few instances, but very few, and taking it for granted it were so, how many violins could all the makers have made that are the recognized masters of the Italian school to-day? This is better left to the imagination of the reader.
11Since the alleged extinction of the Italian school many good imitators have lived in other countries and very close to the old masters have been their productions. This has stimulated the taste for "fine fiddles" to the present day, but up to fifty years ago America could show very few masterpieces, as the knowledge in this art was then in its infancy and Europe contained the best resources.
12Within the last years mentioned, however, music in America has wonderfully developed, as has also violin playing; the latter creating the demand for fine fiddles. Now begins the "hunt"!
13Through some renowned violin soloist introduced here on a concert tour, the pupil, amateur player and fancier hears and probably sees the specimen of an old master—which in several instances the soloist actually possesses—and as time goes on his desire to also possess an "Italian" violin becomes a craze! The teacher or "professor" is then consulted and the "hunt" is commenced. In some cases, if the party wishing to buy is blessed with the "necessary cash" to purchase a masterpiece, several thousand dollars would not be questioned and it is bought. It now becomes a paramount question: "Where does the supply come from and how long can it last?" There are of course instances, and in most cases in Europe, that artists and fanciers die, or collections are broken up and sold on account of the death of the owner, when track of some specimens could be kept, and in this country, with the rapid stride in music, the love for the violin in this instance in particular, has advanced so quickly that it also educated the idea for fine violins enormously. What was the result? The few legitimate dealers were not always able to find them, i.e., the original specimens, so the teacher or "professor" took it upon himself "to hunt" for one for the pupil or fancier.
14Herein I will venture to say that I know of many instances personally where the teachers and alleged connoisseurs would "hunt" up some old violin, immaterial where, and possibly find a good specimen of a later make than the Italian works, a good imitation, for instance, and knowing very well that the demand for fine violins was in its infancy, would dispose of the violin as "such" or "such" an Italian work, and the deluded purchaser, ignorant of the deception, is happy at heart in at last possessing "one of those fine makes"—his friend also becomes inspired, and the case is repeated, possibly with the connivance of a disreputable dealer. I also know that many so-called leading musicians in this country have become real estate owners through the help of this lucrative channel!
15What other result did this "hunting" after old violins bring? Teachers or "professors" found it so much more profitable to sell violins to their pupils than to teach them, that many have established themselves as "dealers in fine old Cremona fiddles and their appurtenances"!
16Commenting on musicians who have within the last fifteen years found it so lucrative to deal in "old fiddles" rather than follow their career as violinists, I will venture to illustrate some cases. In New York city, Chicago and Boston I have met certain violinists who, having experienced the results obtained through their influence when teachers, have sold violins as "Cremonas" with an effrontery that would make the old legitimate dealer blush with shame, causing, in fact, many other such musician dealers to spring up like mushrooms all over the country. Their systems of influencing the craze for Italian violins, of course, vary. The same applies as to how they became "connoisseurs." In one large Western city I have seen and carefully examined a display of "old fiddles," purporting to be "this" or "that" (the dealer or expert formerly was a violin player and teacher). The unsuspecting public and lovers of the fiddle see the unique display of decrepit has been of certain alleged makes in all forms of disability. Marks and tickets to lure the innocent to the extraordinary chance to buy are displayed for attraction with marvelous prices attached, emphasizing also in particular the alleged specific Italian make.
17For the sake of philanthropy the whole lot ought to be distributed among the poor for kindling a breakfast fire and so save many an unsuspecting innocent "old fiddle hunter" his good money. But, still, in this very place you will find the "hunter" after the impossible, and later probably prove one of the kind who, after having made the purchase, will not admit that he has been duped, even when abundantly proven to him.
18In an Eastern city, during my travels, I called on a "musician dealer" in old fiddles (formerly a second violin player in an orchestra and also a teacher). The same conglomeration of "hospital" subjects was to be seen, but heaven knows whence they came! To further verify my argument on this "hunting" mania for "old fiddles," New York can certainly claim a distinction, having brought many a "hunter" here to grief. Court records will prove that through the machinations of these "mushroom musician dealers" many of our good artists and amateurs have been victimized through their mania to acquire a fine old fiddle. Going back to the alleged origin of this collecting fancy, many writers speak of a "Tarisio" who, I think, is unjustly blamed by some for starting this habit. Whoever read about Tarisio will agree that he without doubt studied the art some, and particularly "the people."
19Before me I have a copy of THE MUSICAL COURIER EXTRA of September 8, 1900. Under the heading of "Thoughts and Afterthoughts" is a comment on "Old Violins Again." I will frankly say that is expresses much that is true, and I coincide in many points with the able writer—excepting the unjust comment on Vuillaume, of Paris. The article speaks of the collecting of old violins, &c., and brings in Tarisio and his "pack"; but unjustly calls Vuillaume the "P. T. Barnum of violin makers and dealers," and also states: "Among his many good qualities there was a large capacity of humbug!"
20I don't think that the writer would have quoted the above had he known who Vuillaume was and what he accomplished. To him we all are very much indebted. The comment admits that he "successfully imitated the old masters, &c," and that is enough to warrant that he was the artist, and only an artist is able, with good and hard study, to accomplish what he did. To him the present violin making generation owes all for the resurrection of the old school. The few of his pupils that may still be living (Vuillaume having died in 1874) no doubt have given to their followers the same inspiration.
21I will modestly refer to the memory of my departed father (died January, 1899), the well-known violin maker of Astoria, N. Y., who left Vuillaume in 1846, and living in America since that time, was known in both hemispheres and recognized as an authority and expert, held Vuillaume as a great master. Vuillaume, who had the opportunity to see, handle or repair and buy the finest specimens of Italian masters, was an absolute authority in that line, and so recognized. His knowledge in knowing where the finest specimens were was so great that many unfortunate competitors, also artists, fearing his presence at a sale, would afterward denounce him for intrigue, when later it was discovered the violins were bought for Vuillaume at any price. Why? Simply, the people wanted them and he had to "hunt" for them.
22But these opportunities are over, excepting perchance some of our wealthiest fanciers don't hesitate on price. I read a comment not long ago of a celebrated "Strad" having been sold. The "Wilhelmj Strad"! Here is an example for the "old violin hunter." If violins on that order of the Italian masters can be had and you can pay for them, by all means do so. But how many "Strads" are there existing like that one? I am proud to say I have handled many of the well-known "Strads" in conjunction with my father during his sixty years' activity among violins, both from Europe and this country, and will candidly say never could one of the "grand old masters" works surpass the "Wilhelmj Strad." I am speaking from the point of a perfect example of "Strad."
23Perfect in workmanship, detail of finish, finest preservation, and most remarkable of all, its tone! Never have I heard a "Strad" or any other "old Italian master violin" that had the resistance for tone production, quality of tone even throughout its register and combined with brilliancy. I understand $10,000 was paid for it. That price is not too much when an article of the same kind cannot be duplicated.
24These violins have unquestionably inspired the great "hunt" for others, but, alas! where are they? Under the lock and key of some collector or wealthy amateur.
25Another point regarding old fiddles. How many of them are fit for solo work? Before me I have an "ad"
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