Scan 33
Musical Courier 1901-04-24: Vol 42 Iss 1100, 1901
44 lines. Read by computer on 21 September 2026. Printed page 34. See the scan on archive.org.
1Department of The Violin
2By GEORGE GEMÜNDER.
4All communications to this department will be welcome. Address Department V, The Musical Courier, New York.
6Answers to Inquiries.
7Ed. F., Detroit.—The Bott "Strad" matter is still in the hands of the authorities. At the present status of the case no information as to the probable outcome can be given.
9S. G. F., San Francisco.—The late George Gemünder, of Astoria, N. Y. (died January 15, 1899, aged 83), was the founder and original violin maker of that name of violin making family. He immigrated from Paris to this country in 1846, leaving the celebrated Vuillaume, his master, after six years' association. His first international fame was achieved in 1851 at the Exhibition of the Works of Industry of All Nations in London. The medal and diploma, the latter signed with the autograph signature of the Prince Consort, husband of the late Queen, then the President of the Royal Commission, and dated: "Hyde Park, London, October 15, 1851," are now in my possession. He only made two double basses and both were made after the Stradivarius model upon special orders on the exact lines of the violin with full corners and swelled backs. They were the only basses ever so made at that time in this country. One was made in 1850 and is owned by a Mr. Southland, of Springfield, Mass.; the other was made in 1874 and owned by my colleagues, John Friedrich & Brother, of New York.
11J. v. B., Cincinnati.—I would not advise the use of a bridge with three feet. Experiments and tests have proven that it hinders the normal vibrations materially from the centre point of resistance of the bass bar as well as the resistance from the back through its medium, the sound post. Many devices have been lauded as improvements, but all patented devices for tone improvement are of no earthly benefit whatsoever. All are eventually discarded, proving that violin making is only an art and not a mechanical pursuit. If it were the latter mechanical patents would be in order.
13Violinists, as well as all interested in violins, who visit the Pan-American Exposition at Buffalo this year, will have an opportunity of seeing a violin exhibited which, according to the report given by the Atlanta (Ga.) Journal of March 30, 1901, depicts still another departure from the traditional modus operandi of violin making. The report states as follows: "J. A. Shaw has in his possession a violin of the Stradivarius model, full sized and of exceptionally fine tone, which he built from the ordinary cornstalk. It is made of the enameled or outer part of the stalk, consists of three thicknesses, and in all is about one-eighth of an inch thick. Mr. Shaw has arranged to send the violin to Buffalo to be placed on exhibit at the Pan-American Exposition to be held in that city next week."
15It would hardly be just to make any criticism on this new departure in material for violins, but, as the report states, the same is "of exceptionally fine tone," prompts me to ask: "Where are we at?" It rather classifies itself with the many instances reported of violins, phenomenally finely made, "with only a jack knife and sand paper," and giving our good makers to understand their lack of dexterity in manipulating with the present tools at command, as well as with material thought necessary to produce violins as of old. But methinks these diversions or idiosyncrasies are about the same as trying to delineate the face of a Madonna with an axe on a lump of coal.
17I have received recently several communications telling of the discovery of more alleged "Cremoras" throughout the country, and most amusing are the claims and connections. It being impossible for anyone to pass opinion on the merits of such "discoveries" without seeing them, correspondents nevertheless believe that by merely stating the instruments have been so and so long in certain families, &c., would be sufficient to arouse curiosity and possibly prove their origin because they are claimed to be anywhere from 150 to 250 years old. One case from Elkhorn, W. Va., states that a violin used by an old farmer at country dances was not known to be worth much until after his death. A member of the family, not a musician, disposed of it after many years for a few dollars. A wandering minstrel accidently saw it, and, according to his idea, declared it to be a "Cremona." Now a dealer is credited with having offered $1,000 for it.
19Another claims to have found a "Maggini" viola in Michigan which cost him $1,000. He would now prefer a "Cremona" violin of equal value, "as the viola is only used to accompany"! Another informant relates: "The tale of a former convict of Deer Isle, who lays claim to a Cremona violin, reads like a chapter from Dumas. To have been in Deer Isle and to have owned a Cremona violin are romances in themselves, and any local novelist is respectfully allowed to weave a plot around these two facts. A Cremona violin is now so seldom seen that to hear of one sounds like an echo from Italy of the days when Cremona off' soothed the troubled skies of that fair land."
21Then from Morristown comes the news of the discovery of an old and rare make of violin, saying: "It is over 100 years old, and is a Hopf. This make of a German instrument is becoming very scarce. It has a splendid tone, loud and sweet. It has been in the present family for seventy-five years or more."
23Connoisseurs will appreciate this last named discovery as a "rare" one, even if not classified among the Cremonas!
25To come back to the master maker Stradivarius lifetime and work, many persons are of the firm belief that they possess a "Strad." Books on the history of the violin and the old masters quote Stradivarius as having made from 2,000 to 3,000 violins, and stating that "only a few of this large number are in existence." For reflection, let us compute, as near as statistics of his life will permit, the possible working time of his activity after leaving his master, Amati; allowing his time of starting to work for himself, about the year 1670, up to the date of his reputed death, 1737. This would have brought the period of his life work to sixty-seven years. According to my idea of constructing a fine violin, much time and special care are most requisite. At his time he did not have the perfected tools of trade as those of the present day, but I will allow he made two violins per month. This would give twenty-four violins a year. Even allowing the full quota of sixty-seven years up to his time of death (1737), he would only have made 1,608 violins. Now, how about the 'cellos and violas? This is food for reflection. Even had he made 2,000, as is credited to him (which I doubt), and according to the admission of the many able writers that many of that large number are now extant, how many ought or could there be in existence if the above computation is correct? I think the old-established and experienced violin makers living will bear me out as to the amount of production possible for any one man in that period of time. At the age of ninety-three Stradivarius is recorded as dead, and bearing in mind that advanced age the thinking ones will allow a few more years mind's activity. I have often contended that many "Gagliano" violins, made by one of his best pupils, are held by owners, thinking they are "Strads."
27A well-known musician of this city, who is also a music critic on one of the local papers, recently gave an interesting criticism on musical conductors. In his comments he spoke of how the amateur or music loving public in general take it upon themselves to criticise conductors and artists connected with our concert and operatic stage. The writer stated that after hearing these continually he thought to himself: "Do we as practical and experienced musicians, who have devoted our lifetime to the art of music, really know anything at all or not, when we confront these laymen and are obliged to listen to their arguments when in their society?" This forcible demonstration suggested itself to me in the same comparison of the old established and long experienced maker of violins and the average violinist regarding the knowledge of violins. What violinist of to-day, whether old or the one just graduated from the "Hochschule," does not pretend to be a judge of violins?
29What maker of to-day in this broad universe, particularly the older ones, will not coincide with me, with what arguments and irrational opinions of violinists they have to contend? Time and time again has a violinist stated "Only a violinist knows how a violin should sound!" Many have presumed to tell a recognized maker that his construction for tone was wrong, &c. Also how a bridge must be fitted or a sound post should be set. Are these not decided egotisms of a profession that is decidedly distinct from the other? Experience has taught the artist violin maker that it takes almost a lifetime to acquire his art, and the real violinist will likewise claim the same for his profession.
31Hence they are decidedly distinct, but this fallacy is advanced by the public, for when the "prof." says this or that is so, it must be so.
33On the other hand, if a violin maker attempts to tell a violinist, particularly the soloist: "You did not play that part correctly," or, "You should play it so," then look out for war whoops!
35Shelley Pupils' Concert.
36ALBERTUS SHELLEY and Madame Shelley give another pupils' concert on Friday evening of this week, April 26, assisted by the Shelley Orchestra, at the Harlem Y. M. C. A. Hall. Mr. Shelley purposes giving these recitals more frequently next season, and to quote him: "I think these pupils' concerts are really essential for students; their being obliged to play before an audience gives them courage, makes them work harder, and opens up to their minds that to play before people they must not only have confidence, but must know the selection they intend playing."
38THE conductor of a Berlin singing society, well versed also in orchestral conducting, who has given concerts in Berlin with great success and received excellent criticisms, would like to take the place of director of a mixed or male chorus and to establish himself at the same time as teacher of the vocal art in a conservatory. References can be obtained from Prof. Dr. Joseph Joachim, director, and Prof. Adolph Schulze, head of the vocal department of the Royal High School of Music, at Berlin, and from Otto Floersheim, Berlin, W. Linkstrasse 17, in whose care letters on the subject should be addressed under the heading of "Conductor."
40THIS SPACE IS TO BE DEVOTED TO THE INSERTION OF PORTRAITS OF SUCCESSFUL BOWMAN PUPILS
41EDGAR C. SHERWOOD.
42E. M. BOWMAN. Piano and Theory Studio: Steinway Hall, New York.
43Organist and Conductor Baptist Temple Choir Brooklyn.
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