Scan 11
Musical Courier 1902-08-27: Vol 45 Iss 1170, 1902
68 lines. Read by computer on 21 September 2026. Printed page 12. See the scan on archive.org.
1contemporary, Corelli, was laying the foundations of chamber music as we know and cultivate it today.
3Not less interesting and certainly not less valuable are the chapters devoted to the actual materials used by Stradivari in the construction of his instruments, and here one is struck again with the honest simplicity of the authors and the absence of mystery and charlatanism which pervades their work. The illustrations of the manner in which wood is cut for violin making are admirable, and the logical deductions regarding the introduction of fine foreign woods toward the end of Nicolas Amati's career are pertinent and suggestive. The romance of "old wood" is blown to the winds; "the Cremonese Masters were purely and simply working artisans, guided by practical experience, and the circumstances of the moment. * * * Their powers of discrimination were in no way superior to those of the thoughtful craftsman of today." With quiet force the authors proceed to annihilate the "balsam pine" theory of Herr Schradieck, of Cincinnati, a fad which almost possesses a bibliography of its own. "That Stradivari brought to bear a certain amount of judgment in the selection of his materials is beyond discussion, but that he possessed any special knowledge, other than that of an intelligent craftsman, well versed in the traditions of his craft, we are constrained to deny."
5When we reach the vexed question of varnish, we perceive a certain measure of the natural reticence of practical violin makers and merchants who have expended much time and money upon the subject; but the conclusions which are given us are practical and sound. The main conclusion is that there was, at the time, no secret at all. Stradivari's own recipe was inscribed on the flyleaf of a family Bible, and this was destroyed by his descendant, Giacomo Stradivari (who, however, kept a copy), from sentimental reasons. He writes to Signor Mandilli: "I have never confided the secret of the varnish even to my wife or daughters." A certain Signor Pomba offered him 50 Napoleons for it. "Bear in mind," he writes, "that at that time 50 Napoleons would have been as many brothers to me; still, I had the courage to resist the temptation." The authors conclude, and we think rightly, that these early makers had the advantage of the fine varnish materials used contemporaneously by the great painters of the time, and that the loss of the knack of compounding these brilliant, tender and transparent varnishes is due to the introduction of quick drying ones, compounded of hard gums dissolved in spirit, brought forth by the increased production of inferior instruments, and the exigencies of time limits imposed by middlemen and customers upon the violin makers. The late Charles Reade, at the time of the Exhibition of Musical Instruments at South Kensington in 1872, advanced an interesting theory of an understain and an over varnish. The brothers Hill repudiate this theory; we differ from them, believing Reade's theory to have been fundamentally accurate. There is no doubt that the age of the wood under the varnish has given it its supreme beauty.
7When the authors arrive at the discussion of Stradivari's "Method of Construction," the simple charm of their work becomes once more prominently attractive. It is not within the province of a review to follow them among the fascinating details of actual handiwork which they put before the reader. They lay stress upon the perfect and conscientious care with which the master executed every detail of his work, but sever themselves "haud incerta voce" from the theory of "mature calculation and reflection" guiding his hand. The functions of the bass bar are clearly and logically discussed, and, with a touch of kindly humor, they dispose of the schools of Grancino and Testore as "the Milanese cheap jacks." The insertion of the purfling (that black and white line that runs round the edges of a fiddle) after the completion of the instrument, so as to follow the finished outline, is explained, and the study of Stradivari's independent method of modelling (or arching) and the placing of the f's or sound holes is lucidly set forth, and this chapter ends with an interesting description of the molds, models, drawings of accessories, &c., left behind him by Stradivari, bought from his heirs by the Count Cozio di Salabue, and now the property of the Marquis della Valle. A minute study follows of the labels used by Stradivari from 1666 to 1737, illustrated by a double plate of facsimiles which is a triumph of photogravure. The curious will learn from this chapter that the practice of forging and falsifying labels is of quite respectable antiquity, since, in 1760, the ancestral Hill and Duke labelled their copies "Stradivarius"; and Francesco Ruggieri was not above labelling his own violins "Amati" in 1785—that was before Viotti had introduced the cult of the Strad.
9The authors have prepared a most interesting calculation of the number of instruments actually made by Stradivari between 1666 and 1737, and they put it at 1,116, of which 540 violins, twelve violas, and fifty violoncellos are actually known to them today, while they have traces (unconfirmed) of over 100 more. The influences which have brought about the destruction of instruments, among which ignorant "repairers" bulk largely, are discussed at length. The prices of Stradivari violins occupy a romantic and interesting chapter, and we are able to note, from authentic documents, the rise from his original prices of £10 for a violin, and £25 to £35 for a violoncello, to those which the authors have given and received for notable examples of the master's handiwork. We can remember when £300 and £500 caused us to look with awe upon a Strad, but since then £1,000 has been paid for the Tuscan, which was sold for £40 in 1794; £1,200 for the Betts, which Arthur Betts bought for 1 guinea, and sold in 1852 for £500, and £2,000 for the Messie, which was sold by the heirs of Vuillaume for £480. These are prices which account for the fact that there exist no longer today collections of violins like the Adam, the Fountaine, the Gillott, and other historic collections. The book closes with appendices of census returns of the Stradivari family, and accurate measurements of most of the fine Strads which have passed through the hands of the authors. These appendices represent an amount of patient labor and research, which crown this admirable book.
11We cannot close without a word of praise for the exceedingly admirable chromolithograph plates of the finest instruments, executed by Nister from drawings by Shirley Whitcombe.
13Lehmann's Publishing Venture.
15BERLIN, August 21, 1902.
17ILLI LEHMANN has decided to publish "My Singing Art," giving her experiences as a singer and her observations and personal reminiscences of musicians.
19CRANE PUPILS.—Two of Madame Crane's pupils sang at the benefit recently given for the Municipal Hospital of Asbury Park, N. J. The Asbury Park Press speaks of them as follows:
21"Elisa's Dream," a soprano solo by Miss Sadie Pounds, of Paterson, was beyond expectation. Her voice shows great power and feeling, and reflects creditably upon Madame Ogden-Crane's training. "For All Eternity," a tenor solo by Thomas D. Powell, another pupil of Madame Crane, was excellently rendered.
23The Mendelssohn Trio Club.
24(INCORPORATED.)
25Alexander Saslavsky, Violinist,
26Victor Sörlin, Violoncellist,
27Charles Gilbert Spross, Pianist.
28For Terms and Open Dates address VICTOR SÖRLIN,
29168 West 44th St., New York City.
31JENNY OSBORN
32SOPRANO.
33CONCERT, ORATORIO, SONG RECITALS.
34American Season, 1902-3, After three years in Europe.
35MANAGEMENT: DUNSTAN COLLINS, Fine Arts Building, CHICAGO.
37DANIEL FROHMAN announces,
38Season 1902-1903 (beginning Oct. 2, Worcester Festival),
39OSSIP CABRILOWITSCH
40THE RUSSIAN PIANIST.
41Everett Piano used.
42For Terms and Dates address
43H. G. SNOW, Representative, DALY'S THEATRE, NEW YORK.
45MUSICAL CLUBS.
47A new club, to be called the Goodwill Musical Society, is to be organized at Bensonhurst, L. I., in September. The Lyric Glee Club, of Milwaukee, Wis., gave a concert on August 2 at the Fountain Spring House, Waukesha, Wis.
49William James, the first conductor of the Arion Musical Society, of Milwaukee, visited his former home early in this month. Mr. James is now a resident of New York.
51At a meeting held last week the United Singers of Philadelphia voted to sing "Mein Lied" at the Baltimore Saengerfest next June, in the United Cities Prize Competition.
53The United Singers, of Albany, N. Y., composed of the Maenner Quartet, the Caecilia, the Saengerbund and Harmonia, gave a picnic with concert at Colling's Grove, near Albany, August 18.
55Members of the Arion Singing Society, of Brooklyn, with their families, will leave to-morrow (Thursday) for a four days' excursion to the Thousand Islands and Trenton Falls, situated on the West Canada Creek.
57Miss Elsie Ray Eddy, president of the Laurier Club, of Brooklyn, N. Y., is spending the summer at Sea Cliff, L. I. Thursday, August 14, Miss Eddy gave a musical tea for her guest, Miss Sterling, of Philadelphia.
59According to the Canadian critics the Buffalo (N. Y.) Saengerbund scored the highest points in the choral singing contests at the Saengerfest of the Lake Erie Saengerbund, recently held at Waterloo, Canada. Societies from Cleveland, Ohio; Erie, Pa.; Hamilton and Toronto, Canada, participated.
61The Union Musical Society, of New Auburn, Me., a musical club, and not a labor organization, gave a delightful musicale at the hall of the society Tuesday evening, August 12. An excellent program was given by Mr. and Mrs. A. W. Cote, Miss Corinne Herbert, Archie Bourque, J. C. Martin, Miss Corinne Laponte, M. A. Brunelle, Miss Emma Talbot, Miss Laura Bernard, J. B. Couture, Miss Caroline Noel, Miss Delvine Plante and M. T. Blondeau. M. P. Thibeault, president of the society, made a speech, and Ludger Dumont was master of ceremonies. The society has refurbished its hall and the musicale was in the nature of a dedicatory service.
63Bowman's Return.
65E. M. BOWMAN and his family will return to this country on the Augusta Victoria, sailing from the other side on September 26.
67LAMOND SELECTED.—Frederic Lamond, the piano virtuoso, will be the soloist at the Theodore Thomas orchestral concerts, Auditorium, Chicago, December 19 and 20. He is also engaged to play with the Kneisel Quartet, which is of great value to the quartet.
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