Books › Musical Courier 1907-10-02: Vol 55 Iss 14, 1907 › scan 17
Scan 17
Musical Courier 1907-10-02: Vol 55 Iss 14, 1907
49 lines. Read by computer on 24 September 2026. Printed page 18. 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.
1NEW "G STRING PROP" FOR VIOLIN.
2A Washington man, Lester L. Sargent, has invented a device for the production of sustained chords of three notes on the violin, which will add a new charm to violin music and be of especial interest to violinists and composers. It is not designed for mere display of technic, but through its use new beauties of sound may be obtained. All structural changes in the violin have in the past proven to be failures; hence, musicians will naturally be distrustful of any innovation, however practical, unless they can themselves demonstrate its utility, and in this instance that can be done. The beauty of Mr. Sargent's invention is its simplicity, being a "G string prop" made of bridge wood, which can easily be inserted in any violin and also removed without injury to the instrument. In the picture, which is a fair illustration, except that the E string is almost hidden from view behind the A, the "G string prop" is colored black to make its outline clear.
4The possibilities of writing beautiful chords on the three lower strings of the violin have scarcely been realized, although De Beriot has a notable passage in his fifth concerto. As a matter of fact, harmony is more satisfying to the soul than melody ever can be. What, for example, could be more grateful than the violin harmony in Raff's "Cavatina," in Beethoven's "Romance in G," and in the Mendelssohn concerto? An editorial in the London Times of May 23, 1836, concerning a concert in which the then young Norwegian violinist, Ole Bull, appeared, contained this sentence: "His 'Quartet' in the ordinary mode of playing would seem impossible; but he distinctly made out chords of three notes with the bow, and produced the fourth with his finger." And then followed a description of the wild enthusiasm that took hold of the audience as they listened to that marvelous violin solo.
6But as the violin is now used, the possibility of chord playing is very limited. Berlioz points out that "chords of three or four notes produce rather a bad effect when played piano; they seem rich and energetic only when played loudly and boldly; as the bow can then strike the strings sufficiently together to make them vibrate simultaneously. It should not be forgotten that of these three or four notes, two at most can be sustained, the bow being compelled to quit the others immediately after they are struck." With Mr. Sargent's new device, however, all this is changed, as will be seen from the following description:
8The device, which is nothing more than a small piece of bridge wood, having the shape of a right angled triangle, with the hypotenuse curved in a little, fits smoothly on the bridge of the violin, and, like the bridge, has a notch for the string to rest in. A few moments only are required to insert the device under the G string, the tension of which holds it there securely, so that it becomes, in effect, a part of the violin bridge. Its dimensions, approximately, are these: Thickness, 3-64 of an inch (or the same as the top of the bridge); length (the long side of the right angle), 5/8 of an inch; width, 3-16 of an inch. This last dimension is variable, however, depending on the character of the music to be played, and may in some instances need to be cut in halves. As the "prop" is wedge shaped, the G string is raised, not so much as the "width" given above, but sufficiently to be sounded simultaneously with the D and A strings. Therein the significance of the device appears, for it removes the mechanical difficulty that Ole Bull was able to overcome only by means of a flattened bridge and a remarkable tour de force. In other words, chords of three notes on the G, D and A strings may now be played, not arpeggio fashion, but with a sweetly sustained tone—producing a new violin effect.
10To write a harmonious composition having these chords of three notes for the violin calls for ingenuity as well as musical knowledge, as any one acquainted with the violin will readily understand. One such composition, a "Paraphrase of 'Nearer My God to Thee,'" has already been published in Washington, D. C., by Mr. Sargent, who originated the "G string prop." The piano accompaniment to this solo, it is interesting to note, was written by G. N. Carozzi, a pianist who is well known in musical circles in Washington. As Mr. Sargent has dedicated his invention—the "G string prop"—to the public, and because it is simple and practical, its widespread adoption seems probable, since it opens up new possibilities for the composer and clearly marks the path to a new field of endeavor and accomplishment in the world of violin music—broadening the sphere of the violin as an instrument of harmony.
12BRIDGE OF VIOLIN, SHOWING SARGENT'S NEW G STRING PROP.
14Violin and Piano
15Paraphrase of
16Nearer My God to Thee
18Copyright, 1907, by Lester L. Sargent
19A solo in which the beauty of a grand old hymn is blended with the charm of a novel feature in violin playing—chords sustained on three strings. This is accomplished in an entirely new way that is both simple and effective. It will please you—and your friends.
20Price, 50 cents.
21LESTER L. SARGENT, 42 K Street, N. W., Washington, D. C.
23WISCONSIN CONSERVATORY OF MUSIC
24Cor. Milwaukee and Mason Sts., Milwaukee, Wis.
25One of the leading conservatories in the West. Experienced teachers and artists widely known give instruction in all branches of the complete Conservatory curriculum, Vocal and Instrumental, including Piano, Organ, Violin and all the Orchestral Instruments. Also Oratory and Normal Course in Public School Music. Catalogue sent free on application.
27CHARLOTTE MACONDA
28Management:
29R. E. JOHNSTON, St. James Building, N. Y.
30SPENCER CONTRALTO
31204 West 94th Street
32PHONE: 9488 RIVER
33Management: HENRY WOLFSON
35MRS. ARTHUR NIKISCH
36BERLIN:
37Saturdays and Mondays After September 15.
38STUDIO AT Barbarossa Str. 42
40GLENN HALL TENOR
41Address Concert Direction Hermann Wolff
42Flotwell Str. 1, Berlin, W.
43PERMANENT ADDRESS: BARBAROSSA STR. 42, BERLIN, W.
45BISPHAM
46AMERICAN CONCERT TOUR, SEASON 1907-8
47EVERETT PIANO USED
48For Dates, Address Loudon Charlton, Carnegie Hall, New York
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