Books › Old violins and violin lore, 1900 › scan 77
Scan 77
Old violins and violin lore, 1900
10 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1OLD VIOLINS
3parts of each—I have endeavoured to point out as succinctly as I could.
5So, in the grand period, the grand pattern Strads are all made with a trained, almost inspired instinct, according to those laws which govern the tone qualities aimed at; but the fiddles are by no means alike to look at. They have the charm of imaginative variety, combined with the unity of supreme excellence.
7To this great period belongs the Dolphin Strad, so called, it is said, from the melting and almost iridescent tints of the varnish. To me, however, the violin almost suggests the life, freedom, and elegant poise of that graceful fish whose name it bears. The beauty and acoustic properties of the Dolphin wood are quite special, and can easily be compared with other violins of the same period, some of which are much plainer to look at, and somewhat different in form, and though very charming, hardly so bell-like in tone.
9The last time I had the privilege of touching the Dolphin Strad was at my lecture on violins before the Royal Institution in 1880. I shall never forget its ringing notes and its exquisite sensibility. It seemed anxious to speak before it was spoken to; when touched, it seemed to do all for itself like magic. Instead of the player showing it off, it shows off the player; he begins to feel he has nothing to learn in tone production. It is almost like sitting at those ingeniously contrived pianos that make elaborate music, and you merely have to put your hands on a dummy keyboard, press the keys, and appear to be playing, and
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