Books › Old violins and violin lore. Famous makers of Cremona and Brescia, and of England, France, and Germany (with biographical dictionary); famous players; and chapters on varnish, strings and bows, 1893 › scan 24
Scan 24
Old violins and violin lore. Famous makers of Cremona and Brescia, and of England, France, and Germany (with biographical dictionary); famous players; and chapters on varnish, strings and bows, 1893
10 lines. Read by computer on 14 September 2026. No printed page number was found. See the scan on archive.org.
1which I mean the violin tenor, violoncello, and double-bass types, from the nondescript, dusky, tubby, ungainly machines, muffled in sound and dubious in form, that for me at least begins the history and the interest of the violin tribe.
3The genius of these elect types is inseparably connected with song—sacred song.
5Viols were used in churches to play chants in unison with the monks' voices (probably also to assist their defective musical ear). When the singing-schools of Italy arose and divided the voice into treble, alto, tenor, and bass, a suitable viol was told off as the companion of each voice. Soon after this the modern divisions, the octave and the discovery of the perfect cadence, laid the foundation of the art of modern music (Monteverde, 1570). The violin emerged.
7The endless discussions as to exactly when the violin proper made its appearance, or the tenor proper, or when the viol da Gamba got modified into the current violoncello size and shape, will probably continue to agitate those whose minds have a special aptitude for such researches. A very general statement will probably satisfy general readers, and even special lovers of the violin.
9The name of Duiffoprugcar haunts this dim transition period, and although the violins extant under his name have all been discredited, and not always distinguished from Vuillaume's clever forgeries, I remember one of the first judges in Europe, who was certainly quite alive to the tricks of the trade, showing me a reputed
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