Books › The heart of music; the story of the violin, 1921 › scan 178
Scan 178
The heart of music; the story of the violin, 1921
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1received tenderly by musicians. Its chief quality in its first fledged state was its resonance and high, almost screaming pitch. Even so late as the seventeenth century we find Ogden speaking of "the sharp violin," and Mace of "the scolding violin,"—and the sixteenth century critics had harsher terms. The modelled back, so essential to the resonance of the true violin, was perhaps the most distinguishing feature of the instrument as it was in the era of Tieffenbrücker. The tuning of the strings in fifths, while characteristic and important, did not originate with the lute makers of Tyrol, but had flourished spasmodically for nearly two centuries in certain varieties of the rebeck and primitive viol.
3Still following the old story, for the truth of which we do not pretend to vouch, we must accompany Kaspar Tieffenbrücker on what was in those days a very considerable journey to Italy. Apparently he quarrelled with his father on the question of the house tradition, which was that the oldest son should always be a lute maker. A pioneer in heart and body alike, the Tyrolese workman left his snows and quietudes to enter a town which continued to be a fairly and busy progressive one for those days,—Bologna.
5Once in Italy, he could make what instruments
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