Books › The M. Steinert collection of keyed and stringed instruments. With various treatises on the history of these instruments .., 1893 › scan 153
Scan 153
The M. Steinert collection of keyed and stringed instruments. With various treatises on the history of these instruments .., 1893
2 lines. Read by computer on 3 September 2026. Printed page 149. See the scan on archive.org.
1the mechanical conditions of sonority, which is in reality the soul of the work. Their wood is of prime quality, and the disposition of the thicknesses, blocks and linings leaves little room for improvement. Their successors, Nicholas Amati, Stradivari and Joseph Guarnieri augmented the tone of the instrument. Nicholas Amati, the son of Hieronymus, (1596–1684) was the most celebrated maker of the family. During his long life he perhaps varied least from his own standard than any other maker. After his death his pupil, Antonio Stradivari, raised the Cremona Violin to its utmost perfection, (1699–1737.) He was succeeded by Albani Amati, Gagliano Grancino Guadaguini, Guarnieri, Laudolfi, Serafin. The pupils and imitators of Stradivari maintained the reputation of the Italian violins during the first half of the last century; after 1760, however, a great decline can be perceived in Italian violin making, although good instruments were made by various second rate makers of the latter part of the century. The violin makers of South Germany form a distinct school, Klotz and Stainer may be named as the most celebrated of them; Munich, Vienna, Salzburg and Nuremberg have produced many fine violin makers. In France, the following makers deserve special mention: Lupot and Vuillaume, Aldric, G. Chanot the elder, Silvestre, Marrcotel, Minnegand, Henry and Rambaux. In England, the oldest school contains the names of Urguhart and Pamphilon. While at the beginning of the century we find in all parts of Europe distinguished violin makers imitating the old Italian School, the United States of America cannot point to a single eminent maker. The reason for this can be found in its state of musical culture. While the study of the piano attracted universal attention, orchestral music was still dormant, orchestral instruments were sadly neglected, and consequently little attention was given to the study of the violin. Through the concert tours of such eminent violinists as Sivori, Ole Bull and Vieuxtemps, a great interest in violin playing was awakened, and although many instruments of inferior make were thus imported to this country,
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