Books › The violin : how to choose one, 1893 › scan 66
Scan 66
The violin : how to choose one, 1893
12 lines. Read by computer on 3 September 2026. Printed page 62. See the scan on archive.org.
1latter did not (so far as my own judgment from repeated trials, as also that of other players go) get the Italian quality of tone. I have had Vuillaume's violins here and in London for careful trial, and the conclusion to which I have invariably come has been that in each instance, whether made according to the Savart discoveries or theories, Vuillaume was as far off as any one else. Can the writer of the treatise produce the tone of Gasparo da Salo or Maggini? I think their tone more difficult to get near than either that of Strad or Joseph, and am not quite certain that those giants did not think more of him than of themselves. As the true Brescian tone appears to have died out before 1700, a question arises—why? The most admired specimens of Strad and Joseph are those that in their tone appear to me nearest in quality to the two Brescian masters. Did they try unsuccessfully for many years to get near that tone, or was it fashion made them alter?"
3So far as any one, not a violin maker, could test statements such as those of my esteemed correspondent, I have done so, and found them correct, and I may add that the violins made by the writer of the treatise bear out his statements, for they are, though exceptionally thick in the plates, large and free in tone, equal on all the strings, and just such instruments as a grand soloist will delight in when age has crowned and perfected the work of the maker. Although the facts and figures here given so frankly for the benefit of violin makers and the world at large are evidently the result of a life study, the writer has with great difficulty been persuaded by me to give his name, which only confirms what I have long most firmly believed, that the genuine violin enthusiast is as modest as he is unselfish. Long may Devoney live to practically illustrate his discoveries and researches, and be crowned, if not with riches and honour, with the blessings of those thrilled by the sweet strains which shall owe their being to his studious toil.
5THE ACOUSTICS OF VIOLIN MAKING,
6a method by which the body and character of the tone of any violin may be accurately copied,
8BY FRANK DEVONEY,
963 Milburn Street, Blackpool.
11The violin seems to be the only instrument which nine-
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