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Scan 190
The violinist, 1900
16 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1in the workshop of Amati in 1660. Amati died in 1684, an old man, and it is probable that Stradivari was connected with his shop until nearly that time. It seems, however, that all during this period he made and labeled violins outside of the shop. Until he was 40 years old he follows his masters' patterns.—The result must not have satisfied him, for in the next fifteen or more years we find him constantly changing his model and, therefore, producing different results in tone as well as looks.
3From this period we find comparatively few specimens. It is commonly thought that during these years he was experimenting and many of the violins of this period did not come up to his expectation and were probably destroyed. From 1700 to 1725 is his golden period and during this time he made his masterpieces which are admired by all the world. From now on we notice his decline. His output diminishes in number and quality, his hands have lost their steadiness, his eyesight fails him, the lustre of his varnish cannot compare with the earlier works.
5A contemporary of Stradivari was the highly gifted Joseph Guarneri, called del Jesu 1687-1742.
7While he was not so much connected with the development of the violin, he has given us some of the finest specimens known. His work from his best period rivals Stradivari's in some respects and is even preferred by certain admirers.
9When we look into the workshop of the great artists we must at once drop the idea that they had a secret which would enable them to insert a good tone in every violin they made. There are many violins of the best makers which do not come up to the mark and their shortcomings can technically be pointed out. If the tone of the violins made by the different masters would compare more closely to each other, the theory of a secret might have some ground, but their results depended on material, dimensions, construction and varnish just as well as it does to the violin maker of today. It is, however, a fact, that they had more knowledge of varnish and how to apply it.
11People speak of the great admiration they have for fine Italian varnish, but never think of the important part it plays in addition to its finish. A well constructed unvarnished, new violin, has a harsh, glassy, brittle tone. If left in this condition the tone will deteriorate rapidly, somewhat in comparison with that of a piano. The varnish, therefore, not only preserves the instrument but in addition has to perform the important part of obliterating the undesirable qualities of tone. It can easily be seen that this is a most delicate operation and requires the most skill and judgment. It is here that the great masters show their superiority and through their great and personal skill in making and applying the varnish they have stamped their violins with their individual tone qualities.
13I do not at all share the idea that age has improved these instruments, but believe with Lütgendorff, that nine-tenths of them were better when new. It must, however, be understood that the varnish cannot cover the bad effects of faulty construction or inferior material. The old masters knew their craft well; material, shape, graduation all was used to the best advantage; each aiming to secure his own idea of tone. Their achievements are unrivalled. Maggini in his somewhat somber sonority, Ni. Amati in his silvery-bright, easy articulating reserve, and Stradivari in a happy blend of beautiful quality, great volume and easy articulation.
15When we test the practical value of the violins of Amati and the Brescian School, we must admit that they do not come up to the highest grade of concert violins. This was formerly not so, in their own time they were perfectly satisfactory to the player and here lies the greatest achievement of Stradivari: that he created an instrument far in advance of the requirements of his time. At first
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