Books › Violin tone and violin makers, 1916 › scan 26
Scan 26
Violin tone and violin makers, 1916
4 lines. Read by computer on 3 September 2026. Printed page 6. See the scan on archive.org.
1VIOLIN TONE
3in many instances, they could not play the violin at all. The great players accepted this toneless method of valuation with some show of reason. They were thoroughly competent judges of tone; could select their ideal from the works of the masters with unerring accuracy and, if they paid a high price for curio value, it was to secure what was of much greater importance to them, tone value. But how about the more numerous section of tone lovers: the aspiring young artists, the leaders of orchestras, the ambitious students, and the amateur soloists? To these tone is of importance, to say the least. Many a promising career is jeopardised through the lack of it, and progress in a difficult study retarded for the same reason. A poor toned violin will bind the soloist to a commonplace voice, and may even set up for the beginner a false standard as an ideal of tone. It is this great body of players who are obliged, under existing circumstances, to place their tonal wants at the mercy of a system not intended to cater for their needs, but to the needs of the curio-hunter. Let us now explain this method of valuation more fully in order that the violin player may see exactly where he stands in relation to a system under which he is, perforce, obliged to secure his tone.
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