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Scan 10
The Violinist's Guide (1916), 1916
14 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1Advice to Buyers
3BEFORE considering the selection of a violin or cello a prospective purchaser should make up his mind what he expects from the instrument, how much he wishes to pay and where to get the best value for his money.
5Very few of even the best new instruments are equally suited for every purpose. If the tone of an instrument is rich and sonorous enough to fill the largest concert room, it still may sound harsh in a small room even in the hands of a great artist. A violin whose tone is all that could be desired for the leading instrument of an orchestra might be a nuisance to even the most discreet and skillful second violinist of a string quartette.
7The chief difference between a good, honestly made instrument and a poor one, is that while the good violin positively improves with age and use, the poor one can never become better. The tone of a good violin becomes richer, the playing easier, while a poor instrument remains permanently unsatisfactory and a torture to user and listener. The same general principles of construction approved by the rigid test of time, are followed by all reliable makers. There are various details which confer upon every instrument a distinctive individuality. There have been many improvements, innovations, inventions and departures from tradition announced by makers, some of which deserve careful consideration, some none whatever.
9The best recommendations of an instrument are its tone and the reputation of its maker for reliability and skill. The reputation of the modern maker is founded on the judgment of artists and the knowledge of the players and public that he is included among those makers who are worthy of serious consideration. Therefore, when the purchaser pays for the name of any modern maker of reputation he is in reality assured and guaranteed that he is getting something like value for his money.
11Violins are like individuals inasmuch as no two are absolutely alike, although from the same workshop. In selecting a violin the chief considerations, after the reliability of the maker is assured, are tone and appearance. Many violins possess an attractive appearance, although the eye of an expert could detect inaccuracy of construction, slovenly workmanship and badly chosen wood. The tone of a good new instrument should be agreeable in quality and at the same time full and strong but never offensively overpowering. Some, when played discreetly, speak agreeably; but when forced yield a tone that is shrill and uncertain instead of full and round. The same quality and evenness should prevail in every register. There should be no wolf.
13One strong reason for choosing a violin from a reputable maker is the existence of various tricks for improving and strengthening the tone. A thoroughly honest, experienced and reliable maker or re-
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