The spirit of democracy. [volume] (Woodsfield, Ohio) 1844-1994, 1884-02-19
THE SPIRIT OF DEMOCRACY
TUESDAY, FEBRUARY 10. 1884.
VIOLIN BUILDING.

VIOLIN BUILDING.
Equal to the Old, Are Then
Scratched and Scared and
Vanished to Sell Well.
Hartford Times.
"What about the old age of the bes
violins ?" asked the reporter of lead
ing maker.
"Well, what l was going to say is tba
the popular idea of time improving the
tone of violin ls absurd. Why, there
are numberless Observation-Disclosures who
lived at the time of Stradivsrius, Anal
and Steiner, but their names are forgot.
ten, and so are their instruments, il they
even exist A poorly constructed in
strument will never become a good one
should it become a Thousand years old
On the other hand, masterpiece 10 the
art of violin building will not improve
after its first or second year. Abou'
that length Of time is required for the
instlum to adjust Itself to the strain
put upon it, and if that is once accom-
plished that instrument is at its best 1t
is impossible to improve the tone after
that Have you ever thought Of the
great strain violin has 10 stand9 Il is
something truly wonderful. In the times
of the old masters this strain from the
strings was about sixty pouuds; but
since then, the pitch having been raised
nearly tone and half, the strain has
increased to ninety pounds. And now
look at this frail structure"
The instrument-naker took a violin,
finished in the rough, without the var
nish, from the bench, and said:
"That instrument weighs less than ten
ounces, and the strain it has to bear with
its tiny walls, but little thicker than pa
per, would seem incredible l repaired
the instrument, and / am proud of it,
All the conditions OF perfection have
been combined in its construction-such
as thorough knowledge OF acoustics,
proper wood that was absolutely season.
ed, aud the hand and eye of skilled
mechanic, guided by the judgment OF
one who had both scientific and practical
training. Under these conditions that
instrument was at its best when it Twas
two years old. 1t was b1ilt thirty years
ago, and is as good as some of the So.
600 instruments that indisputab,y came
from any Of the great masters. The
great error OF most modern instrument
makers is 10 make violins too heavy
You see they have no correct under.
standing of the principles of music. II
is not necessary for an instrument maker
to be performer upon any of the in,
struments he builds, but he must be able
to Judge how certain handling of the
material will influence the tone Take
for inst ance, the most experienced piano.
tuners; they are hardly able. to play 8
simple waltz, at least, not well, but they
know at an instant where the defect in
tone is; and how to remedy it. Tha
will give you an idea of what mean to
convey when say that an instrumen,
maker must understand music.'
The reporter was permitted to inspect
a few of the violins ready for sale, anG
wondered at the antiquated look o
them. "Well. you see," said the artist,
with sigh, IL dare not turn out vio
lin that looks as new as a fresh loaf of
bread. Such is the stupidity of publ,
opinion that the musical worll will have
and must have, violin that looks three
hundred years old. What is good a5ou
violin is its age, people think, and
suppose this idea could never be dis
played by any amount Of reasoning
OF course, then, these violins are old.
Unless they look as old as time outside
musical wiseacrcs might not appreciat
them hut inside I do not tamper will
The instruments. Outside they are o
the time of Henry Navarro; inside, O
the period of President Arthur. l def,
any one except, perhaps, few of thos
keen and astute Eaglish and French vic
lin sellers, to determine the differenc
hetween ar instrument finished yester
day here on State street and one built il
Cremona in the eighteenth Century," .
The man seemed to be perfectly right
Shape, color, varnish from all shades c
yellow to glorious red, were found i
these instruments; the trick of ag
seemed TO be perfect.
"How can you tell whether your ins
truments are up to the Italian stand
ardsl' queried the reporter.
"The answer is quite practical one,
said the artist, with sly laugh. ''Her
is standard, genuine GuarnerIous
built bv pupil Of the great Stradivs
rius. Ii you have the musical ear, an
this violin is played upon, all you hav
to do is to listen. Then try one of IN
violins, and if it is not as good in sound
Why, reject it. As to the differences 1
material, neither you nor I, who built j
can find that out. Does not the brand
new odd violin look as II it had the bio
graphy OF an old Stradivarius writte
on It's face? Here is the beginner
careless work, where the. novice ham
mered on it and tripped over the violi
with his bow. Here are tie marks wher
The strings were everstretched and f1es
In twain and dragged the knot, maxim
furrows and scars. Just here is wher
hundreds Of wet. or greasy, or unshavel
jowls have moistened, soaked or scratch
ed the right.hand top, or where million
of slidings OF hands have used up th
marrow OF the wood That split P
That is where 1t crossed the Appenines
and case and violin were splinrered b.
the vicious kick of mule. When tn
nerforner was PLAYING o serenade i
Venice a rival came and used blude
con and beat down the musician, ant
that spliLtering came from it. That
where the mice gnawed into its edg
when the violin was put to rest and for
gotten for twenty five wears, for th
owner was one OF the Kings PLAYERS
and had his head cut off ON that account
Here is where the former possessor Q
the instrument went mad from overwor|