The morning news. [volume] (Savannah, Ga.) 1887-1900, 1888-12-27

ors In Italy who rummaged that country
for Old vlolins from the time that the craze
set In, late in the last century and early in
the present century, got all their most val
liable examples from the sources above in
dictated.
This being the case beyond question, it
may be admitted that the instruments
winch have become famous through the
playing of such masters as Paganini and
Oie Bull were old violins only in the sense
tnat they had been constructed many years
before they were used upon the incom-
parable models of the Italian schools. 1t is,
indeed. the boast of all historical records
relating to these rare instruments that they
came into the hands OF performers unsullied
ana unlmpaired by former use. The great
violin played by Ole Bull was therefore a
modern violin, so far as his performance
upon it was concerned. No fingers had run
the gamut of Paganini's violin, and it had
never voiced the music of which it was
capable until it fell under his witchery. /
claim, therefore, that although these violins
had been made centuries before they were
used, they were not old violins in the sense
In which that term is commonly under
stood. II they had been in use from the
time they were made until they fell into
the possession of these great artists the
world would have cared little for them.
They would have been worn out.
The modern violin-that is, the violin
made during the present century-is mod
eled upon the instruments of the Italian
schools. Enough of such instruments have
been preserved to enable violin makers of
the present day to know exactly what those
models were. Some of the makers, both in
this country and abroad, have attempted
models of their own which are commonly
admitted to possess great merit. Others
have confined themselves to limitations and
have been so successful in that line Of work
as almost to puzzle expert judges of violins.
1t is a common saving among musicians
that probably so out Of 100 violins which
are passed off upon the public are spurious.
l do not refer to the instruments
which are burned or charred, or
whose worm holes are made With hot
poker or to any of the other cheap and de-
ceptive devices of swindlers in violin max
ing. On the contrary, honest makers often
followed so closely the models of the mas
tiers as to produce instruments that might
be readily mistaken for the genuine article.
A genuine violin would always sell we'll
enough without a ticket, and some of the
choicest treasures in the cabinets of col
lectors in Europe and this country are
violins which bear no written mark of the
maker. Genuine or well copied tickets, on
the other hand, have sold many a spurious
VIOLIN The results of this jugglery and of
receptions. honest and otherwise, have
made judges of vioiins exceedingly skep-
teal in regard to instruments of which the
casual collector boasts. 1t is certain that if
a violin does not meet every requirement in
tone, in sweetness, and in carrying power,
judges unhesitatingly denounce it as a
fraud. A violin of an old master is valu-
able in the eyes of the musician only if it
will answer the purposes of the musician.
All of the instruments which have attained
worldwide fame and which have come
down to the present century in the hands
of masters owe their reputation, to very
large degree, am sure, to the undoubted
fact that they had been played upon very
little, if any, before they were produced for
the delight of modern audiences.
'There are several violin makers in this
country and in Europe who, in my opinion,
can turn out an instrument quite as sweet
and resonant and far reaching as any of
those produced by the old Italian masters.
/ have said that the Italian models seem to
be incapable of improvement. 1t follows
that nearly all of the good violins which
are made are patterned after these models.
Violinists understand the general differences
of construction Of the various models of the
old masters, and according to the taste or
ear or needs of the performer, modern
makers can produce an instrument which
will be satisfactory in every case.
Our venerable friend, August Gemunder,
makes violins as he has been doing
for fifty years past, and as he
seems likely to do for at least score of
years to come, modelled upon all the old
masters, and he has a model of his own.
His own model has greater breadth than
the famous Stradivarius, its tone resemb-
ling as closely as anything l can think of
the diapason of great organ, mellow,
clear, far-reaching and pure. The late DIR.
Leopold Damrosch owned genuine Mag
gini and several other old and excellent in
struments. For his last public appearance
as a soloist, however, he used Gemunder
model, and during the remaining years of his
life that was his favorite instrument. John
Frederick is another veteran maker of VIC
Inns in this country. He makes an
instrument patterned somewhat after
the style of the Stainer. 1t is noted for its
sharpness and brilliancy of tone, qualities
which are in favor with a large number of
artists. George Gemunder, who is a
brother of August, and who conducts an
entirely separate establishment in Astoria,
makes all the violins used by the famous
Wilhelm, and his wonderful instrument,
which musicians know as the Kaiser
made positive Juror in the musical world
when it was exhibited in Vienna, in 1878,
at the exposition. 1t is an imitation of
Joseph Guarnerius, and SO perfect is the
counterfeit that it deceived the jury of ex-
perts who were appointed to judge of vio-
Inns Stratton's violins, which come to this
country in large numbers, al
though not made here, also enjoy
some popular favor. They are construct
ed, of course, after Italian and German
models, and although they are made in too
large quantities to claim classification
among the finer grade of instruments, there
can be no question tnat they are extensively
used among amateurs, who think that they
are remarkable violins. There is man
named White in Boston, who, for 20 years
or longer, has been graduating vioins with
marked success. Nearly all OF the orches-
trail and concert players in New England
know the White violin and probably ma
jority of them use it. Albert Krell of Gin
cinnatl sent set of ytringed instruments
from his factory to the New Orleans expo
sition, and, with August Gemunder, was
awarded the first honors. Other cities in
this country and other sections have also
made some progress in this art"
Gamblers with Big Rolls.
E,,or1 The 81 T<1uis Post DisDdfch