Grand Rapids herald. [volume] (Grand Rapids, Mich.) 1892-1959, 1892-05-03
WE EXCEL In MUSIC
Because Our Native Americans
Are More Inventive
AMATEURS AND THEIR FAULTS
In Selecting Really Good Instruments.
Our Superior Pisnos-Someshing About
Old Violsns Gilmore.

81 am not an authority on musical
matters and would not ike 10 be quoted
as such" said +. Jonasohn at Sweets
Hotel yesterday. Despite Mr.. Jona-
sohn's statement, his opinion IS very
we'll esteemed among musical people.
especially when it concerns instTu-
ment, either wind or string, for be
travels for large instrument house IN
New York City. "rhe finer instrn-
ments are very largely imported he
said, though very fine yiolins are
made IN this country. Few OF the best
makes 60 on the market. however, but
are cold TO private parties. There are
such vast numbers of amateur, and
less than amateur, players IN the
country that there Is demand Tor
cheap instruments and the good ones
are eagerly bought up by the really
good players. There are many who
call themselves players who are less
than amateurs, and this lowers the
standing of musical art and, naturally,
the quality OF instruments. The Ger
mans make very fine instruments OF
all kinds, but II II noticeable that their
work does not stand the changes OF
climate TO which it is subjected when
imported to America.
Great Fault of Instrsmsats.
"The great fault of most instruments
is that the material is not properly sea-
soned, which utterly prevents the ex-
ecution Of rich, full melodies, no mat
ter in how good hands they may be.
1t can be said for America that no
country excels her in the making of
fine pianos. lay this success to the
wonderful inventive faculties Of Amer
leans rather than to fine mechanical
work. The possibilities Of the instru-
ment have been developed to the very
fullest extent by Them"
Asked as to the reason for the great
value of the Stradivarius and other Ole
makes, Mr.. Jonasohn said: There are
many reasons given for this decidedly
interesting fact. The most reasonSbIe
is that more care was taken In the
making. Fewer instruments were
made and each was generally the work
of but one man, who was thus familiar
with the peculiarities of every piece of
wood going into the violin. In those
days the artist did not, as now, look
down on tho tradesman, who became
really an industrial artist and was In
full sympathy with the player, and un-
derstoOd what he most desired IN his
violin. and his knowledge enabled him
to produce the very best work. y
Richness and Dsiicaoy. y
"Today too many makers do not un-
derstand the fundamental needs of the
artist. Another reason for the richness
and delicacy Of the tones produced by
these old in0truments 10 that . violin
played for many years by good per-
former seems to absorb these sounds. if
for the sake of illustration. We may
describe it that way. The violin seems
to become flexible and responds with
wonderful sympathy to every touch of
the bow.
"But thorough musical education is
comparatively new in this country, and
we must not expect too much from the
amatucr player. Among the worlds
greatest professional players ire found
many Americans. The success Of Gil
more in Europe has oeen very crafty
ing to those who hope for y brilliant
and sound musical future for the
United States. i remember well the
very eulogistic criticisms which Gilmore
received in the Austrian newspapers
and from the best Vlennese critics.
One may travel the world over and not
find orchestras better than those of
Thomas and Arthur Wikisch. In fact
l think Americans may Justly resent
anything like q patronizing commend
alton Of their successes In musical
art"