Alexandria gazette. [volume] (Alexandria, D.C.) 1834-1974, 1914-12-04
ELKS' MEMORIAL SERVICE.
Continued from page two)

beautiful example of the Italian
masters art. Fritz Giese, the solo
cellist Of the celebrated Mendels,
sohn Club, made many unsuccess-
full endeavors to purchase the instru'
nlent, but though generous offers
were made, the elder Hildebrandt
could not be induced to part with tine
cello. He revered the noble example
Of Italian art, and turned a deaf
car to many alluring offers. At his
death the instrument was bequeathed
10 his son, Albert Hildebrandt, who
as the third generation, continued the
business at the Liberty street shop.
The old place was the rendezvous of
many celebrated musicians, but its
hallowed walls which had resounded
the music of many first class artists
i!ad to make way for modern i'm
rrovements and change of loca-
ton was necessary. Though more
spacious surroundings are now to be
met at 10 W. Saratoga street, the
new place, too, has many OF the
traditional features which were SO
much appreciated by the musicians
O; former generations, Cellists of to-
day, such as Leo Schulz, Willem Will
exc, Paul Miersch, Bart Writ, An
ion Urak, and host of others de-
light in viewing the fine old instru-
ment and lose no opportunity OF
playing upon it and testing it to the
utmost.
Description of such an instrument
rs this needs to be given IN detail;
but in passing it may be mentioned
that its striking features are the
beautiful upper and lower tables, the
wood being finely preserved and the
original varnish left almost as in
tact as it was several centuries ago.
The instrument is of the period of
TIT. It's back is esecially handsome,
being of curley maple with the wood
figure standing out very prominently
The front, too, is attractive III Its
eraining; the characteristic holes
Give that individuality which is at
once noticeable in all real Strads.
The original scroll peg-box and the
old lockwood pegs have been re-
tanned. through the neck has been art
Fully changed to meet the more mod
err requirements of measure.
To attempt a description OF the
tone of this particular instrument
would prove inadequate. Let 1t sui
ice to state that it's rich, sonorouS,
and vital tone has been admired time
and time again. The tone must be
heard to be fully appreciated and It's
warmth and responsiveness must be
demonstrated to show how quickly
HE tone can be gained, how very SEN
sirive to the lightest touch of the
/ how the instrument is. and how re-
sourceful in quality as well as
quantity this tone really is. The
harmonics speaks with the greatest
case and the peculiar flaw which SO
! often aboundS in cellos, that is. the
noo,lv vibrating tone known as "thc
| wolf note" fortunately does not APP
! near in any part OF the tone-regester.
! The author of kathleen Mauvor-
incen". Frederick Nichols Crouch who
was a Baltimorean, upon hearing this
cello played wrote some stanzas III
It's praise, which he entitled: An
! irpromptu! Suggested by pro-
fessional cellist. who brought with
him a Strad." The poem is too long to
! he quoted, but its opening verse Will
chow the admiration that the author
meant to bestow:
az player, who came with a Strao
Proudly conscious the treasure ne had
| Tlayed upon it with skill
His enjoyment-his will!
Making his listeners glad"
The player in the poem is the pre-
sent owner, Albert Hildebrandt, VINO
v,iues these verses, which were writ
+a,, IN 1896 shortly before the death
Of the famous ballad writer as one
Of tbe highest tributes paid to TINS