Atlanta semi-weekly journal. (Atlanta, Ga.) 1898-1920, 1916-11-24
THE ROMANCE OF VIOLINS
= sY FREDERIC J. I=AsKIs

~ ALTIMORE. Nd, Nov. 21.---The recent rumor that
X genuine Stradivari voloncello had been discov-
cred in the attic of old farmhouse IN Indiana
proved false alarm. Upon examination 1t was louiu
that the cello was origin The only otrd0l-
varius violoncelo in america today is owned by
Baltmorean.
It is the propertv of Mr. Albert Iildebrandt local
cellist Of some note and the head OF an a' u 1850
that began it's career in 1898 Careiuy wrapped
silk enclosed by splendid mahogany case IN
the Hildebrandt shop is the genuine StraoVarlus'
played upon only intervals by It's owner OF some
visiting artist-for every cellist who comes to Balt
more Immediately rushes to see the instrument Such
el-known cellsts as Leo Schultz, William Willeke.
Paul Miersch, Writ and Anton Crak nave played
upon; and poets written verses to the beauty OF
it's tone.
4 real "Strad' instrument OF any kind IN this age
is extremely raro; probably not more than
half a Of the masters ceos IN existence TINS
obtained by Mr.. Hildeorandts tatner IN 1891
from an Italian count, who touring this country
with his invalid wife Tb7 count was in financial
difficulties was compelled TO sell it, although the
instrument had been in his family for centuries AZ
soon as the the purchase became public many
connoisseurs and collectors visited the Hlidebrandt
shop and examined the cello, establishing beyond a
doubt its authenticity. The workmanship is OF the
1717 period; deep and rich and the varnish
preserved intact it two centuries ago sara
the Spanish vionist and the famous hungarian
artist Remenjy both enthusiastic in their
praise this original Stradivari
The greatest violin maker who lived was this
Antonio Stradivari Cremona Italy. Born in 1914,
he lived nnety-three OF during which
period made in the neghborhood of 1900 violins
very of which have stood tine wear and tear OF
centuries. Occasionally is uneGrthed in some old
attic of Europe in almost its original state
of perfection, great of these are undoubt-
eddy fakes. The Stradivari label bears cross with
the letters under it, but in counterfeiting an
instrument easy to fake the label as anything
else.
The craze for cremona vions has tempted many
violin makers to copy Cremona models and forge the
proper labels, thereby making $500 or $500 on an
instrument would otherwise sell for SIS 800.
Antonio, there several other Stradivari
today; Nicoo Anat the teacher Of Antonio.
work extensively initiated; Carlo Bergonz,
pupil of Stradvari, and Joseph Antonio del Gesu
Guarnerus the greatest violin maker next to Antonio
Stradivari. The patterns by the original violin
makers still in today, but modern artisans
are able produce the early Italian varnish,
which the product Of secret process and thereby
the exquisite of the seventeenth century
violns
At least such is the opinion OF the majority of
violnists. Others believe that OF tho modern
vions of old wood and of careful workmanship,
than of the Cremona violins which have
been mperfectly made or badly preserved That the
difference between a wel-nade modern violin and
carly italian school is often impossible dis
tinguish is illustrated by tine Gemunder incident.
George Gemunder studied violin making with Villiume,
Paris. who OF the best French makers. and
opened shop in New York, where made number
Of very successful violns In 1872 he made copy of
q Joseph Guarnerius violin that such a fine
imitation OF old master it deceived the best
judges of Europe, who UnhesiatinGy pronounced It
genuine.
Mr. Gemunder however, not anxious become
a maker Of fake vions, but desired to build up his
Guarnerius pattern. He was therefore greatly dis