PREFACE.
The Violin is an instrument which, though small and of trifling original cost, has yet commanded most extraordinary prices. The reason of the immense difference in the value of these instruments must therefore be a subject possessing strong claims to notice from virtuoso and amateur.
To distinguish by the outward characteristics and peculiarities of tone, that which will be of pecuniary value to the possessor, and yield the utmost delight to the hearer, is an acquirement at once difficult to obtain and very valuable when obtained. To assist the amateur and collector in this pursuit is the object of the present little work. Such a work has long been a desideratum.
Of late years, the History of the Violin and its congeners has received much attention. Elaborate and costly treatises have been published, some of which being written in Foreign tongues, are exceedingly difficult to obtain, and not accessible to many of those who desire to peruse them, on that account. Others are very imperfect and unsatisfying. Others again, are, from their high price, beyond the reach of the greater number of amateurs.
The present work is intended chiefly for the use of those who desire a handy guide to the principal characteristics both of make and tone which mark the chief builders of this most famous instrument. Many persons anxious to possess a good instrument, and led away by the very natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are tempted into purchasing Violins which are presented to them under false and delusive titles, and reject frequently good and genuine instruments of less famous makers, but still valuable because they are good and genuine. Undoubted specimens of the great masters are now very rarely to be had, unless at a very high price. Yet, when we consider that even Stradiuarius himself obtained no more than four pounds for his best instruments, which now command as many hundreds—it is evident that, in the absence of those great productions, the works of his pupils and successors are well worthy the attention of amateurs. There is no doubt, indeed, that many of these, which from being built on his principles are of first-rate quality, have been sold as those of the master himself. It cannot, therefore, be questioned that a knowledge which will lead the amateur to buy an instrument for what it really is, instead of what it professes to be, will at once save him from the unpleasantness of paying too dearly, and in real enjoyment yield all that can be desired.
The author believes he has in this work given the amateur and connoisseur information not easily attainable elsewhere, but as he is fully conscious that there may be imperfections in it still, he will be glad to receive any suggestions or information which may enable him to render it still more complete.
Sheffield, February, 1866.
The two most pleasing, expressive, and powerful single instruments of music are the human voice and the violin. The one, the gift of beneficent nature, has from the creation exercised its touching influence on the human soul—the other, the product of the ingenuity of man, has only within the last three centuries attained to perfection, but since that period what delight, what rapture has arisen from so simple a construction, when acted upon by the hand of genius!
While the melodious tones of Grisi and Mario have touched with sympathetic feelings the hearts and imaginations of spell bound listeners, how have the magic tones of Paganini and Ernst wrapped the souls of wondering thousands in an elysium of delight and admiration! What effect cannot be produced by the Violin, (except that of speech,) which the voice can accomplish?
The Violin in the hands of genius can draw tears or create laughter. Whoever has heard the great masters of this extraordinary instrument, has heard all the sweetness of tone, the intensity of feeling, the power of expression that the most gifted sons and daughters of song could possibly produce without the additional aid of speech. The Violin, in fact, in its power of expression far excels those singers, of whom there are too many, who while singing the notes, fail to make their hearers understand the sense of their songs. If a merry dance is produced by the agile bow, its sympathetic tones at once excite a corresponding feeling. If a plaintive air streams in delicious and heart-touching cadences from the strings, what soul is there so dead to feeling as not to respond?
The perfection of the Violin is that its master, if alive to the subtle and mysterious influences of the imagination, can elicit from it the most perfect and touching "songs without words."
It is besides the only instrument, except the voice, which is perfect. Every shade of expression, every nicety of tone can be produced on it. All other instruments sink into insignificance in comparison with the Violin, because they cannot do this. They are all more or less imperfect; and therefore fail in those subtleties of expression of which the Violin and the voice are such able exponents.
What gratitude do we owe therefore to those great masters of Cremona, more especially the Amati and Stradiuarius, who have succeeded in bringing the Violin to its present state of perfection.
Music has in all ages been a source of the purest delight. The greatest poet and dramatist the world ever knew says that whoever "has not music in his soul is fit for treasons, stratagems, and spoils." In the present age the cultivation of Music forms one of the most general and the most refined sources of amusement and pleasure. All ranks of people are now privileged to join in its delightful enjoyments.
Even the cottage of the artisan is now often elevated by the elegant practice of music, through the increased facilities for producing instruments at a cheap rate. The consequence is that in the present age there is a more general study and a finer perception of what is good and beautiful, and their elevating tendencies are doing much for the mental cultivation and refinement of all classes.
A very extraordinary feature of the musical world of the present day is the enormous orchestras which can be produced on special occasions. A chorus of several thousand voices supported by hundreds of instruments may now be heard, rendering the immortal compositions of the greatest masters of the divine Art, in the Peoples' Palace at Sydenham and elsewhere. These Orchestras are chiefly selected from the ranks of the people, of whom the artisan is the chief contributor.
The reduction of the cost of instruments and the adoption of what may be called the joint stock principle are tending still further to enlarge the boundaries of the practical musical world. At any time and for any special purpose it is now easy to secure a band and chorus sufficient in numbers and executive power to render in an efficient and powerful manner, the glorious productions of Beethoven, Mozart, Handel, and other great masters.
In all these transitions, the Violin bears a most important part. It is the leading instrument in these great performances, as it is also, after the voice, the most powerful medium of expression in solo. It is also the peoples' instrument.
The labours of many eminent violin makers who have followed in the steps of the great masters have of late so immensely improved the art, that a good instrument may now be possessed by any one. And it may safely be said that with its improvement, has arisen also the extension and wide spread practice of music generally. An ear accustomed to the fine tone of a good violin will not now tolerate a bad piano-forte.
The Piano-forte and the Violin are the most general instruments, and they have alike participated in the improvements effected, in becoming cheaper by the advance of science. Every description of machinery has within the last fifty years received the attention of able men, and the mechanical construction of the Piano-forte is one prominent proof of the advantages which can be conferred by science on even the luxuries of life.
The Violin, also, seemingly the most incapable of mechanical application to its manufacture, is said to be now made by a most persevering and enthusiastic lover and follower of the great makers, by mechanical means. Copies of these celebrated makers, are now said to be manufactured by him with an uniformity, a certainty, and a precision impossible except by the aid of scientific improvements. These instruments are therefore understood to require only the ameliorating influences of time and use to become fine in tone and satisfactory in every respect.
Every one interested in the progress of music, must rejoice at the rapid development of its resources and the general spread of its pleasures among the people. We are a profoundly commercial nation, and it is delightful to see that in our greater wealth and prosperity, rational amusements, and more especially music, go on increasing step by step with our more business-like occupations. This class of amusements must exercise a humanising and refining influence on the habits and manners of the people, and they should be, therefore, patronised and encouraged by all those whose means are large and their example powerful. There can be no doubt that their tendency is for good, and that those whose leisure hours are devoted to their practice and study, will be richly benefited by them in all those qualities which combine to make the good citizen and the estimable friend.
NOTE.
To prevent too much space being taken up in the alphabetical portion of this work, separate chapters are given on the four renowned Violin Makers, Amati, Stradiuarius, Guarnerius and Steiner. The names and dates of each of the members of these celebrated families are however given in their proper places, for prompt reference.
We have not in some cases been able to find any records beyond the names of certain makers. Wherever possible we have given dates, places, and style of work.
DICTIONARY
OF
VIOLIN MAKERS.
A.
ACEVO— Cremona, Pupil of Guiseppe Cappa. This artiste made very good violins in the style of the Amati.
ADDISON, WILLIAM, London, 1670.
AIRETON, EDMUND, London, 1730. A good and neat Maker.
ALDRED— London, Early English Lute Maker.
ALETZIE, PAULO, Monaco, 1720–30. Famous for his Violoncellos.
ALBANI, MATTHIAS, born at Botzen or Bulsani, in the Tyrol, about 1621. This artist was highly esteemed formerly, and Otto says that it is exceedingly difficult to give so exact a description of them as readily to distinguish them from those of Nicholas Amati, who was said to be his master. In the present day, opinions are very different. Nevertheless there are some fine instruments by this maker, of high model, with reddish brown varnish and bearing a great similarity to those of Steiner, of whom he was also said to be a pupil. The "Dictionary of Musicians" speaks highly of this maker. This was decidedly the best artiste of this name.
ALBANI, PAOLO, Palermo and Cremona, was also under Nicholas Amati, about 1659.
ALBANI— son of the above, about 1712, was also a careful maker, and turned out some good Instruments.
AMATI FAMILY.
For fuller particulars of these eminent makers, see separate Article.
AMATI, ANDREAS, Cremona, born 1520, died 1580.
AMATI, NICHOLAS, brother of the above, celebrated for his Basses.
AMATI, NICHOLAS, son of Andreas.
AMATI, ANTONIUS and HIERONYMUS. Sons of Andreas, 1550 to 1634, first made together and afterwards separately.
AMATI, NICHOLAS, born 1596, died 1684, son of Hieronymus. This was the greatest maker of the family.
AMATI, ANTONIO JEROME, do. 1640 to 1670.
AMATI, HIERONYMUS, Son of Nicholas, born 1649, said to be the last of the Amati family. A violin of his is mentioned, dated 1672.
AMELINGUE— Paris, 18th Century.
ANSELMO, PIETRO, Venezia, 18th Century.
ARTMANN, GOTHA. Followed Cremona pattern.
ASSALONE, GASPARD, Rome, 18th Century. Cremona patterns.
B.
BACHMANN, LOUIS CHARLES, Berlin, born 1716, died 1800. Considered to be one of the best makers of Germany. Otto says, the Instruments by this Maker are next in point of quality to the Cremonese. Without going so far, with our present increased knowledge of the pupils of the Cremona makers, it may still be admitted that Bachmann was an excellent maker and was very careful in his proportions, so that Amateurs have been often deceived into thinking them genuine Cremonas. They are of the flat Stradiuarius Model, made of good wood, with amber varnish, and therefore present considerable similarity to their patterns.
BAGANZI— see Bergonzi.
BAGATELLA, PIETRO—Padua, 1766. Said not to be very good.
BAGATELLA, ANTONIO—Padua, 1782. Author of a Work on the construction of Instruments, from which Bishop in his Translation of Otto, has appended a Theory for making a Violin on a very simple plan. He made some excellent Violins after Cremona patterns.
BAINES— London, about 1780.
BAKER— Oxford about 1720.
BALESTRIERI, THOMAS, This excellent Maker was a pupil of Stradiuarius, and made after his model. The Author has seen an Instrument by this Artist, which is of the large flat pattern and has a magnificent and brilliant tone. The wood of the back and ribs rather plain—the belly very fine open grain, purfling not very neat—varnish reddish yellow. Pronounced by judges to be equal to a fine Stradiuarius. It is dated Thomas Balestrieri, Cremonensis, fecit Mantua, 1757. This instrument is a proof that amateurs may in future look with safety to the pupils of Stradiuarius for violins to take the place of those of the great masters, which are yearly becoming scarcer and dearer.
BALESTRIERI, PIETRO, Cremona, rather earlier than Thomas.
BANKS, BENJAMIN, Salisbury. Born 1727, died 1795. Foster in his excellent work calls him "one of England's best manufacturers. Too much cannot be said in praise of this justly celebrated Maker. The work of all the better class of instruments is excellent, the tone good of all; but that of the Violoncellos in particular is full and sonorous." Mr. Gardiner in his "Music and Friends," says "Banks of Salisbury's Violoncellos are of the finest quality of tone—not so strong and fiery as Foster's, but in sweetness and purity excelling them." They are chiefly of the Amati pattern.—The best Instruments have brownish yellow Varnish with a tinge of red, others deep red of a blackish tinge, Varnish not brilliant.
BANKS, BENJAMIN, Son of the former, London, born 1754, died 1820.