George Gemunder's Progress in Violin Making Part 2

Before using the violin it is advisable to rub it with a soft cloth or chamois, so that neither dust nor perspiration may remain on it; it should also be cleaned each time after being played upon. The sounding post should also be examined, to be sure that it still stands perpendicular. The bridge, too, must be looked at, and if it stands obliquely it must be brought into its normal position again before taking the bow. It usually inclines somewhat forward on the E string after tuning it. If this is the case, pinch the E string between the thumb and index finger, while the corresponding part of the bridge is moved backward by the points of the fingers.

On good and excellent violins particular attention must be given to the bridge, especially when it fits the instrument, for it is not always easy to replace it with one equally good. A bridge which is qualified to affect the violin and contribute to the charm of tone of the instrument is more valuable than one would often think. Many consider a bridge of as little consequence as a string, when it breaks on the violin, and think they can restore the loss by a bridge which costs three cents; for the correct model of a bridge is considered only as an ornament by such people. Of course they do not know that this is one of the most important parts of good violins, and that there are but few violin makers who are able to make a bridge as it should be. But it is the same with the bridge as with the violin.

It is not only the correct construction of the violin and bridge which produces a good tone, but the right sort of wood must be found for the purpose. Thus the bad form of a bridge made of fine wood is just the same as a common fiddle made of fine materials. It therefore follows that we should take as much care of a master bridge as of the violin itself.

It some times occurs that the sounding post of the violin becomes shorter by itself; in this case it may be advisable to relax the strings entirely in order to see whether the sounding post does not fall. If this is the case, a new one must be made of old wood by a skilled workman. The cause of this is that the wood contracts more or less, especially in dry weather; this may also be caused by a change of air, which sometimes even produces a distortion of the swell of the top.

When such care is habitually taken, a violin will always be in good order. Too low a sounding post causes a lower position of the top on that side, which, when not remedied, will remain and will produce a defect in the swell and tone. This is also the case when the sounding post is too high, and many violins are seen where the swell is higher or lower than it ought to be on the side where the sounding post stands.

This is also the case with the ba.s.s-bar or so-called "soul" of a violin, which is just as mysterious a part of the violin as any one can imagine; and its quality shows the skill or ignorance of its maker.

TO ILl.u.s.tRATE HOW VIOLINS OF MY CONSTRUCTION MAY BE COMPARED WITH THE OLD ITALIAN MASTER-VIOLINS.

From the foregoing treatises it will be seen with what energy I devoted myself to the art of making violins, and I can declare to the world with a good conscience that I have reached the standpoint in this art which has been striven for in vain during a century.

I have studied all the characteristics in the construction of the Italian master violins, and have had extensive practice in imitating violins, as masters have made them, and have obtained an understanding which enables me to unite all good qualities of tone in the construction.

As I am able to judge from experience, n.o.body can confute me. All those who doubt it or will dispute it can neither confute me scientifically, nor prove what they say. I have had a great many opportunities to hear and repair the best Italian violins myself, including Paganini's wondrous violin at Vuilliaume's, in Paris, and I can affirm that my "Kaiser" violin can be considered as wondrous a violin in regard to tone and character as--nay, it is even to be preferred to--that of Paganini's in many respects!

I also make a peculiar kind of Maggini violin. For this purpose I have selected an older form than that which is generally known. I construct these violins in a manner to include all good qualities of tone, and they are, therefore, far preferable, because they surpa.s.s those of Stradivarius in greatness of tone. Such distinctions prove that I have made great progress in this art.

Most Italian violins are now of interest only to admirers of art, and may be recommended to antiquarians, for there are only a very few still existing which can be used for concerts, and although if even their voice disappears more and more out of their body, they will always be valued, kept as relics and admired by friends of art. But it is only fancy which makes most of them adore what they do not understand, and they trample down the blossom of the new productions which the world brings forth.

Therefore, it will be of some interest to many to hear more minute particulars about the method of construction of violins of the old Italian masters, as many persons are still in darkness as to which violins the best tone is to be ascribed. This want of knowledge comes simply from the fact that a combination of uninjured instruments of the best masters is a task very difficult to be effected, and these instruments would by all means have to be put in proper condition by an expert.

This has, perhaps, never been done yet, and a general comparison could only be made as the opportunity presented itself.

As I acquired knowledge of the system, the forms and swells of violins of the great masters, I also became so thoroughly familiar with the characteristics of tone that I have found out what the present needs require.

I will now consider in detail the different characteristics of tone of the productions of the great masters, and state in what manner this difference was obtained.

Jacob Stainer, at Absam, in Tyrol, was a pupil of Nicholas Amati, at Cremona. Stainer and Amati made violins which were mostly demanded by amateurs on account of their round, sweet, silver tone. This character of tone they produced by a small, round and some what oblong swell, as well as by a neat and somewhat smaller size than that of Stradivarius, who endeavored to gain a greater sonority of tone. Stradivarius, therefore, made the swell less high than Stainer or Amati, but of a broader circ.u.mference, drawn oblong, by which he obtained a sublime tone in an aristocratic and majestic form.

Joseph Guarnerius del Jesu.--As long as he made violins according to the school of his great master, Stradivarius, his productions were of a similar nature. Later, he made somewhat smaller models, sometimes with a circ.u.mferential swell, by which he gained a somewhat smaller tone, but with a striking, quick touch of a peculiar brilliancy. It is strange that he gave a different form to each of his violins, the _f_, the swells and the scrolls varying in almost every instrument. It is told that he was imprisoned for a long time, and, under great deprivations, he made violins secretly. In all his productions his great genius is recognized.

Duffu Prugar, at Bonninien, lived in the sixteenth century. His violins have a large and wide form, with interesting ornaments of carving work and inlay; their swells are beautiful, and as high as those of Stradivarius, and they produce a great and full tone. But as there are only few still existing, many violins are imitated in France according to this model, and they are spread far and wide.

Maggini's violins are mostly of a large size and of a higher swell and fuller toward the extreme parts than all the other violins of the Italian masters, therein producing a great fulness of tone; on the G and D strings their color of tone is particularly deep.

Gaspard da Salo made very interesting violins of small and large size; the former have a peculiar character of tone, not very strong but of a very clear color. These violins have a beautiful, high and round swell, similar to those of Jacobus Stainer, but those of a greater size are flatter, producing more power of tone, and are therefore better adapted for solo performances.

These celebrated masters left us a great choice of different forms and swells, as well as their method of workmanship in regard to the top and bottom of their violins, where the proof is to be seen that they always made investigations in order to gain a greater perfection. Stradivarius and Joseph Guarnerius have especially obtained a beautiful quality of tone in their violins, yet in order to gain an easy touch of tone, they worked the top pretty tender, and in many instances they made the middle part of the top most thin, probably to further the easiness of sound still more. Such violins do not answer for concerts.

It seems that at that time less attention was paid to such a power of tone as is required now, because only few of them have been found with an acceptable thickness of wood in the top and bottom. This is, therefore, the reason that so many Italian violins produce too weak a tone in concerts.

Although Maggini left the top and bottom thicker in the middle part, still, most of his violins have not, on account of construction and deep color of tone, been received with favor like those of Stradivarius and Joseph Guarnerius. As only a few such Guarnerius and Stradivarius violins were found which by reason of their thickness of wood answered the purpose of solo violins, every one believed all their productions of a like character.

Therefore, so many solo players often expose their ignorance by playing on such violins in concerts.

Stradivarius instructed other pupils besides Joseph Guarnerius, who made excellent violins, and many of these violins still exist. As the most of them were made with the full thickness of wood, they produce a splendid tone, often better than some of those made by their great master. This teaches us that he who wishes to possess an Italian violin on account of its tone cannot depend upon finding it by the name alone, but he has to pay all his attention to the discovery of those in which the necessary thickness of wood is found.

A solo player, therefore, should never play a violin on account of its name alone, for if the violin produces a weak tone, the blame will be laid on him, and so much the more because it is generally supposed that such instruments must be master violins.

ART EXHIBITIONS.--HOW VIOLINS ARE EXAMINED AND JUDGED.

First of all I will take America into consideration, where the art of making violins is too little understood to be judged. Commissioners of exhibitions like those, for instance, of the late Centennial, have no idea of violins, and, therefore, are unable to appoint judges competent to award the premiums. It would be too much to ask that they should themselves be such connoisseurs, for the violin is still considered as a fiddle in this country, and it may still take a long time before the people here reach the standard of knowledge and appreciation which Europe occupies. Therefore, only very few real violin makers are found here, for most of them are only amateurs doing business in this branch.

In the Centennial exhibition in Philadelphia, in the United States Department, were found mostly such amateur violins. I have heard that all those who called themselves violin makers received a premium. The judges were either unequal to the requirements of their office or they desired to offend n.o.body. If the latter be the case they certainly acted generously if not justly. But exhibitions of art were established for the purpose of finding out in which way the different articles of industry and art compare with each other. Proper examinations can be made only by professional men, otherwise only that fiddle that "cries"

the most will attract the greatest attention.

Justice will never prevail in such exhibitions, owing either to want of knowledge in order to be able to judge who has deserved a premium, or to favoritism, for merit can hope least, especially in Europe. Artists there can only receive acknowledgment if they have the means to spend.

The Centennial exhibition, however, was not guilty of such a wrong; here it was the desire to be as just as possible to all, although not every one could be satisfied. To act in the capacity of an awarder is always a thankless task; whether the judge has or has not the necessary knowledge, discontent is sure to follow, because the conceited man who has been unrewarded does not see the difference between his production and the better one of his co-exhibitor, but an injustice is done to an artist, if through favoritism a premium is awarded to an inferior production.

Exhibitions, however estimable they may be, are still very imperfect in regard to their organization; in Europe they have been for years entirely corrupt, and are now called into existence mostly by speculators. The true principle has been lost sight of and taken a corrupt form. It is scarcely to be expected that the time will come when the many defects which have crept in will be removed again, for all these failings which have manifested themselves throw a shade over such exhibitions, and the time is not far distant when they will be entirely disregarded, if not reorganized on a different basis. But I believe that they will never attain great perfection, even if taken in hand by the Government, for so long as a system of awards is connected therewith, mistakes and discontent cannot be avoided. Managers of exhibitions are not always competent to appoint the proper professional men and experts as judges; and as those appointed lack the necessary qualifications, dissatisfaction ensues. But suppose the awards were made with proper knowledge and strictest impartiality, what then? What have the remaining compet.i.tors gained who are less gifted by nature, and therefore could not receive any award? Nothing but mortification and an impaired business. Is this fair on the part of human society? Not every one can be an artist. The offering of premiums has for its object the promotion of industry; but the majority of exhibitors can never achieve distinction by reason of lack of talent, and must consequently be considered as excluded from their line of business. Are we not bound to consider them as our fellow brethren and to care for them as well as for those receiving premiums? But the present generation does not seem to have any thoughts about this, for there are but very few men who are still animated with n.o.ble impulses; while the majority are striving to ruin their fellow men by greediness.

In my opinion such exhibitions cannot continue any longer, because justice can never be expected, and the chase for the highest premium in order to outdo others, has not only become ridiculous, but also immoral.

If I were the richest man, it should never come into my mind to strive for a premium which I must purchase through so-called leeches. There are, however, connoisseurs who know how to distinguish that which is better from that which is less good.

As long as such exhibitions are based on such rotten principles, I find no longer any interest as an exhibitor in striving for a premium, and as I gained the highest moral premium in the exhibition at Vienna in 1873, on this account I did not compete for any premium as an exhibitor in the Centennial exhibition at Philadelphia!

NOTE ABOUT DILETTANTI VIOLIN MAKERS.

Whoever takes an interest in violin making will undoubtedly be pleased to hear more particulars in regard to dilettanti violin makers and their patrons. There are some dilettanti violin makers in America who consider violin making their business, and there are others who do not make it their chief business. They have their own particular patrons, who in the knowledge of violins are on the same level with themselves; but it cannot be denied that in the productions of some of these violin makers there is talent discernable; if these persons could have had proper instruction, more good violin makers would be found than are now in existence. But as long as dilettanti violin makers remain as such, only dilettanti violins will be produced; for without proper instruction it is impossible to obtain either a correct knowledge of the exterior formation or a correct knowledge of the production of tone.

It is true, that every piece of wood over which strings have been stretched will sound, and every such instrument will have its admirers.

There are, however, dilettanti violin makers whose self-conceit and boldness is simply astonishing. The professional will understand this, for if a self-conceited man could see clearly and look into the matter, he would be astonished at his workmanship, as I was once myself.

As dilettanti usually lack that practice which is peculiar to the regular violin makers, they very often experiment in all kinds of machines by which they expect to lighten manual labor; their object, however, is mostly reached in a very roundabout manner, although they believe to have made an improvement, and this improvement they announce to the public as a great success. As most of their patrons have no knowledge of the matter, such a dilettante appears to them as an extraordinary genius. This supposition would perhaps not be disputed if it did not take considerably more time to execute with their machines a certain amount of work than the practical workman requires simply by the dexterity of his hand.

A dilettante violin maker can never be a thorough workman, and is ent.i.tled to be considered only as a "jack-of-all-trades;" he has a great many kinds of tools which the regular violin maker never uses.

Many dilettanti are presumptuous enough to believe themselves further advanced in theoretical knowledge concerning tone than the most experienced violin maker of the present day. Some of them ask, in consequence, a great deal higher price for a violin of their own make than does any regular violin maker for his. But it seems to me that such persons are often only the tools of Ole Bull, a once celebrated violinist with extravagant ideas, who misled them. They, however, believe to have learned from him the true secret of the art of violin making. He also tried to persuade them into the belief that when _new_ violins sound well and are serviceable for concerts they are made of chemically prepared wood. If such pretended wise man would have some knowledge of wood, he ought to be able to distinguish wood which is chemically prepared and that which is not! About this point I have already sufficiently explained my opinion.

To give the wood the old natural color which is peculiar to the Italian violins, in a great measure depends on the material used, for not every wood intended for violin making has the necessary qualifications.

Violins made from such selected wood are therefore especially valuable.

It cannot now appear strange that the general public has so little knowledge in the judging of violins, when a world renowned violinist like Ole Bull shows such ignorance. Here in America the latter preferred the company of dilettanti violin makers, for the reason that they were generally willing to listen to his ideas, and some of them have studied now so much that they cannot see any clearer nor hear any better.