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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/36147-8.txt b/36147-8.txt new file mode 100644 index 0000000..ab9abda --- /dev/null +++ b/36147-8.txt @@ -0,0 +1,2443 @@ +The Project Gutenberg EBook of George Gemünder's Progress in Violin Making, by +George Gemünder + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: George Gemünder's Progress in Violin Making + With Interesting Facts Concerning the Art and Its Critics in General + +Author: George Gemünder + +Release Date: May 18, 2011 [EBook #36147] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE GEMÜNDER'S PROGRESS *** + + + + +Produced by Adrian Mastronardi, David E. Brown, and the +Online Distributed Proofreading Team at http://www.pgdp.net +(This file was produced from images generously made +available by The Internet Archive/American Libraries.) + + + + + + + + + +[Illustration: Geo. Gemünder] + + + + + GEORGE GEMÜNDER'S + PROGRESS IN + VIOLIN MAKING, + WITH + INTERESTING FACTS + CONCERNING THE ART + _AND ITS CRITICS IN GENERAL_. + + BY GEORGE GEMÜNDER. + + _PUBLISHED BY THE AUTHOR_: + ASTORIA, N. Y., + 1881. + + + _Entered According to Act of Congress, in the Year 1881. + GEORGE GEMÜNDER, + In the Office of the Librarian of Congress._ + + + + +BIOGRAPHY OF GEORGE GEMÜNDER. + + +George Gemünder was born at Ingelfingen, in the kingdom of Wurtemburg, +on the 13th of April, 1816. + +His father was a maker of bow instruments, and it was, therefore, from +Gemünder's earliest youth that he devoted himself to the same art and +the studies connected with it. + +When he left school, it was suggested to his father that George should +become a school-master, as he at the time wrote the finest hand and +executed the best designs of any among his classmates. His father was +not averse to this proposal and decided to carry it out. George was, +accordingly, directed to prepare for the seminary. The plan was not, +however, in accordance with his own tastes or inclinations, and he +followed it for a period of but three weeks, only to abandon it finally +and forever, to take up that employment which accorded with his natural +gift and gave scope for the development of his genius. + +After his father's death, which occurred when George was in his +nineteenth year, he went abroad, and worked variously at Pesth, +Presburg, Vienna and Munich. Fortune smiled upon him, and more than once +an opportunity was presented of establishing a business; but nothing +that promised simply commonplace results and a commonplace life could +attract his eye, since his mind, aspiring to improvement in his art, was +constantly impelling him toward that celebrated manufacturer of violins, +Vuillaume, at Paris. He plainly saw that in Germany he could not reach +in the art that degree of accomplishment for which he strove, and, +therefore, he resolved to find, if possible, at Strasburg, such a +position as he had had at Munich. Through the mediation of a friend he +obtained a call to go to a manufacturer of musical instruments at +Strasburg; but upon his arrival he was astonished to learn that the man +was a maker of brass instruments! Here was a dilemma. Disappointed in +his effort to find employment, winter at the door and far away from +home, what could he do? The manufacturer, whose name was Roth, +perceiving his perturbation, was kind enough to ask Gemünder to remain +in his house until he should have succeeded in finding such a position +as he desired. Gemünder accepted the profered kindness, and after the +lapse of six weeks he formed the acquaintance of a gentleman with whom +he afterward became intimate, and who promised to write for Gemünder a +letter of recommendation and send it to Vuillaume at Paris. Meanwhile +Gemünder remained in Strasburg. One day, while taking a walk in the park +called "Die Englishen Anlagen," he seated himself on a bench and shortly +fell asleep. In his sleep he heard a voice which seemed to say: "Don't +give way; within three days your situation will change!" The voice +proved prophetic, for on the third day after the dream his friend came +to him with a letter from Vuillaume, which contained the agreeable +intelligence that Gemünder should go to Paris. The invitation was +promptly accepted and Gemünder immediately started on his journey. When +he arrived at Vuillaume's another difficulty was encountered, for +Vuillaume had mistakenly supposed that Gemünder spoke French. By mere +good fortune it happened at the time of Gemünder's arrival that a German +professor was giving music lessons to Vuillaume's twin daughters, who in +the capacity of interpreter informed Gemünder that M. Vuillaume was +sorry to have induced him to come to Paris, because it would be +impossible to get along in his house without French. Vuillaume kindly +offered to pay Gemünder's traveling expenses from Paris back to +Strasburg, but said, however, that should the latter be satisfied with +nominal wages at first, he would give him thirty sous a day until he +should have learned enough of the language to be able to get along. +Gemünder accepted the proposition, which greatly astonished Vuillaume +because he had not supposed that Gemünder would be contented with such +small wages! Then he showed him a violin and violoncello as models of +his manufacture, and asked him if he could make instruments like those. +The answer being in the affirmative, Vuillaume smiled, for he was sure +it could not be done. On the following day he provided Gemünder with +materials for making a new violin, in order to see what he could do. He +soon perceived that Gemünder possessed more theoretical than practical +knowledge. When the violin was finished, he made him understand that +their way of working was different, and he desired to have his own +methods adopted. Gemünder did his best, and being a good designer, he +soon acquired a knowledge of the different characters of the propagated +Italian school in regard to the construction of violins. + +After the lapse of three months Gemünder's wages were increased ten sous +a day, and although he now saw his most heartfelt desire fulfilled, +namely, to work in Vuillaume's manufactory, yet he did not find it +possible to stay there permanently, because his fellow-workmen, who had +observed the kindness with which their employer had treated his new +workman, became filled with feelings of jealousy, and resolved to +harrass him and compel him if possible to leave. So thoroughly did they +succeed in embittering his life, that Gemünder finally resolved to leave +Vuillaume and go to America, and with this firmly fixed in his mind he +began his preparations secretly to carry out his plan. + +When everything was ready, he went to Vuillaume to make known his +intention and to explain to him the cause of his leaving. The latter, +astonished at this intelligence, declared that Gemünder should not leave +his house at all, and assured him that he would not meet with further +unkindness from his fellow-workmen, even if all should be dismissed, +although some of them had already been in his manufactory for many +years. He further assured Gemünder that should he not desire to remain +in Paris, he would establish him in a business similar to his own, +either in Germany or elsewhere, but he dissuaded him from going to +America, for the reason that the art of violin making was not +sufficiently understood there at that time. This kindness and +benevolence upon the part of his employer so touched his heart that he +was constrained to remain, and he began to construct new violins, in +some of which he imitated the Italian character thoroughly, and also to +repair injured violins. + +One day Vuillaume handed Gemünder a violin, with the remark that he +wished him to do his best work in repairing it, for a gentleman from +Russia had sent it. Vuillaume especially called Gemünder's attention to +a certain place in the back which was to be repaired, which was almost +invisible, and he gave Gemünder a magnifying glass for his assistance, +but Gemünder returned it, saying that he could do better with his naked +eyes, and when finished Vuillaume might examine it with the glass. When +completed, the work proved to be all that Vuillaume had wished, and +satisfied the owner of the instrument so thoroughly that in his ecstasy +of delight he presented Vuillaume, in addition to the payment for his +work, with a costly Russian morning gown. + +On the return of Ole Bull from America, in 1845, that distinguished +performer brought his wonderful "Caspar da Salo" violin to Vuillaume to +be repaired, and requested the latter to do the work himself, as it was +something about which he was very particular; but Vuillaume answered +that he had a German in his workshop who could do it better than he. +Impelled by curiosity to become acquainted with this German, he asked to +be shown to the place. After some conversation, Gemünder undertook the +repairing of the violin and completed it in as masterly a manner as he +did in the case of the Russian gentleman. + +After an interval of three years, while Gemünder was still working at +Vuillaume's, the latter showed him a violin and asked his opinion about +it. Gemünder, having examined it, replied that it was made by some one +who had no school! "I expected to hear this," returned Vuillaume, "and +now let me tell you, that this violin is the very same that I engaged +you to make when you came to me. I show it only that you may recognize +what you are _now_ and what you were _then_!" Gemünder was not only +surprised, but amazed, and would hardly have believed it possible. This +incident is only mentioned to show that as long as the eye has not been +fully cultivated, those who fancy themselves to be artists are not such, +and in reality they cannot distinguish right from wrong. Gemünder has +often experienced this in America. He knows no other violin maker who +deserves to be compared with Vuillaume in this respect, for he correctly +understood the character of the outline and form as well as the interior +structure of the different Italian instruments. + +Towards the end of 1847, when Gemünder had been four years at +Vuillaume's, his two brothers, who were in America, invited him to go +there, as the interest in and taste for music was improving and they +intended to give concerts. Gemünder therefore determined to accept this +invitation and left Paris. He arrived in November, at Springfield, +Mass., and, meeting his brothers, arrangements for concerts were made +with an agent, who engaged several other artists to make up the company. +The instrumental quartet consisted of a clarinet, violin, flute and bass +guitar. This music made quite a sensation, and the houses were always +crowded, yet the Gemünder brothers did not receive anything from the +proceeds. They soon comprehended that they had had too much confidence +in their agent, and after the lapse of a week they gave up the +speculation. + +For George Gemünder, who had then very little knowledge of the English +language, which fact increased the difficulty of his position, there +remained no other choice but to settle as a violin maker. He borrowed +from a friend twenty-five dollars, and with this money he set out for +Boston, Mass., and established himself there. The violins which he made +he sold at fifty dollars each, and made repairs at low prices. + +In 1851, when the first exhibition of London took place, Gemünder sent a +quartet of bow instruments, in imitation of Stradivarius, and one violin +according to Joseph Guarnerius, and another according to Nicholas Amati. + +As his business in Boston did not prove sufficiently lucrative, Gemünder +left the city after eighteen months, without waiting for news of the +result of the exhibition, and established business in New York. Later he +learned that his instruments had received the first premium at the +exhibition. + +When, in the following year, 1852, Gemünder received his instruments +back from the exhibition, he learned that Ole Bull was in New York +again, and, as he had formed his acquaintance in Paris, he paid him a +visit and gave information that he had established himself in New York, +and also that he had obtained the first premium at the London +exhibition. Ole Bull was highly astonished at this news, as he said +"Vuillaume is the best violin maker, and I have on one of my violins the +best specimen of his workmanship as a repairer." He thereupon showed +Gemünder his "Caspar da Salo." "Here," he said, "look at it, find the +place where the repair was made." But Gemünder replied: "Sir, have you +entirely forgotten that when you went with your violin to Vuillaume, he +made you acquainted with a German in his studio, whom he directed to +repair this 'Caspar da Salo' violin, and that this German was myself?" +Upon hearing this a light seemed to break upon his mind, and he +exclaimed, "Yes, yes, I do remember. Now you shall become in America +what Vuillaume is in Europe." + +Meanwhile the advantages which might have been derived from the London +exhibition were lost, in consequence of Gemünder's removal from Boston +and establishing business at New York. Spohr, Thalberg, Vieuxtemps and +many more of such authorities, examined his violins in the exhibition +and were much surprised at the excellent qualities of the instruments. +Spohr observed: "These are the first new violins that I ever saw, tried +and liked!" When they were played upon by him and others, they attracted +hundreds of admirers and would have been sold at high prices had +Gemünder not failed to make arrangements to dispose of them. + +The results obtained at Paris and Vienna were similar, his instruments +attracting much attention in each exhibition. In the Vienna Exposition, +held in 1873, Gemünder gained the greatest triumph that was ever +obtained by any violin maker. The "Kaiser" violin sent by Gemünder in +response to an offer of a prize for the best imitation, was declared by +the professional judges to be a renewed original; a genuine Guarnerius +not only in regard to its outer appearance and character, but also as to +its wonderful quality of tone and ease with which the tones come. To +find these qualities in a new violin was beyond all expectation, since +it had hitherto been taken for granted that such a result could not be +obtained, because that object had been the unsuccessful study of +different makers for hundreds of years. This proves, therefore, to the +musical world, that Gemünder has solved that problem which has generally +been considered impossible. In spite of all this, however, Gemünder had +learned by painful experience that the prejudice existing among most of +the violinists was not to be wiped out. These people are incapable of +judging reasonably, and it is easier for them to say that Gemünder makes +his new violins of wood prepared by a chemical process, or that it has +not yet been proven that his violins have kept their good quality for an +extended period of time, notwithstanding that Gemünder has been +constructing violins in America since 1847, and that nobody can prove +that any violin of his making has lost its quality of tone. On the +contrary, they have invariably proved good. Gemünder, however, confesses +that a few of his first made violins in America do not equal those of +his present construction in regard to tone and varnish. The cause of it +was that Gemünder being unacquainted with the woods of the new country, +was not so successful at first in the choice of wood for his violins, +and naturally would not be until his experience had improved. The +prejudice above referred to would, however, be likely to exist for +another century, could Gemünder live for that length of time among those +people, the most of whom would persevere in their opinions. + +The impracticability of the theory of using chemically prepared wood for +violins is sufficiently understood at the present time to render it +useless to pursue the discussion in these pages. Gemünder has informed +himself as to the degree of success attained in the use of the +different chemical preparations of wood, as well as those prepared with +borax, by which, the inventor asserts, the wood becomes richer in tone +and lasts longer than that which is left in its natural state. Yet, +without opposing the inventor, Gemünder follows the principle of the old +Italian violin makers, because their productions have been in use to +this day; therefore the material left in its natural state has proved +good and has satisfied the musical world for these three hundred years. +He has indeed succeeded in constructing new violins of material in its +natural state, which produce not only an extraordinary power of tone, +but also a strikingly equal quality of tone, and the quality of easy +speaking, and the outward appearance of the old violins has been so +faithfully imitated that he who has not been told the fact, will take +them for genuine instruments made by Stradivarius, Guarnerius, Maggini, +Amati, and others. + +It is therefore assuming not too much to say that George Gemünder has +surpassed in this art all the violin makers of the present and past +times; for where the Italian masters ended with their knowledge, George +Gemünder commenced and improved, which fact can be proved to the +satisfaction of every critic; for George Gemünder has not only gained +the same results as those achieved by Stradivarius and others, but he +has sketched a better acoustic principle for producing tone. It is for +this reason that August Wilhelmj, the great violinist, calls George +Gemünder the greatest violin maker of all times, for Wilhelmj had +learned by ample trial of the instruments made by George Gemünder that +they were incontestably all that the latter claimed for them. Wilhelmj +admired Gemünder's "Kaiser" violin at the Vienna Exhibition, as it was +the only violin of importance which attracted his attention, and this +aroused within him the desire to become personally acquainted with its +maker. By means of his renown as the great violin virtuoso, an +engagement was offered him to go to America, which he accepted, and thus +his wish was fulfilled. On the day after his arrival in New York, +Wilhelmj went to see Gemünder at Astoria, and from that time has been +Gemünder's friend and admirer. + +Wilhelmj and other artists have expressed astonishment that a man of +George Gemünder's capabilities in this art was to be found in America. +Although he enjoys the highest renown in his art, yet he lives in a +country in which the appreciation of that art is still in its +development; for the number of amateurs such as are found in Europe, who +spend enormous sums in instruments, is very small here. The fact is that +George Gemünder lives here at too early a period, for his productions +are a continuation of those which the great Italian masters brought +forth. Taking into consideration all the foregoing circumstances it is +fair to suppose that George Gemünder has had to contend with +extraordinary difficulties during this long time. For ignorance and +arrogance can do much damage, in this respect, not only to the artist, +but also to the amateur, as these often times place their confidence in +those musicians who have no knowledge of violins, and who can only +mislead them. + + + + +APPENDIX. + + GEORGE GEMUNDER'S OBSERVATIONS IN REGARD TO VIEWS WHICH THE MOST OF + VIOLINISTS AND AMATEURS HAD OF THE TONE OF OLD AND NEW VIOLINS--HOW + THEY IGNORED THE NEW INSTRUMENTS, AND HOW THEY WERE DECEIVED AND + SURPRISED IN THEIR PREJUDICE CONCERNING THEM. + + +Gemünder had learned that the knowledge of arrogant violinists and +amateurs in regard to tone did not rest on any correct basis, and that +their prejudice rested on a tradition arising from the decline of the +manufacture of violins since the death of the celebrated Italian makers. +All attempts of late years to make good violins having failed, an +aversion to new violins has been gradually spreading, so that the most +of people at the present time do not believe it possible for violins to +be both new and good. Firstly, because it has been found that new +violins have not been constructed so as to possess the tone of old +Italian instruments; and secondly, that those made of chemically +prepared wood did not stand proof for a great length of time. Many +musicians and amateurs have in consequence of this prevailing prejudice +gone to an extreme and disregarded new violins, no matter what tone they +might have. To this class of people belonged especially the violinist +Wieniawski, who had an opportunity to play on one of the best violins +made by Gemünder, which opportunity he ignored, because the violin +looked new. Instruments imitated by Gemünder were placed before him as +genuine violins, and he admired them. Ole Bull was equally surprised +when an imitation according to Stradivarius was handed to him in +Columbus, Ohio, and he declared it to be a genuine original. + +When Vieuxtemps gave concerts in America for the first time, and went to +see his friend Vieweg, Professor of music in Savannah, Ga., the +Professor showed him his Stradivarius violin. Vieuxtemps, catching sight +of it, said: "If he had not been quite sure that his violin was at home, +he would think it was his own." But when his friend told him it was a +Gemünder violin, he was astonished and observed: "The d***l knows how +Gemünder can bring such a tone in new violins!" + +At about the same time a violinist came from Germany and visited +Gemünder to hear his violins, because Spohr had praised him so much; but +at the same time he doubted that new violins could sound like those of +the old Italian masters. Gemünder first showed him some having the +appearance of being new; the violinist played upon them and then +uttered: "They are as I thought; they have not that sweet, melting tone +of the Italian instruments." Hereupon he asked Gemünder if he had no +Italian violins, in order to show the difference. Gemünder then opened +another box, and showed him an imitation of Amati for a genuine one. No +sooner did the instrument strike his sight than his face brightened up +and he said: "Everybody can see at once that there must be tone in +this," and after playing upon it he was so pleased that he said to +Gemünder: "Yes, there are none of the present violin makers who have +brought it so far!" Hereupon Gemünder informed him that this was also a +new violin of his making. Scarcely had the visitor heard this, when, +ashamed of his prejudice, he took his hat and went away. + +Similar incidents often occur. In 1859 Gemünder sent violins to the +Exhibition of Baltimore, after which, on one occasion, he was invited to +a soiree at which his violins were played. He also had a genuine +Guarnerius among his own instruments. An amateur, Mr. Gibson, a very +good player, was present and anxious to hear the Italian violin. During +the performance of a quartet on the violins made by Gemünder, this +amateur, who was possessed of the popular prejudice against new +instruments, and who fancied he heard the Italian violin, was so +exceedingly delighted with it that he observed, "To hear such violins is +sufficient to keep any one from ever touching new ones." But when +Gemünder told him they were new ones made by him, the amateur stared at +him as much as to say, "Do you make fun of me? These violins do not look +new at all!" Gemünder, however, convinced him of the truth of his +assertion. This fact surprised the amateur to such a degree that he was +at loss what to say, and later, upon learning the price of one of the +instruments, bought it. Sometime after this he valued it at two thousand +dollars in gold. Since then the violin has been sent several times to +Gemünder, either for a new bridge or other slight repairs, and each +time new anecdotes have been related of it. Of especial interest is that +one of Father Urso, who was looking for a genuine Guarnerius to give to +his daughter Camilla, the celebrated violinist. He took Professor Simon +with him to see the instrument. Both were very much surprised at it, not +only on account of its undoubted genuineness, but also that it was kept +so well. Gemünder then let them know that he had perpetrated a joke, and +that the instrument was made by himself. + +One day Mr. Poznanski, from Charleston, S. C., in company with his son, +who was already an artist on the violin, visited Gemünder. Although +still young, his father intended to send him to Vieuxtemps for his +further artistic accomplishment, and with this purpose in view he was +willing to buy an Italian violin. As Gemünder had none on hand, he +showed him a new violin, but Poznanski declared that he would not buy a +new one. Gemünder then showed him an imitation, as if it were a genuine +original. The son played on it, and both father and son were highly +satisfied with it; they expressed their wish to buy it and asked the +price, which was given as five hundred dollars. When Poznanski was about +to pay down the money, Gemünder told him that this instrument was also +new. Whereupon Poznanski replied in an excited tone, "Have you not heard +that we do not want a new violin?" and they left the Atelier! + +When Vieuxtemps left America, in 1858, Poznanski's son went with him to +finish his studies under his direction. After the lapse of eight years +he returned an accomplished artist, and visited Gemünder again. He then +remarked that he wished to find an Italian violin of first class, and +asked Gemünder if he had something of that kind in his possession? Here +he took the opportunity to remind Gemünder of the time when he had +deceived both him and his father, observing at the same time very +naively: "But now, Gemünder, you cannot deceive me. I obtained thorough +knowledge of imitations at Paris, and also a knowledge of the genuine +Italian violins, for I had an opportunity to see many of those made by +the masters." Gemünder told him that he had two Joseph Guarnerius +violins of first class in his possession, and laid them before him. +Poznanski expressed his astonishment to find such rarities. After a +thorough examination Poznanski declared there was no doubt in regard to +their genuineness! He tried both violins, and soon evinced his +predilection for one of them, which he wished to buy, and inquired the +price. Gemünder offered each of them at one thousand dollars, but at the +same time told him that he had deceived him for a second time, for the +instrument which he had picked out was new and made by himself, whilst +the other was genuine. Poznanski, however, told Gemünder that he could +not deceive him, that it was not possible to produce an instrument like +that. At this moment two friends of Gemünder, who were acquainted with +his instruments, entered the shop, and Gemünder asked them in the +presence of the young artist, at the same time pointing to the +instrument selected by Poznanski, "who made this violin?" They replied +that the maker of it was Gemünder. This appeared to him impossible, but, +after deliberating on the subject, he said, "I must believe it now, and +yet I don't believe it!" A few days later, becoming fully assured that +the instrument to which he had taken a fancy was not an Italian violin, +he bought the genuine one, which, however, was an excellent instrument, +thus giving up the one to which he had first given preference. This is +another striking proof of prejudice. + +After a time, however, when Poznanski felt more at home at Gemünder's, +he found out that the instruments made by Gemünder were the only true +concert violins, and disposing of his Guarnerius, he bought a Maggini +made by Gemünder; he now saw the full extent of his prejudice, and was +most severe in his denunciation of all who thought that there were no +other violins but the Italian to be played upon. + +If Wieniawski had not been seized with such a strange fancy, and had had +more confidence in other artists, he would not have been compelled to +change violins every now and then, for he was constantly buying one +Italian violin after another and finding none to suit him, merely +because none would do but an Italian instrument. Thus he came to America +and played on his Stradivarius violin, which had a splendid tone in a +room, but when played upon in a concert hall proved a great deal too +weak, especially on the G string, when it was overstrained. He then +bought one of the finest Guarnerius violins in Brooklyn, but as it did +not prove any better than the other, he returned it. + +To find Italian violins fit to produce a sufficient effect in large +concert halls is a great rarity, since they have been mostly spoiled by +"fiddle-patchers," or had not from the very beginning the proper +construction for the giving out of tone sufficient to fill such halls. +On just such powerless violins Vieuxtemps performed at his concerts on +his last tour through America. + +One day Gemünder made the acquaintance of Mario, the greatest Italian +connoisseur of violins, who was decorated for this knowledge when he was +at New York. Gemünder asked him to come to his shop, as he had several +violins which he would like to show him, in order to have him judge if +they were really genuine instruments. Mario came and viewed the violins +shown to him by Gemünder minutely, nay, even took a magnifying glass to +examine the varnish, whereupon he declared to Gemünder that they were +genuine instruments. But the fact is they were violins made by Gemünder! + +In the beginning of 1860 Gemünder was often visited by an amateur named +Messing, who wished to find a good Italian violin, for he manifested an +aversion toward Gemünder's productions, owing to his prejudice against +new violins. At the same time Gemünder had as an apprentice a nephew, +who, when he had not yet been fully three years with him, was engaged to +make his first violin, according to form of Stradivarius. When it was +finished Gemünder made him a present of it, and said he would varnish it +so as to look old. Afterward his apprentice gave it to a friend in New +York to sell it for him. This friend published in the newspapers that he +had a Stradivarius to sell. Mr. Messing was the first to make inquiries +about it, and bought it, highly rejoiced at having a Stradivarius at +last. He then had it examined by the violin maker Mercier, in New York, +who confirmed the claim of originality. Mr. Messing then went to Europe, +and at Paris he wished to hear what the violin maker Gand would say, and +the latter also declared it was an old instrument, adding, however, that +in order to be quite sure whether it was a genuine instrument or not it +would require more time than he could apply to it just then. When he +went to Berlin, he showed his instrument to the violin maker Grimm, that +he might hear from him his opinion as to its genuineness. Grimm +refrained from uttering his opinion, yet he offered him a high price for +the instrument, which the owner considered to be sufficient evidence +that he possessed something extraordinary, and to warrant him in keeping +his violin. After the lapse of four years, when Messing had returned to +New York, he came to see Gemünder, full of joyous anxiety to show him +his violin, saying, "Here, Mr. Gemünder, I have something to show you; I +have found what I have been so long looking for!" Mr. Messing then +opened his box, and Gemünder, catching a glimpse of the violin, +exclaimed, "That is my apprentice's first production; how did you come +by it?" At these words Mr. Messing stood as if thunderstruck, and in his +bewilderment he tried in every way to convince Gemünder that he was +mistaken, but failing in this attempt, his discomfiture was complete. +When he had somewhat recovered from his dismay, he felt heartily +ashamed, because he had disregarded the work of the master only to take +up with the apprentice's first production, and this, too, under the +delusion that that work was a genuine Stradivarius violin. Mr. Messing +is now cured of his prejudice, and is no longer looking for a +Stradivarius violin. + +At the time when Gemünder had his violin in the Exhibition of Vienna, +Baron Leonard, from Hungary, who was a great violinist, brought him his +Italian violin to have it repaired. During their discourse about violins +the Baron conveyed to Gemünder the impression that he had already seen +many Italian violins, and he seemed to have a great knowledge of them. +Thereupon Gemünder showed him a violin that seemed to be a genuine +Guarnerius, which he had determined to send to the exhibition of Vienna. +The Baron was quite astonished at seeing such a wonderful and splendid +instrument, and did not know which to admire more, whether the varnish +of the violin or its tone; in short, he looked at it with reverence, as +if it were a shrine. Gemünder then showed him a Stradivarius, and when +the Baron's gaze fell upon this instrument, he seemed to be enraptured, +and he exclaimed, in a tone of question: "Mr. Gemünder, how do you come +by such treasures? In truth you have a treasure of the greatest rarity, +for I never saw a violin so beautiful and of such tone!" When, however, +Gemünder declared to him that these were the sisters of the "Kaiser" +violin, which was in the Vienna Exhibition, and were made by him, the +Baron conducted himself as if he had awakened from a sweet dream, and +found it difficult to realize his true condition. + + + + +PREFACE. + + +It is not my intention to unfold in this work my knowledge of the +structure of violins; for the present generation would not thank me for +doing so. In the treatise itself will be found the reasons why I have +not set forth that knowledge. Since the death of the celebrated old +Italian violin makers, many works have been put forth, in which we find +not only in what manner those famous masters varnished their violins, +but also prescriptions even, of theorists who usually know nothing about +the practice, or mathematical principles thereof. Abundant theories are +to be found in all such works, but they are good only for those who have +little or no knowledge of violin making. If the science of the +celebrated Italian masters could really have been found in these works, +the experiments made by European investigators would not have been +entirely unsuccessful. + +In George Hart's interesting book, "The Violin," a comparative +illustration may be found of the workmanship of all violin makers with +whom he became acquainted, either personally or by history, and by whose +productions he obtained his practical knowledge, which comparisons are +generally good, but not entirely free from error. This compilation of +experiences is highly interesting for all those who take an interest in +violins. The treatises which will be found below have reference simply +to the art of making violins, to violin players and their critics, the +information contained in which has for the most part never hitherto been +made public. + +Through these scientific explanations a better judgment will be +awakened, which will tend to show how, in consequence of mistakes and +ignorance in regard to violins and violin makers, false ideas arise. + + + + +PROGRESS OF THE STRUCTURE OF VIOLINS--THEIR CRITICS. + + +In 1845 I became personally acquainted with Ole Bull, at Vuillaume's, in +Paris, where I then had my first opportunity of hearing and admiring an +artist on the violin. I learned then to appreciate the beauty of both +arts, and the sublimity of attainment in either to be a violin virtuoso +or a perfect violin maker. The latter art engaged my whole attention, +and it was my greatest aim to reach to the highest point of perfection +therein. + +I also found that Ole Bull took special interest in the different forms +of violins, and I remember that as early as 1841, at which time I worked +at Pesth, my employer made the so-called "Ole Bull's bass-bars" in +violins, the ideas of Ole Bull concerning violins then being accepted as +authority. Ole Bull subsequently made many experiments regarding tone, +especially upon new violins, in order to reproduce the same character of +tone, then considered lost, peculiar to the Italian instruments. Knowing +that all experiments made since the death of the celebrated Italian +masters had proven unsuccessful, he undertook to construct a violin of +very old wood, but was soon convinced that he had not obtained better +results than others; he therefore decided the project to be an +impossibility, and having arrived at this decision, his opinion was +generally conceded to. Since then, doubtless, he found out that to make +a violin was a more difficult task, for him, than to play on one. As a +virtuoso, however, he obtained a celebrity which will make his name +immortal, and as he was an artist in his own peculiar way, his name will +live forever in the memory of men. Nature has endowed many men with rare +gifts, each one possessing a talent peculiar to himself: but we know how +long it requires to perfect one's self in any given art, and it +therefore cannot be expected that a great violin virtuoso should at the +same time be proficient in the art of violin making, the two arts being +totally different. It is, however, generally believed that the +assertion of Ole Bull had more weight with many violin players and +amateurs than the most adequate knowledge of a violin maker. I admit +that Ole Bull had some experience with violins, but had he obtained +sufficient knowledge he would have easily understood that many of his +ideas were not based upon principles which he thought had remained +secret to all investigators on the subject, as the greatest authorities +have acknowledged the tone in George Gemünder's violins to be of the +same quality as that characteristic of the best Italian instruments. + +This proves that violins are judged the best when they are mistaken for +Italian instruments and prejudice only is the actuating motive when the +declaration follows that the instrument is a new violin. If, therefore, +the knowledge of tone could have proved more reliable, prejudice would +not, in many cases, have appeared so severe, and embodied itself so as +to degenerate into fanaticism. + +Violins made of healthy wood and according to the rule can never lose +their tone. It is, however, something different if they are carelessly +treated. + +When an Italian violin, which lay untouched in concealment for fifty +years, was shown to Wieniawski at the Russian court, and he was asked +what he thought of it, he said, after trying it: "The violin has a bad +tone." "Well," said the Emperor, "let us put it back in its old place. +If it had been good I should have presented you with it." Wieniawski, +greatly surprised, replied: "Oh, when I play upon it it will regain its +tone." Here vanity and ignorance are shown at once; for if that artist +had had any knowledge of violins, he must have known that the violin was +not in good order, and that it was first necessary to have it put in a +good condition by a professional repairer; but instead of making such a +proposal, he thought to make an impression by his renown, and that he +would improve it by playing upon it. + +I mention this because it contains two points: firstly, because, +especially here in America, great stress is laid upon the opinions of +such artists, but it proves that artists do not always have a knowledge +sufficient to enable them to give a correct judgment of violins; +secondly, if this violin had been new, many would have thought that it +was made of chemically prepared wood. A violin, however, of such +defective wood, can never give a good tone; because the life is taken +out of it when it is made. If such artists would make themselves +acquainted with a professional violin maker, many of them would get more +light on this matter, but since they consider themselves to be +authorities on the subject, there is very little prospect of visible +progress. It is, therefore, a rarity when an artist is found who is able +to judge of the quality of tone, whether the wood is chemically prepared +or not, and although this is easily to be distinguished by the practiced +ear, a peculiar experience is required for it nevertheless. Many, +however, believe that he who plays the violin to perfection, and +especially the player of renown, must be acknowledged as a judge of +tone. I admit that many violin players are judges of tone, but not +beyond a certain degree, as the greater number of them hear their own +instruments only and are taken with them; but he who possesses a feeling +of tone, and into whose hands violins of all shapes and qualities are +falling, whereby he learns to distinguish the different characters of +tone, is to be considered a connoisseur of tone; he must, however, +possess some knowledge of playing, although it is not necessary for him +to be a solo player, for with how many solo players have I become +acquainted who have no more judgment of tone than children. + +For musicians and solo players it is very difficult to find out how far +the tone of a violin reaches. Many a player, having no experience in +this regard, plays in concerts on a violin which sounds like an echo, +but if the instrument is called Stradivarius or Guarnerius and $3,000 +has been paid for it, and besides it has a "history" attached to it, +then, verily, it must sound. The critic, however, does not blame the +violin, but the player, for weakness of tone, and in that respect he is +right. + +For solo players who still use such echoing violins in concerts, it +would be of the greatest importance to make themselves acquainted with +the quality of tone which is fit for concerts, for most Italian violins +which are used in concerts prove either too old or of too thin wood; but +most players are accustomed to the fine, tender, echoing tone to a +degree that the true concert tone appears quite strange to them. + +Thus, violins of chemically prepared wood will never do for concerts, +and it is a great mistake to believe that such violins have ever +produced as good a tone as good Italian violins do. Ignorance and self +interest have launched this untruth into the world. For violins made of +such wood produce short vibrations--a muffled color of tone similar to +that of impaired Italian instruments. Vuillaume put all the world in +commotion with his violins of chemically prepared wood, and all the +world sang hosannas. But when it was found that such instruments kept +this tone only a short time, there arose a general prejudice against new +violins and no one would play on them. + +In order to remove all such ideas and prejudices I can safely assert +that violins of a free, high, clear and powerful character of tone, with +a quality which thrills the heart--such tone as my instruments produce, +and which qualities are now seldom found in the best Italian +violins--can never be obtained by any artificial preparation of the +wood, but only by way of science according to acoustic principles. + +Of course it is the wood more than anything else which is to be taken +into consideration; for without the right sort of wood all science will +be unavailing, and _vice versa_. Many violin makers can get the best +wood, but where there is no talent applied in the construction, nothing +very good can come forth. + +Of all productions of art, the violin is the most difficult to judge, +and I have nearer illustrated the different characters of tone which +violins produce, and tried to make these things more comprehensible, in +order that this medley of opinions and judgments which have been given +may be put in a clearer light. + +I was highly astonished at the manner in which my "Emperor" violin +("Kaiser" violin) was judged, which was sent to the Exhibition of Vienna +three weeks after it had been finished. The violin had attracted not +only many admirers, but also a great number of gazers who have no idea +of a violin, and who stared at it only on account of its price. + +Thus, the New York _Staats Zeitung_ had a correspondent in Vienna, who +also stared at the violin from the same reason. His ignorance, which he +exposed in his correspondence to the newspaper which he represented, led +him to make the following remark, which was published on the 27th of +June, 1873, and runs as follows: "From Salzburg several violins, mostly +the former property of Mozart and Beethoven, were sent, and the one +which Beethoven owned was made by Hellmer, at Prague, in 1737, as was +noted on the label, (saleable for 200 Florins,) while for a Gemünder +violin in the American division of the Industrial Palace, $10,000 (!) +are asked. Of course, everybody laughs at the simpleton who believes +this is the only curiosity of the kind, and thinks he can obtain such a +fabulous price for it. The Commission that for this time has made us +very ridiculous with our 'Go ahead,' should remove that label as soon as +possible, that one of the exhibitors may not become a public laughing +stock." But that writer soon found how much this violin was admired; he +learned to see that it was the only curiosity of the kind, in fact, for +soon afterward I read again in the _Sontag's Staats Zeitung_ that "the +violin was admired very much." + +This violin was exhibited by me for the purpose of proving to the world +that I can make violins that have the tone which has been sought for a +long time since the death of the celebrated Italian masters, since which +all attempts have miscarried, and I confirmed this fact in a circular +added to it. + +But what was the result? It was not believed. In the Exhibition of +Vienna my violin was mistaken for a genuine Cremonese violin, not only +for its tone, but for its outer appearance, which was so striking an +imitation according to Joseph Guarnerius, that a newspaper of Vienna +made the observation: "George Gemünder cannot make us Germans believe +that the violin sent by him is new; a bold Yankee only can put his name +in a genuine instrument, in order to make himself renowned!" + +Although this was the highest prize which a violin maker had ever +obtained, it was no advantage either for me or the public; for the art +of violin making was not furthered by it, but rather still more impaired +by the correspondence of the _Staats Zeitung_ and the New York +_Bellestristic Journal_. The latter writes as follows: "S. F., +Pittsburg.--G. is a pupil of Vuilliaume; his violins are much demanded, +but their prices are so high that purchasers are frightened!" + +Thirty years ago I sold violins at from $50 to $75; ten years ago I sold +violins at from $100 to $300; now I sell them at $100 and upwards; and +violin makers here and in Europe ask the same prices. Nay, amateurs who +do best in their ignorance, ask still higher prices. Wherein, therefore, +do we find that which frightens the purchasers? The effrontery of +writers who make such statements as the above will bring them no honor. + +Many may still remember that I had determined to send six violins of +different forms, copies of the best old master-violins, to the Vienna +Exhibition, and intended myself to take the matter in hand, but, owing +to an accident, I was compelled to give up this intention. In +consequence, I resolved to send only one violin. To select one of them, +artists such as Wollenhaupt, Dr. Damrosch, Carl Feinninger and others +were consulted, but they differed in their opinions, which may be taken +as a proof that the instruments were very much alike in character; they +are also witnesses of the fact that I made them. In order to call +attention to the one selected, I noted the price "ten thousand dollars!" +Nobody, however, was charged to dispose of it, although three thousand +dollars were offered. + +The circumstances connected with the construction of this violin gives +it more than an ordinary interest. Ridicule and praise in the highest +degree are interwoven with its history; therefore, it has been hitherto +the most interesting new violin in this century. Why I could not be its +representative and had to leave it to fate can be learned from what I +have already written about it, and how I have judged every thing +connected with it. I was, however, sure of one fact, namely, that it +would be acknowledged as a production of art. The admission must then be +made, and the claim is amply justified by facts, that, as new violins +are frequently mistaken for genuine Italian instruments, even when most +particular attention is given to the varnish, the art of violin making +must no longer be considered as a lost one. + +May the foregoing satisfy all doubters and those who have lately, +especially in America, written about the lost art of varnish and tone, +and may it cause them in future to refrain from investigating into the +so called lost arts. He who would give a scientific explanation of this +art and be a critic, must be thoroughly acquainted with it. + + + + +A TREATISE UPON THE MANNER IN WHICH MASTER-VIOLINS ARE RUINED. + + +The manner in which violins are so often ruined seems almost beyond +comprehension, or rather the way they are generally treated must +necessarily involve their ruin. The cause of this can not be entirely +ascribed to those destroyers of violins who pretend to be repairers, but +it generally rests with the owners of violins themselves, because they +are usually ignorant as to who is master of the art of violin making and +to whom a master violin may be entrusted. They therefore make inquiries +for such experts, and apply for that purpose, generally, to renowned +violin players, not realizing that even these are not always endowed +with discrimination, frequently not more so than the one asking advice, +and thus the latter is led astray. + +To find an adept repairer is as difficult as to find a thorough master +of the art of making violins; for the repairer must possess the same +knowledge of the production of tone as the best violin maker. The man +who cannot make excellent violins cannot be an excellent repairer. To +obviate all doubts on the subject, I will state that the foundation of +the whole secret is simply this "Every violin maker will make repairs in +accordance with his knowledge, as he would make violins, and violins as +he would make repairs!" This principle is so scientifically correct as +to be conceded even by the most severe critics. + +Many a man achieves a reputation by certain meritorious accomplishments +in which he has distinguished himself, and in consequence thereof +everyone believes him an artist in the fullest meaning of the word. For +instance, Ludwig Bausch, of Leipsig, gained a deserved and world wide +celebrity as an artist in making bows. I also esteemed him as an +excellent and very accurate worker. But to my astonishment I found, as I +regret to say, that his fine repairs were mostly devoid of value, as +also were his new violins, so far as the production of tone was +concerned. But artists and amateurs, far and near, adored his useless +repairs and new violins, which latter usually sold for high prices. + +Thus the public are unable to form a proper judgment in regard to the +art. It would pain many a one, if they could realize the manner in which +valuable violins are treated by such violin makers and repairers. +Repairing violins, therefore, is as little understood as violins +themselves, in consequence of which not only the interior of many an +Italian instrument is ruined, but also the exterior is often deprived of +its classical appearance by an alcoholic varnish, which is smeared over +it and which impairs its value; and yet many owners of such instruments, +who do not know any better, rejoice to see their violins with such a +glossy surface. + +To rehabilitate a valuable instrument, and repair the exterior if +necessary, requires a skill as artistic as the rehabilitation of a +painting by a celebrated painter. Such instruments are also often +peculiarly tortured by unskilled hands, and many a valuable top has been +damaged by the operation of putting, or rather forcing, in the sounding +post. + +Owners of violins should take particular precaution never to permit the +cutting away of wood out of the bottom or top of a violin, without being +fully satisfied that the repairer is an adept in the art. In Italian +violins made by the old celebrated masters there is no necessity at all +for doing this, as they have not as a rule any too much wood, and most +of them are poor enough in this respect; in case those artists made no +mistakes others have brought them in by their repairs. + + + + +OF THE CAUSES WHY THE JUDGING OF VIOLINS AND THE REPAIRING OF THEM +IS LESS UNDERSTOOD THAN OTHER ART PRODUCTIONS. + + +Beautiful and interesting as is this art of making and repairing +violins, and however great has been my enthusiastic devotion to it, I +should never have engaged in it had I in starting possessed my present +experience, for the ignorance which the public has shown by the +confusion of opinions in this branch might almost make one believe these +judgments emanated from a mad-house. + +Why is it we hear no such conflicting opinions about the productions of +any other branch of industry or art? Because in no other business do we +find so many pretenders. And why is it they infest this particular +branch of business more than any other? Simply because the art of violin +making is not founded on a correct system, and this may account for the +medley of ideas which have been spread broadcast throughout the musical +countries, except France, where a regular system is recognized. + +Yet in spite of the lack of correct system of making violins, I have +become acquainted with a few German musicians who have acquired an +excellent schooling in the art. In this respect I cannot refrain from +mentioning my admiration for a thoroughly skilled musician, Mr. Herman +Eckhardt, of Columbus, Ohio, a man of rare genius in the knowledge of +music, who was able to define clearly and accurately the different +periods of the progress I made in violin making. + +Such a man I must respect the more, because he is endowed with sound +judgment, which other musicians, often of very high standing, could only +acquire by instruction, a method which to some of them would seem to be +impossible, as they are devoid of judgment, having their ability warped +by false ideas about violins, and rendering them incapable of correctly +understanding and appreciating the latest and best productions; this may +account for their fanatical admiration of Italian violins, even if they +possess only imitation, but, as "ignorance is bliss," they are happy. + +On the other hand, there are amateurs who take such a practical view of +the matter that they are just opposite in their beliefs to this class of +fanatics. They do not see why a new production, which answers the +purpose as well and which in more ways than one is preferable to an old +production of the same kind, should be regarded as of less value. They +do not understand why a desirable article should command an enormous +price when another article accomplishing the same effect can be bought +much cheaper. And in this they show a common sense which might well be +emulated by many others. While it is true that an enthusiast ought never +to be blamed for his enthusiasm, if it has a reasonable base, it is no +less true that lacking in this respect he is nothing more or less than a +fanatic. This class of people is by no means exclusively confined to +amateurs, but even includes in its ranks many true artists in music. + + + + +ON THE PRESERVATION OF VIOLINS. + + +There is no doubt that a certain class of violin players pay very little +attention to the care of their instruments, as they use them daily, and +few have time to bestow the necessary attention upon them. If a violin +is out of order, a musician or amateur who knows nothing about it +continues to play upon it. At length he perceives that the tone is not +the same as it was before. Many, therefore, often lay the blame on the +repairer, or on the violin maker, if it is a new instrument. It is +therefore desirable that players should always pay attention to their +instruments and examine them whenever they intend to use them, to see +whether everything is in order; that the neck has not sunk a little to +the front, causing the finger board to lie deeper on the top and the +strings to lie somewhat too high. Such deviations will occur, +particularly when the top is very much vaulted, as well as by change of +weather or climate. + +As soon as the weather becomes moist it is advisable to keep a violin +in a box; when the weather is fine it should be taken out of the box for +a time every day; and even if it is a very old violin it is not good to +keep it always locked up. A violin should never lie on a floor, whether +in a box or not, but should always be kept on an elevated place and in a +moderately warm temperature. + +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 bass-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 ILLUSTRATE 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, nobody 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 surpass 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 circumference, 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 +circumferential 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 nobody. 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 competitors 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 noble 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 +entitled 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. + +Dilettanti violin makers form a peculiar class of violin makers in +America; and they seem to be born for the sphere of such knowledge as is +here shining forth. Their patrons write articles for them in which they +try to instruct the public by their ignorance, as we find, for instance, +in the Philadelphia _Times_, of August 30th, 1879: "Gemünder refuses to +state the source of supply for his wood, and it is a well-known fact +that he and others use at times chemical preparations for the purpose of +changing the character and the appearance of their wood." + +The writer of this notice made a statement without any foundation. Had +he and his train a proper knowledge of the matter, they would be able to +perceive that the material of my violins is not chemically prepared and +the character of the wood has not undergone any change whatever. It is +presumptuous in ignorant persons to make such statements against a man +of long experience, for the purpose of bringing his productions into +discredit; productions which are proofs in themselves that not a single +violin can come into the condition of those manufactured of chemically +prepared wood, as those of Vuilliaume in Paris. But such individuals +manifest not only a prejudice against a better understanding, but also +are impertinent, from which stupidity and meanness emanate; and thus +they unmask themselves as false experts. + +The cause for this assertion will have to be found, and for the +disbeliever there is no other ground in the advantages I have gained by +my studies, which to them seem impossible; and as the Italian violins +are generally acknowledged the only good instruments, they try almost +anything to oppose what has proven itself so gloriously, rather than +acknowledge it as a fact. + +Truth, however, can never be overruled, and the time will come which +will impose silence on such individuals! Since mankind inhabits the +earth their characters are as different as we find different plants. +Many a flower is not fragrant, and how many stately and celebrated men +are heartless! Those, therefore, who are void of generosity are able to +do evil. Those classes who are as it were idle weeds, for the kinds are +both useful and hurtful to men; all that nature produces has a meaning. +If we could fathom all the secrets of nature we would also be able to +understand the meaning of them, and idle weeds could be less hurtful. +But in nature there lies a wisdom which remains a secret to mortal man. + + + + +GOOD LUCK AND ART, AND REMARKS ABOUT VIOLINS. + + +It is an incontestable fact that the success of the endeavors of men to +gain a livelihood depends upon luck, although many are of different +opinion, especially those who are always favored by good luck, as they +ascribe their success to their enterprise and skill. They do not +consider that good luck only has offered them a chance. Many become +wealthy without being gifted with peculiar knowledge, while many others, +in spite of all their knowledge and genius, endeavour in vain and do not +see their efforts rewarded. It is, therefore, a matter of fact, that +neither art nor science produce wealth, unless they are favored by good +luck, and the cases are innumerable which prove this. From the many +experiences in my life, especially in my profession, I will only mention +the following: Vuilliaume, of Paris, was favored by nature in a very +high degree in every thing; he was not only the greatest artist in his +profession in Europe during the present century, but also an excellent +business man, and good luck smiled on him in all his enterprises. Lupot, +his partner, laid the foundation of Vuilliaume's independence by +effecting a marriage between him and a very rich lady of nobility. Thus +he became not only a celebrated man, but also the richest violin maker +of our time. Although some of his violins of prepared wood incurred +discredit, nevertheless there were admirers who bought his violins, even +in America, where the prejudice against new violins is so prevalent, on +account of the supposition that the wood of them was chemically +prepared, a practice of which they so stupidly and unjustly accused me, +and thereby caused a great deal of harm to my business. On the other +hand, Vuilliaume, who really prepared his wood in a chemical manner, was +lucky and prosperous. + +What is the reason of this and where is it to be found, and why does +good luck generally lie in the opposite extreme? The solution of this +secret will probably remain undisclosed to mortals. Upon whomsoever +fortune smiles, and whom she allows to blow the golden horn, he +penetrates the world, his name becomes great, and he produces upon +mankind that effect which persuades them into the belief that the best +can be found only in him. If Vuilliaume had been a poor man he would +have certainly remained poor, especially in America, where the art of +violin making is still less understood than in Europe, and unjust +reports will be more readily listened to than anywhere else. + +In Europe there was a general supposition that a pretty good demand for +old Italian violins existed in America, in consequence of which dealers +in old and new violins found their way hither. In disposing of these +instruments they were not very scrupulous in regard to the information, +and sometimes gave them names according their own fancy. A great many +so-called Italian violins and violoncellos came in this way to America, +and the owners are happy in the imaginary possession of an Italian +instrument. Other persons again entertain the idea that they are surer +of a genuine article if it comes from Europe, as there is their home; +but if it is believed that this is always the surer way, it is a +mistake. It requires an extraordinary study to recognize the maker of an +instrument, and understand the dead language of the violin. Thus it must +not be believed that the instruments claimed to be Italian are always +genuine; the seller himself may sometimes be mistaken. Many owners of +such "baptized" violins do not always like to be informed of the real +origin of the instrument by a person of thorough knowledge. + +Sometimes I feel constrained to give an opinion by virtue of my +knowledge, but it must not be expected of me to admire a thing that +is not genuine, as those owners do in their ignorance. + +If, however, a genuine and valuable Italian violin has lost any part, +and if a violin maker possesses the art to restore the missing part, +either in imitating the varnish or in adapting the lost part to the +character of the violin, so that the instrument reappears in its +originality so completely that the connoisseur is deceived, the value of +the violin is in that case not impaired. This also occurs in regard to +very valuable old pictures, and the artist who is found to be able to +execute such work is well paid. + +Such artists are, perhaps, more to be esteemed than the maker of the +original, as they are rare, especially those who are able to restore the +originality of valuable old violins. The instruments lose their value in +case the repairs cannot be carried out properly, owing to a want of +genius upon the part of the repairer. + +I have often shown this art in exceptional repairs; but what can be +gained by it? The greater number of those who own violins do not know +how to appreciate such skilful work, and, in their ignorance, they +attempt to do harm in the bargain, when they hear that they must for +such repairs, perhaps, pay somewhat more than usual--an additional proof +of how great the darkness still is in judging this art. The time when a +better understanding in this regard will come to daylight is still far +off! And why? Because all other arts and branches of industry are based +upon solid ground, as the State governments protect them, and, +therefore, they can come to a proper degree of perfection. The art of +making violins does not enjoy this privilege (except in France) and it +hovers mostly in the fog since the death of the celebrated Italian +masters. + +Therefore, it can yet be called only a fancy art. The opportunity which +has been given to mankind in this century to make this science general +has not been regarded, because the confidence and belief in it has been +wanting, and it will disappear like a drowning person, who several +times comes up out of the water, but who, at last, is overwhelmed. +Instead of endeavoring to save this art in its details, it is ignored by +self-interest. But such an aversion to the best modern productions is +sometimes punished very severely, as want of knowledge often brings +common productions into the possession of individuals. + +Since the death of Tariso, the great collection of violins, etc., which +he gathered from all the regions of Europe, has been scattered again +over all countries. Vuilliaume, who bought many of them, afterward +resold some to violin makers and dealers; those instruments which were +put in order by them are easily recognized. + +This collection consisted mostly of all characters of Italian +instruments, from the most commonplace to the celebrated Stradivarius. +In many an admirer an interest may have been awakened thereby to possess +one of these instruments. But it must not be expected that all of those +violins still possess their original parts. Had not such amateurs as +Tariso--and they are not rare in Europe--bought those instruments of +that time and kept them safely, which contributed to their longer +preservation, they would, especially if they had been always used, be in +a much worse condition. + +George Hart, of London, is also such a gatherer of and dealer in +instruments. John Hart, the father of George Hart, whose personal +acquaintance I made at Vuilliaume's, in Paris--when I was engaged to +make for him a set of Stradivarius heads, from that of violin up to that +of contra-basso, which should serve as models--undertook to gather such +old Italian violins for the purpose of selling them again to other +persons. From that firm there came, in fact, some specimens of the +celebrated Italian masters to America, and they are interesting and very +well preserved. I have seen and admired them; they are in possession of +an amateur at Hartford, Conn. Here they are preserved again for the +coming generation. + +Violin players look with envy upon such violins in the hands of +amateurs, but it is fortunate that most of them have come into such +hands, for violins of this kind are very delicate, and although those +which are well kept produce a beautiful tone, most of them have not that +power of tone which is necessary for concerts. + +The solo player, however, believes he must produce the strong tone of a +violin by force, which breaks the tone, and is not heard distinctly. In +this manner such violins are tortured and ruined. When such well kept +violins continue to be well preserved, they may be the same after a +hundred years. Such relics will then, no doubt bring still higher prices +from those who wish to possess a violin of that kind. + +But it is strange that some amateurs put a particular value upon a +violin which has been in the possession of a rich nobleman, as if it is +more likely to be genuine in that case? What a foolish idea! Such whims +are not entertained by connoisseurs. There are enough aristocrats who +possess only a fiddle, especially in America, and who know nothing about +the value of a violin; it is rarely that they have at home a violin +which is worth over five or ten dollars. When many of them hear that +thousands of dollars are paid for violins, they think that persons who +pay these prices must be crazy. The reason of this is that most of them +know no difference between a ten dollar fiddle and a violin which costs +as many hundreds of dollars! + +Amateurs who pay thousands of dollars for a violin are here in America +just as isolated as that enthusiast who paid six hundred dollars for the +first ticket of the first concert given by Jenny Lind in New York, and +the other who paid ten dollars for his admittance in order to be able to +see the six hundred dollar man. + +Thus I believe to have unrolled a panorama which will assist in the +dissemination of knowledge and truthful views, which have only been +obtained by a long experience. + + + + +OF THE MANNER OF PLAYING--TREATMENT OF BRIDGES ETC. + + +It has often occurred to me that violin players of all kinds find fault +when the strings are not arranged in the manner to which they are +accustomed, and almost every one believes his method to be correct. This +subject shall be discussed here, so that a clearer insight may be +obtained and the correct method ascertained. + +There are violin players who have a greatly arched bridge, and others a +very flat one, on their instruments. The latter, therefore, more than +the former, have the advantage of being able to play on all violins, +because they are accustomed to a bridge which is flatter. These +different methods mostly arise from the different arrangements of the +violins upon which pupils learn to play. + +Ole Bull was an exception to this rule; with him it was not chance; of +all violin players he used the flattest bridge on his violin; but it was +his principle. His music pieces required it, and in his method he +became a master. + +I. B. Poznanski played at one time on a violin with almost as flat a +bridge as that on Ole Bull's instrument, and I believe it will not have +been forgotten that he produced, as if by charm, a great tone from his +instrument. This proves that a great tone can be gained on a flat +bridge. Therefore it depends only on the skill with which the bow is +handled. Many violin players, however, are of opinion that they must +press the bow on the strings very much, in order to bring forth a strong +tone on the violin; but the pressure of the bow is limited; for when it +is too strong, the ear becomes disgusted with the tone, nay, a scraping +and jarring tone is produced by too strong a pressure, because the G +string touches the finger-board in this case, in consequence of which +many violin players wish to have the finger-board very hollow. But it +must not be believed that in such a manner the right tone is produced; +on the contrary, the full tone, which lies ready in the violin, is very +easy to be gained by the knowledge and skill of handling the bow. + +The rule is, that the tone must be drawn forth by the bow, and it must +not be forced forth by pressure. The bow must not be led oblique, but +straight over the strings, so that the hair lies flat on them; it also +depends on the flexibility of the arm, that the bow may not touch the +strings stiffly, but in an elastic manner. Those who attract attention +to their elbows cannot expect that the bow and the violin alone will do +their service. + +The most perfect condition of a violin requires the instrument to be so +arranged that it can be played easily; therefore, I determine that the +height of the strings must be three-sixteenths of an inch at the end of +the finger-board, and that the arch of the bridge must have the same +measure, three-sixteenths of an inch, between its two extremes, for +bridges more arched than this cause difficulties to the player, because +the movement of the bow is too much abstracted when passing from the E +string to the G string. In such a manner, David in Leipsic had the +violins arranged for his pupils. + +On such arched bridges the two middle strings lie too high from the top +towards the G string and E string, and it is an acoustical mistake, +because it produces an inequality of the character of tone. + +Such knowledge should be taught to the pupils in conservatories of +music; but it is generally believed that when a violin player has been +made a professor he is able to satisfy the requirements of his position +in this regard. + +For the benefit of the learner, however, I will enter more nearly upon +the knowledge which is required, especially in a conservatory, and to +the imparting of which the teacher should attend. First I will mention +as an example the conservatory at Leipsic when it was under the +management of Director David. Most of his scholars were then compelled +to play on new violins made by Bausch, which for their stiff and tough +tone are for the greater part unfit for those who would become artists. +This quality of tone, together with the fact that students were forced +into a certain position and fatigued, caused them to become nervous; but +many parents who had no knowledge of it, sent their sons to that +institute, even from America, and they had no idea that many of them +brought back a nervous disease and were thus ruined. I heard this of no +other conservatory in Europe. Thus it would appear that David pursued +his own interest rather than that he cared for the good of his pupils. + +Here in America we have violin teachers whose methods are preferable by +far to such. + +The following is a method according to which students should be +instructed: The student must not be forced into a position of holding +the violin so as to cause the ruin of health, but on the contrary, by +means of a free position and natural holding of the violin the chest +will be enlarged. This does not only benefit the health, but also +facilitates the learning and progress. + +It is of the greatest importance that students learn on violins which +have good tone, for instruments which have a bad quality of tone usually +discourage the beginner, so that he becomes nervous and soon considers +playing an unpleasant work, and gives it up without knowing the reason +why. Teachers, therefore, should have the necessary knowledge of the +qualities which a violin must possess. A knowledge indispensable for +them and a great benefit for the learner. For only a good tone has a +charming influence upon the mind, and owing to this many beginners +advance early to a high degree of perfection; therefore it must also be +in the interest of the students to get familiar with the good tone of a +violin, that their ear may not be accustomed to a sickly tone. Alas! +This point is mostly disregarded by their parents, who have little or no +knowledge of a violin, and it provokes some indignation in +scientifically instructed teachers to teach their pupils on miserable +fiddles. + +If a teacher knows how a violin should be arranged, it is above all his +duty to examine the instrument, and ascertain whether it can be used for +the instruction of a learner; for as the violin is first arranged for +him so he will ever be accustomed to have it afterward. For instance, on +the violin of the solo player Ed. Mollenhauer, the strings lie on the +finger-board lower than on any other that I ever saw. No doubt he has +learned on such an instrument. It is true that the virtuosoship is +facilitated, but the strength of tone is impaired by such an +arrangement. + +The ingenious artist Brume, however, was so great a master that he +played even on violins the strings of which lay very high, although he +did not know this. Many, again, are accustomed to bridges that are very +much curved towards the E string, because they did not know, when +learning, how badly their violins were arranged. + +A correct system must be the foundation of everything, but as the +theories in this art are still dead letters for most violin players, +there have arisen fantastical ideas, especially among the greatest of +them. Ole Bull did his best to impart such ideas to others, yet many of +them were, no doubt, excellent. Ole Bull always had a vehement desire to +find something better beyond all possibility. Many of his ideas were +contradictory to all the rules, and although he put some in practice he +did not persevere in any of them for a long time, for a new idea +occurring to him all others were supplanted by it. + +It happened once that Ole Bull was visited in New York by another +artist, who was called the "American Sivori." He, as well as many others +thought that Ole Bull had a perfect knowledge of the structure of +violins. Sivori, seeing that Ole Bull had a bridge on his violin which +stood quite oblique--for the upper part of the bridge was bent backwards +by a quarter of an inch,--adopted this idea. When his violin had been +provided with such a bridge he came to me, and with great satisfaction +he showed me this queer position of the bridge on his violin. I was +highly astonished at him that he could approve of an idea which is +against all correct theory and is nothing but a farce. I then explained +to him not only the consequences which must arise from it, but also the +impossibility, by such an arrangement, of bringing to bear an even +horizontal pressure on the bridge. But he thought that which came from +Ole Bull was better than that which came from my knowledge. Let us see +what happened later. In a concert of his, while he was playing with +enthusiasm, the bridge fell and broke! + +Another day an Italian artist came with his Maggini violin to show me +where the sounding post must stand in his violin, having obtained his +information about it from Ole Bull. I could not help smiling when I saw +that the sounding post was placed quite near the _f_ hole. Upon +expressing my surprise, he replied with the following insult: "What do +you know about the position of the sounding post? You are no violin +player like Ole Bull, therefore you cannot know about it." My answer +simply was: "Only a fool can talk to me in that way, and very soon you +will find out that you will have to give up such an insane idea!" + +It was on the third day after that he came back begging me to place the +sounding post in his violin according to my judgment. When he had +apologized for his indiscretion, I fulfilled his wish. + +Thus I have become acquainted with several artists who constantly +tortured their violins by getting the sounding post and bass-bar +displaced. This proves a want of correct theoretical knowledge, and +through this ignorance they make the sounding post wander about the +whole violin. + +The place of the sounding post can only be ascertained through the +theoretical knowledge of the construction of the bottom and top of the +violin. Many players think they can obtain the right tone by the +position of the sounding post alone, but no sounding post can make good +a fault in the construction of the bottom and top. + + + + +CIRCULAR WHICH ACCOMPANIED MY "EMPEROR VIOLIN" IN THE VIENNA +EXHIBITION OF 1873--AN INTERESTING EXPLANATION ABOUT VIOLINS AND OF +THE SCIENCE OF TONE. + + +It is an indisputable fact, that of all productions of art in the world, +the violin has been least understood. + +This wonderful instrument has remained an enigma to the musical world +until now. How fortunate it is that this instrument does not understand +human language, by which circumstance it escapes that medley of critical +remarks which are made in its regard. + +It is, therefore, in the interest of art and its votaries that I have +determined to present herewith to the public the results of my long +experience obtained in making violins, and in examining those sciences +connected with it. + +It is generally known that up to the earlier part of the eighteenth +century the Italian masters made the best violins, and with the death of +those artists a decline of that art, too, took place. Those so-called +classical instruments have been, especially of late years, eagerly +sought at high prices, by all artists and amateurs, because a settled +opinion has taken hold of their minds that nobody is able to construct a +violin which is fit for solo performances; that the secret which the old +Italian masters possessed is not yet found, and that new violins, +although constructed according to the rules of acoustics, cannot gain +the desired perfection until after the use of a hundred years. This, +therefore, animated many violin makers with an endeavor to overcome that +difficulty, but in vain; at last Vuillaume, of Paris, was impressed with +the thought of making wood look old by a chemical process, and he +succeeded in creating a furor with his instruments made of such wood, so +that people began to believe the right course was being pursued. It +turned out, however, that after a few years those instruments +deteriorated, and finally became useless and proved a failure. + +This especially prejudices the minds of the virtuosi so far that they do +not believe it to be possible to make violins which answer the general +requirements of concert playing until they have attained a great age. + +Vuillaume has, therefore, by his chemical preparation of wood, injured +this art seriously, because the previous prejudice was corroborated +thereby. Such prejudices stand in the way of progress in making good +violins. + +But as everything in the world is going on, so the art of the +construction of violins has not remained behindhand, and I can prove +this to the musical world by my own experience. + +To the knowledge of making such violins as artists and amateurs demand, +there belong besides ingenuity in carrying out the mechanical work a +knowledge of the following three sciences, namely: mathematics, +acoustics and the choice of wood. + +A knowledge of acoustics, which is most indispensable to the violin +maker, cannot always be acquired, since it emanates from an innate +genius, which makes itself manifest in the very choice of the wood. + +When by the aid of these sciences I had arrived by a natural proceeding +at what I aspired, I made violins in imitation of the old Italian +instruments and presented them to great artists and connoisseurs, and +the highest authorities of Europe and America. They pronounced them to +be genuine old Italian violins, not only on account of tone, but also in +regard to form and appearance. In this manner I broke that prejudice. I +proved to the so-called "connoisseurs" that those violins laid before +and acknowledged by them to be good, were of my making, hence they were +new. If I had presented those violins as new productions of my own to +those gentlemen, they would have condemned them forthwith and said that +they would not prove good till they had reached a great age, and that +they would perhaps in a hundred years equal the old Italian instruments. + +In general, however, it is not taken into consideration that if a violin +is not scientifically constructed the good quality of tone will never be +obtained, either by much playing or by age. In applying the three above +mention sciences I have gained not only the fine quality of tone, but +also that ease with which the tones are made to come forth. + +But we must be thankful to the great masters; they have laid for us the +foundation of the manufacture of violins, by which they became +immortalized. + +Their system, however, is but little understood by the present violin +makers, because very few intelligent people devote themselves to this +art, and the most of those who are learning it, practice it not in the +way of art, but of business. What wonder, when even the greatest artist +in Europe, Vuillaume, imitated the very mistakes which the great Italian +masters made in regard to mathematical division. He did not consider +that they, in improving the art, made experiments in regard to form, +swell and different thicknesses in working out the bottom and top. But +there are a great many professional men who, from exaggerated +veneration, consider all productions of those masters as law and beyond +correction. + +I have discovered that the old masters did not arrive at perfection, but +made mistakes in their mathematical division and in the workmanship of +the different thicknesses of the bottom and top. Those faults I have +endeavored to avoid in the manufacture of my violins, and I think I have +solved this problem. + +Just so it is with the knowledge of tone. It is a great mistake to +believe that it is only the player who has this knowledge. Experience +has taught that playing and knowledge of tone are two different +provinces, because the artist very seldom has an opportunity to make +close study of the different qualities of tone, and is usually +prepossessed with his own instrument. + +If many solo performers had more knowledge of tone they would not so +often play in concerts on feeble instruments, which are too old, too +defective in construction, or have been spoiled by bungling workmen who +were employed to repair them. Such instruments often injure the solo +performer exceedingly, and the critic is right in charging the fault to +feebleness of tone. But the artist is generally satisfied if he only +possesses an Italian violin. + +Also in the science of tone I have found the way to gain that experience +by which I have been enabled to make a violin which will satisfy an +unprejudiced solo performer of the present and future. + +I have confined myself to the natural process which the Italian violins +underwent, and I have put the problem to myself that it must lie within +the bounds of possibility to construct violins which will bring forth +good tones at once and not depend on a promising future for all their +good qualities, and I have not been mistaken, but have secured what I +sought. + +Many are still of opinion that the art of making violins and +predetermining the qualities of tone, is a mere accident. This is, if +taken in a general sense, true, because most of those who make violins +scarcely know any more of it than a joiner, but the ability to construct +violins according to the rules of art, requires a man who has enjoyed a +technical education, and whoever has acquired the necessary capabilities +knows the method by which the different qualities of tone may be +produced and obtained. + +Above all, he who occupies himself with repairs can least dispense with +these capabilities, since he is often intrusted with the most valuable +instruments; but alas! with what inconsideration do those who possess +such instruments often give them, for repair, to botchers and fiddle +makers. + +This proves how great in this regard is the lack of correct judgment. +Through such spoilers of violins most Italian violins have come to +naught, because many who own such instruments think that whenever any +one makes a neat piece of work and knows how to use his chisel, file and +sandpaper, he is the man to be intrusted with such instruments. But +where there is a lack of science, the repairer's work, be it ever so +neat, may cause damage in half an hour which will be greater than can +ever be made good again. + +If a violin maker constructs bad instruments it is his own damage, but +to make bad repairs is to ruin the instruments of others, the creations +of masters. + +Neither is a violin maker who does not know how to construct excellent +instruments a good repairer. Yet there are many who think that good +repairers need not possess the knowledge of making good violins. But +what a mistake! It seems, however, wisely ordained by nature that even +he who is less gifted and less learned may enjoy life, and thus gladly +bear sacrifices in consequence of his error. + +This is the plain and simple explanation of matters in regard to the +manufacture of violins and the knowledge of tone, and those to whom this +does not seem comprehensible may submit to a more thorough experience +than they have gained until now; in this case they will, after they have +fully convinced themselves of it, sometimes remember G. G. + + + + +A REPLY TO MR. E. SCHELLE'S CRITIQUE CONCERNING THE VIOLINS IN THE +EXHIBITION OF VIENNA IN THE LEIPSIG "NEUE ZEITSCHRIFT FUR MUSICK," +No. 52, 1873. + + +In the foregoing circular, treating upon violins, I said: "It is +indisputable that no production of art in the world has been less +understood than the violin." This truth has proved good again in Mr. +Schelle's critique concerning violins, and it shows how little he is +able to judge about them! In his very introduction it is plainly shown +that he has made no studies in regard to tone when he says: "Thus an +idea came to Vuillaume to make, by a chemical preparation, wood to look +like that of the old violins. Instruments made of this material excel in +regard to their splendid and real Italian tone." + +Against this I assert just the contrary and can prove it to be nonsense +by the fact that wood, when submitted to a chemical process, will +produce a dry, covered tone, and the noble quality of tone--that which +affects the heart--is lost. + +Mr. Schelle then says: "We may also discover a similar experiment in the +instrument which Mr. George Gemünder, of New York, has in the +exhibition, under the ostentatious name of Kaiser Violin (Emperor +Violin). Of course its manufacturer would protest against this +insinuation, for in a little pamphlet he declares that by the assistance +of three sciences, the mathematics, acoustics and knowledge of the wood +to be chosen, he had not only comprehended the system of Italian school, +but had even discovered errors in it, etc." + +Mr. Schelle further says: "There have been many celebrated violin makers +who were gifted with the same talents and learned in the same sciences, +yet they could not reach what they aimed at, in spite of their most +strenuous efforts. We confess quite openly that in spite of his +assurance we harbor the suspicion that Mr. Gemünder has taken refuge in +a chemical preparation of the wood. The violin in question, a faithful +imitation according to Guiseppe Guarnerius, is indeed beautiful in its +appearance and has a very excellent tone. But the extravagant, really +American, price of ten thousand dollars could only be excused when its +excellence should have been proven good in future," etc. + +From this (Mr. Schelle's) critique it is evident that he has tried to +throw into the shade the interesting production of art which I had in +the exhibition, in order to be enabled to put the productions of the +Vienna violin makers in a more favorable light. But this proves that +only such persons as are destitute of sufficient knowledge to judge of +violins may be transported to such one-sided critiques, dictated either +by partiality or other interests; for if that were not the case Mr. +Schelle ought to have blushed with shame in regard to that injustice and +disrespect with which he illustrated the experience of an artist and +spoke of his talents and sciences, to which Mr. Schelle is as much a +stranger as he is to the artist's person! + +As Mr. Schelle takes into consideration that the violin at ten thousand +dollars exhibited by myself must first undergo "a proof of time," it may +be rather advisable for Mr. Schelle to take a lesson of Gemünder, that +he may learn those characters of tones which will prove good in future +and which will not; so that he may be able hereafter to show better +knowledge in his critique upon violins! + +From my childhood I have grown up in this art in Germany and have +devoted myself to all those studies which are connected with it. The +last four years in Europe I passed at Vuillaume's in Paris, consequently +I am acquainted with the entire European knowledge of the construction +of violins. + +Since 1847 I have made violins in America, therefore my instruments do +not require to be subjected to a "proof of time," for it is without such +a one that I have solved the problem and secured at once the fine tone +which all the preceding violin makers strove in vain to find. I obtained +my purpose in quite a natural way. This knowledge, however, does not lie +in an object whose secret is only to be secured by a patent; it lies +purely in the gifts of man. Another century may pass by before this +problem will be solved again. The closing page in Mr. Schelle's critique +sounds like a lawyer's pleading in favor of a criminal. In this regard +his writing is quite creditable, for he has well pleaded the cause of +the violin makers of Vienna! + +But then those words in my circular about violin makers proved true +again: "This wonderful instrument has still remained an enigma to the +musical world until now. How fortunate it is that it does not understand +human language, by which circumstance it escapes the medley of opinions +which have been given in regard to it." + +When, however, its clear tone was heard, and the easiness with which the +tones came was noticed, then it became an enigma to professional men and +they declared that this violin was an original fixed up again! + +But later, when it was objected to and found to be a new Gemünder +violin, it was ignored even in the newspapers. The _Neue Wiener +Tageblatt_, of Vienna, called it afterwards "the false Cremona violin!" +How envy here glared forth again; for this violin was not exhibited as a +Cremona violin, although it has been demonstrated that it had been +previously really taken for a genuine Italian instrument. + +Its introduction as "Emperor Violin" had a force and pungency which +tickled the professionals, and what surpasses all belief is, that they +themselves crowned the work. It was, indeed, the greatest premium that I +could gain, in spite of all the pains which those men gave to +themselves to deprive me of my merit. Thus a moral prize values higher +than a piece of metal? + +Although many mocked at the high price, yet no such violin could be made +by all those deriders, should millions of dollars be offered to them. +Therefore an unrivaled artist has the right to fix any price on his +productions. Although an offer of $3,000 was made for it, yet nobody was +charged to sell it, even if $10,000 had been presented. + +The newspaper of the exhibition of Vienna, published on the 17th of +August, 1873: "Gemünder found fault with the Italian constructions and +those of Vuillaume." + +If Gemünder had not extended his studies so far he would probably not +have stirred up those matters which had given such a headache to those +people of Vienna, for George Gemünder became thoroughly acquainted with +both the faultless and the faulty points of the Italians in the +construction of violins. If those people of Vienna had had the good luck +to discover imperfections on the above mentioned constructions, then +they would have made a great cry about it. + +The same newspaper says in another passage: "The tone of this violin is +indeed strong and beautiful and has an easiness that pleases, also it +has not that young tone peculiar to the very best new violins." In +saying these words the writer confesses the truth in his innocence, and +this verdict crowns this violin again, because this character of tone is +just that one which all violin makers in the nineteenth century have +been trying in vain to find. + +And further: "For this reason some professional men gave vent to the +suspicion that the wood was submitted to an artificial preparation, +probably by the use of borax." Such was the nonsense to which this +peerless violin was subjected, since there was none to take up its +defence. _The annexed description in which all chemical preparations +were peremptorily opposed, was entirely disregarded by them._ Thus there +is no other way to advise those pseudo-professional men to have such +borax violins made and patented! + +To those gentlemen who call themselves professional men, I, George +Gemünder, declare that I am ready at any time to sacrifice my "Emperor +violin" or any other which I have made, and I propose to give it to the +best chemists in the world to be cut to pieces, that they may examine +the wood and ascertain if any chemical preparation has been used. If +this is found to be the case they may be allowed to scold and blame me +publicly as much as they please; but, if nothing of that kind is found, +they are to pay ten thousand dollars for the "Emperor violin." + + Address: GEORGE GEMUNDER. + ASTORIA, NEW YORK. + + + + +ERRATUM. + + +Page 70. Sentence beginning "He also +tried to persuade them into the belief," &c., +should read, "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." + + + + +Transcriber's Notes: + +Passages in italics are indicated by _italics_. + +Inconsistencies in spelling and hyphenation have been retained from the +original. + +The following obvious errors have been corrected: + + Page 8: the word "in" added after the word "remain" + Page 18: the extra word "who" removed + Page 77: "howevever" changed to "however" + Page 88: "ingenius" changed to "ingenious" + Page 89: "thories" changed to "theories" + Page 98: "preposessed" changed to "prepossessed" + "to fault" changed to "fault to" + +Punctuation has been corrected without note. + +The error notated on page 70 in the "Erratum" in the original has been +corrected in this eText. + + + + + + +End of the Project Gutenberg EBook of George Gemünder's Progress in Violin +Making, by George Gemünder + +*** END OF THIS PROJECT GUTENBERG EBOOK GEORGE GEMÜNDER'S PROGRESS *** + +***** This file should be named 36147-8.txt or 36147-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/1/4/36147/ + +Produced by Adrian Mastronardi, David E. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: George Gemünder's Progress in Violin Making + With Interesting Facts Concerning the Art and Its Critics in General + +Author: George Gemünder + +Release Date: May 18, 2011 [EBook #36147] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE GEMÜNDER'S PROGRESS *** + + + + +Produced by Adrian Mastronardi, David E. Brown, and the +Online Distributed Proofreading Team at http://www.pgdp.net +(This file was produced from images generously made +available by The Internet Archive/American Libraries.) + + + + + + +</pre> + + +<div class="figcenter"><img src="images/illus-002.jpg" alt="" /></div> + +<p> </p> + + +<p class="center"><span class="big">GEORGE GEMÜNDER'S</span><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> + +<p class="center">PROGRESS IN</p> + +<p class="center"><span class="giant">VIOLIN MAKING,</span></p> + +<p class="center">WITH</p> + +<p class="center"><span class="big">INTERESTING FACTS</span></p> + +<p class="center">CONCERNING THE ART</p> + +<p class="center"><i>AND ITS CRITICS IN GENERAL</i>.</p> + +<p class="center"><span class="smcap">By</span> GEORGE GEMÜNDER.</p> +<p> </p> + +<p class="center"><i>PUBLISHED BY THE AUTHOR</i>:</p> +<p class="center">ASTORIA, N. Y.,</p> +<p class="center">1881.</p> +<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> + +<p> </p> + + +<p class="center"><i>Entered According to Act of Congress, in the Year 1881.<br /> +GEORGE GEMÜNDER,<br /> +In the Office of the Librarian of Congress.</i><br /></p> +<p> </p> + + +<hr style="width: 65%;" /> +<p> </p> +<p class="center"><span class="huge">BIOGRAPHY</span><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> + +<p class="center">OF</p> + +<p class="center"><span class="giant">GEORGE GEMÜNDER.</span></p> +<p> </p> + +<p>George Gemünder was born at Ingelfingen, in the kingdom of Wurtemburg, +on the 13th of April, 1816.</p> + +<p>His father was a maker of bow instruments, and it was, therefore, from +Gemünder's earliest youth that he devoted himself to the same art and +the studies connected with it.</p> + +<p>When he left school, it was suggested to his father that George should +become a school-master, as he at the time wrote the finest hand and +executed the best designs of any among his classmates. His father was +not averse<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> to this proposal and decided to carry it out. George was, +accordingly, directed to prepare for the seminary. The plan was not, +however, in accordance with his own tastes or inclinations, and he +followed it for a period of but three weeks, only to abandon it finally +and forever, to take up that employment which accorded with his natural +gift and gave scope for the development of his genius.</p> + +<p>After his father's death, which occurred when George was in his +nineteenth year, he went abroad, and worked variously at Pesth, +Presburg, Vienna and Munich. Fortune smiled upon him, and more than once +an opportunity was presented of establishing a business; but nothing +that promised simply commonplace results and a commonplace life could +attract his eye, since his mind, aspiring to improvement in his art, was +constantly impelling him toward that celebrated manufacturer of violins, +Vuillaume, at Paris. He plainly saw that in Germany he could not reach +in the art that degree of accomplishment for which he strove, and, +therefore, he resolved to find, if possible, at Strasburg, such a +position as he had had at Munich. Through the mediation of a friend he +obtained a call to go to a manufacturer of musical<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> instruments at +Strasburg; but upon his arrival he was astonished to learn that the man +was a maker of brass instruments! Here was a dilemma. Disappointed in +his effort to find employment, winter at the door and far away from +home, what could he do? The manufacturer, whose name was Roth, +perceiving his perturbation, was kind enough to ask Gemünder to remain +in his house until he should have succeeded in finding such a position +as he desired. Gemünder accepted the profered kindness, and after the +lapse of six weeks he formed the acquaintance of a gentleman with whom +he afterward became intimate, and who promised to write for Gemünder a +letter of recommendation and send it to Vuillaume at Paris. Meanwhile +Gemünder remained in Strasburg. One day, while taking a walk in the park +called "Die Englishen Anlagen," he seated himself on a bench and shortly +fell asleep. In his sleep he heard a voice which seemed to say: "Don't +give way; within three days your situation will change!" The voice +proved prophetic, for on the third day after the dream his friend came +to him with a letter from Vuillaume, which contained the agreeable +intelligence that Gemünder should<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> go to Paris. The invitation was +promptly accepted and Gemünder immediately started on his journey. When +he arrived at Vuillaume's another difficulty was encountered, for +Vuillaume had mistakenly supposed that Gemünder spoke French. By mere +good fortune it happened at the time of Gemünder's arrival that a German +professor was giving music lessons to Vuillaume's twin daughters, who in +the capacity of interpreter informed Gemünder that M. Vuillaume was +sorry to have induced him to come to Paris, because it would be +impossible to get along in his house without French. Vuillaume kindly +offered to pay Gemünder's traveling expenses from Paris back to +Strasburg, but said, however, that should the latter be satisfied with +nominal wages at first, he would give him thirty sous a day until he +should have learned enough of the language to be able to get along. +Gemünder accepted the proposition, which greatly astonished Vuillaume +because he had not supposed that Gemünder would be contented with such +small wages! Then he showed him a violin and violoncello as models of +his manufacture, and asked him if he could make instruments like those. +The answer being in the affirmative, Vuillaume<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> smiled, for he was sure +it could not be done. On the following day he provided Gemünder with +materials for making a new violin, in order to see what he could do. He +soon perceived that Gemünder possessed more theoretical than practical +knowledge. When the violin was finished, he made him understand that +their way of working was different, and he desired to have his own +methods adopted. Gemünder did his best, and being a good designer, he +soon acquired a knowledge of the different characters of the propagated +Italian school in regard to the construction of violins.</p> + +<p>After the lapse of three months Gemünder's wages were increased ten sous +a day, and although he now saw his most heartfelt desire fulfilled, +namely, to work in Vuillaume's manufactory, yet he did not find it +possible to stay there permanently, because his fellow-workmen, who had +observed the kindness with which their employer had treated his new +workman, became filled with feelings of jealousy, and resolved to +harrass him and compel him if possible to leave. So thoroughly did they +succeed in embittering his life, that Gemünder finally resolved to leave +Vuillaume<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> and go to America, and with this firmly fixed in his mind he +began his preparations secretly to carry out his plan.</p> + +<p>When everything was ready, he went to Vuillaume to make known his +intention and to explain to him the cause of his leaving. The latter, +astonished at this intelligence, declared that Gemünder should not leave +his house at all, and assured him that he would not meet with further +unkindness from his fellow-workmen, even if all should be dismissed, +although some of them had already been in his manufactory for many +years. He further assured Gemünder that should he not desire to remain +in Paris, he would establish him in a business similar to his own, +either in Germany or elsewhere, but he dissuaded him from going to +America, for the reason that the art of violin making was not +sufficiently understood there at that time. This kindness and +benevolence upon the part of his employer so touched his heart that he +was constrained to remain, and he began to construct new violins, in +some of which he imitated the Italian character thoroughly, and also to +repair injured violins.</p> + +<p>One day Vuillaume handed Gemünder a violin, with the remark that he +wished him to do<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> his best work in repairing it, for a gentleman from +Russia had sent it. Vuillaume especially called Gemünder's attention to +a certain place in the back which was to be repaired, which was almost +invisible, and he gave Gemünder a magnifying glass for his assistance, +but Gemünder returned it, saying that he could do better with his naked +eyes, and when finished Vuillaume might examine it with the glass. When +completed, the work proved to be all that Vuillaume had wished, and +satisfied the owner of the instrument so thoroughly that in his ecstasy +of delight he presented Vuillaume, in addition to the payment for his +work, with a costly Russian morning gown.</p> + +<p>On the return of Ole Bull from America, in 1845, that distinguished +performer brought his wonderful "Caspar da Salo" violin to Vuillaume to +be repaired, and requested the latter to do the work himself, as it was +something about which he was very particular; but Vuillaume answered +that he had a German in his workshop who could do it better than he. +Impelled by curiosity to become acquainted with this German, he asked to +be shown to the place. After some conversation, Gemünder undertook the +repairing of the violin and completed<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> it in as masterly a manner as he +did in the case of the Russian gentleman.</p> + +<p>After an interval of three years, while Gemünder was still working at +Vuillaume's, the latter showed him a violin and asked his opinion about +it. Gemünder, having examined it, replied that it was made by some one +who had no school! "I expected to hear this," returned Vuillaume, "and +now let me tell you, that this violin is the very same that I engaged +you to make when you came to me. I show it only that you may recognize +what you are <i>now</i> and what you were <i>then</i>!" Gemünder was not only +surprised, but amazed, and would hardly have believed it possible. This +incident is only mentioned to show that as long as the eye has not been +fully cultivated, those who fancy themselves to be artists are not such, +and in reality they cannot distinguish right from wrong. Gemünder has +often experienced this in America. He knows no other violin maker who +deserves to be compared with Vuillaume in this respect, for he correctly +understood the character of the outline and form as well as the interior +structure of the different Italian instruments.</p> + +<p>Towards the end of 1847, when Gemünder had been four years at +Vuillaume's, his two<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> brothers, who were in America, invited him to go +there, as the interest in and taste for music was improving and they +intended to give concerts. Gemünder therefore determined to accept this +invitation and left Paris. He arrived in November, at Springfield, +Mass., and, meeting his brothers, arrangements for concerts were made +with an agent, who engaged several other artists to make up the company. +The instrumental quartet consisted of a clarinet, violin, flute and bass +guitar. This music made quite a sensation, and the houses were always +crowded, yet the Gemünder brothers did not receive anything from the +proceeds. They soon comprehended that they had had too much confidence +in their agent, and after the lapse of a week they gave up the +speculation.</p> + +<p>For George Gemünder, who had then very little knowledge of the English +language, which fact increased the difficulty of his position, there +remained no other choice but to settle as a violin maker. He borrowed +from a friend twenty-five dollars, and with this money he set out for +Boston, Mass., and established himself there. The violins which he made +he sold at fifty dollars each, and made repairs at low prices.</p> + +<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>In 1851, when the first exhibition of London took place, Gemünder sent a +quartet of bow instruments, in imitation of Stradivarius, and one violin +according to Joseph Guarnerius, and another according to Nicholas Amati.</p> + +<p>As his business in Boston did not prove sufficiently lucrative, Gemünder +left the city after eighteen months, without waiting for news of the +result of the exhibition, and established business in New York. Later he +learned that his instruments had received the first premium at the +exhibition.</p> + +<p>When, in the following year, 1852, Gemünder received his instruments +back from the exhibition, he learned that Ole Bull was in New York +again, and, as he had formed his acquaintance in Paris, he paid him a +visit and gave information that he had established himself in New York, +and also that he had obtained the first premium at the London +exhibition. Ole Bull was highly astonished at this news, as he said +"Vuillaume is the best violin maker, and I have on one of my violins the +best specimen of his workmanship as a repairer." He thereupon showed +Gemünder his "Caspar da Salo." "Here," he said, "look at it, find the +place where the repair was made." But<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> Gemünder replied: "Sir, have you +entirely forgotten that when you went with your violin to Vuillaume, he +made you acquainted with a German in his studio, whom he directed to +repair this 'Caspar da Salo' violin, and that this German was myself?" +Upon hearing this a light seemed to break upon his mind, and he +exclaimed, "Yes, yes, I do remember. Now you shall become in America +what Vuillaume is in Europe."</p> + +<p>Meanwhile the advantages which might have been derived from the London +exhibition were lost, in consequence of Gemünder's removal from Boston +and establishing business at New York. Spohr, Thalberg, Vieuxtemps and +many more of such authorities, examined his violins in the exhibition +and were much surprised at the excellent qualities of the instruments. +Spohr observed: "These are the first new violins that I ever saw, tried +and liked!" When they were played upon by him and others, they attracted +hundreds of admirers and would have been sold at high prices had +Gemünder not failed to make arrangements to dispose of them.</p> + +<p>The results obtained at Paris and Vienna were similar, his instruments +attracting much<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> attention in each exhibition. In the Vienna Exposition, +held in 1873, Gemünder gained the greatest triumph that was ever +obtained by any violin maker. The "Kaiser" violin sent by Gemünder in +response to an offer of a prize for the best imitation, was declared by +the professional judges to be a renewed original; a genuine Guarnerius +not only in regard to its outer appearance and character, but also as to +its wonderful quality of tone and ease with which the tones come. To +find these qualities in a new violin was beyond all expectation, since +it had hitherto been taken for granted that such a result could not be +obtained, because that object had been the unsuccessful study of +different makers for hundreds of years. This proves, therefore, to the +musical world, that Gemünder has solved that problem which has generally +been considered impossible. In spite of all this, however, Gemünder had +learned by painful experience that the prejudice existing among most of +the violinists was not to be wiped out. These people are incapable of +judging reasonably, and it is easier for them to say that Gemünder makes +his new violins of wood prepared by a chemical process, or that<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> it has +not yet been proven that his violins have kept their good quality for an +extended period of time, notwithstanding that Gemünder has been +constructing violins in America since 1847, and that nobody can prove +that any violin of his making has lost its quality of tone. On the +contrary, they have invariably proved good. Gemünder, however, confesses +that a few of his first made violins in America do not equal those of +his present construction in regard to tone and varnish. The cause of it +was that Gemünder being unacquainted with the woods of the new country, +was not so successful at first in the choice of wood for his violins, +and naturally would not be until his experience had improved. The +prejudice above referred to would, however, be likely to exist for +another century, could Gemünder live for that length of time among those +people, the most of whom would persevere in their opinions.</p> + +<p>The impracticability of the theory of using chemically prepared wood for +violins is sufficiently understood at the present time to render it +useless to pursue the discussion in these pages. Gemünder has informed +himself as to the degree of success attained in the use<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> of the +different chemical preparations of wood, as well as those prepared with +borax, by which, the inventor asserts, the wood becomes richer in tone +and lasts longer than that which is left in its natural state. Yet, +without opposing the inventor, Gemünder follows the principle of the old +Italian violin makers, because their productions have been in use to +this day; therefore the material left in its natural state has proved +good and has satisfied the musical world for these three hundred years. +He has indeed succeeded in constructing new violins of material in its +natural state, which produce not only an extraordinary power of tone, +but also a strikingly equal quality of tone, and the quality of easy +speaking, and the outward appearance of the old violins has been so +faithfully imitated that he who has not been told the fact, will take +them for genuine instruments made by Stradivarius, Guarnerius, Maggini, +Amati, and others.</p> + +<p>It is therefore assuming not too much to say that George Gemünder has +surpassed in this art all the violin makers of the present and past +times; for where the Italian masters ended with their knowledge, George +Gemünder commenced and improved, which fact can be<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> proved to the +satisfaction of every critic; for George Gemünder has not only gained +the same results as those achieved by Stradivarius and others, but he +has sketched a better acoustic principle for producing tone. It is for +this reason that August Wilhelmj, the great violinist, calls George +Gemünder the greatest violin maker of all times, for Wilhelmj had +learned by ample trial of the instruments made by George Gemünder that +they were incontestably all that the latter claimed for them. Wilhelmj +admired Gemünder's "Kaiser" violin at the Vienna Exhibition, as it was +the only violin of importance which attracted his attention, and this +aroused within him the desire to become personally acquainted with its +maker. By means of his renown as the great violin virtuoso, an +engagement was offered him to go to America, which he accepted, and thus +his wish was fulfilled. On the day after his arrival in New York, +Wilhelmj went to see Gemünder at Astoria, and from that time has been +Gemünder's friend and admirer.</p> + +<p>Wilhelmj and other artists have expressed astonishment that a man of +George Gemünder's capabilities in this art was to be found in America. +Although he enjoys the highest<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> renown in his art, yet he lives in a +country in which the appreciation of that art is still in its +development; for the number of amateurs such as are found in Europe, who +spend enormous sums in instruments, is very small here. The fact is that +George Gemünder lives here at too early a period, for his productions +are a continuation of those which the great Italian masters brought +forth. Taking into consideration all the foregoing circumstances it is +fair to suppose that George Gemünder has had to contend with +extraordinary difficulties during this long time. For ignorance and +arrogance can do much damage, in this respect, not only to the artist, +but also to the amateur, as these often times place their confidence in +those musicians who have no knowledge of violins, and who can only +mislead them.</p> + + + +<hr style="width: 65%;" /> +<p class="center"><span class="big">APPENDIX.</span><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p> + +<p class="title"><small>GEORGE GEMUNDER'S OBSERVATIONS IN REGARD TO +VIEWS WHICH THE MOST OF VIOLINISTS AND +AMATEURS HAD OF THE TONE OF OLD AND NEW +VIOLINS—HOW THEY IGNORED THE NEW +INSTRUMENTS, AND HOW THEY WERE DECEIVED +AND SURPRISED IN THEIR PREJUDICE +CONCERNING THEM.</small></p> +<p> </p> + +<p>Gemünder had learned that the knowledge of arrogant violinists and +amateurs in regard to tone did not rest on any correct basis, and that +their prejudice rested on a tradition arising from the decline of the +manufacture of violins since the death of the celebrated Italian makers. +All attempts of late years to make good violins having failed, an +aversion to new violins has been gradually spreading, so that the most +of people at the present time do not believe it possible for violins to +be both new and good. Firstly, because it has been found that new +violins have not been constructed so as to possess the tone of old +Italian instruments; and secondly, that those made of<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> chemically +prepared wood did not stand proof for a great length of time. Many +musicians and amateurs have in consequence of this prevailing prejudice +gone to an extreme and disregarded new violins, no matter what tone they +might have. To this class of people belonged especially the violinist +Wieniawski, who had an opportunity to play on one of the best violins +made by Gemünder, which opportunity he ignored, because the violin +looked new. Instruments imitated by Gemünder were placed before him as +genuine violins, and he admired them. Ole Bull was equally surprised +when an imitation according to Stradivarius was handed to him in +Columbus, Ohio, and he declared it to be a genuine original.</p> + +<p>When Vieuxtemps gave concerts in America for the first time, and went to +see his friend Vieweg, Professor of music in Savannah, Ga., the +Professor showed him his Stradivarius violin. Vieuxtemps, catching sight +of it, said: "If he had not been quite sure that his violin was at home, +he would think it was his own." But when his friend told him it was a +Gemünder violin, he was astonished and observed: "The d***l knows how +Gemünder can bring such a tone in new violins!"</p> + +<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>At about the same time a violinist came from Germany and visited +Gemünder to hear his violins, because Spohr had praised him so much; but +at the same time he doubted that new violins could sound like those of +the old Italian masters. Gemünder first showed him some having the +appearance of being new; the violinist played upon them and then +uttered: "They are as I thought; they have not that sweet, melting tone +of the Italian instruments." Hereupon he asked Gemünder if he had no +Italian violins, in order to show the difference. Gemünder then opened +another box, and showed him an imitation of Amati for a genuine one. No +sooner did the instrument strike his sight than his face brightened up +and he said: "Everybody can see at once that there must be tone in +this," and after playing upon it he was so pleased that he said to +Gemünder: "Yes, there are none of the present violin makers who have +brought it so far!" Hereupon Gemünder informed him that this was also a +new violin of his making. Scarcely had the visitor heard this, when, +ashamed of his prejudice, he took his hat and went away.</p> + +<p>Similar incidents often occur. In 1859 Gemünder<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> sent violins to the +Exhibition of Baltimore, after which, on one occasion, he was invited to +a soiree at which his violins were played. He also had a genuine +Guarnerius among his own instruments. An amateur, Mr. Gibson, a very +good player, was present and anxious to hear the Italian violin. During +the performance of a quartet on the violins made by Gemünder, this +amateur, who was possessed of the popular prejudice against new +instruments, and who fancied he heard the Italian violin, was so +exceedingly delighted with it that he observed, "To hear such violins is +sufficient to keep any one from ever touching new ones." But when +Gemünder told him they were new ones made by him, the amateur stared at +him as much as to say, "Do you make fun of me? These violins do not look +new at all!" Gemünder, however, convinced him of the truth of his +assertion. This fact surprised the amateur to such a degree that he was +at loss what to say, and later, upon learning the price of one of the +instruments, bought it. Sometime after this he valued it at two thousand +dollars in gold. Since then the violin has been sent several times to +Gemünder, either for a new bridge or other slight repairs, and<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> each +time new anecdotes have been related of it. Of especial interest is that +one of Father Urso, who was looking for a genuine Guarnerius to give to +his daughter Camilla, the celebrated violinist. He took Professor Simon +with him to see the instrument. Both were very much surprised at it, not +only on account of its undoubted genuineness, but also that it was kept +so well. Gemünder then let them know that he had perpetrated a joke, and +that the instrument was made by himself.</p> + +<p>One day Mr. Poznanski, from Charleston, S. C., in company with his son, +who was already an artist on the violin, visited Gemünder. Although +still young, his father intended to send him to Vieuxtemps for his +further artistic accomplishment, and with this purpose in view he was +willing to buy an Italian violin. As Gemünder had none on hand, he +showed him a new violin, but Poznanski declared that he would not buy a +new one. Gemünder then showed him an imitation, as if it were a genuine +original. The son played on it, and both father and son were highly +satisfied with it; they expressed their wish to buy it and asked the +price, which was given as five hundred dollars. When Poznanski was about +to pay<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> down the money, Gemünder told him that this instrument was also +new. Whereupon Poznanski replied in an excited tone, "Have you not heard +that we do not want a new violin?" and they left the Atelier!</p> + +<p>When Vieuxtemps left America, in 1858, Poznanski's son went with him to +finish his studies under his direction. After the lapse of eight years +he returned an accomplished artist, and visited Gemünder again. He then +remarked that he wished to find an Italian violin of first class, and +asked Gemünder if he had something of that kind in his possession? Here +he took the opportunity to remind Gemünder of the time when he had +deceived both him and his father, observing at the same time very +naively: "But now, Gemünder, you cannot deceive me. I obtained thorough +knowledge of imitations at Paris, and also a knowledge of the genuine +Italian violins, for I had an opportunity to see many of those made by +the masters." Gemünder told him that he had two Joseph Guarnerius +violins of first class in his possession, and laid them before him. +Poznanski expressed his astonishment to find such rarities. After a +thorough examination Poznanski declared there was no doubt in regard<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> to +their genuineness! He tried both violins, and soon evinced his +predilection for one of them, which he wished to buy, and inquired the +price. Gemünder offered each of them at one thousand dollars, but at the +same time told him that he had deceived him for a second time, for the +instrument which he had picked out was new and made by himself, whilst +the other was genuine. Poznanski, however, told Gemünder that he could +not deceive him, that it was not possible to produce an instrument like +that. At this moment two friends of Gemünder, who were acquainted with +his instruments, entered the shop, and Gemünder asked them in the +presence of the young artist, at the same time pointing to the +instrument selected by Poznanski, "who made this violin?" They replied +that the maker of it was Gemünder. This appeared to him impossible, but, +after deliberating on the subject, he said, "I must believe it now, and +yet I don't believe it!" A few days later, becoming fully assured that +the instrument to which he had taken a fancy was not an Italian violin, +he bought the genuine one, which, however, was an excellent instrument, +thus giving up the one to<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> which he had first given preference. This is +another striking proof of prejudice.</p> + +<p>After a time, however, when Poznanski felt more at home at Gemünder's, +he found out that the instruments made by Gemünder were the only true +concert violins, and disposing of his Guarnerius, he bought a Maggini +made by Gemünder; he now saw the full extent of his prejudice, and was +most severe in his denunciation of all who thought that there were no +other violins but the Italian to be played upon.</p> + +<p>If Wieniawski had not been seized with such a strange fancy, and had had +more confidence in other artists, he would not have been compelled to +change violins every now and then, for he was constantly buying one +Italian violin after another and finding none to suit him, merely +because none would do but an Italian instrument. Thus he came to America +and played on his Stradivarius violin, which had a splendid tone in a +room, but when played upon in a concert hall proved a great deal too +weak, especially on the G string, when it was overstrained. He then +bought one of the finest Guarnerius violins in Brooklyn, but as it did +not prove any better than the other, he returned it.</p> + +<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>To find Italian violins fit to produce a sufficient effect in large +concert halls is a great rarity, since they have been mostly spoiled by +"fiddle-patchers," or had not from the very beginning the proper +construction for the giving out of tone sufficient to fill such halls. +On just such powerless violins Vieuxtemps performed at his concerts on +his last tour through America.</p> + +<p>One day Gemünder made the acquaintance of Mario, the greatest Italian +connoisseur of violins, who was decorated for this knowledge when he was +at New York. Gemünder asked him to come to his shop, as he had several +violins which he would like to show him, in order to have him judge if +they were really genuine instruments. Mario came and viewed the violins +shown to him by Gemünder minutely, nay, even took a magnifying glass to +examine the varnish, whereupon he declared to Gemünder that they were +genuine instruments. But the fact is they were violins made by Gemünder!</p> + +<p>In the beginning of 1860 Gemünder was often visited by an amateur named +Messing, who wished to find a good Italian violin, for he manifested an +aversion toward Gemünder's productions, owing to his prejudice against +new<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> violins. At the same time Gemünder had as an apprentice a nephew, +who, when he had not yet been fully three years with him, was engaged to +make his first violin, according to form of Stradivarius. When it was +finished Gemünder made him a present of it, and said he would varnish it +so as to look old. Afterward his apprentice gave it to a friend in New +York to sell it for him. This friend published in the newspapers that he +had a Stradivarius to sell. Mr. Messing was the first to make inquiries +about it, and bought it, highly rejoiced at having a Stradivarius at +last. He then had it examined by the violin maker Mercier, in New York, +who confirmed the claim of originality. Mr. Messing then went to Europe, +and at Paris he wished to hear what the violin maker Gand would say, and +the latter also declared it was an old instrument, adding, however, that +in order to be quite sure whether it was a genuine instrument or not it +would require more time than he could apply to it just then. When he +went to Berlin, he showed his instrument to the violin maker Grimm, that +he might hear from him his opinion as to its genuineness. Grimm +refrained from uttering his opinion, yet he offered him a high price for +the instrument,<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> which the owner considered to be sufficient evidence +that he possessed something extraordinary, and to warrant him in keeping +his violin. After the lapse of four years, when Messing had returned to +New York, he came to see Gemünder, full of joyous anxiety to show him +his violin, saying, "Here, Mr. Gemünder, I have something to show you; I +have found what I have been so long looking for!" Mr. Messing then +opened his box, and Gemünder, catching a glimpse of the violin, +exclaimed, "That is my apprentice's first production; how did you come +by it?" At these words Mr. Messing stood as if thunderstruck, and in his +bewilderment he tried in every way to convince Gemünder that he was +mistaken, but failing in this attempt, his discomfiture was complete. +When he had somewhat recovered from his dismay, he felt heartily +ashamed, because he had disregarded the work of the master only to take +up with the apprentice's first production, and this, too, under the +delusion that that work was a genuine Stradivarius violin. Mr. Messing +is now cured of his prejudice, and is no longer looking for a +Stradivarius violin.</p> + +<p>At the time when Gemünder had his violin in the Exhibition of Vienna, +Baron Leonard, from Hungary, who was a great violinist,<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> brought him his +Italian violin to have it repaired. During their discourse about violins +the Baron conveyed to Gemünder the impression that he had already seen +many Italian violins, and he seemed to have a great knowledge of them. +Thereupon Gemünder showed him a violin that seemed to be a genuine +Guarnerius, which he had determined to send to the exhibition of Vienna. +The Baron was quite astonished at seeing such a wonderful and splendid +instrument, and did not know which to admire more, whether the varnish +of the violin or its tone; in short, he looked at it with reverence, as +if it were a shrine. Gemünder then showed him a Stradivarius, and when +the Baron's gaze fell upon this instrument, he seemed to be enraptured, +and he exclaimed, in a tone of question: "Mr. Gemünder, how do you come +by such treasures? In truth you have a treasure of the greatest rarity, +for I never saw a violin so beautiful and of such tone!" When, however, +Gemünder declared to him that these were the sisters of the "Kaiser" +violin, which was in the Vienna Exhibition, and were made by him, the +Baron conducted himself as if he had awakened from a sweet dream, and +found it difficult to realize his true condition.</p> + + + +<hr style="width: 65%;" /> +<p class="blockquot"><span class="big">PREFACE.</span><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> + +<p> </p> +<p>It is not my intention to unfold in this work my knowledge of the +structure of violins; for the present generation would not thank me for +doing so. In the treatise itself will be found the reasons why I have +not set forth that knowledge. Since the death of the celebrated old +Italian violin makers, many works have been put forth, in which we find +not only in what manner those famous masters varnished their violins, +but also prescriptions even, of theorists who usually know nothing about +the practice, or mathematical principles thereof. Abundant theories are +to be found in all such works, but they are good only for those who have +little or no knowledge of violin making. If the science of the +celebrated Italian masters could really have been found in these works, +the experiments made by European investigators would not have been +entirely unsuccessful.</p> + +<p>In George Hart's interesting book, "The<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> Violin," a comparative +illustration may be found of the workmanship of all violin makers with +whom he became acquainted, either personally or by history, and by whose +productions he obtained his practical knowledge, which comparisons are +generally good, but not entirely free from error. This compilation of +experiences is highly interesting for all those who take an interest in +violins. The treatises which will be found below have reference simply +to the art of making violins, to violin players and their critics, the +information contained in which has for the most part never hitherto been +made public.</p> + +<p>Through these scientific explanations a better judgment will be +awakened, which will tend to show how, in consequence of mistakes and +ignorance in regard to violins and violin makers, false ideas arise.</p> + +<hr style="width: 65%;" /> + + +<p class="blockquot"><span class="big">PROGRESS OF THE STRUCTURE OF VIOLINS—THEIR CRITICS.</span><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> + +<p> </p> +<p>In 1845 I became personally acquainted with Ole Bull, at Vuillaume's, in +Paris, where I then had my first opportunity of hearing and admiring an +artist on the violin. I learned then to appreciate the beauty of both +arts, and the sublimity of attainment in either to be a violin virtuoso +or a perfect violin maker. The latter art engaged my whole attention, +and it was my greatest aim to reach to the highest point of perfection +therein.</p> + +<p>I also found that Ole Bull took special interest in the different forms +of violins, and I remember that as early as 1841, at which time I worked +at Pesth, my employer made the so-called "Ole Bull's bass-bars" in +violins, the ideas of Ole Bull concerning violins then being accepted as +authority. Ole Bull subsequently<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> made many experiments regarding tone, +especially upon new violins, in order to reproduce the same character of +tone, then considered lost, peculiar to the Italian instruments. Knowing +that all experiments made since the death of the celebrated Italian +masters had proven unsuccessful, he undertook to construct a violin of +very old wood, but was soon convinced that he had not obtained better +results than others; he therefore decided the project to be an +impossibility, and having arrived at this decision, his opinion was +generally conceded to. Since then, doubtless, he found out that to make +a violin was a more difficult task, for him, than to play on one. As a +virtuoso, however, he obtained a celebrity which will make his name +immortal, and as he was an artist in his own peculiar way, his name will +live forever in the memory of men. Nature has endowed many men with rare +gifts, each one possessing a talent peculiar to himself: but we know how +long it requires to perfect one's self in any given art, and it +therefore cannot be expected that a great violin virtuoso should at the +same time be proficient in the art of violin making, the two arts being +totally different. It is, however,<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> generally believed that the +assertion of Ole Bull had more weight with many violin players and +amateurs than the most adequate knowledge of a violin maker. I admit +that Ole Bull had some experience with violins, but had he obtained +sufficient knowledge he would have easily understood that many of his +ideas were not based upon principles which he thought had remained +secret to all investigators on the subject, as the greatest authorities +have acknowledged the tone in George Gemünder's violins to be of the +same quality as that characteristic of the best Italian instruments.</p> + +<p>This proves that violins are judged the best when they are mistaken for +Italian instruments and prejudice only is the actuating motive when the +declaration follows that the instrument is a new violin. If, therefore, +the knowledge of tone could have proved more reliable, prejudice would +not, in many cases, have appeared so severe, and embodied itself so as +to degenerate into fanaticism.</p> + +<p>Violins made of healthy wood and according to the rule can never lose +their tone. It is, however, something different if they are carelessly +treated.</p> + +<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>When an Italian violin, which lay untouched in concealment for fifty +years, was shown to Wieniawski at the Russian court, and he was asked +what he thought of it, he said, after trying it: "The violin has a bad +tone." "Well," said the Emperor, "let us put it back in its old place. +If it had been good I should have presented you with it." Wieniawski, +greatly surprised, replied: "Oh, when I play upon it it will regain its +tone." Here vanity and ignorance are shown at once; for if that artist +had had any knowledge of violins, he must have known that the violin was +not in good order, and that it was first necessary to have it put in a +good condition by a professional repairer; but instead of making such a +proposal, he thought to make an impression by his renown, and that he +would improve it by playing upon it.</p> + +<p>I mention this because it contains two points: firstly, because, +especially here in America, great stress is laid upon the opinions of +such artists, but it proves that artists do not always have a knowledge +sufficient to enable them to give a correct judgment of violins; +secondly, if this violin had been new, many would have thought that it +was made of<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> chemically prepared wood. A violin, however, of such +defective wood, can never give a good tone; because the life is taken +out of it when it is made. If such artists would make themselves +acquainted with a professional violin maker, many of them would get more +light on this matter, but since they consider themselves to be +authorities on the subject, there is very little prospect of visible +progress. It is, therefore, a rarity when an artist is found who is able +to judge of the quality of tone, whether the wood is chemically prepared +or not, and although this is easily to be distinguished by the practiced +ear, a peculiar experience is required for it nevertheless. Many, +however, believe that he who plays the violin to perfection, and +especially the player of renown, must be acknowledged as a judge of +tone. I admit that many violin players are judges of tone, but not +beyond a certain degree, as the greater number of them hear their own +instruments only and are taken with them; but he who possesses a feeling +of tone, and into whose hands violins of all shapes and qualities are +falling, whereby he learns to distinguish the different characters of +tone, is to be considered a connoisseur of tone; he must, however,<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> +possess some knowledge of playing, although it is not necessary for him +to be a solo player, for with how many solo players have I become +acquainted who have no more judgment of tone than children.</p> + +<p>For musicians and solo players it is very difficult to find out how far +the tone of a violin reaches. Many a player, having no experience in +this regard, plays in concerts on a violin which sounds like an echo, +but if the instrument is called Stradivarius or Guarnerius and $3,000 +has been paid for it, and besides it has a "history" attached to it, +then, verily, it must sound. The critic, however, does not blame the +violin, but the player, for weakness of tone, and in that respect he is +right.</p> + +<p>For solo players who still use such echoing violins in concerts, it +would be of the greatest importance to make themselves acquainted with +the quality of tone which is fit for concerts, for most Italian violins +which are used in concerts prove either too old or of too thin wood; but +most players are accustomed to the fine, tender, echoing tone to a +degree that the true concert tone appears quite strange to them.</p> + +<p>Thus, violins of chemically prepared wood<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> will never do for concerts, +and it is a great mistake to believe that such violins have ever +produced as good a tone as good Italian violins do. Ignorance and self +interest have launched this untruth into the world. For violins made of +such wood produce short vibrations—a muffled color of tone similar to +that of impaired Italian instruments. Vuillaume put all the world in +commotion with his violins of chemically prepared wood, and all the +world sang hosannas. But when it was found that such instruments kept +this tone only a short time, there arose a general prejudice against new +violins and no one would play on them.</p> + +<p>In order to remove all such ideas and prejudices I can safely assert +that violins of a free, high, clear and powerful character of tone, with +a quality which thrills the heart—such tone as my instruments produce, +and which qualities are now seldom found in the best Italian +violins—can never be obtained by any artificial preparation of the +wood, but only by way of science according to acoustic principles.</p> + +<p>Of course it is the wood more than anything else which is to be taken +into consideration;<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> for without the right sort of wood all science will +be unavailing, and <i>vice versa</i>. Many violin makers can get the best +wood, but where there is no talent applied in the construction, nothing +very good can come forth.</p> + +<p>Of all productions of art, the violin is the most difficult to judge, +and I have nearer illustrated the different characters of tone which +violins produce, and tried to make these things more comprehensible, in +order that this medley of opinions and judgments which have been given +may be put in a clearer light.</p> + +<p>I was highly astonished at the manner in which my "Emperor" violin +("Kaiser" violin) was judged, which was sent to the Exhibition of Vienna +three weeks after it had been finished. The violin had attracted not +only many admirers, but also a great number of gazers who have no idea +of a violin, and who stared at it only on account of its price.</p> + +<p>Thus, the New York <i>Staats Zeitung</i> had a correspondent in Vienna, who +also stared at the violin from the same reason. His ignorance, which he +exposed in his correspondence to the newspaper which he represented, led +him to make the following remark, which was published on the 27th of +June, 1873, and runs<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> as follows: "From Salzburg several violins, mostly +the former property of Mozart and Beethoven, were sent, and the one +which Beethoven owned was made by Hellmer, at Prague, in 1737, as was +noted on the label, (saleable for 200 Florins,) while for a Gemünder +violin in the American division of the Industrial Palace, $10,000 (!) +are asked. Of course, everybody laughs at the simpleton who believes +this is the only curiosity of the kind, and thinks he can obtain such a +fabulous price for it. The Commission that for this time has made us +very ridiculous with our 'Go ahead,' should remove that label as soon as +possible, that one of the exhibitors may not become a public laughing +stock." But that writer soon found how much this violin was admired; he +learned to see that it was the only curiosity of the kind, in fact, for +soon afterward I read again in the <i>Sontag's Staats Zeitung</i> that "the +violin was admired very much."</p> + +<p>This violin was exhibited by me for the purpose of proving to the world +that I can make violins that have the tone which has been sought for a +long time since the death of the celebrated Italian masters, since which +all<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> attempts have miscarried, and I confirmed this fact in a circular +added to it.</p> + +<p>But what was the result? It was not believed. In the Exhibition of +Vienna my violin was mistaken for a genuine Cremonese violin, not only +for its tone, but for its outer appearance, which was so striking an +imitation according to Joseph Guarnerius, that a newspaper of Vienna +made the observation: "George Gemünder cannot make us Germans believe +that the violin sent by him is new; a bold Yankee only can put his name +in a genuine instrument, in order to make himself renowned!"</p> + +<p>Although this was the highest prize which a violin maker had ever +obtained, it was no advantage either for me or the public; for the art +of violin making was not furthered by it, but rather still more impaired +by the correspondence of the <i>Staats Zeitung</i> and the New York +<i>Bellestristic Journal</i>. The latter writes as follows: "S. F., +Pittsburg.—G. is a pupil of Vuilliaume; his violins are much demanded, +but their prices are so high that purchasers are frightened!"</p> + +<p>Thirty years ago I sold violins at from $50 to $75; ten years ago I sold +violins at from<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> $100 to $300; now I sell them at $100 and upwards; and +violin makers here and in Europe ask the same prices. Nay, amateurs who +do best in their ignorance, ask still higher prices. Wherein, therefore, +do we find that which frightens the purchasers? The effrontery of +writers who make such statements as the above will bring them no honor.</p> + +<p>Many may still remember that I had determined to send six violins of +different forms, copies of the best old master-violins, to the Vienna +Exhibition, and intended myself to take the matter in hand, but, owing +to an accident, I was compelled to give up this intention. In +consequence, I resolved to send only one violin. To select one of them, +artists such as Wollenhaupt, Dr. Damrosch, Carl Feinninger and others +were consulted, but they differed in their opinions, which may be taken +as a proof that the instruments were very much alike in character; they +are also witnesses of the fact that I made them. In order to call +attention to the one selected, I noted the price "ten thousand dollars!" +Nobody, however, was charged to dispose of it, although three thousand +dollars were offered.</p> + +<p>The circumstances connected with the construction<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> of this violin gives +it more than an ordinary interest. Ridicule and praise in the highest +degree are interwoven with its history; therefore, it has been hitherto +the most interesting new violin in this century. Why I could not be its +representative and had to leave it to fate can be learned from what I +have already written about it, and how I have judged every thing +connected with it. I was, however, sure of one fact, namely, that it +would be acknowledged as a production of art. The admission must then be +made, and the claim is amply justified by facts, that, as new violins +are frequently mistaken for genuine Italian instruments, even when most +particular attention is given to the varnish, the art of violin making +must no longer be considered as a lost one.</p> + +<p>May the foregoing satisfy all doubters and those who have lately, +especially in America, written about the lost art of varnish and tone, +and may it cause them in future to refrain from investigating into the +so called lost arts. He who would give a scientific explanation of this +art and be a critic, must be thoroughly acquainted with it.</p> + + + +<hr style="width: 65%;" /> +<p class="blockquot"><span class="big">A TREATISE UPON THE MANNER IN WHICH MASTER-VIOLINS ARE RUINED.</span><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> +<p> </p> + +<p>The manner in which violins are so often ruined seems almost beyond +comprehension, or rather the way they are generally treated must +necessarily involve their ruin. The cause of this can not be entirely +ascribed to those destroyers of violins who pretend to be repairers, but +it generally rests with the owners of violins themselves, because they +are usually ignorant as to who is master of the art of violin making and +to whom a master violin may be entrusted. They therefore make inquiries +for such experts, and apply for that purpose, generally, to renowned +violin players, not realizing that even these are not always endowed +with discrimination, frequently not more so than the one asking advice, +and thus the latter is led astray.</p> + +<p>To find an adept repairer is as difficult as to find a thorough master +of the art of making violins; for the repairer must possess the same +knowledge of the production of tone as the<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> best violin maker. The man +who cannot make excellent violins cannot be an excellent repairer. To +obviate all doubts on the subject, I will state that the foundation of +the whole secret is simply this "Every violin maker will make repairs in +accordance with his knowledge, as he would make violins, and violins as +he would make repairs!" This principle is so scientifically correct as +to be conceded even by the most severe critics.</p> + +<p>Many a man achieves a reputation by certain meritorious accomplishments +in which he has distinguished himself, and in consequence thereof +everyone believes him an artist in the fullest meaning of the word. For +instance, Ludwig Bausch, of Leipsig, gained a deserved and world wide +celebrity as an artist in making bows. I also esteemed him as an +excellent and very accurate worker. But to my astonishment I found, as I +regret to say, that his fine repairs were mostly devoid of value, as +also were his new violins, so far as the production of tone was +concerned. But artists and amateurs, far and near, adored his useless +repairs and new violins, which latter usually sold for high prices.</p> + +<p>Thus the public are unable to form a proper<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> judgment in regard to the +art. It would pain many a one, if they could realize the manner in which +valuable violins are treated by such violin makers and repairers. +Repairing violins, therefore, is as little understood as violins +themselves, in consequence of which not only the interior of many an +Italian instrument is ruined, but also the exterior is often deprived of +its classical appearance by an alcoholic varnish, which is smeared over +it and which impairs its value; and yet many owners of such instruments, +who do not know any better, rejoice to see their violins with such a +glossy surface.</p> + +<p>To rehabilitate a valuable instrument, and repair the exterior if +necessary, requires a skill as artistic as the rehabilitation of a +painting by a celebrated painter. Such instruments are also often +peculiarly tortured by unskilled hands, and many a valuable top has been +damaged by the operation of putting, or rather forcing, in the sounding +post.</p> + +<p>Owners of violins should take particular precaution never to permit the +cutting away of wood out of the bottom or top of a violin, without being +fully satisfied that the repairer is an adept in the art. In Italian +violins made<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> by the old celebrated masters there is no necessity at all +for doing this, as they have not as a rule any too much wood, and most +of them are poor enough in this respect; in case those artists made no +mistakes others have brought them in by their repairs.</p> + + + +<hr style="width: 65%;" /> +<p class="blockquot"><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span><span class="big">OF THE CAUSES WHY THE JUDGING OF VIOLINS AND THE REPAIRING OF THEM +IS LESS UNDERSTOOD THAN OTHER ART PRODUCTIONS.</span></p> +<p> </p> + +<p>Beautiful and interesting as is this art of making and repairing +violins, and however great has been my enthusiastic devotion to it, I +should never have engaged in it had I in starting possessed my present +experience, for the ignorance which the public has shown by the +confusion of opinions in this branch might almost make one believe these +judgments emanated from a mad-house.</p> + +<p>Why is it we hear no such conflicting opinions about the productions of +any other branch of industry or art? Because in no other business do we +find so many pretenders. And why is it they infest this particular +branch of business more than any other? Simply because the art of violin +making is not founded on a correct system, and this may account for the +medley of ideas which have been spread broadcast throughout the musical +countries,<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> except France, where a regular system is recognized.</p> + +<p>Yet in spite of the lack of correct system of making violins, I have +become acquainted with a few German musicians who have acquired an +excellent schooling in the art. In this respect I cannot refrain from +mentioning my admiration for a thoroughly skilled musician, Mr. Herman +Eckhardt, of Columbus, Ohio, a man of rare genius in the knowledge of +music, who was able to define clearly and accurately the different +periods of the progress I made in violin making.</p> + +<p>Such a man I must respect the more, because he is endowed with sound +judgment, which other musicians, often of very high standing, could only +acquire by instruction, a method which to some of them would seem to be +impossible, as they are devoid of judgment, having their ability warped +by false ideas about violins, and rendering them incapable of correctly +understanding and appreciating the latest and best productions; this may +account for their fanatical admiration of Italian violins, even if they +possess only imitation, but, as "ignorance is bliss," they are happy.</p> + +<p>On the other hand, there are amateurs who<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> take such a practical view of +the matter that they are just opposite in their beliefs to this class of +fanatics. They do not see why a new production, which answers the +purpose as well and which in more ways than one is preferable to an old +production of the same kind, should be regarded as of less value. They +do not understand why a desirable article should command an enormous +price when another article accomplishing the same effect can be bought +much cheaper. And in this they show a common sense which might well be +emulated by many others. While it is true that an enthusiast ought never +to be blamed for his enthusiasm, if it has a reasonable base, it is no +less true that lacking in this respect he is nothing more or less than a +fanatic. This class of people is by no means exclusively confined to +amateurs, but even includes in its ranks many true artists in music.</p> + + + +<hr style="width: 65%;" /> +<p class="center"><span class="big">ON THE PRESERVATION OF VIOLINS.</span><span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span></p> +<p> </p> + +<p>There is no doubt that a certain class of violin players pay very little +attention to the care of their instruments, as they use them daily, and +few have time to bestow the necessary attention upon them. If a violin +is out of order, a musician or amateur who knows nothing about it +continues to play upon it. At length he perceives that the tone is not +the same as it was before. Many, therefore, often lay the blame on the +repairer, or on the violin maker, if it is a new instrument. It is +therefore desirable that players should always pay attention to their +instruments and examine them whenever they intend to use them, to see +whether everything is in order; that the neck has not sunk a little to +the front, causing the finger board to lie deeper on the top and the +strings to lie somewhat too high. Such deviations will occur, +particularly when the top is very much vaulted, as well as by change of +weather or climate.</p> + +<p>As soon as the weather becomes moist it is<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> advisable to keep a violin +in a box; when the weather is fine it should be taken out of the box for +a time every day; and even if it is a very old violin it is not good to +keep it always locked up. A violin should never lie on a floor, whether +in a box or not, but should always be kept on an elevated place and in a +moderately warm temperature.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> 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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> 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.</p> + +<p>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 bass-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.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p> +<p class="blockquot"><span class="big">TO ILLUSTRATE HOW VIOLINS OF MY CONSTRUCTION MAY BE COMPARED WITH +THE OLD ITALIAN MASTER-VIOLINS.</span></p> +<p> </p> + +<p>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.</p> + +<p>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.</p> + +<p>As I am able to judge from experience, nobody 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<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> 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!</p> + +<p>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 surpass those of +Stradivarius in greatness of tone. Such distinctions prove that I have +made great progress in this art.</p> + +<p>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.</p> + +<p>Therefore, it will be of some interest to<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> 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.</p> + +<p>This has, perhaps, never been done yet, and a general comparison could +only be made as the opportunity presented itself.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> 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 circumference, drawn oblong, by which he obtained a sublime tone +in an aristocratic and majestic form.</p> + +<p>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 +circumferential 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 <i>f</i>, 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.</p> + +<p>Duffu Prugar, at Bonninien, lived in the sixteenth century. His violins +have a large and wide form, with interesting ornaments of<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Therefore, so many solo players often expose<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> their ignorance by playing +on such violins in concerts.</p> + +<p>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.</p> + +<p>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.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> +<p class="blockquot"><span class= "big">ART EXHIBITIONS.—HOW VIOLINS ARE EXAMINED AND JUDGED.</span></p> +<p> </p> + +<p>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<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> unequal to the requirements of their office or they +desired to offend nobody. 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.</p> + +<p>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<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> to an +artist, if through favoritism a premium is awarded to an inferior +production.</p> + +<p>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<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> competitors 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 noble impulses; while the majority are striving to +ruin their fellow men by greediness.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> leeches. There +are, however, connoisseurs who know how to distinguish that which is +better from that which is less good.</p> + +<p>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!</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p> +<p class="blockquot"><span class="big">NOTE ABOUT DILETTANTI VIOLIN MAKERS.</span></p> +<p> </p> + +<p>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.</p> + +<p>It is true, that every piece of wood over<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> 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.</p> + +<p>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.</p> + +<p>A dilettante violin maker can never be a thorough workman, and is +entitled to be considered<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> only as a "jack-of-all-trades;" he has a +great many kinds of tools which the regular violin maker never uses.</p> + +<p>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 <i>new</i> 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.</p> + +<p>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<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> not every +wood intended for violin making has the necessary qualifications. +Violins made from such selected wood are therefore especially valuable.</p> + +<p>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.</p> + +<p>Dilettanti violin makers form a peculiar class of violin makers in +America; and they seem to be born for the sphere of such knowledge as is +here shining forth. Their patrons write articles for them in which they +try to instruct the public by their ignorance, as we find, for instance, +in the Philadelphia <i>Times</i>, of August 30th, 1879: "Gemünder refuses to +state the source of supply for his wood, and it is a well-known fact +that he and others use at times chemical preparations for the purpose of +changing the character and the appearance of their wood."</p> + +<p><span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>The writer of this notice made a statement without any foundation. Had +he and his train a proper knowledge of the matter, they would be able to +perceive that the material of my violins is not chemically prepared and +the character of the wood has not undergone any change whatever. It is +presumptuous in ignorant persons to make such statements against a man +of long experience, for the purpose of bringing his productions into +discredit; productions which are proofs in themselves that not a single +violin can come into the condition of those manufactured of chemically +prepared wood, as those of Vuilliaume in Paris. But such individuals +manifest not only a prejudice against a better understanding, but also +are impertinent, from which stupidity and meanness emanate; and thus +they unmask themselves as false experts.</p> + +<p>The cause for this assertion will have to be found, and for the +disbeliever there is no other ground in the advantages I have gained by +my studies, which to them seem impossible; and as the Italian violins +are generally acknowledged the only good instruments, they try almost +anything to oppose what has proven<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> itself so gloriously, rather than +acknowledge it as a fact.</p> + +<p>Truth, however, can never be overruled, and the time will come which +will impose silence on such individuals! Since mankind inhabits the +earth their characters are as different as we find different plants. +Many a flower is not fragrant, and how many stately and celebrated men +are heartless! Those, therefore, who are void of generosity are able to +do evil. Those classes who are as it were idle weeds, for the kinds are +both useful and hurtful to men; all that nature produces has a meaning. +If we could fathom all the secrets of nature we would also be able to +understand the meaning of them, and idle weeds could be less hurtful. +But in nature there lies a wisdom which remains a secret to mortal man.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p> +<p class="blockquot"><span class="big">GOOD LUCK AND ART, AND REMARKS ABOUT VIOLINS.</span></p> +<p> </p> + +<p>It is an incontestable fact that the success of the endeavors of men to +gain a livelihood depends upon luck, although many are of different +opinion, especially those who are always favored by good luck, as they +ascribe their success to their enterprise and skill. They do not +consider that good luck only has offered them a chance. Many become +wealthy without being gifted with peculiar knowledge, while many others, +in spite of all their knowledge and genius, endeavour in vain and do not +see their efforts rewarded. It is, therefore, a matter of fact, that +neither art nor science produce wealth, unless they are favored by good +luck, and the cases are innumerable which prove this. From the many +experiences in my life, especially in my profession, I will only mention +the following: Vuilliaume, of Paris, was favored by nature in a very +high degree in every thing; he was not only the greatest artist in his +profession in Europe during the present century, but also an excellent<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> +business man, and good luck smiled on him in all his enterprises. Lupot, +his partner, laid the foundation of Vuilliaume's independence by +effecting a marriage between him and a very rich lady of nobility. Thus +he became not only a celebrated man, but also the richest violin maker +of our time. Although some of his violins of prepared wood incurred +discredit, nevertheless there were admirers who bought his violins, even +in America, where the prejudice against new violins is so prevalent, on +account of the supposition that the wood of them was chemically +prepared, a practice of which they so stupidly and unjustly accused me, +and thereby caused a great deal of harm to my business. On the other +hand, Vuilliaume, who really prepared his wood in a chemical manner, was +lucky and prosperous.</p> + +<p>What is the reason of this and where is it to be found, and why does +good luck generally lie in the opposite extreme? The solution of this +secret will probably remain undisclosed to mortals. Upon whomsoever +fortune smiles, and whom she allows to blow the golden horn, he +penetrates the world, his name becomes great, and he produces upon +mankind that effect which persuades them into the belief that<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> the best +can be found only in him. If Vuilliaume had been a poor man he would +have certainly remained poor, especially in America, where the art of +violin making is still less understood than in Europe, and unjust +reports will be more readily listened to than anywhere else.</p> + +<p>In Europe there was a general supposition that a pretty good demand for +old Italian violins existed in America, in consequence of which dealers +in old and new violins found their way hither. In disposing of these +instruments they were not very scrupulous in regard to the information, +and sometimes gave them names according their own fancy. A great many +so-called Italian violins and violoncellos came in this way to America, +and the owners are happy in the imaginary possession of an Italian +instrument. Other persons again entertain the idea that they are surer +of a genuine article if it comes from Europe, as there is their home; +but if it is believed that this is always the surer way, it is a +mistake. It requires an extraordinary study to recognize the maker of an +instrument, and understand the dead language of the violin. Thus it must +not be believed that the instruments claimed to be<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span> Italian are always +genuine; the seller himself may sometimes be mistaken. Many owners of +such "baptized" violins do not always like to be informed of the real +origin of the instrument by a person of thorough knowledge.</p> + +<p>Sometimes I feel constrained to give an opinion by virtue of my +knowledge, but it must not be expected of me to admire a thing that +is not genuine, as those owners do in their ignorance.</p> + +<p>If, however, a genuine and valuable Italian violin has lost any part, +and if a violin maker possesses the art to restore the missing part, +either in imitating the varnish or in adapting the lost part to the +character of the violin, so that the instrument reappears in its +originality so completely that the connoisseur is deceived, the value of +the violin is in that case not impaired. This also occurs in regard to +very valuable old pictures, and the artist who is found to be able to +execute such work is well paid.</p> + +<p>Such artists are, perhaps, more to be esteemed than the maker of the +original, as they are rare, especially those who are able to restore the +originality of valuable old violins. The instruments lose their value in +case the repairs<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> cannot be carried out properly, owing to a want of +genius upon the part of the repairer.</p> + +<p>I have often shown this art in exceptional repairs; but what can be +gained by it? The greater number of those who own violins do not know +how to appreciate such skilful work, and, in their ignorance, they +attempt to do harm in the bargain, when they hear that they must for +such repairs, perhaps, pay somewhat more than usual—an additional proof +of how great the darkness still is in judging this art. The time when a +better understanding in this regard will come to daylight is still far +off! And why? Because all other arts and branches of industry are based +upon solid ground, as the State governments protect them, and, +therefore, they can come to a proper degree of perfection. The art of +making violins does not enjoy this privilege (except in France) and it +hovers mostly in the fog since the death of the celebrated Italian +masters.</p> + +<p>Therefore, it can yet be called only a fancy art. The opportunity which +has been given to mankind in this century to make this science general +has not been regarded, because the confidence and belief in it has been +wanting, and it will disappear like a drowning person,<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span> who several +times comes up out of the water, but who, at last, is overwhelmed. +Instead of endeavoring to save this art in its details, it is ignored by +self-interest. But such an aversion to the best modern productions is +sometimes punished very severely, as want of knowledge often brings +common productions into the possession of individuals.</p> + +<p>Since the death of Tariso, the great collection of violins, etc., which +he gathered from all the regions of Europe, has been scattered again +over all countries. Vuilliaume, who bought many of them, afterward +resold some to violin makers and dealers; those instruments which were +put in order by them are easily recognized.</p> + +<p>This collection consisted mostly of all characters of Italian +instruments, from the most commonplace to the celebrated Stradivarius. +In many an admirer an interest may have been awakened thereby to possess +one of these instruments. But it must not be expected that all of those +violins still possess their original parts. Had not such amateurs as +Tariso—and they are not rare in Europe—bought those instruments of +that time and kept them safely, which contributed to their<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> longer +preservation, they would, especially if they had been always used, be in +a much worse condition.</p> + +<p>George Hart, of London, is also such a gatherer of and dealer in +instruments. John Hart, the father of George Hart, whose personal +acquaintance I made at Vuilliaume's, in Paris—when I was engaged to +make for him a set of Stradivarius heads, from that of violin up to that +of contra-basso, which should serve as models—undertook to gather such +old Italian violins for the purpose of selling them again to other +persons. From that firm there came, in fact, some specimens of the +celebrated Italian masters to America, and they are interesting and very +well preserved. I have seen and admired them; they are in possession of +an amateur at Hartford, Conn. Here they are preserved again for the +coming generation.</p> + +<p>Violin players look with envy upon such violins in the hands of +amateurs, but it is fortunate that most of them have come into such +hands, for violins of this kind are very delicate, and although those +which are well kept produce a beautiful tone, most of them have not that +power of tone which is necessary for concerts.</p> + +<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span>The solo player, however, believes he must produce the strong tone of a +violin by force, which breaks the tone, and is not heard distinctly. In +this manner such violins are tortured and ruined. When such well kept +violins continue to be well preserved, they may be the same after a +hundred years. Such relics will then, no doubt bring still higher prices +from those who wish to possess a violin of that kind.</p> + +<p>But it is strange that some amateurs put a particular value upon a +violin which has been in the possession of a rich nobleman, as if it is +more likely to be genuine in that case? What a foolish idea! Such whims +are not entertained by connoisseurs. There are enough aristocrats who +possess only a fiddle, especially in America, and who know nothing about +the value of a violin; it is rarely that they have at home a violin +which is worth over five or ten dollars. When many of them hear that +thousands of dollars are paid for violins, they think that persons who +pay these prices must be crazy. The reason of this is that most of them +know no difference between a ten dollar fiddle and a violin which costs +as many hundreds of dollars!</p> + +<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>Amateurs who pay thousands of dollars for a violin are here in America +just as isolated as that enthusiast who paid six hundred dollars for the +first ticket of the first concert given by Jenny Lind in New York, and +the other who paid ten dollars for his admittance in order to be able to +see the six hundred dollar man.</p> + +<p>Thus I believe to have unrolled a panorama which will assist in the +dissemination of knowledge and truthful views, which have only been +obtained by a long experience.</p> + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p> +<p class="blockquot"><span class="big">OF THE MANNER OF PLAYING—TREATMENT OF BRIDGES ETC.</span></p> +<p> </p> + +<p>It has often occurred to me that violin players of all kinds find fault +when the strings are not arranged in the manner to which they are +accustomed, and almost every one believes his method to be correct. This +subject shall be discussed here, so that a clearer insight may be +obtained and the correct method ascertained.</p> + +<p>There are violin players who have a greatly arched bridge, and others a +very flat one, on their instruments. The latter, therefore, more than +the former, have the advantage of being able to play on all violins, +because they are accustomed to a bridge which is flatter. These +different methods mostly arise from the different arrangements of the +violins upon which pupils learn to play.</p> + +<p>Ole Bull was an exception to this rule; with him it was not chance; of +all violin players he used the flattest bridge on his violin; but it was +his principle. His music pieces required<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> it, and in his method he +became a master.</p> + +<p>I. B. Poznanski played at one time on a violin with almost as flat a +bridge as that on Ole Bull's instrument, and I believe it will not have +been forgotten that he produced, as if by charm, a great tone from his +instrument. This proves that a great tone can be gained on a flat +bridge. Therefore it depends only on the skill with which the bow is +handled. Many violin players, however, are of opinion that they must +press the bow on the strings very much, in order to bring forth a strong +tone on the violin; but the pressure of the bow is limited; for when it +is too strong, the ear becomes disgusted with the tone, nay, a scraping +and jarring tone is produced by too strong a pressure, because the G +string touches the finger-board in this case, in consequence of which +many violin players wish to have the finger-board very hollow. But it +must not be believed that in such a manner the right tone is produced; +on the contrary, the full tone, which lies ready in the violin, is very +easy to be gained by the knowledge and skill of handling the bow.</p> + +<p>The rule is, that the tone must be drawn forth by the bow, and it must +not be forced<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> forth by pressure. The bow must not be led oblique, but +straight over the strings, so that the hair lies flat on them; it also +depends on the flexibility of the arm, that the bow may not touch the +strings stiffly, but in an elastic manner. Those who attract attention +to their elbows cannot expect that the bow and the violin alone will do +their service.</p> + +<p>The most perfect condition of a violin requires the instrument to be so +arranged that it can be played easily; therefore, I determine that the +height of the strings must be three-sixteenths of an inch at the end of +the finger-board, and that the arch of the bridge must have the same +measure, three-sixteenths of an inch, between its two extremes, for +bridges more arched than this cause difficulties to the player, because +the movement of the bow is too much abstracted when passing from the E +string to the G string. In such a manner, David in Leipsic had the +violins arranged for his pupils.</p> + +<p>On such arched bridges the two middle strings lie too high from the top +towards the G string and E string, and it is an acoustical mistake, +because it produces an inequality of the character of tone.</p> + +<p><span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>Such knowledge should be taught to the pupils in conservatories of +music; but it is generally believed that when a violin player has been +made a professor he is able to satisfy the requirements of his position +in this regard.</p> + +<p>For the benefit of the learner, however, I will enter more nearly upon +the knowledge which is required, especially in a conservatory, and to +the imparting of which the teacher should attend. First I will mention +as an example the conservatory at Leipsic when it was under the +management of Director David. Most of his scholars were then compelled +to play on new violins made by Bausch, which for their stiff and tough +tone are for the greater part unfit for those who would become artists. +This quality of tone, together with the fact that students were forced +into a certain position and fatigued, caused them to become nervous; but +many parents who had no knowledge of it, sent their sons to that +institute, even from America, and they had no idea that many of them +brought back a nervous disease and were thus ruined. I heard this of no +other conservatory in Europe. Thus it would appear that David pursued +his own interest rather than that he cared for the good of his pupils.</p> + +<p><span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>Here in America we have violin teachers whose methods are preferable by +far to such.</p> + +<p>The following is a method according to which students should be +instructed: The student must not be forced into a position of holding +the violin so as to cause the ruin of health, but on the contrary, by +means of a free position and natural holding of the violin the chest +will be enlarged. This does not only benefit the health, but also +facilitates the learning and progress.</p> + +<p>It is of the greatest importance that students learn on violins which +have good tone, for instruments which have a bad quality of tone usually +discourage the beginner, so that he becomes nervous and soon considers +playing an unpleasant work, and gives it up without knowing the reason +why. Teachers, therefore, should have the necessary knowledge of the +qualities which a violin must possess. A knowledge indispensable for +them and a great benefit for the learner. For only a good tone has a +charming influence upon the mind, and owing to this many beginners +advance early to a high degree of perfection; therefore it must also be +in the interest of the students to get familiar with the good tone of a +violin,<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> that their ear may not be accustomed to a sickly tone. Alas! +This point is mostly disregarded by their parents, who have little or no +knowledge of a violin, and it provokes some indignation in +scientifically instructed teachers to teach their pupils on miserable +fiddles.</p> + +<p>If a teacher knows how a violin should be arranged, it is above all his +duty to examine the instrument, and ascertain whether it can be used for +the instruction of a learner; for as the violin is first arranged for +him so he will ever be accustomed to have it afterward. For instance, on +the violin of the solo player Ed. Mollenhauer, the strings lie on the +finger-board lower than on any other that I ever saw. No doubt he has +learned on such an instrument. It is true that the virtuosoship is +facilitated, but the strength of tone is impaired by such an +arrangement.</p> + +<p>The ingenious artist Brume, however, was so great a master that he +played even on violins the strings of which lay very high, although he +did not know this. Many, again, are accustomed to bridges that are very +much curved towards the E string, because they did not know, when +learning, how badly their violins were arranged.</p> + +<p><span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>A correct system must be the foundation of everything, but as the +theories in this art are still dead letters for most violin players, +there have arisen fantastical ideas, especially among the greatest of +them. Ole Bull did his best to impart such ideas to others, yet many of +them were, no doubt, excellent. Ole Bull always had a vehement desire to +find something better beyond all possibility. Many of his ideas were +contradictory to all the rules, and although he put some in practice he +did not persevere in any of them for a long time, for a new idea +occurring to him all others were supplanted by it.</p> + +<p>It happened once that Ole Bull was visited in New York by another +artist, who was called the "American Sivori." He, as well as many others +thought that Ole Bull had a perfect knowledge of the structure of +violins. Sivori, seeing that Ole Bull had a bridge on his violin which +stood quite oblique—for the upper part of the bridge was bent backwards +by a quarter of an inch,—adopted this idea. When his violin had been +provided with such a bridge he came to me, and with great satisfaction +he showed me this queer position of the bridge on his violin. I was +highly astonished at him that<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> he could approve of an idea which is +against all correct theory and is nothing but a farce. I then explained +to him not only the consequences which must arise from it, but also the +impossibility, by such an arrangement, of bringing to bear an even +horizontal pressure on the bridge. But he thought that which came from +Ole Bull was better than that which came from my knowledge. Let us see +what happened later. In a concert of his, while he was playing with +enthusiasm, the bridge fell and broke!</p> + +<p>Another day an Italian artist came with his Maggini violin to show me +where the sounding post must stand in his violin, having obtained his +information about it from Ole Bull. I could not help smiling when I saw +that the sounding post was placed quite near the <i>f</i> hole. Upon +expressing my surprise, he replied with the following insult: "What do +you know about the position of the sounding post? You are no violin +player like Ole Bull, therefore you cannot know about it." My answer +simply was: "Only a fool can talk to me in that way, and very soon you +will find out that you will have to give up such an insane idea!"</p> + +<p>It was on the third day after that he came<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span> back begging me to place the +sounding post in his violin according to my judgment. When he had +apologized for his indiscretion, I fulfilled his wish.</p> + +<p>Thus I have become acquainted with several artists who constantly +tortured their violins by getting the sounding post and bass-bar +displaced. This proves a want of correct theoretical knowledge, and +through this ignorance they make the sounding post wander about the +whole violin.</p> + +<p>The place of the sounding post can only be ascertained through the +theoretical knowledge of the construction of the bottom and top of the +violin. Many players think they can obtain the right tone by the +position of the sounding post alone, but no sounding post can make good +a fault in the construction of the bottom and top.</p> + +<p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p> +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p> +<p class="blockquot"><span class="big">CIRCULAR WHICH ACCOMPANIED MY "EMPEROR VIOLIN" IN THE VIENNA +EXHIBITION OF 1873—AN INTERESTING EXPLANATION ABOUT VIOLINS AND OF +THE SCIENCE OF TONE.</span></p> +<p> </p> + +<p>It is an indisputable fact, that of all productions of art in the world, +the violin has been least understood.</p> + +<p>This wonderful instrument has remained an enigma to the musical world +until now. How fortunate it is that this instrument does not understand +human language, by which circumstance it escapes that medley of critical +remarks which are made in its regard.</p> + +<p>It is, therefore, in the interest of art and its votaries that I have +determined to present herewith to the public the results of my long +experience obtained in making violins, and in examining those sciences +connected with it.</p> + +<p>It is generally known that up to the earlier part of the eighteenth +century the Italian masters made the best violins, and with the death of +those artists a decline of that art, too, took place. Those so-called +classical instruments<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> have been, especially of late years, eagerly +sought at high prices, by all artists and amateurs, because a settled +opinion has taken hold of their minds that nobody is able to construct a +violin which is fit for solo performances; that the secret which the old +Italian masters possessed is not yet found, and that new violins, +although constructed according to the rules of acoustics, cannot gain +the desired perfection until after the use of a hundred years. This, +therefore, animated many violin makers with an endeavor to overcome that +difficulty, but in vain; at last Vuillaume, of Paris, was impressed with +the thought of making wood look old by a chemical process, and he +succeeded in creating a furor with his instruments made of such wood, so +that people began to believe the right course was being pursued. It +turned out, however, that after a few years those instruments +deteriorated, and finally became useless and proved a failure.</p> + +<p>This especially prejudices the minds of the virtuosi so far that they do +not believe it to be possible to make violins which answer the general +requirements of concert playing until they have attained a great age.</p> + +<p>Vuillaume has, therefore, by his chemical<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> preparation of wood, injured +this art seriously, because the previous prejudice was corroborated +thereby. Such prejudices stand in the way of progress in making good +violins.</p> + +<p>But as everything in the world is going on, so the art of the +construction of violins has not remained behindhand, and I can prove +this to the musical world by my own experience.</p> + +<p>To the knowledge of making such violins as artists and amateurs demand, +there belong besides ingenuity in carrying out the mechanical work a +knowledge of the following three sciences, namely: mathematics, +acoustics and the choice of wood.</p> + +<p>A knowledge of acoustics, which is most indispensable to the violin +maker, cannot always be acquired, since it emanates from an innate +genius, which makes itself manifest in the very choice of the wood.</p> + +<p>When by the aid of these sciences I had arrived by a natural proceeding +at what I aspired, I made violins in imitation of the old Italian +instruments and presented them to great artists and connoisseurs, and +the highest authorities of Europe and America. They pronounced them to +be genuine old Italian violins, not only on account of tone, but also in +regard<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> to form and appearance. In this manner I broke that prejudice. I +proved to the so-called "connoisseurs" that those violins laid before +and acknowledged by them to be good, were of my making, hence they were +new. If I had presented those violins as new productions of my own to +those gentlemen, they would have condemned them forthwith and said that +they would not prove good till they had reached a great age, and that +they would perhaps in a hundred years equal the old Italian instruments.</p> + +<p>In general, however, it is not taken into consideration that if a violin +is not scientifically constructed the good quality of tone will never be +obtained, either by much playing or by age. In applying the three above +mention sciences I have gained not only the fine quality of tone, but +also that ease with which the tones are made to come forth.</p> + +<p>But we must be thankful to the great masters; they have laid for us the +foundation of the manufacture of violins, by which they became +immortalized.</p> + +<p>Their system, however, is but little understood by the present violin +makers, because very few intelligent people devote themselves<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> to this +art, and the most of those who are learning it, practice it not in the +way of art, but of business. What wonder, when even the greatest artist +in Europe, Vuillaume, imitated the very mistakes which the great Italian +masters made in regard to mathematical division. He did not consider +that they, in improving the art, made experiments in regard to form, +swell and different thicknesses in working out the bottom and top. But +there are a great many professional men who, from exaggerated +veneration, consider all productions of those masters as law and beyond +correction.</p> + +<p>I have discovered that the old masters did not arrive at perfection, but +made mistakes in their mathematical division and in the workmanship of +the different thicknesses of the bottom and top. Those faults I have +endeavored to avoid in the manufacture of my violins, and I think I have +solved this problem.</p> + +<p>Just so it is with the knowledge of tone. It is a great mistake to +believe that it is only the player who has this knowledge. Experience +has taught that playing and knowledge of tone are two different +provinces, because the artist very seldom has an opportunity to make +close<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> study of the different qualities of tone, and is usually +prepossessed with his own instrument.</p> + +<p>If many solo performers had more knowledge of tone they would not so +often play in concerts on feeble instruments, which are too old, too +defective in construction, or have been spoiled by bungling workmen who +were employed to repair them. Such instruments often injure the solo +performer exceedingly, and the critic is right in charging the fault to +feebleness of tone. But the artist is generally satisfied if he only +possesses an Italian violin.</p> + +<p>Also in the science of tone I have found the way to gain that experience +by which I have been enabled to make a violin which will satisfy an +unprejudiced solo performer of the present and future.</p> + +<p>I have confined myself to the natural process which the Italian violins +underwent, and I have put the problem to myself that it must lie within +the bounds of possibility to construct violins which will bring forth +good tones at once and not depend on a promising future for all their +good qualities, and I have not been mistaken, but have secured what I +sought.</p> + +<p>Many are still of opinion that the art of making violins and +predetermining the qualities<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> of tone, is a mere accident. This is, if +taken in a general sense, true, because most of those who make violins +scarcely know any more of it than a joiner, but the ability to construct +violins according to the rules of art, requires a man who has enjoyed a +technical education, and whoever has acquired the necessary capabilities +knows the method by which the different qualities of tone may be +produced and obtained.</p> + +<p>Above all, he who occupies himself with repairs can least dispense with +these capabilities, since he is often intrusted with the most valuable +instruments; but alas! with what inconsideration do those who possess +such instruments often give them, for repair, to botchers and fiddle +makers.</p> + +<p>This proves how great in this regard is the lack of correct judgment. +Through such spoilers of violins most Italian violins have come to +naught, because many who own such instruments think that whenever any +one makes a neat piece of work and knows how to use his chisel, file and +sandpaper, he is the man to be intrusted with such instruments. But +where there is a lack of science, the repairer's work, be it ever so +neat, may cause damage in half<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span> an hour which will be greater than can +ever be made good again.</p> + +<p>If a violin maker constructs bad instruments it is his own damage, but +to make bad repairs is to ruin the instruments of others, the creations +of masters.</p> + +<p>Neither is a violin maker who does not know how to construct excellent +instruments a good repairer. Yet there are many who think that good +repairers need not possess the knowledge of making good violins. But +what a mistake! It seems, however, wisely ordained by nature that even +he who is less gifted and less learned may enjoy life, and thus gladly +bear sacrifices in consequence of his error.</p> + +<p>This is the plain and simple explanation of matters in regard to the +manufacture of violins and the knowledge of tone, and those to whom this +does not seem comprehensible may submit to a more thorough experience +than they have gained until now; in this case they will, after they have +fully convinced themselves of it, sometimes remember G. G.</p> + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p> + +<p class="blockquot"><span class="big">A REPLY TO MR. E. SCHELLE'S CRITIQUE CONCERNING THE VIOLINS IN THE +EXHIBITION OF VIENNA IN THE LEIPSIG "NEUE ZEITSCHRIFT FUR MUSICK," +No. 52, 1873.</span></p> +<p> </p> + +<p>In the foregoing circular, treating upon violins, I said: "It is +indisputable that no production of art in the world has been less +understood than the violin." This truth has proved good again in Mr. +Schelle's critique concerning violins, and it shows how little he is +able to judge about them! In his very introduction it is plainly shown +that he has made no studies in regard to tone when he says: "Thus an +idea came to Vuillaume to make, by a chemical preparation, wood to look +like that of the old violins. Instruments made of this material excel in +regard to their splendid and real Italian tone."</p> + +<p>Against this I assert just the contrary and can prove it to be nonsense +by the fact that wood, when submitted to a chemical process, will +produce a dry, covered tone, and the noble<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> quality of tone—that which +affects the heart—is lost.</p> + +<p>Mr. Schelle then says: "We may also discover a similar experiment in the +instrument which Mr. George Gemünder, of New York, has in the +exhibition, under the ostentatious name of Kaiser Violin (Emperor +Violin). Of course its manufacturer would protest against this +insinuation, for in a little pamphlet he declares that by the assistance +of three sciences, the mathematics, acoustics and knowledge of the wood +to be chosen, he had not only comprehended the system of Italian school, +but had even discovered errors in it, etc."</p> + +<p>Mr. Schelle further says: "There have been many celebrated violin makers +who were gifted with the same talents and learned in the same sciences, +yet they could not reach what they aimed at, in spite of their most +strenuous efforts. We confess quite openly that in spite of his +assurance we harbor the suspicion that Mr. Gemünder has taken refuge in +a chemical preparation of the wood. The violin in question, a faithful +imitation according to Guiseppe Guarnerius, is indeed beautiful in its +appearance and has a very excellent tone. But the extravagant, really +American, price of ten<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> thousand dollars could only be excused when its +excellence should have been proven good in future," etc.</p> + +<p>From this (Mr. Schelle's) critique it is evident that he has tried to +throw into the shade the interesting production of art which I had in +the exhibition, in order to be enabled to put the productions of the +Vienna violin makers in a more favorable light. But this proves that +only such persons as are destitute of sufficient knowledge to judge of +violins may be transported to such one-sided critiques, dictated either +by partiality or other interests; for if that were not the case Mr. +Schelle ought to have blushed with shame in regard to that injustice and +disrespect with which he illustrated the experience of an artist and +spoke of his talents and sciences, to which Mr. Schelle is as much a +stranger as he is to the artist's person!</p> + +<p>As Mr. Schelle takes into consideration that the violin at ten thousand +dollars exhibited by myself must first undergo "a proof of time," it may +be rather advisable for Mr. Schelle to take a lesson of Gemünder, that +he may learn those characters of tones which will prove good in future +and which will not; so that he may<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> be able hereafter to show better +knowledge in his critique upon violins!</p> + +<p>From my childhood I have grown up in this art in Germany and have +devoted myself to all those studies which are connected with it. The +last four years in Europe I passed at Vuillaume's in Paris, consequently +I am acquainted with the entire European knowledge of the construction +of violins.</p> + +<p>Since 1847 I have made violins in America, therefore my instruments do +not require to be subjected to a "proof of time," for it is without such +a one that I have solved the problem and secured at once the fine tone +which all the preceding violin makers strove in vain to find. I obtained +my purpose in quite a natural way. This knowledge, however, does not lie +in an object whose secret is only to be secured by a patent; it lies +purely in the gifts of man. Another century may pass by before this +problem will be solved again. The closing page in Mr. Schelle's critique +sounds like a lawyer's pleading in favor of a criminal. In this regard +his writing is quite creditable, for he has well pleaded the cause of +the violin makers of Vienna!</p> + +<p>But then those words in my circular about<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span> violin makers proved true +again: "This wonderful instrument has still remained an enigma to the +musical world until now. How fortunate it is that it does not understand +human language, by which circumstance it escapes the medley of opinions +which have been given in regard to it."</p> + +<p>When, however, its clear tone was heard, and the easiness with which the +tones came was noticed, then it became an enigma to professional men and +they declared that this violin was an original fixed up again!</p> + +<p>But later, when it was objected to and found to be a new Gemünder +violin, it was ignored even in the newspapers. The <i>Neue Wiener +Tageblatt</i>, of Vienna, called it afterwards "the false Cremona violin!" +How envy here glared forth again; for this violin was not exhibited as a +Cremona violin, although it has been demonstrated that it had been +previously really taken for a genuine Italian instrument.</p> + +<p>Its introduction as "Emperor Violin" had a force and pungency which +tickled the professionals, and what surpasses all belief is, that they +themselves crowned the work. It was, indeed, the greatest premium that I +could gain, in spite of all the pains which those men gave<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span> to +themselves to deprive me of my merit. Thus a moral prize values higher +than a piece of metal?</p> + +<p>Although many mocked at the high price, yet no such violin could be made +by all those deriders, should millions of dollars be offered to them. +Therefore an unrivaled artist has the right to fix any price on his +productions. Although an offer of $3,000 was made for it, yet nobody was +charged to sell it, even if $10,000 had been presented.</p> + +<p>The newspaper of the exhibition of Vienna, published on the 17th of +August, 1873: "Gemünder found fault with the Italian constructions and +those of Vuillaume."</p> + +<p>If Gemünder had not extended his studies so far he would probably not +have stirred up those matters which had given such a headache to those +people of Vienna, for George Gemünder became thoroughly acquainted with +both the faultless and the faulty points of the Italians in the +construction of violins. If those people of Vienna had had the good luck +to discover imperfections on the above mentioned constructions, then +they would have made a great cry about it.</p> + +<p>The same newspaper says in another passage:<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> "The tone of this violin is +indeed strong and beautiful and has an easiness that pleases, also it +has not that young tone peculiar to the very best new violins." In +saying these words the writer confesses the truth in his innocence, and +this verdict crowns this violin again, because this character of tone is +just that one which all violin makers in the nineteenth century have +been trying in vain to find.</p> + +<p>And further: "For this reason some professional men gave vent to the +suspicion that the wood was submitted to an artificial preparation, +probably by the use of borax." Such was the nonsense to which this +peerless violin was subjected, since there was none to take up its +defence. <i>The annexed description in which all chemical preparations +were peremptorily opposed, was entirely disregarded by them.</i> Thus there +is no other way to advise those pseudo-professional men to have such +borax violins made and patented!</p> + +<p>To those gentlemen who call themselves professional men, I, George +Gemünder, declare that I am ready at any time to sacrifice my "Emperor +violin" or any other which I have made, and I propose to give it to the +best chemists in the world to be cut to pieces, that they<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> may examine +the wood and ascertain if any chemical preparation has been used. If +this is found to be the case they may be allowed to scold and blame me +publicly as much as they please; but, if nothing of that kind is found, +they are to pay ten thousand dollars for the "Emperor violin."</p> + +<p>Address: GEORGE GEMUNDER.<br/> +<span style="margin-left: 7em;"><span class="smcap">Astoria, New York.</span></span><br /></p> +<p><span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></p> + +<hr style="width: 65%;" /> +<p class="center"><span class="big">ERRATUM.</span></p> + + +<p>Page 70. Sentence beginning "He also +tried to persuade them into the belief," &c., +should read, "He also tried to persuade them +into the belief that when <i>new</i> violins sound +well and are serviceable for concerts they +are made of chemically prepared wood."</p> + + +<hr style="width: 65%;" /> +<p> </p> +<p class="center"><span class="big">Transcriber's Notes:</span></p> + +<p>Inconsistencies in spelling and hyphenation have been retained from the +original.</p> + +<p>The following obvious errors have been corrected:</p> + + <p><span style="margin-left: 2em;">Page 8: the word "in" added after the word "remain"</span><br/> + <span style="margin-left: 2em;">Page 18: the extra word "who" removed</span><br/> + <span style="margin-left: 2em;">Page 77: "howevever" changed to "however"</span><br/> + <span style="margin-left: 2em;">Page 88: "ingenius" changed to "ingenious"</span><br/> + <span style="margin-left: 2em;">Page 89: "thories" changed to "theories"</span><br/> + <span style="margin-left: 2em;">Page 98: "preposessed" changed to "prepossessed" and "to fault" changed to "fault to"</span><br/></p> + +<p>Punctuation has been corrected without note.</p> + +<p>The error notated on page 70 in the "Erratum" in the original has been corrected in this eText.</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of George Gemünder's Progress in Violin +Making, by George Gemünder + +*** END OF THIS PROJECT GUTENBERG EBOOK GEORGE GEMÜNDER'S PROGRESS *** + +***** This file should be named 36147-h.htm or 36147-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/1/4/36147/ + +Produced by Adrian Mastronardi, David E. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: George Gemuender's Progress in Violin Making + With Interesting Facts Concerning the Art and Its Critics in General + +Author: George Gemuender + +Release Date: May 18, 2011 [EBook #36147] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE GEMUeNDER'S PROGRESS *** + + + + +Produced by Adrian Mastronardi, David E. Brown, and the +Online Distributed Proofreading Team at http://www.pgdp.net +(This file was produced from images generously made +available by The Internet Archive/American Libraries.) + + + + + + + + + +[Illustration: Geo. Gemuender] + + + + + GEORGE GEMUeNDER'S + PROGRESS IN + VIOLIN MAKING, + WITH + INTERESTING FACTS + CONCERNING THE ART + _AND ITS CRITICS IN GENERAL_. + + BY GEORGE GEMUeNDER. + + _PUBLISHED BY THE AUTHOR_: + ASTORIA, N. Y., + 1881. + + + _Entered According to Act of Congress, in the Year 1881. + GEORGE GEMUeNDER, + In the Office of the Librarian of Congress._ + + + + +BIOGRAPHY OF GEORGE GEMUeNDER. + + +George Gemuender was born at Ingelfingen, in the kingdom of Wurtemburg, +on the 13th of April, 1816. + +His father was a maker of bow instruments, and it was, therefore, from +Gemuender's earliest youth that he devoted himself to the same art and +the studies connected with it. + +When he left school, it was suggested to his father that George should +become a school-master, as he at the time wrote the finest hand and +executed the best designs of any among his classmates. His father was +not averse to this proposal and decided to carry it out. George was, +accordingly, directed to prepare for the seminary. The plan was not, +however, in accordance with his own tastes or inclinations, and he +followed it for a period of but three weeks, only to abandon it finally +and forever, to take up that employment which accorded with his natural +gift and gave scope for the development of his genius. + +After his father's death, which occurred when George was in his +nineteenth year, he went abroad, and worked variously at Pesth, +Presburg, Vienna and Munich. Fortune smiled upon him, and more than once +an opportunity was presented of establishing a business; but nothing +that promised simply commonplace results and a commonplace life could +attract his eye, since his mind, aspiring to improvement in his art, was +constantly impelling him toward that celebrated manufacturer of violins, +Vuillaume, at Paris. He plainly saw that in Germany he could not reach +in the art that degree of accomplishment for which he strove, and, +therefore, he resolved to find, if possible, at Strasburg, such a +position as he had had at Munich. Through the mediation of a friend he +obtained a call to go to a manufacturer of musical instruments at +Strasburg; but upon his arrival he was astonished to learn that the man +was a maker of brass instruments! Here was a dilemma. Disappointed in +his effort to find employment, winter at the door and far away from +home, what could he do? The manufacturer, whose name was Roth, +perceiving his perturbation, was kind enough to ask Gemuender to remain +in his house until he should have succeeded in finding such a position +as he desired. Gemuender accepted the profered kindness, and after the +lapse of six weeks he formed the acquaintance of a gentleman with whom +he afterward became intimate, and who promised to write for Gemuender a +letter of recommendation and send it to Vuillaume at Paris. Meanwhile +Gemuender remained in Strasburg. One day, while taking a walk in the park +called "Die Englishen Anlagen," he seated himself on a bench and shortly +fell asleep. In his sleep he heard a voice which seemed to say: "Don't +give way; within three days your situation will change!" The voice +proved prophetic, for on the third day after the dream his friend came +to him with a letter from Vuillaume, which contained the agreeable +intelligence that Gemuender should go to Paris. The invitation was +promptly accepted and Gemuender immediately started on his journey. When +he arrived at Vuillaume's another difficulty was encountered, for +Vuillaume had mistakenly supposed that Gemuender spoke French. By mere +good fortune it happened at the time of Gemuender's arrival that a German +professor was giving music lessons to Vuillaume's twin daughters, who in +the capacity of interpreter informed Gemuender that M. Vuillaume was +sorry to have induced him to come to Paris, because it would be +impossible to get along in his house without French. Vuillaume kindly +offered to pay Gemuender's traveling expenses from Paris back to +Strasburg, but said, however, that should the latter be satisfied with +nominal wages at first, he would give him thirty sous a day until he +should have learned enough of the language to be able to get along. +Gemuender accepted the proposition, which greatly astonished Vuillaume +because he had not supposed that Gemuender would be contented with such +small wages! Then he showed him a violin and violoncello as models of +his manufacture, and asked him if he could make instruments like those. +The answer being in the affirmative, Vuillaume smiled, for he was sure +it could not be done. On the following day he provided Gemuender with +materials for making a new violin, in order to see what he could do. He +soon perceived that Gemuender possessed more theoretical than practical +knowledge. When the violin was finished, he made him understand that +their way of working was different, and he desired to have his own +methods adopted. Gemuender did his best, and being a good designer, he +soon acquired a knowledge of the different characters of the propagated +Italian school in regard to the construction of violins. + +After the lapse of three months Gemuender's wages were increased ten sous +a day, and although he now saw his most heartfelt desire fulfilled, +namely, to work in Vuillaume's manufactory, yet he did not find it +possible to stay there permanently, because his fellow-workmen, who had +observed the kindness with which their employer had treated his new +workman, became filled with feelings of jealousy, and resolved to +harrass him and compel him if possible to leave. So thoroughly did they +succeed in embittering his life, that Gemuender finally resolved to leave +Vuillaume and go to America, and with this firmly fixed in his mind he +began his preparations secretly to carry out his plan. + +When everything was ready, he went to Vuillaume to make known his +intention and to explain to him the cause of his leaving. The latter, +astonished at this intelligence, declared that Gemuender should not leave +his house at all, and assured him that he would not meet with further +unkindness from his fellow-workmen, even if all should be dismissed, +although some of them had already been in his manufactory for many +years. He further assured Gemuender that should he not desire to remain +in Paris, he would establish him in a business similar to his own, +either in Germany or elsewhere, but he dissuaded him from going to +America, for the reason that the art of violin making was not +sufficiently understood there at that time. This kindness and +benevolence upon the part of his employer so touched his heart that he +was constrained to remain, and he began to construct new violins, in +some of which he imitated the Italian character thoroughly, and also to +repair injured violins. + +One day Vuillaume handed Gemuender a violin, with the remark that he +wished him to do his best work in repairing it, for a gentleman from +Russia had sent it. Vuillaume especially called Gemuender's attention to +a certain place in the back which was to be repaired, which was almost +invisible, and he gave Gemuender a magnifying glass for his assistance, +but Gemuender returned it, saying that he could do better with his naked +eyes, and when finished Vuillaume might examine it with the glass. When +completed, the work proved to be all that Vuillaume had wished, and +satisfied the owner of the instrument so thoroughly that in his ecstasy +of delight he presented Vuillaume, in addition to the payment for his +work, with a costly Russian morning gown. + +On the return of Ole Bull from America, in 1845, that distinguished +performer brought his wonderful "Caspar da Salo" violin to Vuillaume to +be repaired, and requested the latter to do the work himself, as it was +something about which he was very particular; but Vuillaume answered +that he had a German in his workshop who could do it better than he. +Impelled by curiosity to become acquainted with this German, he asked to +be shown to the place. After some conversation, Gemuender undertook the +repairing of the violin and completed it in as masterly a manner as he +did in the case of the Russian gentleman. + +After an interval of three years, while Gemuender was still working at +Vuillaume's, the latter showed him a violin and asked his opinion about +it. Gemuender, having examined it, replied that it was made by some one +who had no school! "I expected to hear this," returned Vuillaume, "and +now let me tell you, that this violin is the very same that I engaged +you to make when you came to me. I show it only that you may recognize +what you are _now_ and what you were _then_!" Gemuender was not only +surprised, but amazed, and would hardly have believed it possible. This +incident is only mentioned to show that as long as the eye has not been +fully cultivated, those who fancy themselves to be artists are not such, +and in reality they cannot distinguish right from wrong. Gemuender has +often experienced this in America. He knows no other violin maker who +deserves to be compared with Vuillaume in this respect, for he correctly +understood the character of the outline and form as well as the interior +structure of the different Italian instruments. + +Towards the end of 1847, when Gemuender had been four years at +Vuillaume's, his two brothers, who were in America, invited him to go +there, as the interest in and taste for music was improving and they +intended to give concerts. Gemuender therefore determined to accept this +invitation and left Paris. He arrived in November, at Springfield, +Mass., and, meeting his brothers, arrangements for concerts were made +with an agent, who engaged several other artists to make up the company. +The instrumental quartet consisted of a clarinet, violin, flute and bass +guitar. This music made quite a sensation, and the houses were always +crowded, yet the Gemuender brothers did not receive anything from the +proceeds. They soon comprehended that they had had too much confidence +in their agent, and after the lapse of a week they gave up the +speculation. + +For George Gemuender, who had then very little knowledge of the English +language, which fact increased the difficulty of his position, there +remained no other choice but to settle as a violin maker. He borrowed +from a friend twenty-five dollars, and with this money he set out for +Boston, Mass., and established himself there. The violins which he made +he sold at fifty dollars each, and made repairs at low prices. + +In 1851, when the first exhibition of London took place, Gemuender sent a +quartet of bow instruments, in imitation of Stradivarius, and one violin +according to Joseph Guarnerius, and another according to Nicholas Amati. + +As his business in Boston did not prove sufficiently lucrative, Gemuender +left the city after eighteen months, without waiting for news of the +result of the exhibition, and established business in New York. Later he +learned that his instruments had received the first premium at the +exhibition. + +When, in the following year, 1852, Gemuender received his instruments +back from the exhibition, he learned that Ole Bull was in New York +again, and, as he had formed his acquaintance in Paris, he paid him a +visit and gave information that he had established himself in New York, +and also that he had obtained the first premium at the London +exhibition. Ole Bull was highly astonished at this news, as he said +"Vuillaume is the best violin maker, and I have on one of my violins the +best specimen of his workmanship as a repairer." He thereupon showed +Gemuender his "Caspar da Salo." "Here," he said, "look at it, find the +place where the repair was made." But Gemuender replied: "Sir, have you +entirely forgotten that when you went with your violin to Vuillaume, he +made you acquainted with a German in his studio, whom he directed to +repair this 'Caspar da Salo' violin, and that this German was myself?" +Upon hearing this a light seemed to break upon his mind, and he +exclaimed, "Yes, yes, I do remember. Now you shall become in America +what Vuillaume is in Europe." + +Meanwhile the advantages which might have been derived from the London +exhibition were lost, in consequence of Gemuender's removal from Boston +and establishing business at New York. Spohr, Thalberg, Vieuxtemps and +many more of such authorities, examined his violins in the exhibition +and were much surprised at the excellent qualities of the instruments. +Spohr observed: "These are the first new violins that I ever saw, tried +and liked!" When they were played upon by him and others, they attracted +hundreds of admirers and would have been sold at high prices had +Gemuender not failed to make arrangements to dispose of them. + +The results obtained at Paris and Vienna were similar, his instruments +attracting much attention in each exhibition. In the Vienna Exposition, +held in 1873, Gemuender gained the greatest triumph that was ever +obtained by any violin maker. The "Kaiser" violin sent by Gemuender in +response to an offer of a prize for the best imitation, was declared by +the professional judges to be a renewed original; a genuine Guarnerius +not only in regard to its outer appearance and character, but also as to +its wonderful quality of tone and ease with which the tones come. To +find these qualities in a new violin was beyond all expectation, since +it had hitherto been taken for granted that such a result could not be +obtained, because that object had been the unsuccessful study of +different makers for hundreds of years. This proves, therefore, to the +musical world, that Gemuender has solved that problem which has generally +been considered impossible. In spite of all this, however, Gemuender had +learned by painful experience that the prejudice existing among most of +the violinists was not to be wiped out. These people are incapable of +judging reasonably, and it is easier for them to say that Gemuender makes +his new violins of wood prepared by a chemical process, or that it has +not yet been proven that his violins have kept their good quality for an +extended period of time, notwithstanding that Gemuender has been +constructing violins in America since 1847, and that nobody can prove +that any violin of his making has lost its quality of tone. On the +contrary, they have invariably proved good. Gemuender, however, confesses +that a few of his first made violins in America do not equal those of +his present construction in regard to tone and varnish. The cause of it +was that Gemuender being unacquainted with the woods of the new country, +was not so successful at first in the choice of wood for his violins, +and naturally would not be until his experience had improved. The +prejudice above referred to would, however, be likely to exist for +another century, could Gemuender live for that length of time among those +people, the most of whom would persevere in their opinions. + +The impracticability of the theory of using chemically prepared wood for +violins is sufficiently understood at the present time to render it +useless to pursue the discussion in these pages. Gemuender has informed +himself as to the degree of success attained in the use of the +different chemical preparations of wood, as well as those prepared with +borax, by which, the inventor asserts, the wood becomes richer in tone +and lasts longer than that which is left in its natural state. Yet, +without opposing the inventor, Gemuender follows the principle of the old +Italian violin makers, because their productions have been in use to +this day; therefore the material left in its natural state has proved +good and has satisfied the musical world for these three hundred years. +He has indeed succeeded in constructing new violins of material in its +natural state, which produce not only an extraordinary power of tone, +but also a strikingly equal quality of tone, and the quality of easy +speaking, and the outward appearance of the old violins has been so +faithfully imitated that he who has not been told the fact, will take +them for genuine instruments made by Stradivarius, Guarnerius, Maggini, +Amati, and others. + +It is therefore assuming not too much to say that George Gemuender has +surpassed in this art all the violin makers of the present and past +times; for where the Italian masters ended with their knowledge, George +Gemuender commenced and improved, which fact can be proved to the +satisfaction of every critic; for George Gemuender has not only gained +the same results as those achieved by Stradivarius and others, but he +has sketched a better acoustic principle for producing tone. It is for +this reason that August Wilhelmj, the great violinist, calls George +Gemuender the greatest violin maker of all times, for Wilhelmj had +learned by ample trial of the instruments made by George Gemuender that +they were incontestably all that the latter claimed for them. Wilhelmj +admired Gemuender's "Kaiser" violin at the Vienna Exhibition, as it was +the only violin of importance which attracted his attention, and this +aroused within him the desire to become personally acquainted with its +maker. By means of his renown as the great violin virtuoso, an +engagement was offered him to go to America, which he accepted, and thus +his wish was fulfilled. On the day after his arrival in New York, +Wilhelmj went to see Gemuender at Astoria, and from that time has been +Gemuender's friend and admirer. + +Wilhelmj and other artists have expressed astonishment that a man of +George Gemuender's capabilities in this art was to be found in America. +Although he enjoys the highest renown in his art, yet he lives in a +country in which the appreciation of that art is still in its +development; for the number of amateurs such as are found in Europe, who +spend enormous sums in instruments, is very small here. The fact is that +George Gemuender lives here at too early a period, for his productions +are a continuation of those which the great Italian masters brought +forth. Taking into consideration all the foregoing circumstances it is +fair to suppose that George Gemuender has had to contend with +extraordinary difficulties during this long time. For ignorance and +arrogance can do much damage, in this respect, not only to the artist, +but also to the amateur, as these often times place their confidence in +those musicians who have no knowledge of violins, and who can only +mislead them. + + + + +APPENDIX. + + GEORGE GEMUNDER'S OBSERVATIONS IN REGARD TO VIEWS WHICH THE MOST OF + VIOLINISTS AND AMATEURS HAD OF THE TONE OF OLD AND NEW VIOLINS--HOW + THEY IGNORED THE NEW INSTRUMENTS, AND HOW THEY WERE DECEIVED AND + SURPRISED IN THEIR PREJUDICE CONCERNING THEM. + + +Gemuender had learned that the knowledge of arrogant violinists and +amateurs in regard to tone did not rest on any correct basis, and that +their prejudice rested on a tradition arising from the decline of the +manufacture of violins since the death of the celebrated Italian makers. +All attempts of late years to make good violins having failed, an +aversion to new violins has been gradually spreading, so that the most +of people at the present time do not believe it possible for violins to +be both new and good. Firstly, because it has been found that new +violins have not been constructed so as to possess the tone of old +Italian instruments; and secondly, that those made of chemically +prepared wood did not stand proof for a great length of time. Many +musicians and amateurs have in consequence of this prevailing prejudice +gone to an extreme and disregarded new violins, no matter what tone they +might have. To this class of people belonged especially the violinist +Wieniawski, who had an opportunity to play on one of the best violins +made by Gemuender, which opportunity he ignored, because the violin +looked new. Instruments imitated by Gemuender were placed before him as +genuine violins, and he admired them. Ole Bull was equally surprised +when an imitation according to Stradivarius was handed to him in +Columbus, Ohio, and he declared it to be a genuine original. + +When Vieuxtemps gave concerts in America for the first time, and went to +see his friend Vieweg, Professor of music in Savannah, Ga., the +Professor showed him his Stradivarius violin. Vieuxtemps, catching sight +of it, said: "If he had not been quite sure that his violin was at home, +he would think it was his own." But when his friend told him it was a +Gemuender violin, he was astonished and observed: "The d***l knows how +Gemuender can bring such a tone in new violins!" + +At about the same time a violinist came from Germany and visited +Gemuender to hear his violins, because Spohr had praised him so much; but +at the same time he doubted that new violins could sound like those of +the old Italian masters. Gemuender first showed him some having the +appearance of being new; the violinist played upon them and then +uttered: "They are as I thought; they have not that sweet, melting tone +of the Italian instruments." Hereupon he asked Gemuender if he had no +Italian violins, in order to show the difference. Gemuender then opened +another box, and showed him an imitation of Amati for a genuine one. No +sooner did the instrument strike his sight than his face brightened up +and he said: "Everybody can see at once that there must be tone in +this," and after playing upon it he was so pleased that he said to +Gemuender: "Yes, there are none of the present violin makers who have +brought it so far!" Hereupon Gemuender informed him that this was also a +new violin of his making. Scarcely had the visitor heard this, when, +ashamed of his prejudice, he took his hat and went away. + +Similar incidents often occur. In 1859 Gemuender sent violins to the +Exhibition of Baltimore, after which, on one occasion, he was invited to +a soiree at which his violins were played. He also had a genuine +Guarnerius among his own instruments. An amateur, Mr. Gibson, a very +good player, was present and anxious to hear the Italian violin. During +the performance of a quartet on the violins made by Gemuender, this +amateur, who was possessed of the popular prejudice against new +instruments, and who fancied he heard the Italian violin, was so +exceedingly delighted with it that he observed, "To hear such violins is +sufficient to keep any one from ever touching new ones." But when +Gemuender told him they were new ones made by him, the amateur stared at +him as much as to say, "Do you make fun of me? These violins do not look +new at all!" Gemuender, however, convinced him of the truth of his +assertion. This fact surprised the amateur to such a degree that he was +at loss what to say, and later, upon learning the price of one of the +instruments, bought it. Sometime after this he valued it at two thousand +dollars in gold. Since then the violin has been sent several times to +Gemuender, either for a new bridge or other slight repairs, and each +time new anecdotes have been related of it. Of especial interest is that +one of Father Urso, who was looking for a genuine Guarnerius to give to +his daughter Camilla, the celebrated violinist. He took Professor Simon +with him to see the instrument. Both were very much surprised at it, not +only on account of its undoubted genuineness, but also that it was kept +so well. Gemuender then let them know that he had perpetrated a joke, and +that the instrument was made by himself. + +One day Mr. Poznanski, from Charleston, S. C., in company with his son, +who was already an artist on the violin, visited Gemuender. Although +still young, his father intended to send him to Vieuxtemps for his +further artistic accomplishment, and with this purpose in view he was +willing to buy an Italian violin. As Gemuender had none on hand, he +showed him a new violin, but Poznanski declared that he would not buy a +new one. Gemuender then showed him an imitation, as if it were a genuine +original. The son played on it, and both father and son were highly +satisfied with it; they expressed their wish to buy it and asked the +price, which was given as five hundred dollars. When Poznanski was about +to pay down the money, Gemuender told him that this instrument was also +new. Whereupon Poznanski replied in an excited tone, "Have you not heard +that we do not want a new violin?" and they left the Atelier! + +When Vieuxtemps left America, in 1858, Poznanski's son went with him to +finish his studies under his direction. After the lapse of eight years +he returned an accomplished artist, and visited Gemuender again. He then +remarked that he wished to find an Italian violin of first class, and +asked Gemuender if he had something of that kind in his possession? Here +he took the opportunity to remind Gemuender of the time when he had +deceived both him and his father, observing at the same time very +naively: "But now, Gemuender, you cannot deceive me. I obtained thorough +knowledge of imitations at Paris, and also a knowledge of the genuine +Italian violins, for I had an opportunity to see many of those made by +the masters." Gemuender told him that he had two Joseph Guarnerius +violins of first class in his possession, and laid them before him. +Poznanski expressed his astonishment to find such rarities. After a +thorough examination Poznanski declared there was no doubt in regard to +their genuineness! He tried both violins, and soon evinced his +predilection for one of them, which he wished to buy, and inquired the +price. Gemuender offered each of them at one thousand dollars, but at the +same time told him that he had deceived him for a second time, for the +instrument which he had picked out was new and made by himself, whilst +the other was genuine. Poznanski, however, told Gemuender that he could +not deceive him, that it was not possible to produce an instrument like +that. At this moment two friends of Gemuender, who were acquainted with +his instruments, entered the shop, and Gemuender asked them in the +presence of the young artist, at the same time pointing to the +instrument selected by Poznanski, "who made this violin?" They replied +that the maker of it was Gemuender. This appeared to him impossible, but, +after deliberating on the subject, he said, "I must believe it now, and +yet I don't believe it!" A few days later, becoming fully assured that +the instrument to which he had taken a fancy was not an Italian violin, +he bought the genuine one, which, however, was an excellent instrument, +thus giving up the one to which he had first given preference. This is +another striking proof of prejudice. + +After a time, however, when Poznanski felt more at home at Gemuender's, +he found out that the instruments made by Gemuender were the only true +concert violins, and disposing of his Guarnerius, he bought a Maggini +made by Gemuender; he now saw the full extent of his prejudice, and was +most severe in his denunciation of all who thought that there were no +other violins but the Italian to be played upon. + +If Wieniawski had not been seized with such a strange fancy, and had had +more confidence in other artists, he would not have been compelled to +change violins every now and then, for he was constantly buying one +Italian violin after another and finding none to suit him, merely +because none would do but an Italian instrument. Thus he came to America +and played on his Stradivarius violin, which had a splendid tone in a +room, but when played upon in a concert hall proved a great deal too +weak, especially on the G string, when it was overstrained. He then +bought one of the finest Guarnerius violins in Brooklyn, but as it did +not prove any better than the other, he returned it. + +To find Italian violins fit to produce a sufficient effect in large +concert halls is a great rarity, since they have been mostly spoiled by +"fiddle-patchers," or had not from the very beginning the proper +construction for the giving out of tone sufficient to fill such halls. +On just such powerless violins Vieuxtemps performed at his concerts on +his last tour through America. + +One day Gemuender made the acquaintance of Mario, the greatest Italian +connoisseur of violins, who was decorated for this knowledge when he was +at New York. Gemuender asked him to come to his shop, as he had several +violins which he would like to show him, in order to have him judge if +they were really genuine instruments. Mario came and viewed the violins +shown to him by Gemuender minutely, nay, even took a magnifying glass to +examine the varnish, whereupon he declared to Gemuender that they were +genuine instruments. But the fact is they were violins made by Gemuender! + +In the beginning of 1860 Gemuender was often visited by an amateur named +Messing, who wished to find a good Italian violin, for he manifested an +aversion toward Gemuender's productions, owing to his prejudice against +new violins. At the same time Gemuender had as an apprentice a nephew, +who, when he had not yet been fully three years with him, was engaged to +make his first violin, according to form of Stradivarius. When it was +finished Gemuender made him a present of it, and said he would varnish it +so as to look old. Afterward his apprentice gave it to a friend in New +York to sell it for him. This friend published in the newspapers that he +had a Stradivarius to sell. Mr. Messing was the first to make inquiries +about it, and bought it, highly rejoiced at having a Stradivarius at +last. He then had it examined by the violin maker Mercier, in New York, +who confirmed the claim of originality. Mr. Messing then went to Europe, +and at Paris he wished to hear what the violin maker Gand would say, and +the latter also declared it was an old instrument, adding, however, that +in order to be quite sure whether it was a genuine instrument or not it +would require more time than he could apply to it just then. When he +went to Berlin, he showed his instrument to the violin maker Grimm, that +he might hear from him his opinion as to its genuineness. Grimm +refrained from uttering his opinion, yet he offered him a high price for +the instrument, which the owner considered to be sufficient evidence +that he possessed something extraordinary, and to warrant him in keeping +his violin. After the lapse of four years, when Messing had returned to +New York, he came to see Gemuender, full of joyous anxiety to show him +his violin, saying, "Here, Mr. Gemuender, I have something to show you; I +have found what I have been so long looking for!" Mr. Messing then +opened his box, and Gemuender, catching a glimpse of the violin, +exclaimed, "That is my apprentice's first production; how did you come +by it?" At these words Mr. Messing stood as if thunderstruck, and in his +bewilderment he tried in every way to convince Gemuender that he was +mistaken, but failing in this attempt, his discomfiture was complete. +When he had somewhat recovered from his dismay, he felt heartily +ashamed, because he had disregarded the work of the master only to take +up with the apprentice's first production, and this, too, under the +delusion that that work was a genuine Stradivarius violin. Mr. Messing +is now cured of his prejudice, and is no longer looking for a +Stradivarius violin. + +At the time when Gemuender had his violin in the Exhibition of Vienna, +Baron Leonard, from Hungary, who was a great violinist, brought him his +Italian violin to have it repaired. During their discourse about violins +the Baron conveyed to Gemuender the impression that he had already seen +many Italian violins, and he seemed to have a great knowledge of them. +Thereupon Gemuender showed him a violin that seemed to be a genuine +Guarnerius, which he had determined to send to the exhibition of Vienna. +The Baron was quite astonished at seeing such a wonderful and splendid +instrument, and did not know which to admire more, whether the varnish +of the violin or its tone; in short, he looked at it with reverence, as +if it were a shrine. Gemuender then showed him a Stradivarius, and when +the Baron's gaze fell upon this instrument, he seemed to be enraptured, +and he exclaimed, in a tone of question: "Mr. Gemuender, how do you come +by such treasures? In truth you have a treasure of the greatest rarity, +for I never saw a violin so beautiful and of such tone!" When, however, +Gemuender declared to him that these were the sisters of the "Kaiser" +violin, which was in the Vienna Exhibition, and were made by him, the +Baron conducted himself as if he had awakened from a sweet dream, and +found it difficult to realize his true condition. + + + + +PREFACE. + + +It is not my intention to unfold in this work my knowledge of the +structure of violins; for the present generation would not thank me for +doing so. In the treatise itself will be found the reasons why I have +not set forth that knowledge. Since the death of the celebrated old +Italian violin makers, many works have been put forth, in which we find +not only in what manner those famous masters varnished their violins, +but also prescriptions even, of theorists who usually know nothing about +the practice, or mathematical principles thereof. Abundant theories are +to be found in all such works, but they are good only for those who have +little or no knowledge of violin making. If the science of the +celebrated Italian masters could really have been found in these works, +the experiments made by European investigators would not have been +entirely unsuccessful. + +In George Hart's interesting book, "The Violin," a comparative +illustration may be found of the workmanship of all violin makers with +whom he became acquainted, either personally or by history, and by whose +productions he obtained his practical knowledge, which comparisons are +generally good, but not entirely free from error. This compilation of +experiences is highly interesting for all those who take an interest in +violins. The treatises which will be found below have reference simply +to the art of making violins, to violin players and their critics, the +information contained in which has for the most part never hitherto been +made public. + +Through these scientific explanations a better judgment will be +awakened, which will tend to show how, in consequence of mistakes and +ignorance in regard to violins and violin makers, false ideas arise. + + + + +PROGRESS OF THE STRUCTURE OF VIOLINS--THEIR CRITICS. + + +In 1845 I became personally acquainted with Ole Bull, at Vuillaume's, in +Paris, where I then had my first opportunity of hearing and admiring an +artist on the violin. I learned then to appreciate the beauty of both +arts, and the sublimity of attainment in either to be a violin virtuoso +or a perfect violin maker. The latter art engaged my whole attention, +and it was my greatest aim to reach to the highest point of perfection +therein. + +I also found that Ole Bull took special interest in the different forms +of violins, and I remember that as early as 1841, at which time I worked +at Pesth, my employer made the so-called "Ole Bull's bass-bars" in +violins, the ideas of Ole Bull concerning violins then being accepted as +authority. Ole Bull subsequently made many experiments regarding tone, +especially upon new violins, in order to reproduce the same character of +tone, then considered lost, peculiar to the Italian instruments. Knowing +that all experiments made since the death of the celebrated Italian +masters had proven unsuccessful, he undertook to construct a violin of +very old wood, but was soon convinced that he had not obtained better +results than others; he therefore decided the project to be an +impossibility, and having arrived at this decision, his opinion was +generally conceded to. Since then, doubtless, he found out that to make +a violin was a more difficult task, for him, than to play on one. As a +virtuoso, however, he obtained a celebrity which will make his name +immortal, and as he was an artist in his own peculiar way, his name will +live forever in the memory of men. Nature has endowed many men with rare +gifts, each one possessing a talent peculiar to himself: but we know how +long it requires to perfect one's self in any given art, and it +therefore cannot be expected that a great violin virtuoso should at the +same time be proficient in the art of violin making, the two arts being +totally different. It is, however, generally believed that the +assertion of Ole Bull had more weight with many violin players and +amateurs than the most adequate knowledge of a violin maker. I admit +that Ole Bull had some experience with violins, but had he obtained +sufficient knowledge he would have easily understood that many of his +ideas were not based upon principles which he thought had remained +secret to all investigators on the subject, as the greatest authorities +have acknowledged the tone in George Gemuender's violins to be of the +same quality as that characteristic of the best Italian instruments. + +This proves that violins are judged the best when they are mistaken for +Italian instruments and prejudice only is the actuating motive when the +declaration follows that the instrument is a new violin. If, therefore, +the knowledge of tone could have proved more reliable, prejudice would +not, in many cases, have appeared so severe, and embodied itself so as +to degenerate into fanaticism. + +Violins made of healthy wood and according to the rule can never lose +their tone. It is, however, something different if they are carelessly +treated. + +When an Italian violin, which lay untouched in concealment for fifty +years, was shown to Wieniawski at the Russian court, and he was asked +what he thought of it, he said, after trying it: "The violin has a bad +tone." "Well," said the Emperor, "let us put it back in its old place. +If it had been good I should have presented you with it." Wieniawski, +greatly surprised, replied: "Oh, when I play upon it it will regain its +tone." Here vanity and ignorance are shown at once; for if that artist +had had any knowledge of violins, he must have known that the violin was +not in good order, and that it was first necessary to have it put in a +good condition by a professional repairer; but instead of making such a +proposal, he thought to make an impression by his renown, and that he +would improve it by playing upon it. + +I mention this because it contains two points: firstly, because, +especially here in America, great stress is laid upon the opinions of +such artists, but it proves that artists do not always have a knowledge +sufficient to enable them to give a correct judgment of violins; +secondly, if this violin had been new, many would have thought that it +was made of chemically prepared wood. A violin, however, of such +defective wood, can never give a good tone; because the life is taken +out of it when it is made. If such artists would make themselves +acquainted with a professional violin maker, many of them would get more +light on this matter, but since they consider themselves to be +authorities on the subject, there is very little prospect of visible +progress. It is, therefore, a rarity when an artist is found who is able +to judge of the quality of tone, whether the wood is chemically prepared +or not, and although this is easily to be distinguished by the practiced +ear, a peculiar experience is required for it nevertheless. Many, +however, believe that he who plays the violin to perfection, and +especially the player of renown, must be acknowledged as a judge of +tone. I admit that many violin players are judges of tone, but not +beyond a certain degree, as the greater number of them hear their own +instruments only and are taken with them; but he who possesses a feeling +of tone, and into whose hands violins of all shapes and qualities are +falling, whereby he learns to distinguish the different characters of +tone, is to be considered a connoisseur of tone; he must, however, +possess some knowledge of playing, although it is not necessary for him +to be a solo player, for with how many solo players have I become +acquainted who have no more judgment of tone than children. + +For musicians and solo players it is very difficult to find out how far +the tone of a violin reaches. Many a player, having no experience in +this regard, plays in concerts on a violin which sounds like an echo, +but if the instrument is called Stradivarius or Guarnerius and $3,000 +has been paid for it, and besides it has a "history" attached to it, +then, verily, it must sound. The critic, however, does not blame the +violin, but the player, for weakness of tone, and in that respect he is +right. + +For solo players who still use such echoing violins in concerts, it +would be of the greatest importance to make themselves acquainted with +the quality of tone which is fit for concerts, for most Italian violins +which are used in concerts prove either too old or of too thin wood; but +most players are accustomed to the fine, tender, echoing tone to a +degree that the true concert tone appears quite strange to them. + +Thus, violins of chemically prepared wood will never do for concerts, +and it is a great mistake to believe that such violins have ever +produced as good a tone as good Italian violins do. Ignorance and self +interest have launched this untruth into the world. For violins made of +such wood produce short vibrations--a muffled color of tone similar to +that of impaired Italian instruments. Vuillaume put all the world in +commotion with his violins of chemically prepared wood, and all the +world sang hosannas. But when it was found that such instruments kept +this tone only a short time, there arose a general prejudice against new +violins and no one would play on them. + +In order to remove all such ideas and prejudices I can safely assert +that violins of a free, high, clear and powerful character of tone, with +a quality which thrills the heart--such tone as my instruments produce, +and which qualities are now seldom found in the best Italian +violins--can never be obtained by any artificial preparation of the +wood, but only by way of science according to acoustic principles. + +Of course it is the wood more than anything else which is to be taken +into consideration; for without the right sort of wood all science will +be unavailing, and _vice versa_. Many violin makers can get the best +wood, but where there is no talent applied in the construction, nothing +very good can come forth. + +Of all productions of art, the violin is the most difficult to judge, +and I have nearer illustrated the different characters of tone which +violins produce, and tried to make these things more comprehensible, in +order that this medley of opinions and judgments which have been given +may be put in a clearer light. + +I was highly astonished at the manner in which my "Emperor" violin +("Kaiser" violin) was judged, which was sent to the Exhibition of Vienna +three weeks after it had been finished. The violin had attracted not +only many admirers, but also a great number of gazers who have no idea +of a violin, and who stared at it only on account of its price. + +Thus, the New York _Staats Zeitung_ had a correspondent in Vienna, who +also stared at the violin from the same reason. His ignorance, which he +exposed in his correspondence to the newspaper which he represented, led +him to make the following remark, which was published on the 27th of +June, 1873, and runs as follows: "From Salzburg several violins, mostly +the former property of Mozart and Beethoven, were sent, and the one +which Beethoven owned was made by Hellmer, at Prague, in 1737, as was +noted on the label, (saleable for 200 Florins,) while for a Gemuender +violin in the American division of the Industrial Palace, $10,000 (!) +are asked. Of course, everybody laughs at the simpleton who believes +this is the only curiosity of the kind, and thinks he can obtain such a +fabulous price for it. The Commission that for this time has made us +very ridiculous with our 'Go ahead,' should remove that label as soon as +possible, that one of the exhibitors may not become a public laughing +stock." But that writer soon found how much this violin was admired; he +learned to see that it was the only curiosity of the kind, in fact, for +soon afterward I read again in the _Sontag's Staats Zeitung_ that "the +violin was admired very much." + +This violin was exhibited by me for the purpose of proving to the world +that I can make violins that have the tone which has been sought for a +long time since the death of the celebrated Italian masters, since which +all attempts have miscarried, and I confirmed this fact in a circular +added to it. + +But what was the result? It was not believed. In the Exhibition of +Vienna my violin was mistaken for a genuine Cremonese violin, not only +for its tone, but for its outer appearance, which was so striking an +imitation according to Joseph Guarnerius, that a newspaper of Vienna +made the observation: "George Gemuender cannot make us Germans believe +that the violin sent by him is new; a bold Yankee only can put his name +in a genuine instrument, in order to make himself renowned!" + +Although this was the highest prize which a violin maker had ever +obtained, it was no advantage either for me or the public; for the art +of violin making was not furthered by it, but rather still more impaired +by the correspondence of the _Staats Zeitung_ and the New York +_Bellestristic Journal_. The latter writes as follows: "S. F., +Pittsburg.--G. is a pupil of Vuilliaume; his violins are much demanded, +but their prices are so high that purchasers are frightened!" + +Thirty years ago I sold violins at from $50 to $75; ten years ago I sold +violins at from $100 to $300; now I sell them at $100 and upwards; and +violin makers here and in Europe ask the same prices. Nay, amateurs who +do best in their ignorance, ask still higher prices. Wherein, therefore, +do we find that which frightens the purchasers? The effrontery of +writers who make such statements as the above will bring them no honor. + +Many may still remember that I had determined to send six violins of +different forms, copies of the best old master-violins, to the Vienna +Exhibition, and intended myself to take the matter in hand, but, owing +to an accident, I was compelled to give up this intention. In +consequence, I resolved to send only one violin. To select one of them, +artists such as Wollenhaupt, Dr. Damrosch, Carl Feinninger and others +were consulted, but they differed in their opinions, which may be taken +as a proof that the instruments were very much alike in character; they +are also witnesses of the fact that I made them. In order to call +attention to the one selected, I noted the price "ten thousand dollars!" +Nobody, however, was charged to dispose of it, although three thousand +dollars were offered. + +The circumstances connected with the construction of this violin gives +it more than an ordinary interest. Ridicule and praise in the highest +degree are interwoven with its history; therefore, it has been hitherto +the most interesting new violin in this century. Why I could not be its +representative and had to leave it to fate can be learned from what I +have already written about it, and how I have judged every thing +connected with it. I was, however, sure of one fact, namely, that it +would be acknowledged as a production of art. The admission must then be +made, and the claim is amply justified by facts, that, as new violins +are frequently mistaken for genuine Italian instruments, even when most +particular attention is given to the varnish, the art of violin making +must no longer be considered as a lost one. + +May the foregoing satisfy all doubters and those who have lately, +especially in America, written about the lost art of varnish and tone, +and may it cause them in future to refrain from investigating into the +so called lost arts. He who would give a scientific explanation of this +art and be a critic, must be thoroughly acquainted with it. + + + + +A TREATISE UPON THE MANNER IN WHICH MASTER-VIOLINS ARE RUINED. + + +The manner in which violins are so often ruined seems almost beyond +comprehension, or rather the way they are generally treated must +necessarily involve their ruin. The cause of this can not be entirely +ascribed to those destroyers of violins who pretend to be repairers, but +it generally rests with the owners of violins themselves, because they +are usually ignorant as to who is master of the art of violin making and +to whom a master violin may be entrusted. They therefore make inquiries +for such experts, and apply for that purpose, generally, to renowned +violin players, not realizing that even these are not always endowed +with discrimination, frequently not more so than the one asking advice, +and thus the latter is led astray. + +To find an adept repairer is as difficult as to find a thorough master +of the art of making violins; for the repairer must possess the same +knowledge of the production of tone as the best violin maker. The man +who cannot make excellent violins cannot be an excellent repairer. To +obviate all doubts on the subject, I will state that the foundation of +the whole secret is simply this "Every violin maker will make repairs in +accordance with his knowledge, as he would make violins, and violins as +he would make repairs!" This principle is so scientifically correct as +to be conceded even by the most severe critics. + +Many a man achieves a reputation by certain meritorious accomplishments +in which he has distinguished himself, and in consequence thereof +everyone believes him an artist in the fullest meaning of the word. For +instance, Ludwig Bausch, of Leipsig, gained a deserved and world wide +celebrity as an artist in making bows. I also esteemed him as an +excellent and very accurate worker. But to my astonishment I found, as I +regret to say, that his fine repairs were mostly devoid of value, as +also were his new violins, so far as the production of tone was +concerned. But artists and amateurs, far and near, adored his useless +repairs and new violins, which latter usually sold for high prices. + +Thus the public are unable to form a proper judgment in regard to the +art. It would pain many a one, if they could realize the manner in which +valuable violins are treated by such violin makers and repairers. +Repairing violins, therefore, is as little understood as violins +themselves, in consequence of which not only the interior of many an +Italian instrument is ruined, but also the exterior is often deprived of +its classical appearance by an alcoholic varnish, which is smeared over +it and which impairs its value; and yet many owners of such instruments, +who do not know any better, rejoice to see their violins with such a +glossy surface. + +To rehabilitate a valuable instrument, and repair the exterior if +necessary, requires a skill as artistic as the rehabilitation of a +painting by a celebrated painter. Such instruments are also often +peculiarly tortured by unskilled hands, and many a valuable top has been +damaged by the operation of putting, or rather forcing, in the sounding +post. + +Owners of violins should take particular precaution never to permit the +cutting away of wood out of the bottom or top of a violin, without being +fully satisfied that the repairer is an adept in the art. In Italian +violins made by the old celebrated masters there is no necessity at all +for doing this, as they have not as a rule any too much wood, and most +of them are poor enough in this respect; in case those artists made no +mistakes others have brought them in by their repairs. + + + + +OF THE CAUSES WHY THE JUDGING OF VIOLINS AND THE REPAIRING OF THEM +IS LESS UNDERSTOOD THAN OTHER ART PRODUCTIONS. + + +Beautiful and interesting as is this art of making and repairing +violins, and however great has been my enthusiastic devotion to it, I +should never have engaged in it had I in starting possessed my present +experience, for the ignorance which the public has shown by the +confusion of opinions in this branch might almost make one believe these +judgments emanated from a mad-house. + +Why is it we hear no such conflicting opinions about the productions of +any other branch of industry or art? Because in no other business do we +find so many pretenders. And why is it they infest this particular +branch of business more than any other? Simply because the art of violin +making is not founded on a correct system, and this may account for the +medley of ideas which have been spread broadcast throughout the musical +countries, except France, where a regular system is recognized. + +Yet in spite of the lack of correct system of making violins, I have +become acquainted with a few German musicians who have acquired an +excellent schooling in the art. In this respect I cannot refrain from +mentioning my admiration for a thoroughly skilled musician, Mr. Herman +Eckhardt, of Columbus, Ohio, a man of rare genius in the knowledge of +music, who was able to define clearly and accurately the different +periods of the progress I made in violin making. + +Such a man I must respect the more, because he is endowed with sound +judgment, which other musicians, often of very high standing, could only +acquire by instruction, a method which to some of them would seem to be +impossible, as they are devoid of judgment, having their ability warped +by false ideas about violins, and rendering them incapable of correctly +understanding and appreciating the latest and best productions; this may +account for their fanatical admiration of Italian violins, even if they +possess only imitation, but, as "ignorance is bliss," they are happy. + +On the other hand, there are amateurs who take such a practical view of +the matter that they are just opposite in their beliefs to this class of +fanatics. They do not see why a new production, which answers the +purpose as well and which in more ways than one is preferable to an old +production of the same kind, should be regarded as of less value. They +do not understand why a desirable article should command an enormous +price when another article accomplishing the same effect can be bought +much cheaper. And in this they show a common sense which might well be +emulated by many others. While it is true that an enthusiast ought never +to be blamed for his enthusiasm, if it has a reasonable base, it is no +less true that lacking in this respect he is nothing more or less than a +fanatic. This class of people is by no means exclusively confined to +amateurs, but even includes in its ranks many true artists in music. + + + + +ON THE PRESERVATION OF VIOLINS. + + +There is no doubt that a certain class of violin players pay very little +attention to the care of their instruments, as they use them daily, and +few have time to bestow the necessary attention upon them. If a violin +is out of order, a musician or amateur who knows nothing about it +continues to play upon it. At length he perceives that the tone is not +the same as it was before. Many, therefore, often lay the blame on the +repairer, or on the violin maker, if it is a new instrument. It is +therefore desirable that players should always pay attention to their +instruments and examine them whenever they intend to use them, to see +whether everything is in order; that the neck has not sunk a little to +the front, causing the finger board to lie deeper on the top and the +strings to lie somewhat too high. Such deviations will occur, +particularly when the top is very much vaulted, as well as by change of +weather or climate. + +As soon as the weather becomes moist it is advisable to keep a violin +in a box; when the weather is fine it should be taken out of the box for +a time every day; and even if it is a very old violin it is not good to +keep it always locked up. A violin should never lie on a floor, whether +in a box or not, but should always be kept on an elevated place and in a +moderately warm temperature. + +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 bass-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 ILLUSTRATE 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, nobody 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 surpass 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 circumference, 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 +circumferential 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 nobody. 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 competitors 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 noble 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 +entitled 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. + +Dilettanti violin makers form a peculiar class of violin makers in +America; and they seem to be born for the sphere of such knowledge as is +here shining forth. Their patrons write articles for them in which they +try to instruct the public by their ignorance, as we find, for instance, +in the Philadelphia _Times_, of August 30th, 1879: "Gemuender refuses to +state the source of supply for his wood, and it is a well-known fact +that he and others use at times chemical preparations for the purpose of +changing the character and the appearance of their wood." + +The writer of this notice made a statement without any foundation. Had +he and his train a proper knowledge of the matter, they would be able to +perceive that the material of my violins is not chemically prepared and +the character of the wood has not undergone any change whatever. It is +presumptuous in ignorant persons to make such statements against a man +of long experience, for the purpose of bringing his productions into +discredit; productions which are proofs in themselves that not a single +violin can come into the condition of those manufactured of chemically +prepared wood, as those of Vuilliaume in Paris. But such individuals +manifest not only a prejudice against a better understanding, but also +are impertinent, from which stupidity and meanness emanate; and thus +they unmask themselves as false experts. + +The cause for this assertion will have to be found, and for the +disbeliever there is no other ground in the advantages I have gained by +my studies, which to them seem impossible; and as the Italian violins +are generally acknowledged the only good instruments, they try almost +anything to oppose what has proven itself so gloriously, rather than +acknowledge it as a fact. + +Truth, however, can never be overruled, and the time will come which +will impose silence on such individuals! Since mankind inhabits the +earth their characters are as different as we find different plants. +Many a flower is not fragrant, and how many stately and celebrated men +are heartless! Those, therefore, who are void of generosity are able to +do evil. Those classes who are as it were idle weeds, for the kinds are +both useful and hurtful to men; all that nature produces has a meaning. +If we could fathom all the secrets of nature we would also be able to +understand the meaning of them, and idle weeds could be less hurtful. +But in nature there lies a wisdom which remains a secret to mortal man. + + + + +GOOD LUCK AND ART, AND REMARKS ABOUT VIOLINS. + + +It is an incontestable fact that the success of the endeavors of men to +gain a livelihood depends upon luck, although many are of different +opinion, especially those who are always favored by good luck, as they +ascribe their success to their enterprise and skill. They do not +consider that good luck only has offered them a chance. Many become +wealthy without being gifted with peculiar knowledge, while many others, +in spite of all their knowledge and genius, endeavour in vain and do not +see their efforts rewarded. It is, therefore, a matter of fact, that +neither art nor science produce wealth, unless they are favored by good +luck, and the cases are innumerable which prove this. From the many +experiences in my life, especially in my profession, I will only mention +the following: Vuilliaume, of Paris, was favored by nature in a very +high degree in every thing; he was not only the greatest artist in his +profession in Europe during the present century, but also an excellent +business man, and good luck smiled on him in all his enterprises. Lupot, +his partner, laid the foundation of Vuilliaume's independence by +effecting a marriage between him and a very rich lady of nobility. Thus +he became not only a celebrated man, but also the richest violin maker +of our time. Although some of his violins of prepared wood incurred +discredit, nevertheless there were admirers who bought his violins, even +in America, where the prejudice against new violins is so prevalent, on +account of the supposition that the wood of them was chemically +prepared, a practice of which they so stupidly and unjustly accused me, +and thereby caused a great deal of harm to my business. On the other +hand, Vuilliaume, who really prepared his wood in a chemical manner, was +lucky and prosperous. + +What is the reason of this and where is it to be found, and why does +good luck generally lie in the opposite extreme? The solution of this +secret will probably remain undisclosed to mortals. Upon whomsoever +fortune smiles, and whom she allows to blow the golden horn, he +penetrates the world, his name becomes great, and he produces upon +mankind that effect which persuades them into the belief that the best +can be found only in him. If Vuilliaume had been a poor man he would +have certainly remained poor, especially in America, where the art of +violin making is still less understood than in Europe, and unjust +reports will be more readily listened to than anywhere else. + +In Europe there was a general supposition that a pretty good demand for +old Italian violins existed in America, in consequence of which dealers +in old and new violins found their way hither. In disposing of these +instruments they were not very scrupulous in regard to the information, +and sometimes gave them names according their own fancy. A great many +so-called Italian violins and violoncellos came in this way to America, +and the owners are happy in the imaginary possession of an Italian +instrument. Other persons again entertain the idea that they are surer +of a genuine article if it comes from Europe, as there is their home; +but if it is believed that this is always the surer way, it is a +mistake. It requires an extraordinary study to recognize the maker of an +instrument, and understand the dead language of the violin. Thus it must +not be believed that the instruments claimed to be Italian are always +genuine; the seller himself may sometimes be mistaken. Many owners of +such "baptized" violins do not always like to be informed of the real +origin of the instrument by a person of thorough knowledge. + +Sometimes I feel constrained to give an opinion by virtue of my +knowledge, but it must not be expected of me to admire a thing that +is not genuine, as those owners do in their ignorance. + +If, however, a genuine and valuable Italian violin has lost any part, +and if a violin maker possesses the art to restore the missing part, +either in imitating the varnish or in adapting the lost part to the +character of the violin, so that the instrument reappears in its +originality so completely that the connoisseur is deceived, the value of +the violin is in that case not impaired. This also occurs in regard to +very valuable old pictures, and the artist who is found to be able to +execute such work is well paid. + +Such artists are, perhaps, more to be esteemed than the maker of the +original, as they are rare, especially those who are able to restore the +originality of valuable old violins. The instruments lose their value in +case the repairs cannot be carried out properly, owing to a want of +genius upon the part of the repairer. + +I have often shown this art in exceptional repairs; but what can be +gained by it? The greater number of those who own violins do not know +how to appreciate such skilful work, and, in their ignorance, they +attempt to do harm in the bargain, when they hear that they must for +such repairs, perhaps, pay somewhat more than usual--an additional proof +of how great the darkness still is in judging this art. The time when a +better understanding in this regard will come to daylight is still far +off! And why? Because all other arts and branches of industry are based +upon solid ground, as the State governments protect them, and, +therefore, they can come to a proper degree of perfection. The art of +making violins does not enjoy this privilege (except in France) and it +hovers mostly in the fog since the death of the celebrated Italian +masters. + +Therefore, it can yet be called only a fancy art. The opportunity which +has been given to mankind in this century to make this science general +has not been regarded, because the confidence and belief in it has been +wanting, and it will disappear like a drowning person, who several +times comes up out of the water, but who, at last, is overwhelmed. +Instead of endeavoring to save this art in its details, it is ignored by +self-interest. But such an aversion to the best modern productions is +sometimes punished very severely, as want of knowledge often brings +common productions into the possession of individuals. + +Since the death of Tariso, the great collection of violins, etc., which +he gathered from all the regions of Europe, has been scattered again +over all countries. Vuilliaume, who bought many of them, afterward +resold some to violin makers and dealers; those instruments which were +put in order by them are easily recognized. + +This collection consisted mostly of all characters of Italian +instruments, from the most commonplace to the celebrated Stradivarius. +In many an admirer an interest may have been awakened thereby to possess +one of these instruments. But it must not be expected that all of those +violins still possess their original parts. Had not such amateurs as +Tariso--and they are not rare in Europe--bought those instruments of +that time and kept them safely, which contributed to their longer +preservation, they would, especially if they had been always used, be in +a much worse condition. + +George Hart, of London, is also such a gatherer of and dealer in +instruments. John Hart, the father of George Hart, whose personal +acquaintance I made at Vuilliaume's, in Paris--when I was engaged to +make for him a set of Stradivarius heads, from that of violin up to that +of contra-basso, which should serve as models--undertook to gather such +old Italian violins for the purpose of selling them again to other +persons. From that firm there came, in fact, some specimens of the +celebrated Italian masters to America, and they are interesting and very +well preserved. I have seen and admired them; they are in possession of +an amateur at Hartford, Conn. Here they are preserved again for the +coming generation. + +Violin players look with envy upon such violins in the hands of +amateurs, but it is fortunate that most of them have come into such +hands, for violins of this kind are very delicate, and although those +which are well kept produce a beautiful tone, most of them have not that +power of tone which is necessary for concerts. + +The solo player, however, believes he must produce the strong tone of a +violin by force, which breaks the tone, and is not heard distinctly. In +this manner such violins are tortured and ruined. When such well kept +violins continue to be well preserved, they may be the same after a +hundred years. Such relics will then, no doubt bring still higher prices +from those who wish to possess a violin of that kind. + +But it is strange that some amateurs put a particular value upon a +violin which has been in the possession of a rich nobleman, as if it is +more likely to be genuine in that case? What a foolish idea! Such whims +are not entertained by connoisseurs. There are enough aristocrats who +possess only a fiddle, especially in America, and who know nothing about +the value of a violin; it is rarely that they have at home a violin +which is worth over five or ten dollars. When many of them hear that +thousands of dollars are paid for violins, they think that persons who +pay these prices must be crazy. The reason of this is that most of them +know no difference between a ten dollar fiddle and a violin which costs +as many hundreds of dollars! + +Amateurs who pay thousands of dollars for a violin are here in America +just as isolated as that enthusiast who paid six hundred dollars for the +first ticket of the first concert given by Jenny Lind in New York, and +the other who paid ten dollars for his admittance in order to be able to +see the six hundred dollar man. + +Thus I believe to have unrolled a panorama which will assist in the +dissemination of knowledge and truthful views, which have only been +obtained by a long experience. + + + + +OF THE MANNER OF PLAYING--TREATMENT OF BRIDGES ETC. + + +It has often occurred to me that violin players of all kinds find fault +when the strings are not arranged in the manner to which they are +accustomed, and almost every one believes his method to be correct. This +subject shall be discussed here, so that a clearer insight may be +obtained and the correct method ascertained. + +There are violin players who have a greatly arched bridge, and others a +very flat one, on their instruments. The latter, therefore, more than +the former, have the advantage of being able to play on all violins, +because they are accustomed to a bridge which is flatter. These +different methods mostly arise from the different arrangements of the +violins upon which pupils learn to play. + +Ole Bull was an exception to this rule; with him it was not chance; of +all violin players he used the flattest bridge on his violin; but it was +his principle. His music pieces required it, and in his method he +became a master. + +I. B. Poznanski played at one time on a violin with almost as flat a +bridge as that on Ole Bull's instrument, and I believe it will not have +been forgotten that he produced, as if by charm, a great tone from his +instrument. This proves that a great tone can be gained on a flat +bridge. Therefore it depends only on the skill with which the bow is +handled. Many violin players, however, are of opinion that they must +press the bow on the strings very much, in order to bring forth a strong +tone on the violin; but the pressure of the bow is limited; for when it +is too strong, the ear becomes disgusted with the tone, nay, a scraping +and jarring tone is produced by too strong a pressure, because the G +string touches the finger-board in this case, in consequence of which +many violin players wish to have the finger-board very hollow. But it +must not be believed that in such a manner the right tone is produced; +on the contrary, the full tone, which lies ready in the violin, is very +easy to be gained by the knowledge and skill of handling the bow. + +The rule is, that the tone must be drawn forth by the bow, and it must +not be forced forth by pressure. The bow must not be led oblique, but +straight over the strings, so that the hair lies flat on them; it also +depends on the flexibility of the arm, that the bow may not touch the +strings stiffly, but in an elastic manner. Those who attract attention +to their elbows cannot expect that the bow and the violin alone will do +their service. + +The most perfect condition of a violin requires the instrument to be so +arranged that it can be played easily; therefore, I determine that the +height of the strings must be three-sixteenths of an inch at the end of +the finger-board, and that the arch of the bridge must have the same +measure, three-sixteenths of an inch, between its two extremes, for +bridges more arched than this cause difficulties to the player, because +the movement of the bow is too much abstracted when passing from the E +string to the G string. In such a manner, David in Leipsic had the +violins arranged for his pupils. + +On such arched bridges the two middle strings lie too high from the top +towards the G string and E string, and it is an acoustical mistake, +because it produces an inequality of the character of tone. + +Such knowledge should be taught to the pupils in conservatories of +music; but it is generally believed that when a violin player has been +made a professor he is able to satisfy the requirements of his position +in this regard. + +For the benefit of the learner, however, I will enter more nearly upon +the knowledge which is required, especially in a conservatory, and to +the imparting of which the teacher should attend. First I will mention +as an example the conservatory at Leipsic when it was under the +management of Director David. Most of his scholars were then compelled +to play on new violins made by Bausch, which for their stiff and tough +tone are for the greater part unfit for those who would become artists. +This quality of tone, together with the fact that students were forced +into a certain position and fatigued, caused them to become nervous; but +many parents who had no knowledge of it, sent their sons to that +institute, even from America, and they had no idea that many of them +brought back a nervous disease and were thus ruined. I heard this of no +other conservatory in Europe. Thus it would appear that David pursued +his own interest rather than that he cared for the good of his pupils. + +Here in America we have violin teachers whose methods are preferable by +far to such. + +The following is a method according to which students should be +instructed: The student must not be forced into a position of holding +the violin so as to cause the ruin of health, but on the contrary, by +means of a free position and natural holding of the violin the chest +will be enlarged. This does not only benefit the health, but also +facilitates the learning and progress. + +It is of the greatest importance that students learn on violins which +have good tone, for instruments which have a bad quality of tone usually +discourage the beginner, so that he becomes nervous and soon considers +playing an unpleasant work, and gives it up without knowing the reason +why. Teachers, therefore, should have the necessary knowledge of the +qualities which a violin must possess. A knowledge indispensable for +them and a great benefit for the learner. For only a good tone has a +charming influence upon the mind, and owing to this many beginners +advance early to a high degree of perfection; therefore it must also be +in the interest of the students to get familiar with the good tone of a +violin, that their ear may not be accustomed to a sickly tone. Alas! +This point is mostly disregarded by their parents, who have little or no +knowledge of a violin, and it provokes some indignation in +scientifically instructed teachers to teach their pupils on miserable +fiddles. + +If a teacher knows how a violin should be arranged, it is above all his +duty to examine the instrument, and ascertain whether it can be used for +the instruction of a learner; for as the violin is first arranged for +him so he will ever be accustomed to have it afterward. For instance, on +the violin of the solo player Ed. Mollenhauer, the strings lie on the +finger-board lower than on any other that I ever saw. No doubt he has +learned on such an instrument. It is true that the virtuosoship is +facilitated, but the strength of tone is impaired by such an +arrangement. + +The ingenious artist Brume, however, was so great a master that he +played even on violins the strings of which lay very high, although he +did not know this. Many, again, are accustomed to bridges that are very +much curved towards the E string, because they did not know, when +learning, how badly their violins were arranged. + +A correct system must be the foundation of everything, but as the +theories in this art are still dead letters for most violin players, +there have arisen fantastical ideas, especially among the greatest of +them. Ole Bull did his best to impart such ideas to others, yet many of +them were, no doubt, excellent. Ole Bull always had a vehement desire to +find something better beyond all possibility. Many of his ideas were +contradictory to all the rules, and although he put some in practice he +did not persevere in any of them for a long time, for a new idea +occurring to him all others were supplanted by it. + +It happened once that Ole Bull was visited in New York by another +artist, who was called the "American Sivori." He, as well as many others +thought that Ole Bull had a perfect knowledge of the structure of +violins. Sivori, seeing that Ole Bull had a bridge on his violin which +stood quite oblique--for the upper part of the bridge was bent backwards +by a quarter of an inch,--adopted this idea. When his violin had been +provided with such a bridge he came to me, and with great satisfaction +he showed me this queer position of the bridge on his violin. I was +highly astonished at him that he could approve of an idea which is +against all correct theory and is nothing but a farce. I then explained +to him not only the consequences which must arise from it, but also the +impossibility, by such an arrangement, of bringing to bear an even +horizontal pressure on the bridge. But he thought that which came from +Ole Bull was better than that which came from my knowledge. Let us see +what happened later. In a concert of his, while he was playing with +enthusiasm, the bridge fell and broke! + +Another day an Italian artist came with his Maggini violin to show me +where the sounding post must stand in his violin, having obtained his +information about it from Ole Bull. I could not help smiling when I saw +that the sounding post was placed quite near the _f_ hole. Upon +expressing my surprise, he replied with the following insult: "What do +you know about the position of the sounding post? You are no violin +player like Ole Bull, therefore you cannot know about it." My answer +simply was: "Only a fool can talk to me in that way, and very soon you +will find out that you will have to give up such an insane idea!" + +It was on the third day after that he came back begging me to place the +sounding post in his violin according to my judgment. When he had +apologized for his indiscretion, I fulfilled his wish. + +Thus I have become acquainted with several artists who constantly +tortured their violins by getting the sounding post and bass-bar +displaced. This proves a want of correct theoretical knowledge, and +through this ignorance they make the sounding post wander about the +whole violin. + +The place of the sounding post can only be ascertained through the +theoretical knowledge of the construction of the bottom and top of the +violin. Many players think they can obtain the right tone by the +position of the sounding post alone, but no sounding post can make good +a fault in the construction of the bottom and top. + + + + +CIRCULAR WHICH ACCOMPANIED MY "EMPEROR VIOLIN" IN THE VIENNA +EXHIBITION OF 1873--AN INTERESTING EXPLANATION ABOUT VIOLINS AND OF +THE SCIENCE OF TONE. + + +It is an indisputable fact, that of all productions of art in the world, +the violin has been least understood. + +This wonderful instrument has remained an enigma to the musical world +until now. How fortunate it is that this instrument does not understand +human language, by which circumstance it escapes that medley of critical +remarks which are made in its regard. + +It is, therefore, in the interest of art and its votaries that I have +determined to present herewith to the public the results of my long +experience obtained in making violins, and in examining those sciences +connected with it. + +It is generally known that up to the earlier part of the eighteenth +century the Italian masters made the best violins, and with the death of +those artists a decline of that art, too, took place. Those so-called +classical instruments have been, especially of late years, eagerly +sought at high prices, by all artists and amateurs, because a settled +opinion has taken hold of their minds that nobody is able to construct a +violin which is fit for solo performances; that the secret which the old +Italian masters possessed is not yet found, and that new violins, +although constructed according to the rules of acoustics, cannot gain +the desired perfection until after the use of a hundred years. This, +therefore, animated many violin makers with an endeavor to overcome that +difficulty, but in vain; at last Vuillaume, of Paris, was impressed with +the thought of making wood look old by a chemical process, and he +succeeded in creating a furor with his instruments made of such wood, so +that people began to believe the right course was being pursued. It +turned out, however, that after a few years those instruments +deteriorated, and finally became useless and proved a failure. + +This especially prejudices the minds of the virtuosi so far that they do +not believe it to be possible to make violins which answer the general +requirements of concert playing until they have attained a great age. + +Vuillaume has, therefore, by his chemical preparation of wood, injured +this art seriously, because the previous prejudice was corroborated +thereby. Such prejudices stand in the way of progress in making good +violins. + +But as everything in the world is going on, so the art of the +construction of violins has not remained behindhand, and I can prove +this to the musical world by my own experience. + +To the knowledge of making such violins as artists and amateurs demand, +there belong besides ingenuity in carrying out the mechanical work a +knowledge of the following three sciences, namely: mathematics, +acoustics and the choice of wood. + +A knowledge of acoustics, which is most indispensable to the violin +maker, cannot always be acquired, since it emanates from an innate +genius, which makes itself manifest in the very choice of the wood. + +When by the aid of these sciences I had arrived by a natural proceeding +at what I aspired, I made violins in imitation of the old Italian +instruments and presented them to great artists and connoisseurs, and +the highest authorities of Europe and America. They pronounced them to +be genuine old Italian violins, not only on account of tone, but also in +regard to form and appearance. In this manner I broke that prejudice. I +proved to the so-called "connoisseurs" that those violins laid before +and acknowledged by them to be good, were of my making, hence they were +new. If I had presented those violins as new productions of my own to +those gentlemen, they would have condemned them forthwith and said that +they would not prove good till they had reached a great age, and that +they would perhaps in a hundred years equal the old Italian instruments. + +In general, however, it is not taken into consideration that if a violin +is not scientifically constructed the good quality of tone will never be +obtained, either by much playing or by age. In applying the three above +mention sciences I have gained not only the fine quality of tone, but +also that ease with which the tones are made to come forth. + +But we must be thankful to the great masters; they have laid for us the +foundation of the manufacture of violins, by which they became +immortalized. + +Their system, however, is but little understood by the present violin +makers, because very few intelligent people devote themselves to this +art, and the most of those who are learning it, practice it not in the +way of art, but of business. What wonder, when even the greatest artist +in Europe, Vuillaume, imitated the very mistakes which the great Italian +masters made in regard to mathematical division. He did not consider +that they, in improving the art, made experiments in regard to form, +swell and different thicknesses in working out the bottom and top. But +there are a great many professional men who, from exaggerated +veneration, consider all productions of those masters as law and beyond +correction. + +I have discovered that the old masters did not arrive at perfection, but +made mistakes in their mathematical division and in the workmanship of +the different thicknesses of the bottom and top. Those faults I have +endeavored to avoid in the manufacture of my violins, and I think I have +solved this problem. + +Just so it is with the knowledge of tone. It is a great mistake to +believe that it is only the player who has this knowledge. Experience +has taught that playing and knowledge of tone are two different +provinces, because the artist very seldom has an opportunity to make +close study of the different qualities of tone, and is usually +prepossessed with his own instrument. + +If many solo performers had more knowledge of tone they would not so +often play in concerts on feeble instruments, which are too old, too +defective in construction, or have been spoiled by bungling workmen who +were employed to repair them. Such instruments often injure the solo +performer exceedingly, and the critic is right in charging the fault to +feebleness of tone. But the artist is generally satisfied if he only +possesses an Italian violin. + +Also in the science of tone I have found the way to gain that experience +by which I have been enabled to make a violin which will satisfy an +unprejudiced solo performer of the present and future. + +I have confined myself to the natural process which the Italian violins +underwent, and I have put the problem to myself that it must lie within +the bounds of possibility to construct violins which will bring forth +good tones at once and not depend on a promising future for all their +good qualities, and I have not been mistaken, but have secured what I +sought. + +Many are still of opinion that the art of making violins and +predetermining the qualities of tone, is a mere accident. This is, if +taken in a general sense, true, because most of those who make violins +scarcely know any more of it than a joiner, but the ability to construct +violins according to the rules of art, requires a man who has enjoyed a +technical education, and whoever has acquired the necessary capabilities +knows the method by which the different qualities of tone may be +produced and obtained. + +Above all, he who occupies himself with repairs can least dispense with +these capabilities, since he is often intrusted with the most valuable +instruments; but alas! with what inconsideration do those who possess +such instruments often give them, for repair, to botchers and fiddle +makers. + +This proves how great in this regard is the lack of correct judgment. +Through such spoilers of violins most Italian violins have come to +naught, because many who own such instruments think that whenever any +one makes a neat piece of work and knows how to use his chisel, file and +sandpaper, he is the man to be intrusted with such instruments. But +where there is a lack of science, the repairer's work, be it ever so +neat, may cause damage in half an hour which will be greater than can +ever be made good again. + +If a violin maker constructs bad instruments it is his own damage, but +to make bad repairs is to ruin the instruments of others, the creations +of masters. + +Neither is a violin maker who does not know how to construct excellent +instruments a good repairer. Yet there are many who think that good +repairers need not possess the knowledge of making good violins. But +what a mistake! It seems, however, wisely ordained by nature that even +he who is less gifted and less learned may enjoy life, and thus gladly +bear sacrifices in consequence of his error. + +This is the plain and simple explanation of matters in regard to the +manufacture of violins and the knowledge of tone, and those to whom this +does not seem comprehensible may submit to a more thorough experience +than they have gained until now; in this case they will, after they have +fully convinced themselves of it, sometimes remember G. G. + + + + +A REPLY TO MR. E. SCHELLE'S CRITIQUE CONCERNING THE VIOLINS IN THE +EXHIBITION OF VIENNA IN THE LEIPSIG "NEUE ZEITSCHRIFT FUR MUSICK," +No. 52, 1873. + + +In the foregoing circular, treating upon violins, I said: "It is +indisputable that no production of art in the world has been less +understood than the violin." This truth has proved good again in Mr. +Schelle's critique concerning violins, and it shows how little he is +able to judge about them! In his very introduction it is plainly shown +that he has made no studies in regard to tone when he says: "Thus an +idea came to Vuillaume to make, by a chemical preparation, wood to look +like that of the old violins. Instruments made of this material excel in +regard to their splendid and real Italian tone." + +Against this I assert just the contrary and can prove it to be nonsense +by the fact that wood, when submitted to a chemical process, will +produce a dry, covered tone, and the noble quality of tone--that which +affects the heart--is lost. + +Mr. Schelle then says: "We may also discover a similar experiment in the +instrument which Mr. George Gemuender, of New York, has in the +exhibition, under the ostentatious name of Kaiser Violin (Emperor +Violin). Of course its manufacturer would protest against this +insinuation, for in a little pamphlet he declares that by the assistance +of three sciences, the mathematics, acoustics and knowledge of the wood +to be chosen, he had not only comprehended the system of Italian school, +but had even discovered errors in it, etc." + +Mr. Schelle further says: "There have been many celebrated violin makers +who were gifted with the same talents and learned in the same sciences, +yet they could not reach what they aimed at, in spite of their most +strenuous efforts. We confess quite openly that in spite of his +assurance we harbor the suspicion that Mr. Gemuender has taken refuge in +a chemical preparation of the wood. The violin in question, a faithful +imitation according to Guiseppe Guarnerius, is indeed beautiful in its +appearance and has a very excellent tone. But the extravagant, really +American, price of ten thousand dollars could only be excused when its +excellence should have been proven good in future," etc. + +From this (Mr. Schelle's) critique it is evident that he has tried to +throw into the shade the interesting production of art which I had in +the exhibition, in order to be enabled to put the productions of the +Vienna violin makers in a more favorable light. But this proves that +only such persons as are destitute of sufficient knowledge to judge of +violins may be transported to such one-sided critiques, dictated either +by partiality or other interests; for if that were not the case Mr. +Schelle ought to have blushed with shame in regard to that injustice and +disrespect with which he illustrated the experience of an artist and +spoke of his talents and sciences, to which Mr. Schelle is as much a +stranger as he is to the artist's person! + +As Mr. Schelle takes into consideration that the violin at ten thousand +dollars exhibited by myself must first undergo "a proof of time," it may +be rather advisable for Mr. Schelle to take a lesson of Gemuender, that +he may learn those characters of tones which will prove good in future +and which will not; so that he may be able hereafter to show better +knowledge in his critique upon violins! + +From my childhood I have grown up in this art in Germany and have +devoted myself to all those studies which are connected with it. The +last four years in Europe I passed at Vuillaume's in Paris, consequently +I am acquainted with the entire European knowledge of the construction +of violins. + +Since 1847 I have made violins in America, therefore my instruments do +not require to be subjected to a "proof of time," for it is without such +a one that I have solved the problem and secured at once the fine tone +which all the preceding violin makers strove in vain to find. I obtained +my purpose in quite a natural way. This knowledge, however, does not lie +in an object whose secret is only to be secured by a patent; it lies +purely in the gifts of man. Another century may pass by before this +problem will be solved again. The closing page in Mr. Schelle's critique +sounds like a lawyer's pleading in favor of a criminal. In this regard +his writing is quite creditable, for he has well pleaded the cause of +the violin makers of Vienna! + +But then those words in my circular about violin makers proved true +again: "This wonderful instrument has still remained an enigma to the +musical world until now. How fortunate it is that it does not understand +human language, by which circumstance it escapes the medley of opinions +which have been given in regard to it." + +When, however, its clear tone was heard, and the easiness with which the +tones came was noticed, then it became an enigma to professional men and +they declared that this violin was an original fixed up again! + +But later, when it was objected to and found to be a new Gemuender +violin, it was ignored even in the newspapers. The _Neue Wiener +Tageblatt_, of Vienna, called it afterwards "the false Cremona violin!" +How envy here glared forth again; for this violin was not exhibited as a +Cremona violin, although it has been demonstrated that it had been +previously really taken for a genuine Italian instrument. + +Its introduction as "Emperor Violin" had a force and pungency which +tickled the professionals, and what surpasses all belief is, that they +themselves crowned the work. It was, indeed, the greatest premium that I +could gain, in spite of all the pains which those men gave to +themselves to deprive me of my merit. Thus a moral prize values higher +than a piece of metal? + +Although many mocked at the high price, yet no such violin could be made +by all those deriders, should millions of dollars be offered to them. +Therefore an unrivaled artist has the right to fix any price on his +productions. Although an offer of $3,000 was made for it, yet nobody was +charged to sell it, even if $10,000 had been presented. + +The newspaper of the exhibition of Vienna, published on the 17th of +August, 1873: "Gemuender found fault with the Italian constructions and +those of Vuillaume." + +If Gemuender had not extended his studies so far he would probably not +have stirred up those matters which had given such a headache to those +people of Vienna, for George Gemuender became thoroughly acquainted with +both the faultless and the faulty points of the Italians in the +construction of violins. If those people of Vienna had had the good luck +to discover imperfections on the above mentioned constructions, then +they would have made a great cry about it. + +The same newspaper says in another passage: "The tone of this violin is +indeed strong and beautiful and has an easiness that pleases, also it +has not that young tone peculiar to the very best new violins." In +saying these words the writer confesses the truth in his innocence, and +this verdict crowns this violin again, because this character of tone is +just that one which all violin makers in the nineteenth century have +been trying in vain to find. + +And further: "For this reason some professional men gave vent to the +suspicion that the wood was submitted to an artificial preparation, +probably by the use of borax." Such was the nonsense to which this +peerless violin was subjected, since there was none to take up its +defence. _The annexed description in which all chemical preparations +were peremptorily opposed, was entirely disregarded by them._ Thus there +is no other way to advise those pseudo-professional men to have such +borax violins made and patented! + +To those gentlemen who call themselves professional men, I, George +Gemuender, declare that I am ready at any time to sacrifice my "Emperor +violin" or any other which I have made, and I propose to give it to the +best chemists in the world to be cut to pieces, that they may examine +the wood and ascertain if any chemical preparation has been used. If +this is found to be the case they may be allowed to scold and blame me +publicly as much as they please; but, if nothing of that kind is found, +they are to pay ten thousand dollars for the "Emperor violin." + + Address: GEORGE GEMUNDER. + ASTORIA, NEW YORK. + + + + +ERRATUM. + + +Page 70. Sentence beginning "He also +tried to persuade them into the belief," &c., +should read, "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." + + + + +Transcriber's Notes: + +Passages in italics are indicated by _italics_. + +Inconsistencies in spelling and hyphenation have been retained from the +original. + +The following obvious errors have been corrected: + + Page 8: the word "in" added after the word "remain" + Page 18: the extra word "who" removed + Page 77: "howevever" changed to "however" + Page 88: "ingenius" changed to "ingenious" + Page 89: "thories" changed to "theories" + Page 98: "preposessed" changed to "prepossessed" + "to fault" changed to "fault to" + +Punctuation has been corrected without note. + +The error notated on page 70 in the "Erratum" in the original has been +corrected in this eText. + + + + + + +End of the Project Gutenberg EBook of George Gemuender's Progress in Violin +Making, by George Gemuender + +*** END OF THIS PROJECT GUTENBERG EBOOK GEORGE GEMUeNDER'S PROGRESS *** + +***** This file should be named 36147.txt or 36147.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/1/4/36147/ + +Produced by Adrian Mastronardi, David E. 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