THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Gift of Mrs. Lawrence C. Lockley MUSIO LIBRARY GEORGE GEMUNDER'S PROGRESS IN VIOLIN MAKING, WITH INTERESTING FACTS AND ITS CRITICS IN GENERAL. BY GEORGE GEMUNDER. PUBLISHED BY THE AUTHOR'. ASTORIA, N. Y., Entrrtd According to Act of Congrttt, in tlu KMT 1881. GEORGE GEMttNDER, In tlu Office of tht Librarian of Congrttt. Musk; Library BIOGRAPHY GEORGE GEMUNDER. George Gemiinder was born at Ingelfingen, in the kingdom of Wurtemburg, on the I3th of April, 1816. His father was a maker of bow instruments, and it was, therefore, from Gemiinder'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 1827775 4 BIOGRAPHY OF GEORGE GEMUNDER. 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, Pres- burg, 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 improve- ment 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 be obtained a call to go to a manufacturer of BIOGRAPHY OF GEORGE GEMUNDER. 5 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 man- ufacturer, whose name was Roth, perceiving his perturbation, was kind enough to ask Ge- miinder to remain in his house until he should have succeeded in finding such a position as he desired. Gemunder accepted the prof- ered 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 Gemunder a letter of recommendation and send it to Vuil- laume at Paris. Meanwhile Gemunder re- mained in Strasburg. One day, while taking a walk in the park called " Die Englishen An- lagen," 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 Gemunder 6 BIOGRAPHY OF GEORGE GEMUNDER, should go to Paris. The invitation was prompt- ly accepted and Gemiinder immediately start- ed on his journey. When he arrived at Vuil- laume's another difficulty was encountered, for Vuillaume had mistakenly supposed that Ge- miinder spoke French. By mere good fortune it happened at the time of Gemiinder's arrival that a German professor was giving music les- sons to Vuillaumc's twin daughters, who in the capacity of interpreter informed Gemiinder that M. Vuillaume was sorry to have induced him to come to Paris, because it would be im- possible to get along in his house without French. Vuillaume kindly offered to pay Ge- miinder'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. Gemiinder accept- ed the proposition, which greatly astonished Vuillaume because he had not supposed that Gemiinder 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, BIOGRAPHY OF GEORGE GEMUNDER. J Vuillaume smiled, for he was sure it could not be done. On the following day he provided Gemiinder with materials for making a new violin, in order to see what he could do. He soon perceived that Gemiinder possessed more theoretical than practical knowledge. When the violin was finished, he made him under- stand that their way of working was different, and he desired to have his own methods adopted. Gemiinder 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 Gemunder's wages were increased ten sous a day, and although he now saw his most heartfelt desire fulfilled, namely, to work in Vuil- laume '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 Gemiinder finally resolved to leave Vuillaume 8 BIOGRAPHY OF GEORGE GEMUNDER. 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 Gemunder should not leave his house at all, and assured him that he would not meet with further unkindness from his fellow-work- men, even if all should be dismissed, although some of them had already been in his manu- factory for many years. He further assured Gemunder that should he not desire to remain Paris, he would establish him in a business similar to his own, either in Germany or else- where, 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 construe!: new violins, in some of which he imitated the Italian character thor- oughly, and also to repair injured violins. One day Vuillaume handed Gemunder a vio- lin, with the remark that he wished him to do BIOGRAPHY OF GEORGE GEMUNDER. 9 his best work in repairing it, for a gentleman from Russia had sent it. Vuillaume especially called Gemiinder's attention to a certain place in the back which was to be repaired, which was almost invisible, and he gave Gemiinder a magnifying glass for his assistance, but Gemiin- der returned it, saying that he could do better with his naked eyes, and when finished Vuil- laume 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 l<?45, that distinguished performer brought his wonderful "Caspar da Salo " violin to Vuil- laume to be repaired, and requested the latter to do the work himself, as it was something about which he was very particular ; but Vuil- laume answered that he had a German in his workshop who could do it better than he. Im- pelled by curiosity to become acquainted with this German, he asked to be shown to the place. After some conversation, Gemiinder undertook the repairing of the violin and com- IO BIOGRAPHY OF GEORGE GEMUNDER. pleted it in as masterly a manner as he did in the case of the Russian gentleman. After an interval of three years, while Ge- miinder was still working at Vuillaume's, the latter showed him a violin and asked his opinion about it. Gemunder, having examined it, re- plied that it was made by some one who had no school ! " I expelled to hear this," re- turned 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 /" Gemunder 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 them- selves to be artists are not such, and in reality they cannot distinguish right from wrong. Gemunder has often experienced this in Amer- ica. He knows no other violin maker who de- serves to be compared with Vuillaume in this respect, for he correctly understood the charac- ter of the outline and form as well as the interi- or structure of the different Italian instruments. Towards the end of 1847, when Gemunder had been four years at Vuillaume's, his two BIOGRAPHY OF GEORGE GEMUNDER. It 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. Gemiinder 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 en- gaged 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 Gemiinder broth- ers 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 Gemiinder, who had then very little knowledge of the English language, which fact increased the 'difficulty of his posi- tion, 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. IS BIOGRAPHY OF GEORGE GEMUNDER. In 1851, when the first exhibition of Lon- don took place, Gemiinder 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 suf- ficiently lucrative, Gemiinder 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, Gemiin- der received his instruments back from the ex- hibition, he learned that Ole Bull was in New York again, and, as he had formed his acquaint- ance in Paris, he paid him a visit and gave in- formation 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 Gemiinder his " Caspar da Salo." " Here," he said, " look at it, find the place where the repair was made." But BIOGRAPHY OF GEORGE GEMUNDER. 13 Gemunder 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 re- pair 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 Gemiinder'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 sur- prised at the excellent qualities of the instru- ments. 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 admi- rers and would have been sold at high prices had Gemunder not failed to make arrange- ments to dispose of them. The results obtained at Paris and Vienna were similar, his instruments attracting much 14 BIOGRAPHY OF GEORGE GEMUNDER. attention in each exhibition. In the Vien- na Exposition, held in 1873, Gemiinder gained the greatest triumph that was ever ob- tained by any violin maker. The " Kaiser " violin sent by Gemiinder in response to an offer of a prize for the best imitation, was de- clared 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 qual- ity 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 Gemiinder has solved that problem which has generally been considered impossible. In spite of all this, however, Gemiinder 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 Gemiinder makes his new violins of wood prepared by a chemical process, or that BIOGRAPHY OF GEORGE GEMUNDF.R. 15 it has not yet been proven that his violins have kept their good quality for an extended period of time, notwithstanding that Gemiinder has been constructing violins in America since 1847, an d that nobody can prove that any violin of his making has lost its quality of tone. On the contrary, they have invariably proved good. Gemiinder, 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 Gemiinder being unacquainted with the woods of the new country, was not so suc- cessful 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 Gemiinder 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 suffi- ciently understood at the present time to ren- der it useless to pursue the discussion in these pages. Gemiinder has informed himself as to the degree of success attained in the use l6 BIOGRAPHY OF GEORGE GEMUNDER. of the different chemical preparations of wood, as well as those prepared with borax, by which, the inventor asserts, the wood becomes rich- er in tone and lasts longer than that which is left in its natural state. Yet, without oppos- ing the inventor, Gemiinder follows the prin- ciple 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 ap- pearance of the old violins has been so faith- fully 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 Gemiinder 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 Gemunder com- menced and improved, which fact can be BIOGRAPHY OF GEORGE GEMUNDER. IJ proved to the satisfa&ion of every critic ; for George Gemiinder has not only gained the same results as those achieved by Stradivarius and others, but he has sketched a better acous- tic principle for producing tone. It is for this reason that August Wilhelmj, the great violin- ist, calls George Gemiinder the greatest violin maker of all times, for Wilhelmj had learned by ample trial of the instruments made by George Gemiinder that they were incontestably all that the latter claimed for them. Wilhelmj admired Gemiinder'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 virtu- oso, 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 Gemiinder at Astoria, and from that time has been Ge- miinder's friend and admirer. Wilhelmj and other artists have expressed astonishment that a man of George Gemiin- der's capabilities in this art was to be found in America. Although he enjoys the highest l8 BIOGRAPHY OF GEORGE GEMUNDER. 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 fa6l is that George Gemiinder lives here at too early a period, for his productions are a contin- uation of those which the great Italian mas- ters brought forth. Taking into consideration all the foregoing circumstances it is fair to suppose that George Gemunder 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 who have no knowledge of vio- lins, 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 DE- CEIVED AND SURPRISED IN THEIR PREJUDICE CONCERNING THEM. Gemiinder 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 aris- ing 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 instru- ments ; and secondly, that those made of 20 APPENDIX TO BIOGRAPHY. chemically prepared wood did not stand proof for a great length of time. Many musicians and amateurs have in consequence of this pre- vailing prejudice gone to an extreme and dis- regarded 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 Gemiinder, which opportunity he ig- nored, because the violin looked new. Instru- ments imitated by Gemiinder were placed be- fore 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 de- clared 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 Gemiin- der violin, he was astonished and observed : " The d***l knows how Gemunder can bring such a tone in new violins !" APPENDIX TO BIOGRAPHY. 21 At about the same time a violinist came from Germany and visited Gemiinder 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. Gemiinder first showed him some having the appearance of being new ; the violinist played upon them and then ut- tered : " They are as I thought ; they have not that sweet, melting tone of the Italian in- struments." Hereupon he asked Gemiinder if he had no Italian violins, in order to show the difference. Gemiinder then opened another box, and showed him an imitation of Amati for a genuine one. No sooner did the instru- ment 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 Gemiinder : " Yes, there are none of the present violin makers who have brought it so far !" Hereupon Gemiinder 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 Ge- 22 APPENDIX TO BIOGRAPHY. miinder sent violins to the Exhibition of Bal- timore, 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 Gemiinder, this amateur, who was possessed of the popular prejudice against new instru- ments, and who fancied he heard the Italian violin, was so exceedingly delighted with it that he observed, ' To hear such violins is suffi- cient to keep any one from ever touching new ones." But when Gemiinder 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 !" Gemiinder, however, convinced him of the truth of his assertion. This fa6l 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 thou- sand dollars in gold. Since then the violin has been sent several times to Gemiinder, either for a new bridge or other slight repairs, and APPENDIX TO BIOGRAPHY. 23 each time new anecdotes have been related of it. Of especial interest is that one of Father Urso, who was looking for a genuine Guarne- rius to give to his daughter Camilla, the cel- ebrated 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. Gemiinder 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 Gemiinder. 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 Gemiinder had none on hand, he showed him a new violin, but Poznanski declared that he would not buy a new one. Gemiinder then showed him an imitation, as if it were a genu- ine 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 24 APPENDIX TO BIOGRAPHY. down the money, Gemiinder told him that this instrument was also new. Whereupon Poz- nanski 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 Gemiinder again. He then re- marked that he wished to find an Italian violin of first class, and asked Gemiinder if he had something of that kind in his possession ? Here he took the opportunity to remind Ge- miinder of the time when he had deceived both him and his father, observing at the same time very naively : " But now, Gemiinder, you can- not deceive me. I obtained thorough knowl- edge of imitations at Paris, and also a knowl- edge of the genuine Italian violins, for I had an opportunity to see many of those made by the masters." Gemiinder told him that he had two Joseph Guarnerius violins of first class in his possession, and laid them before him. Poz- nanski expressed his astonishment to find such rarities. After a thorough examination Poz- nanski declared there was no doubt in regard APPENDIX TO BIOGRAPHY. 2$ 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. Gemiinder 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 Gemiinder that he could not deceive him, that it was not possible to produce an instrument like that. At this moment two friends of Ge- miinder, who were acquainted with his instru- ments, entered the shop, and Gemiinder asked them in the presence of the young artist, at the same time pointing to the instrument selected by Poznanski, " who made this vio- lin ?" They replied that the maker of it was Gemiinder. 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 excel- lent instrument, thus giving up the one to 26 APPENDIX TO BIOGRAPHY. which he had first given preference. This is another striking proof of prejudice. After a time, however, when Poznanski felt more at home at Gemunder's, he found out that the instruments made by Gemiinder were the only true concert violins, and disposing of his Guarnerius, he bought a Maggini made by Gemiinder ; he now saw the full extent of his prejudice, and was most severe in his denuncia- tion of all who thought that there were no other violins but the Italian to be played upon. If Wienawski had not been seized with such a strange fancy, and had had more confidence in other artists, he would not have been com- pelled 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. APPENDIX TO BIOGRAPHY. To find Italian violins fit to produce a suffi- cient 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 giv- ing 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 Gemiinder made the acquaintance of Mario, the greatest Italian connoisseur of violins, who was decorated for this knowledge when he was at New York. Gemiinder asked him to come to his shop, as he had several vio- lins which he would like to show him, in order to have him judge if they were really genuine instruments. Mario came and viewed the vio- lins shown to him by Gemiinder minutely, nay, even took a magnifying glass to examine the varnish, whereupon he declared to Gemiinder that they were genuine instruments. But the fact is they were violins made by Gemiinder ! In the beginning of 1860 Gemiinder was often visited by an amateur named Messing, who wished to find a good Italian violin, for he manifested an aversion toward Gemiinder's. productions, owing to his prejudice against new 28 APPENDIX TO BIOGRAPHY. violins. At the same time Gemiinder had as an apprentice a nephew, who, when he had not yet been fully three years with him, was en- gaged to make his first violin, according to form of Stradivarius. When it was finished Gemiinder made him a present of it, and said "he would varnish it so as to look old. After- ward his apprentice gave it to a friend in New York to sell it for htm. This friend published in the newspapers that he had a Stradivarius o sell. Mr. Messing was the first to make in- quiries 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 orig- inality. Mr. Messing then went to Europe, .and at Paris he wished to hear what the violin maker Gand would say, and the latter also de- clared it was an old instrument, adding, howev- er, 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 instru- ment 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, APPENDIX TO BIOGRAPHY. 29 which the owner considered to be sufficient evi- dence that he possessed something extraordin- ary, 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 Gemiin- der, full of joyous anxiety to show him his violin,, saying, "Here, Mr. Gemiinder, I have something to show you ; I have found what I have been so long looking for!" Mr. Messing then opened his box, and Gemiinder, 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 Gemiinder that he was mistaken, but failing in this attempt, his discomfiture was com- plete. 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 produc- tion, 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 Gemiinder had his violin in the Exhibition of Vienna, Baron Leonard, from Hungary, who was a great violinist, 30 APPENDIX TO BIOGRAPHY. brought him his Italian violin to have it re- paired. During their discourse about violins the Baron conveyed to Gemiinder the impres- sion that he had already seen many Italian violins, and he seemed to have a great knowl- edge of them. Thereupon Gemiinder showed him a violin that seemed to be a genuine Guar- nerius, which he had determined to send to the exhibition of Vienna. The Baron was quite astonished at seeing such a wonder- ful 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. Gemiin- der 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. Gemiinder, 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, Gemiinder 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 cele- brated 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 mathe- matical 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 experi- ments made by European investigators would not have been entirely unsuccessful. In George Hart's interesting book, " The 32 PREFACE. 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 knowl- edge, which comparisons are generally good, but not entirely free from error. This compilation of experiences is highly inter- esting for all those who take an interest in violins. The treatises which will be found below have reference simply to the art of mak- ing 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 bet- ter 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 volin 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 inter- est 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 subse- 34 PROGRESS IN VIOLIN MAKING. quently 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 instru- ments. Knowing that all experiments made since the death of the celebrated Italian mas- ters had proven unsuccessful, he undertook to construct a violin of very old wood, but was soon convinced that he had not obtained bet- ter results than others ; he therefore decided the project to be an impossibility, and hav- ing arrived at this decision, his opinion was generally conceded to. Since then, doubt- less, 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 pecu- liar 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, how- PROGRESS IN VIOLIN MAKING. 35 ever, 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 investi- gators on the subject, as the greatest authori- ties have acknowledged the tone in George Gemiinder's violins to be of the same quality as that characteristic of the best Italian instru- ments. 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 instru- ment is a new violin. If, therefore, the know- ledge 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 accord- ing to the rule can never lose their tone. It is, however, something different if they are carelessly treated. 36 PROGRESS IN VIOLIN MAKING. 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 profes- sional 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 PROGRESS IN VIOLIN MAKING. 37 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 them- selves acquainted with a professional violin maker, many of them would get more light on this matter, but since they consider them- selves 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, wheth- er 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 per- fection, and especially the player of renown, must be acknowledged as a judge of tone. 1 admit that many violin players are judges of tone, but not beyond a certain degree, as the greater number of them hear their own instru- ments 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, 38 PROGRESS IN VIOLIN MAKING. 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 " his- tory " 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 con- certs, 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 PROGRESS IN VIOLIN MAKING. 39 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 vio- lins 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. Vuil- laume 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 pre- judices 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 prin- ciples. Of course it is the wood more than anything else which is to be taken into consideration ; 40 PROGRESS IN VIOLIN MAKING. for without the right sort of wood all science will be unavailing, and vice versa. Many vio- lin 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 igno- rance, which he exposed in his correspondence to the newspaper which he represented, led him to make the following remark, which was published on the 2/th of June, 1873, and runs PROGRESS IN VIOLIN MAKING. 41 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 Gemiin- der 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 fa6l, 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 pur- pose 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 PROGRESS IN VIOLIN MAKING. attempts have miscarried, and I confirmed this fa6l 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 news- paper of Vienna made the observation : " George Gemiinder cannot make us Germans believe that the violin sent by him is new ; a bold Yankee only can put his name in a genu- ine instrument, in order to make himself re- nowned !" Although this was the highest prize which a violin maker had ever obtained, it was no ad- vantage either for me or the public ; for the art of violin making was not furthered by it, but rather still more impaired by the corres- pondence of the Staats Zeitung and the New York Bellcstristic 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 $5 to $75 ; ten years ago I sold violins at from PROGRESS IN VIOLIN MAKING. 43. $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 effront- ery of writers who make such statements as the above will bring them no honor. Many may still remember that I had deter- mined 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 sele<5l one of them, art- ists 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 !" No- body, however, was charged to dispose of it, although three thousand dollars were offered. The circumstances connected with the con- 44 PROGRESS IN VIOLIN MAKING. struclion of this violin gives it more than an ordinary interest. Ridicule and praise in the highest degree are interwoven with its his- tory ; 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 particu- lar 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 ac- quainted with it. PROGRESS IN VIOLIN MAKING. 45 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 repair- ers, but it generally rests with the owners of violins themselves, because they are usually ignorant as to who is master of the art of vio- lin 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 real- izing 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 46 PROGRESS IN VIOLIN MAKING. best violin maker. The man who cannot make excellent violins cannot be an excellent re- pairer. 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 cer- tain 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 mak- ing bows. I also esteemed him as an excellent and very accurate worker. But to my aston- ishment 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 pro- duction 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 PROGRESS IN VIOLIN MAKING. 47 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 vio- lins, 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 pre- caution never to permit the cutting away of wood out ot the bottom or top of a violin, without being fully satisfied that the repairer is an adept in the art. In Italian violins made 48 PROGRESS IN VIOLIN MAKING. 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. PROGRESS IN VIOLIN MAKING. 49 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 opin- ions about the productions of any other branch of industry or art ? Because in no other bus- iness do we find so many pretenders. And why is it they infest this particular branch of business more than any other ? Simply be- cause 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, 50 PROGRESS IN VIOLIN MAKING. 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 admira- tion 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 im- possible, as they are devoid of judgment, hav- ing their ability warped by false ideas about violins, and rendering them incapable of cor- rectly understanding and appreciating the latest and best productions ; this may ac- count 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 PROGRESS IN VIOLIN MAKING. 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 com- mand an enormous price when another article accomplishing the same effect can be bought much cheaper. And in this they show a com- mon sense which might well be emulated by many others. While it is true that an enthu- siast ought never to be blamed for his enthu- siasm, 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 peo- ple is by no means exclusively confined to amateurs, but even includes in its ranks many true artists in music. 52 PROGRESS IN VIOLIN MAKING. 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 neces- sary 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 exam- ine 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 PROGRESS IN VIOLIN MAKING. 53 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 per- pendicular. 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 at- tention 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 54 PROGRESS IN VIOLIN MAKING. 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 com- mon fiddle made of fine materials. It there- fore 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 PROGRESS IN VIOLIN MAKING. 55 must be made of old wood by a skilled work- man. The cause of this is that the wood con- tracts 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 defe6l in the swell and tone. This is also the case when the sounding post is too high, and many vio- lins 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. 56 PROGRESS IN VIOLIN MAKING. 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 con- struction. As I am able to judge from experience, no- body can confute me. All those who doubt it or will dispute it can neither confute me scientifically, nor prove what they say. I have had a great many opportunities to hear and repair the best Italian violins myself, including Paganini's wondrous violin at Vuilliaumc's, in PROGRESS IN VIOLIN MAKING. 57 Paris, and I can affirm that my "Kaiser" violin can be considered as wondrous a violin in re- gard 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 vio- lin. 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, there- fore, far preferable, because they surpass those of Stradivarius in greatness of tone. Such distinctions prove that I have made great pro- gress 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 blos- som of the new productions which the world brings forth. Therefore, it will be of some interest to PROGRESS IN VIOLIN MAKING. 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 mas- ters, 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 PROGRESS IN VIOLIN MAKING. 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 Stradi- varius, who endeavored to gain a greater so- nority 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 aristo- cratic 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/", 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 six- teenth century. His violins have a large and wide form, with interesting ornaments of <6o PROGRESS IN VIOLIN MAKING. carving work and inlay ; their swells are beau- tiful, 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 mod- el, 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 vio- lins 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 in- vestigations in order to gain a greater pcrfec- PROGRESS IN VIOLIN MAKING. tion. 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 rea- son 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 62 PROGRESS IN VIOLIN MAKING. 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 thick- ness 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 at- tention 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. PROGRESS IN VIOLIN MAKING. 63 ART EXHIBITIONS.-HOW VIOLINS ARE EXAMINED AND JUDGED, First of all I will take America into consid- eration, where the art of making violins is too little understood to be judged. Commis- sioners 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 them- selves 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 ap- preciation which Europe occupies. Therefore, only very few real violin makers are found here, for most of them are only amateurs do- ing business in this branch. In the Centen- nial exhibition in Philadelphia, in the Uni- ted 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 64 PROGRESS IN VIOLIN MAKING. 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 estab- lished for the purpose of finding out in which way the different articles of industry and art compare with each other. Proper examina- tions 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, espe- cially in Europe. Artists there can only re- ceive acknowledgment if they have the means to spend. The Centennial exhibition, how- ever, 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 differ- ence between his production and the better one of his co-exhibitor, but an injustice is done PROGRESS IN VIOLIN MAKING. 65 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 J}y 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 exhibi- tions, 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, mis- takes and discontent cannot be avoided. Managers of exhibitions are not always com- petent to appoint the proper professional men and experts as judges ; and as those appoint- ed lack the necessary qualifications, dissat- isfaction ensues. But suppose the awards were made with proper knowledge and strictest im- partiality, what then ? What have the re- 66 PROGRESS IN VIOLIN MAKING. maining competitors gained who are less gifted by nature, and therefore could not receive any award ? Nothing but mortification and an im- paired 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 ma- jority of exhibitors can never achieve distinc- tion by reason of lack of talent, and must con- sequently be considered as excluded from their line of business. Are we not bound to con- sider them as our fellow brethren and to care for them as well as for those receiving premi- ums ? But the present generation does not seem to have any thoughts about this, for there are but very few men who are still ani- mated with noble impulses ; while the major- ity are striving to ruin their fellow men by greediness. In my opinion such exhibitions cannot con- tinue 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 PROGRESS IN VIOLIN MAKING. 67 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 premi- um, and as I gained the highest moral premi- um in the exhibition at Vienna in 1873, on this account I did not compete for any premi- um as an exhibitor in the Centennial exhibi- tion at Philadelphia ! 68 PROGRESS IN VIOLIN MAKING. NOTE ABOUT DILETTANTI VIOLIN MAKERS. Whoever takes an interest in violin mak- ing will -undoubtedly be pleased to hear more particulars in regard to dilettanti violin mak- ers and their patrons. There are some dil- ettanti violin makers in America who consid- er 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 can- not be denied that in the productions of some of these violin makers there is talent discern- able ; 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 pro- duction of tone. It is true, that every piece of wood over PROGRESS IN VIOLIN MAKING. 69 which strings have been stretched will sound, and every such instrument will have its admir- ers. There are, however, dilettanti violin makers whose self-conceit and boldness is sim- ply astonishing. The professional will under- stand 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 im- provement 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 dispu- ted 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 con- 70 PROGRESS IN VIOLIN MAKING. sidered 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 theo- retical 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 in order to have violins sound well and to be serviceable for concerts, they -shjCMoW-be^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 PROGRESS IN VIOLIN MAKING. 71 not every wood intended for violin making has the necessary qualifications. Violins made from such selected wood are therefore espe- cially valuable. It cannot now appear strange that the gen- eral public has so little knowledge in the judg- ing 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 3Oth, 1879: " Gemiinder 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." 72 PROGRESS IN VIOLIN MAKING. The writer of this notice made a state- ment without any foundation. Had he and his train a proper knowledge of the matter, they would be able to perceive that the mate- rial of my violins is not chemically prepared and the character of the wood has not under- gone any change whatever. It is presumptu- ous in ignorant persons to make such state- ments 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 Vuil- liaume in Paris. But such individuals manifest not only a prejudice against a better under- standing, 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 acknowl- edged the only good instruments, they try almost anything to oppose what has proven PROGRESS IN VIOLIN MAKING. 73 itself so gloriously, rather than acknowledge it as a fa6l. 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 fra- grant, 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 re- mains a secret to mortal man. 74 PROGRESS IN VIOLIN MAKING. 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 dif- ferent 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 with- out being gifted with peculiar knowledge, while many others, in spite of all their knowl- edge and genius, endeavour in vain and do not see their efforts rewarded. It is, therefore, a matter of facl:, 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 experi- ences 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 dur- ing the present century, but also an excellent PROGRESS IN VIOLIN MAKING. 75 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 pre- judice 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, Vuil- liaume, 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 effe6l which persuades them into the belief that. 76 PROGRESS IN VIOLIN MAKING. the best can be found only in him. If Vuil- liaume had been a poor man he would have certainly remained poor, especially in America, where the art of violin making is still less un- derstood 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 vio- lins existed in America, in consequence of which dealers in old and new violins found their way hither. In disposing of these instru- ments 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 en- tertain the idea that they are surer of a genu- ine 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 re- quires 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 PROGRESS IN VIOLIN MAKING. 77 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 instru- ment by a person of thorough knowledge. Sometimes I feel constrained to give an opinion by virtue of my knowledge, but it it must not be expected of me to admire a thing that is not genuine, as those owners do in their ignorance. If, howevever, a genuine and valuable Ital- ian 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 es- teemed 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 78 PROGRESS IN VIOLIN MAKING. 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 branch- es 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, PROGRESS IN VIOLIN MAKING. 79 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 collec- tion 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 instru- ments which were put in order by them are easily recognized. This collection consisted mostly of all char- acters 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 expefted 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 80 PROGRESS IN VIOLIN MAKING. * 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 per- sonal 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 Ital- ian 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 inter- esting 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 for- tunate that most of them have come into such hands, for violins of this kind are very delicate, and although those which are well kept pro- duce a beautiful tone, most of them have not that power of tone which is necessary for con- certs. PROGRESS IN VIOLIN MAKING. 8l The solo player, however, believes he must produce the strong tone of a violin by force, which breaks the tone, and is not heard dis- tinctly. In this manner such violins are tor- tured and ruined. When such well kept vio- lins 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 enter- tained 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 thou- sands 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 ! '82 PROGRESS IN VIOLIN MAKING. 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 knowl- edge and truthful views, which have only been obtained by a long experience. PROGRESS IN VIOLIN MAKING. 83 OF THE MANNER OF PLAYING-TREATMENT OF BRIDGES ETC. It has often occurred to me that violin play- ers 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 correcl; method ascer- tained. 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 differ- ent 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 PROGRESS IN VIOLIN MAKING. it, and in his method he became a master. I. B. Poznanski played at one time on a vio- lin 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 lim- ited ; for when it is too strong, the ear be- comes disgusted with the tone, nay, a scraping and jarring tone is produced by too strong a pressure, because the G string touches the fin- ger-board in this case, in consequence of which many violin players wish to have the finger- board very hollow. But it must not be be- lieved 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 PROGRESS IN VIOLIN MAKING. 85 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 expe6l that the bow and the violin alone will do their service. The most perfect condition of a violin re- quires 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. 86 PROGRESS IN VIOLIN MAKING. Such knowledge should be taught to the pu- pils in conservatories of music ; but it is gen- erally 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 facl; that students were forced into a certain position and fatigued, caused them to become nervous ; but many parents who had no knowledge ol 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 conser- vatory in Europe. Thus it would appear that David pursued his own interest rather than that he cared for the good of his pupils. PROGRESS IN VIOLIN MAKING. 87 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 stu- dent 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 learn- ing and progress. It is of the greatest importance that stu- dents 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 play- ing 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, 88 PROGRESS IN VIOLIN MAKING. that their ear may not be accustomed to a sickly tone. Alas ! This point is mostly dis- regarded 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 instru- ment. It is true that the virtuosoship is facilitated, but the strength of tone is impaired by such an arrangement. The ingenius 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 ac- customed to bridges that are very much curved towards the E string, because they did not know, when learning, how badly their violins were arranged. PROGRESS IN VIOLIN MAKING. A correct system must be the foundation of everything, but as the thories 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 im- part 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 perfeft 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 vio- lin 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 90 PROGRESS IN VIOLIN MAKING. 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 conse- quences 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/" 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 PROGRESS IN VIOLIN MAKING. 91 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 dis- placed. This proves a want of correct theo- retical 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 ob- tain 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 TO THE VIENNA EXHIBITION. CIRCULAR WHICH ACCOMPANIED MY " EMPEROR VIOLIN " IN THE VIENNA EXHIBITION OF 1873-AN INTER- ESTING EXPLANATION ABOUT VIOLINS AND OF THE SCIENCE OF TONE. It is an indisputable fa<5l, that of all produc- tions 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 circum- stance it escapes that medley of critical re- marks 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 mas- ters made the best violins, and with the death of those artists a decline of that art, too, took place. Those so-called classical instruments 94 PROGRESS IN VIOLIN MAKING. have been, especially of late years, eagerly sought at high prices, by all artists and ama- teurs, because a settled opinion has taken hold of their minds that nobody is able to construe! a violin which is fit for solo performances ; that the secret which the old Italian masters possessed is not yet found, and that new vio- lins, although constructed according to the rules of acoustics, cannot gain the desired per- fection 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 suc- ceeded 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 be- came 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 CIRCULAR TO THE VIENNA EXHIBITION. 95 preparation of wood, injured this art seriously, because the previous prejudice was corrobora- ted 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 be- sides 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 in- dispensable 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 ar- rived by a natural proceeding at what I aspired, I made violins in imitation of the old Italian instruments and presented them to great art- ists and connoisseurs, and the highest author- ities of Europe and America. They pro- nounced them to be genuine old Italian violins, not only on account of tone, but also in regard 96 PROGRESS IN VIOLIN MAKING. 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 instru- ments. In general, however, it is not taken into consideration that if a violin is not scientific- ally constructed the good quality of tone will never be obtained, either by much playing or by age. In applying the three above men- tion 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 mas- ters ; they have laid for us the foundation of the manufacture of violins, by which they became immortalized. Their system, however, is but little under- stood by the present violin makers, because very few intelligent people devote themselves CIRCULAR TO THE VIENNA EXHIBITION. 97 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, im- itated the very mistakes which the great Ital- ian 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 produc- tions of those masters as law and beyond cor- rection. I have discovered that the old masters did not arrive at perfection, but made mistakes in their mathematical division and in the work- manship of the different thicknesses of the bottom and top. Those faults I have endeav- ored 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 PROGRESS IN VIOLIN MAKING. study of the different qualities of tone, and is usually preposessed with his own instrument. If many solo performers had more knowl- edge 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 em- ployed to repair them. Such instruments often injure the solo performer exceedingly, and the critic is right in charging the to fault 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 satis- fy an unprejudiced solo performer of the pres- ent and future. I have confined myself to the natural pro- cess 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 quali- CIRCULAR TO THE VIENNA EXHIBITION. 99 ties 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 construe!; 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 re- pairs can least dispense with these capabilities, since he is often intrusted with the most valu- able instruments ; but alas ! with what incon- sideration do those who possess such instru- ments 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 100 PROGRESS IN VIOLIN MAKING. 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 crea- tions 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 vio- lins 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. REPLY TO MR. SCHELLE. 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. Jn the foregoing circular, treating upon vio- lins, I said : " It is indisputable that no pro- duction of art in the world has been less un- derstood 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 in- troduction 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 102 PROGRESS IN VIOLIN MAKING. quality of tone that which affects the heart- is lost. Mr. Schelle then says : " We may also dis- cover a similar experiment in the instrument which Mr. George Gemiinder, 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 de- clares that by the assistance of three sciences, the mathematics, acoustics and knowledge of the wood to be chosen, he had not only com- prehended 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. Gemiinder has taken refuge in a chemical preparation of the wood. The violin in ques- tion, a faithful imitation according to Guiseppe Guarnerius, is indeed beautiful in its appear- ance and has a very excellent tone. But the extravagant, really American, price of ten REPLY TO MR. SCHELLE. 103 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 evi- dent 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 trans- ported 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 in- justice 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 per- son ! 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 Gemiinder, that he may learn those characters of tones which will prove good in future and which will not ; so that he may K>4 PROGRESS IN VIOLIN MAKING. 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 Vuil- laume'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 with- out 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. An- other century may pass by before this problem will be solved again. The closing page in Mr. Schelle's critique sounds like a lawyer's plead- ing 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 Vi- enna ! But then those words in my circular about REPLY TO MR. SCHELLE. IOJ violin makers proved true again : " This won- derful instrument has still remained an enigma to the musical world until now. How fortun- ate 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 pro- fessional men and they declared that this vio- lin was an original fixed up again ! But later, when it was objected to and found to be a new Gemiinder 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 dem- onstrated 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 profes- sionals, and what surpasses all belief is, that they themselves crowned the work. It was, indeed, the greatest premium that I could gain r in spite of all the pains which those men gave 106 PROGRESS IN VIOLIN MAKING. 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,- ooo had been presented. The newspaper of the exhibition of Vienna, published on the I7th of August, 1873 : "Ge- miinder found fault with the Italian construc- tions and those of Vuillaume." If Gemvinder 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 Gemim- der became thoroughly acquainted with both the faultless and the faulty points of the Ital- ians 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 pas- REPLY TO MR. SCHELLE. 107 sage : " 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 verdi6l crowns this violin again, be- cause this character of tone is just that one which all violin makers in the nineteenth cen- tury have been trying in vain to find. And further : " For this reason some pro- fessional men gave vent to the suspicion that the wood was submitted to an artificial prepar- ation, 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 Gemiinder, 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 chem- ists in the world to be cut to pieces, that they PROGRESS IN VIOLIN MAKING. 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 GEM UNDER. 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." University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Returnthis material to the library it was borrowed. OCT 1 4 1996 Al REC'D C.L. WH 23-96 ucsou 7 000143258 2