---

CONTENTS
TRANSCRIBER’S NOTE

{i} 

VIOLIN TONE AND
VIOLIN MAKERS

{ii} 

{iii} 

VIOLIN TONE AND
VIOLIN MAKERS

DEGENERATION OF TONAL STATUS. CURIOSITY VALUE
AND ITS INFLUENCE. TYPES AND STANDARDS OF
VIOLIN TONE. IMPORTANCE OF TONE IDEALS.
ANCIENT AND MODERN VIOLINS AND TONE.
AGE, VARNISH, AND TONE. TONE AND
THE VIOLIN MAKER, DEALER,
EXPERT AND PLAYER

BY

HIDALGO MOYA

TOGETHER WITH AN ACCOUNT, BIOGRAPHICAL
AND CRITICAL, OF THE PRINCIPAL VIOLIN MAKERS OF
THE VARIOUS SCHOOLS AND THEIR WORKS

BY
TOWRY PIPER,

JOINT EDITOR OF HART’S “THE VIOLIN, ITS FAMOUS MAKERS
AND THEIR IMITATORS”


LONDON
CHATTO & WINDUS
1916
{iv}


PRINTED IN ENGLAND BY
WILLIAM CLOWES AND SONS, LIMITED
LONDON AND BECCLES

All rights reserved{v}


TO

THE KING OF INSTRUMENTS

AND

HIS FAITHFUL SUBJECTS IN ALL COUNTRIES

THIS HUMBLE EFFORT ON BEHALF OF

TONE

IS RESPECTFULLY DEDICATED BY
THE AUTHOR

{vi} 

{vii} 

INTRODUCTION

For many years those who advocate the principle that Tone is the onlything that matters in a violin have been few in number, but earnest inpurpose, and it would appear their efforts have not been barren ofresult when we find it admitted, where one would least expect it, thatthe day of the toneless old fiddle has passed for ever.

But this is not enough. Players of the violin, and especially those whoseek refinement of tone in the instrument, still remain under the thrallof systems, methods, influences and errors which must also pass awaybefore the road to tone is freely open.

An understanding of the relationship between tone and the instrument,and between the instrument and the various toneless interests by whichit is surrounded, is vitally important to the player or the buyer of aviolin—unless the instrument is being acquired as a curiosity, in whichcase tone need not, of course, concern the purchaser to any markedextent. But to the player these relationships{viii} matter very much indeed,and the understanding of them is rendered difficult owing to theinvisible nature of tone, there being no material evidence to indicateits presence in one violin or its absence from another, a fact of whichfull advantage is taken in certain quarters. In the classifying ofviolins according to present methods, tone finds no place, havingneither status nor any standard by which it may be judged; well may theplayer be uncertain whether he is acquiring a musical instrument ormerely an antique. The very reason why the violin possesses a tone hasnot yet been satisfactorily explained, present opinion on the subjectbeing near to chaos, some holding that it is due to the wood, othersthat it lies in some secret of construction, a few that it resu

BU KİTABI OKUMAK İÇİN ÜYE OLUN VEYA GİRİŞ YAPIN!

Sitemize Üyelik ÜCRETSİZDİR!