Chapter III: Types of Standard Violin Tone

In order to distinguish the types of tone which, at various periods, have been looked upon as Standard--that is to say, representing an ideal of perfection, and at all times have had adherents,--I set out below five types that may be said to represent the five great groups of tone. Violins embraced by any one of these groups will vary in the perfection with which they present the type according to the tone-developing skill of the maker; according to his ideals of perfection, and according to the condition of the instrument. It is unlikely that two makers, engaged upon the development of the same tone-type, would succeed in copying each other exactly. Individuality would be sure to assert itself in tone as it does in handicraft. As to this individuality, it is somewhat difficult to describe, but may be said to be a sort of uniform peculiarity noticeable in the tone of all violins produced by a certain luthier.

AMATISÉ.--Sweet, sympathetic, and more or less lacking in power. Found in the violins of the numerous Amati family, Jacob Stainer, those of Antonio Stradivari prior to 1667 and his smaller instruments made after that year, and in the violins of the followers of these makers. Plentiful.

Length of body 13-3/4 to 13-7/8 inches Width across lower bouts 7-13/16 to 7-15/16 inches Width across upper bouts 6-1/4 to 6-3/8 inches Arching elevated.

BERGONZIAN.--Virile, powerful, partaking of the qualities of Stradivari and Joseph Guarnerius del Gesù to some extent. Rare.

Length of body 13-7/8 to 14 inches Width across upper bouts 6-9/16 inches Width across lower bouts 8-3/16 inches Arching flat to medium.

BRESCIAN.--Dark, sombre, “brilliantly melancholy.” Any violin possessing a tone sombre in character is said to be Brescian, frequently without much regard to other characteristics. Found in the violins of G. P. Maggini, and da Salò, which are rare, and in less perfection in a number of instruments by other makers, both ancient and modern.

(Maggini) Length of body 14-9/16 inches
Width across lower bouts 8-9/16 inches
Width across upper bouts 6-14/16 inches

“CREMONESE.”--Not a type, but a generic term, used to designate the general superiority of tone produced by violin makers of Cremona, prior to about 1775,[B] over instruments produced in other centres.

GUARNERIAN.--A tone distinguished for its remarkable qualities of clearness, brilliancy, virility and intensity. Peculiar to the violins of Joseph Guarnerius del Gesù. Rarely imitated with any degree of success. Rare.

(Guarneri) Length of body 13-3/4 to 13-7/8 ins.
Width across lower bouts 8-1/8 ins.
Width across upper bouts 6-9/16 ins.
Arching variable but tending to flatness.

“ITALIAN.”--Not a type, but an expression, used to distinguish the tone of ancient Italian violins from those made in other countries. Now rather loosely applied to any instrument possessing tonal qualities above the average.

STRADIVARIAN.--Rich, mellow, sympathetic and powerful. The favourite with most players although Guarnerian tone is preferred by some--to quote the opinion of one celebrated expert, “The tone of a good Joseph beats that of the average ‘Strad’ into a cocked hat!” Stradivarian tone has been said to combine the good qualities of both Brescian and Amatisé. It possesses in a marked degree that rich woody quality admired by connoisseurs. To appreciate the meaning of “woody” quality, one should hear an organ containing both wood and metal pipes and note the difference in tone quality between them. The best organ of this kind I know of, and one of the richest toned instruments it has ever been my pleasure to hear, is located in the Tabernacle at Salt Lake City, Utah, U.S.A., and was built by an Englishman, Joseph H. Ridges (1826-1914) about sixty years ago.

(Antonio Stradivari 1700-1724 period.) Length of body 13-15/16 to 14-1/8 inches Width across lower bouts 8-1/4 inches Width across upper bouts 6-1/2 to 6-11/16 inches Arching variable but always tending to flatness.

Of all the five types of tone Stradivarian is the most plentiful. Apart from the violins of Stradivari, which are more numerous,[C] perhaps, than that of any other famous old maker, the type is found in a high state of perfection in some of the instruments of his followers, and in not a few violins by modern makers.

It may be thought that other great makers should be credited with the creation of a tone-type; but I think their violins will, in tone, be found to fall into one or another of the groups named above, varying only according to the ideals and individuality of the several makers.

I shall now investigate the relationship between tone and the old instruments, and explain why a master of tone was not always a master of handicraft, and why many excellent workmen were unsuccessful as creators of a grand tone. In the next chapter, therefore, I deal with the old masters as violin makers.