Old violins

Metadata

Gutenberg ID

78831

Title

Old violins

Language

en

Book source

Project Gutenberg

Description max 80 words

Rev. H. R. Haweis offers a masterclass in violin appreciation, blending historical inquiry with practical advice for collectors and players. This volume explores the legendary makers of Cremona and Germany, particularly the enigmatic Jacob Stainer, while demystifying the market for fiddles, labels, and strings. Written with wit and deep expertise, it serves as both a guide to identifying genuine instruments and a celebration of the unique, often piercing tone that defined an era of musical evolution.

Summary up to 500 words

In 'Old Violins,' Rev. H. R. Haweis offers a comprehensive survey of the instrument's history, craftsmanship, and the often-deceptive world of collecting. The text challenges the notion that violins originated in Germany, tracing their roots instead to Brescia and Cremona. Haweis focuses on the towering figure of Jacob Stainer, detailing his life, his rivalry with the Cremonese school, and his distinctive, sharp tone that captivated 17th-century musicians. He argues that Stainer's instruments provided a 'drastic, stinging stimulant' to the ear, contrasting sharply with the muffled sound of older viols. Beyond biography, the book serves as an essential manual for amateurs and professionals. Haweis examines the physical characteristics of Stainer violins, noting their high bellies, yellow varnish, and specific scroll shapes. He delves into the mechanics of the instrument, offering authoritative advice on the placement of the sound-post and bridge, the wear and tear of finger-boards, and the proper management of strings and pegs. He warns against common pitfalls, such as rosinning pegs or unnecessarily slackening strings, which can demoralize the instrument. The narrative also addresses rampant fraud in the violin market. Haweis exposes the credulity of owners who mistake shabby German copies for rare Cremonas and provides a forensic guide to spotting forgeries through label analysis, dating inconsistencies, and varnish quality. He discusses the reputations of other makers like the Amatis, Stradivaris, and Guarnerius, noting that the world's appreciation for these specific timbres only truly began with Luigi Tarisio in the 19th century. The work concludes with reflections on the nature of collecting, the economics of the trade, and the enduring fascination with the 'fiddle,' which, like a horse or an umbrella, often escapes the conscience of the honest man. Throughout, Haweis balances scholarly rigor with a conversational tone, making complex topics accessible to the general reader while providing invaluable insights for the serious musician.

LLM editorial rating

4.2/5

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