Anthony Stradivari the Celebrated Violin Maker (Dover Books on Music) by Francois-Joseph Fetis

Author:Francois-Joseph Fetis [Fetis, Francois-Joseph]
Language: eng
Format: epub
Publisher: Dover Publications
Published: 2013-07-24T03:00:00+00:00

The labours of Gaspard di Salo, John Paul Magini, and the Amati established the present form of the violin, invented in the sixteenth century, and suddenly carried to a state of perfection that is not one of the least astonishing facts in this century so teeming with wonders. If we compare this instrument with one of those viols whose use was retained in France to the time of Rameau (1750)—and which are commonly known by the name of quintons—we shall find it difficult to conceive that, from a thing so imperfect, there arose, from the first attempt, an instrument whose form we have in vain endeavoured to modify in latter times; and from which we have neither been able to take, nor to it to add, anything, without causing deterioration.

In short, there is nothing more admirable than the acoustical relations of the violin: in proof of which, it will suffice to give a simple account of its construction. Its body, the length of which is from 35 to 36 centimètres [13.779 to 14.173 in.], has a breadth of 21 centimètres [8.268 in.] in its widest, and of 11 centimètres [4.331 in.] in its narrowest, part. Its greatest thickness does not exceed 6 centimètres [2.362 in.]. Its sides are so thin that the weight of the body of the instrument is not more than about 240 grammes [about 8 oz. avoirdupois]; yet, this machine, so frail in appearance, presents a surprisingly energetic resistance to the causes of destruction which continually act upon it; for the violin has supported during centuries a tension of from 40 to 42 kilogrammes [from about 88 to 92 lbs.], and a pressure of 12 kilogrammes [about 26 lbs] on its weakest part. Its symmetrical figure—its graceful contour and fine proportions—its corresponding bends situated in the middle of its length—the arched surfaces of its back and belly, consolidated by the bar and sound post—the four triangular supports within the corners of the bends, and the two blocks placed at each end—all these are so harmoniously adjusted, that the resistance and the elasticity [of the structure] are in a state of perfect equilibrium.

The bends in the sides of the instrument are not merely designed to enable the bow to act freely on the four strings, for they exercise also a very happy influence on the force and brilliance of the sound; in that the extremities of the instrument produce energetic vibrations which are reflected back again to the place from whence the impulse proceeded. This is what Chanot did not understand when he desired to do away with the bends together with their angles, thinking thereby to introduce the most valuable innovation for augmenting the sonority of the violin, while he simply reproduced the form of the viols of the middle ages.

In the conformation of the violin, everything has been anticipated, not only for the production of its sounds, but also for ensuring its solidity, its preservation, and for remedying unforeseen accidents. For instance, it was requisite there should be a means of getting at the inside, in order to effect indispensable repairs.

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