Kitabı oku: «George Gemünder's Progress in Violin Making», sayfa 5
ART EXHIBITIONS. – HOW VIOLINS ARE EXAMINED AND JUDGED
First of all I will take America into consideration, where the art of making violins is too little understood to be judged. Commissioners 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 themselves 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 appreciation which Europe occupies. Therefore, only very few real violin makers are found here, for most of them are only amateurs doing business in this branch. In the Centennial exhibition in Philadelphia, in the United 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 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 established for the purpose of finding out in which way the different articles of industry and art compare with each other. Proper examinations 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, especially in Europe. Artists there can only receive acknowledgment if they have the means to spend. The Centennial exhibition, however, 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 difference between his production and the better one of his co-exhibitor, but an injustice is done 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 by 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 exhibitions, 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, mistakes and discontent cannot be avoided. Managers of exhibitions are not always competent to appoint the proper professional men and experts as judges; and as those appointed lack the necessary qualifications, dissatisfaction ensues. But suppose the awards were made with proper knowledge and strictest impartiality, what then? What have the remaining competitors gained who are less gifted by nature, and therefore could not receive any award? Nothing but mortification and an impaired 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 majority of exhibitors can never achieve distinction by reason of lack of talent, and must consequently be considered as excluded from their line of business. Are we not bound to consider them as our fellow brethren and to care for them as well as for those receiving premiums? But the present generation does not seem to have any thoughts about this, for there are but very few men who are still animated with noble impulses; while the majority are striving to ruin their fellow men by greediness.
In my opinion such exhibitions cannot continue 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 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 premium, and as I gained the highest moral premium in the exhibition at Vienna in 1873, on this account I did not compete for any premium as an exhibitor in the Centennial exhibition at Philadelphia!
NOTE ABOUT DILETTANTI VIOLIN MAKERS
Whoever takes an interest in violin making will undoubtedly be pleased to hear more particulars in regard to dilettanti violin makers and their patrons. There are some dilettanti violin makers in America who consider 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 cannot be denied that in the productions of some of these violin makers there is talent discernable; 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 production of tone.
It is true, that every piece of wood over which strings have been stretched will sound, and every such instrument will have its admirers. There are, however, dilettanti violin makers whose self-conceit and boldness is simply astonishing. The professional will understand 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 improvement 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 disputed 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 considered 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 theoretical 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 when new violins sound well and are serviceable for concerts they are 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 not every wood intended for violin making has the necessary qualifications. Violins made from such selected wood are therefore especially valuable.
It cannot now appear strange that the general public has so little knowledge in the judging 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 30th, 1879: "Gemünder 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."
The writer of this notice made a statement without any foundation. Had he and his train a proper knowledge of the matter, they would be able to perceive that the material of my violins is not chemically prepared and the character of the wood has not undergone any change whatever. It is presumptuous in ignorant persons to make such statements 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 Vuilliaume in Paris. But such individuals manifest not only a prejudice against a better understanding, 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 acknowledged the only good instruments, they try almost anything to oppose what has proven itself so gloriously, rather than acknowledge it as a fact.
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 fragrant, 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 remains a secret to mortal man.
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 different 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 without being gifted with peculiar knowledge, while many others, in spite of all their knowledge and genius, endeavour in vain and do not see their efforts rewarded. It is, therefore, a matter of fact, 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 experiences 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 during the present century, but also an excellent 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 prejudice 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, Vuilliaume, 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 effect which persuades them into the belief that the best can be found only in him. If Vuilliaume had been a poor man he would have certainly remained poor, especially in America, where the art of violin making is still less understood 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 violins existed in America, in consequence of which dealers in old and new violins found their way hither. In disposing of these instruments 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 entertain the idea that they are surer of a genuine 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 requires 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 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 instrument by a person of thorough knowledge.
Sometimes I feel constrained to give an opinion by virtue of my knowledge, but it must not be expected of me to admire a thing that is not genuine, as those owners do in their ignorance.
If, however, a genuine and valuable Italian 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 esteemed 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 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 branches 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, 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 collection 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 instruments which were put in order by them are easily recognized.
This collection consisted mostly of all characters 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 expected 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 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 personal 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 Italian 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 interesting 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 fortunate that most of them have come into such hands, for violins of this kind are very delicate, and although those which are well kept produce a beautiful tone, most of them have not that power of tone which is necessary for concerts.
The solo player, however, believes he must produce the strong tone of a violin by force, which breaks the tone, and is not heard distinctly. In this manner such violins are tortured and ruined. When such well kept violins 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 entertained 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 thousands 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!
