MAKING VIOLINS

Sun (Auckland), Volume II, Issue 386, 21 June 1928, Page 16

MAKING VIOLINS

POPULAR AUCKLAND PASTIME FIDDLES OLD AND NEW Making violins is a fascinating pastime that many Aucklanders have taken up. One music dealer, whose place of business is in Queen Street, states that it is really surprising the number of sets of timber sold to amateur violin makers. The violin appears such a compact sound-producer that one wonders where the 70 pieces of wood used in constructing it go. A lesser number may suffice if the back is one piece, and the sections of the ribs are reduced. The imported timber comes shaped, generally sycamore or maple for the back and ribs, and soft pine for the “belly,” but New Zealand timbers are sometimes used. The cutting of the "f” shaped sound holes makes or mars an otherwise well-devised instrument. One of the great points about the genuine Stradavari is the design, execution, and location of the sound holes. The present shape of the bridge is little changed since Stradavari empirically modelled it. The “neck” and the “head” (which allowed the craftsman of old to exercise his skill in design) and is usually a scroll, are glued together and on to the body. However, the earlier makers used nails to further secure the neck to the body. There are violins over two centuries old, but the original glue still holds, despite the strain on the wood of a tuned instrument and the ravages of time. The placing of the soundpost behind the bridge and the brass bar (a slip of wood under the left foot of the bridge) are operations of delicacy, for the tone of the instrument will be completely changed by slight movements of either. Importance of Varnish The varnish of a violin has quite a lot to do with the performance of it. The oil varnishes of secret composition used by old masters has had much to do with the magnificent tone of the instruments that have survived to our day. In some cases varnish remains clear and translucent after the lapse of 200 years. Stradavari is reported to have excused a delay in the delivery of a violin because of the time taken to varnish it. Of course, the modern amateur is not able to devise varnish of such potency, nor are the factory violins —finished in modern gum and spirit varnishes —likely to have the finesse of the old hand-made ones. The amateur often develops into a self-styled connoisseur, and hunts for the valuable forgotten violin. At a recent sale of old furniture in Auckland a violin was among the articles offered by the auctioneer. A wellknown dealer in old musical instruments bid £5 for the pegless and buttonless old piece of lumber, and an amateur felt boldened to go another £l. When he took his prize to be reconditioned he was offered £2OO, an offer that was later increased to £4OO. So, between the finding of purchasers for hand-made New Zealand violins and seeking old models, the amateur has quite an exciting hobby.