From the ARCHIVE

Author and expert Towry Piper condemns a recent blind-testing experiment for old and new violins, giving his own opinion on why such endeavours are doomed to failure

FROM THE STRAD 1922 SEPTEMBER VOL.33 NO.389

SHORTLY after the competitive test of old and new fiddles which took place in Paris at the end of last year, an article appeared in the French musical journal, “Musique et Instruments,” written by a violinist who was present at the trials.

At the outset of it the writer devoted a good deal of space to a critical analysis of the method of voting, and, according to his version of the story, the system proceeded upon was fallacious and in every way unsatisfactory, but I cannot remember the details of the process.

The chief point insisted upon by writer was that it is in the lower register of the instrument, and particularly upon the G strings, that the best violins of the old masters are so greatly superior to the best new fiddle; in the upper register the good new fiddle may be, and often is, equally as brilliant, and even more effective than the old one.

It was further contended that the tests employed at this particular competition were not such as would demonstrate this superiority in the lower notes. Something to this effect I have heard more than once before.

The truth is that the player looks at the matter from a different, and more intimate, standpoint, than that of the auditor; and that is whether the latter be an expert or not. In January last my friend Mr. W.W.

Cobbett wrote a most interesting article in the “Daily Telegraph,” entitled, “Auditory Delusions,” in which the subject was treated with skill and insight.

For the benefit of those of our readers who did not see the article I will quote two extracts which seem to me to summarise the position both accurately and comprehensively, and I think that anyone at all conversant with the subject, who ponders these paragraphs, will say with me, “rem acu tetigisti.”

Discussing the tone quality of Cremonese violins, Mr. Cobbett writes; “1. Few of the subtler qualities which give to the violins their value are apparent to a violinist unless he is himself allowed to play upon the instrument upon which he is asked to pass judgment.

2. The true judgment of those who merely listen is obscured by the personality of the player. Tone is the ego of the violin and is of far greater importance than technique. How much is personality and how much instrument timbre is difficult to say; probably about 80 and 20 per cent respectively, would be near the mark.”

This individuality of a player’s tone is a factor which is apt to be lost sight of; I have repeatedly emphasised it myself in writing and lecturing, though not in such felicitous terms as Mr. Cobbett’s.