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How do I know if my old violin is valuable?
When you want to determine the quality and value of a stringed instrument, one reliable point of departure is to look at the materials used to craft it. The first thing to focus on is usually the grain of the wood not only on the body of the violin, but its neck and scroll as well.
How old is an old violin?
The word itself literally means “of age”. However, if we talk to our antique dealer again, he will tell you that the vintage violin or other object really needs to be about 40 years or older. In other words, it would have to be made around 1981 or as far back as 1921 when it then becomes an antique.
How can I tell who made my violin?
Violin labels
The label might tell you who made your violin. You can find a label inside the (usually) left hand f-hole in the violin. Not all violins have labels, and you may have to blow away the dust and move the violin under the light to see whether yours does.
Do violins get better with age?
It depends on two things: the quality of the violin, and the quality of the playing that is occurring on the violin. I’ve spoken before about teaching a violin: a good violin will “open up” over time, but you’ll improve its voice most by playing it frequently, playing it in tune, making the wood vibrate, etc.
Are old violins better than new ones?
Overall, listeners preferred the sound of the new violins compared to the old ones. They also found that the new instruments projected their music better. In other words, to the listeners they seemed louder and more powerful. (That was true whether or not the violins had been played with an orchestra.)
How much is a 300 year old violin worth?
Korean-born classical musician Min-Jin Kym’s 300-year-old Stradivarius violin was snatched in November 2010 when she stopped at a London restaurant to buy a sandwich. That instrument was found three years later and sold at auction for $2.3 million in December, according to the BBC.
How do you find the value of a violin?
There are always TWO values for any violin. First: It’s beauty, quality of construction, and the music it will play, and Second: What the market will bear based upon its maker, its provenance and all the previous three attributes combined.
Do violins appreciate in value?
The value of a violin may increase over time, but this very much depends on the violin. Being old does not necessarily mean the violin will increase in value, nor does the fact that it has been used means it is worth more.
How can you tell if a violin is handmade?
Look at the Fs cut. Usually a violin made by a luthier does not have a perfect cut and you can see the tool marks. August 31, 2020, 7:28 AM · All violins are handmade to an extent. The maker’s of the “antiques” used what ever power tools were readily available to them at the time.
What makes a violin valuable?
There are many factors that determine the value of a violin, including the maker, condition and rarity of the instrument. It’s not uncommon for a high-quality violin to sell for tens of thousands of pounds, and even cheap student violins can be relatively expensive!
What is the most expensive violin?
The Vieuxtemps Guarneri Violin
This Guarneri del Gesù instrument is now the most expensive violin in the world, selling for an estimated $16million (£10.5million). Its new owner anonymously donated the historic instrument to violinist Anne Akiko Meyers on loan for the rest of her life.
What is an old violin called?
The Arabian rabab and the rebec, which came from the orient in the middle ages and was played widely in Spain and France in the fifteenth century, are said to be the ancestors of the violin.
Do violins have serial numbers?
Fine violins do not have serial numbers, but they do typically have a label inside identifying the maker and frequently the year and location where the violin was made.
Why is the f-hole on a violin?
A team of MIT scientists recently wondered why the shape had evolved that way. After crunching the math and doing some experiments, figured it out: The f-shape turns out to have physics that push a lot more air than a circular hole, making the violin’s output dramatically more powerful.
How can you tell a handmade violin?
Look at the Fs cut. Usually a violin made by a luthier does not have a perfect cut and you can see the tool marks. August 31, 2020, 7:28 AM · All violins are handmade to an extent. The maker’s of the “antiques” used what ever power tools were readily available to them at the time.
What is an old violin called?
The Arabian rabab and the rebec, which came from the orient in the middle ages and was played widely in Spain and France in the fifteenth century, are said to be the ancestors of the violin.
What is the oldest violin?
The oldest confirmed surviving violin, dated inside, is the “Charles IX” by Andrea Amati, made in Cremona in 1564, but the label is very doubtful. The Metropolitan Museum of Art has an Amati violin that may be even older, possibly dating to 1558 but just like the Charles IX the date is unconfirmed.
Are all violins handmade?
Violins are handmade, whether they are “factory” or “bench-made.” One can use better or worse materials; one can employ skilled or less-skilled humans with knowledgeable or less-knowledgeable supervision; one can have 50 people on the assembly line or just one person in a studio; but they are made by hand.
How Old Is This Violin? – YouTube
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- Most searched keywords: Whether you are looking for How Old Is This Violin? – YouTube Updating This video introduces the concept of determining the age of something made of wood without damaging the item. In it, “Professor P” shows a violin to various …Gary Patterson, wood dating, tree rings, dendrochronologist, skeleton plotting
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The violin: provenance, value and appraisal
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Updating geige wert, geige bewertung, geige zertifikat, geige schätzen, geige wertgutachten, alte geige, alte geigen, italienische geige, italienische geigen Violin valuation advice from Corilon violins. On the inital valuation, age, provenance, value and certificate of an old violin. - Table of Contents:
Valuation advice from Corilon violins On the inital valuation age provenance value and certificate of an old violin
General signs of quality in a violin
The age and provenance of a violin
The value of a violin appraisals certificates and valuations
What is a Vintage Violin, and How Are They Different?
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- Most searched keywords: Whether you are looking for What is a Vintage Violin, and How Are They Different? Updating Learn the definition of a vintage violin, and what sets older violins apart from newer models, including some fascinating tests throughout history.
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Personal Experience With Vintage Violins
The Old Vs New Violin Debate & a Fascinating Experiment
Violinists & Their Instruments
Who Made My Violin? – Amati
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- Most searched keywords: Whether you are looking for Who Made My Violin? – Amati Updating Knowing who made your violin is one of the most important clues to its value. Unfortunately for most instruments you need the help of an expert.
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Violin labels
Family History
Violin Certificates
The Violin Bridge
Would you like us to help you
Why do we value instruments for free
What happens at a Valuation Day
Where Can I Get a Violin Valuation
How Do I Tell How Old My Violin Is? – grushecky.com
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How Do I Tell How Old My Violin Is? – grushecky.com If you look inse the f-hole of a violin, you can find the label inse – a sticker that indicates the year the violin was made and the name of the maker. How … … - Most searched keywords: Whether you are looking for
How Do I Tell How Old My Violin Is? – grushecky.com If you look inse the f-hole of a violin, you can find the label inse – a sticker that indicates the year the violin was made and the name of the maker. How … - Table of Contents:
How Can You Tell The Age Of A Violin
How Do I Identify My Violin
How Do You Read A Violin Label
What Violins Are Worth Money
What Is An Old Violin Called
How Do I Know If My Old Violin Is Valuable
What Is An Old Violin Worth
Are Old Violins Better
How Much Is An Old Violin Worth
Does A Violin Get Better With Age
What Does Faciebat Anno 17 Mean
How Much Is My Old Violin Worth
How Do I Find Out What Brand My Violin Is
Are Old Violins Valuable
What Is The Most Valuable Violin
Why Are Older Violins Worth More Money
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Is Your Instrument Modern or Old (or Fake Old) by Violin Standards?
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- Summary of article content: Articles about Is Your Instrument Modern or Old (or Fake Old) by Violin Standards? To most people, anything over 5 years is old – cars, television, and grandma. So of course a violin that is 50 or 100 years old seems very old. However, in the … …
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instrument is 100 years modern, if it is 200 years old, or if it
is just fake old. Can you spot a fake neck graft or peg bushing?Elizabeth, Ecklund, Master Hand Violin
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How to Tell If You Have an Antique Violin – Our Pastimes
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- Summary of article content: Articles about How to Tell If You Have an Antique Violin – Our Pastimes Examine your violin carefully and then contact an expert online if you are still curious about its age and origin. One of the resources, Dav Bonsey, appraises … …
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HOW TO MAKE
BEADS
CLEANING
CRAFTS
HOW TO MAKE ELECTRONICS
FABRIC
PAPER
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WOOD
HOW TO MAKE MISCELLANEOUS
MUSIC
DRUMS
MUSIC ELECTRONICS
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INSTRUMENTS STRING
MUSIC THEORY
PIANO
SING
MUSIC MISCELLANEOUS
GAMES
BALL GAMES
CARD GAMES
DICE
GAMES OF CHANCE
GAMES WITH TILES
GROUP GAMES
VIDEO GAMES
YO-YO
ART
COLOR
DRAW
PAINT
PENS
PHOTO
ART VIDEOS
CROCHET
CROCHETING
EMBROIDERY
FABRICS
KNIT
QUILT
SEWING MACHINE
THREAD
CROCHET VIDEOS
YARN
ANTIQUE
ANTIQUE CHINA
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MARBLES
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METAL
SILVER
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SOLDER
BEADS
CLEANING
CRAFTS
HOW TO MAKE ELECTRONICS
FABRIC
PAPER
PIPES
WOOD
HOW TO MAKE MISCELLANEOUS
DRUMS
MUSIC ELECTRONICS
INSTRUMENTS
INSTRUMENTS STRING
MUSIC THEORY
PIANO
SING
MUSIC MISCELLANEOUS
BALL GAMES
CARD GAMES
DICE
GAMES OF CHANCE
GAMES WITH TILES
GROUP GAMES
VIDEO GAMES
YO-YO
COLOR
DRAW
PAINT
PENS
PHOTO
ART VIDEOS
CROCHETING
EMBROIDERY
FABRICS
KNIT
QUILT
SEWING MACHINE
THREAD
CROCHET VIDEOS
YARN
ANTIQUE CHINA
CLOCKS
COINS
DOLLS
INFORMATION
ANTIQUE INSTRUMENTS
MARBLES
RECORDS
STAMPS
DANCE
MOVIE
THEATER
BRASS
COLLECTIBLES
GLASS
GOLD
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V.com weekend vote: How old is your violin?
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- Summary of article content: Articles about V.com weekend vote: How old is your violin? My Gagliano, made in Italy, is about 200 years old. My old German fdle is about 120 years old, and my American, made by Dav Scroggin, … …
- Most searched keywords: Whether you are looking for V.com weekend vote: How old is your violin? My Gagliano, made in Italy, is about 200 years old. My old German fdle is about 120 years old, and my American, made by Dav Scroggin, …
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Who Made My Violin? – Amati
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- Summary of article content: Articles about Who Made My Violin? – Amati You can find a label inse the (usually) left hand f-hole in the violin. Not all violins have labels, and you may have to blow away the dust and move the … …
- Most searched keywords: Whether you are looking for Who Made My Violin? – Amati You can find a label inse the (usually) left hand f-hole in the violin. Not all violins have labels, and you may have to blow away the dust and move the … Knowing who made your violin is one of the most important clues to its value. Unfortunately for most instruments you need the help of an expert.
- Table of Contents:
Violin labels
Family History
Violin Certificates
The Violin Bridge
Would you like us to help you
Why do we value instruments for free
What happens at a Valuation Day
Where Can I Get a Violin Valuation
How to determine my violin’s value and age – Quora
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- Summary of article content: Articles about How to determine my violin’s value and age – Quora How do I determine my violin’s value and age? The label inse the F-hole says “copy Antonius Stradiuarius Cremonensis Faciebat Anno 17″. …
- Most searched keywords: Whether you are looking for How to determine my violin’s value and age – Quora How do I determine my violin’s value and age? The label inse the F-hole says “copy Antonius Stradiuarius Cremonensis Faciebat Anno 17″. I’m not an expert at appraising violins, but that is the person you need to talk to and more than talk…you need to bring the violin with you so they can look at it and inspect it inside and out. The label means absolutely NOTHING, so far as value….
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How can I tell how old my violin is? – Nosubjectlosangeles.com
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- Most searched keywords: Whether you are looking for How can I tell how old my violin is? – Nosubjectlosangeles.com 3 How do I know if I have a Stradivarius violin? 4 Where is Johnny PayCheck buried? 5 Do cheap violins get better with age? 6 Are old violins valuable?
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How can I tell how old my violin is
Are old violins valuable
When did violins start to have longer necks
What’s the difference between a vintage violin and an antique
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What are the signs to recognize old violin? – Discussion Forums – Fiddle Hangout
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- Summary of article content: Articles about What are the signs to recognize old violin? – Discussion Forums – Fiddle Hangout One feature found on REALLY old violins is a pegbox graft- toward the bottom of the pegbox walls you can see a diagonal graft line. But the … …
- Most searched keywords: Whether you are looking for What are the signs to recognize old violin? – Discussion Forums – Fiddle Hangout One feature found on REALLY old violins is a pegbox graft- toward the bottom of the pegbox walls you can see a diagonal graft line. But the …
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The violin: provenance, value and appraisal
Valuation advice from Corilon violins. On the inital valuation, age, provenance, value and certificate of an old violin.
A violin is, in the eyes of the owner, a trusted musical partner, and at the same time it is full of enigmas which are never fully understood. Over the course of time, most musicians develop a deep and intuitive kind of interaction with their instrument, yet as soon as a decision has to be made about buying the best violin or the about the violin value, there are endless questions. For many years our violin experts have helped musicians around the world as they look for the valuation of their old violin or stringed instrument. This article is intended to provide some information on the initial violin valuation which is especially important as you make your choice. Overview of our guide to selecting and purchasing a violin:
Content overview:
General signs of quality in a violin
How do you recognise a good violin? What is a violin worth? How is the old violin value determined and which is the best violin? When you want to determine the quality and value of a stringed instrument, one reliable point of departure is to look at the materials used to craft it. The first thing to focus on is usually the grain of the wood not only on the body of the violin, but its neck and scroll as well. Fine to moderate grain is generally seen as a sign of quality when it comes to spruce, which is commonly used for the top. The even lines of the grain also indicate well-selected tone woods. Maple, which is used for the back, ribs and neck of most stringed instruments, often features interesting flaming, and this too provides visible evidence about the structure of the wood.
An old violin with a spruce top that has evenly-distributed fine to moderate grain and a back of beautifully flamed maple already provides initial clues that it may be a high-quality instrument. But as always, there are exceptions to every rule, and that is as much the case in the world of violin-making as it is in other demanding forms of artisanry. For example, bearclaw spruce is a type of timber highly prized in violin making due to its good physical properties, yet this wood is also known for the irregular streaks (the “bearclaws”) in its grain. Furthermore, there are certain regional traditions and individual luthiers who outright prefer to work with unconventional kinds of wood. It appears as if many Italian masters wanted to demonstrate their experience and expertise by deliberately selecting cuts of wood with irregular grain or even worm tracks. More often than not, these aesthetically unusual but outstanding-sounding violins confirmed that they chose well. Fine violins have been crafted from such “inferior” material since Guarneri’s day.
When it comes to the wood used to make a violin, the fingerboard is in a category of its own. Premium violins built before approximately 1900 were usually fitted with a fingerboard of solid ebony, whilst other hardwoods such as beech were seen as less-valuable alternatives. Occasionally softer woods were used, but this did not have an impact on the sound. Older violins in particular, e.g. Baroque violins , often had fingerboards made of soft wood that was then given an ebony veneer or perhaps even simply varnished in black. Areas where there has been a great deal of wear gradually reveal the lighter-coloured material underneath. At the beginning, ebony was a truly rare and expensive wood, and its very use can be understood as an acknowledgement of the fact that violins were made for a refined clientele, and the quality had to reflect this. This statement no longer applies to newer instruments, however: today there is enough ebony available (albeit usually in poorer quality) to produce even simplest industrially-manufactured violins.
Not only is the wood a reflection of how good an old violin is, the varnish also reveals quite a bit about differences in quality. It is well known that the old Italian masters of Cremona used varnishes that have become the stuff of legend, and even though nowadays varnish is no longer considered critical to a violin’s sound, it nevertheless remains an eye-catching calling card for the luthier’s art. Contemporary violin makers spent a great deal of time observing and successfully imitating the methods of the old masters. An old violin’s varnish plays a large part in determining its origins (see below), and at the same time it indicates the care and time that went into its construction. Many Italian violins are famous for their rich oil varnish, and some luthiers applied over 40 coats before they deemed the instrument ready to play. Since oil varnish also dries very slowly, it was not uncommon for several months to pass before a violin’s varnish was complete. Spirit-based varnish can be handled much more quickly, and it sometimes forms delicate crackling but may nevertheless be of very high quality. In some situations spirit varnishes dry as they are being applied, which means they demand a great deal of artisanal confidence and experience – unlike oil varnishes, some of which never fully harden and can thus always be slightly touched up. Spirit varnishes are not a fundamental sign of a less valuable instrument, however; on the contrary, they may be evidence of a craftsman’s well-trained and practiced hand. By contrast, nitrocellulose lacquer or synthetic resin, which are extremely common on Chinese mass-produced instruments, are a clear sign of low quality. These varnishes can have a negative effect on the violin’s ability to vibrate, especially if they were applied with certain industrial spraying techniques. What’s more, they are unpleasant both optically and in terms of the unpleasant odour they give off for at least the first several weeks and months after they were made.
Older violins often undergo gradual changes in the appearance of their varnish, and this too says something about their quality. One factor here is the patina, which many aficionados of historic violins appreciate. It is evidence of a natural ageing process which may occur to varying degrees, depending on the ingredients in and nature of the varnish. Crackling is another process which can be interpreted in different ways: it may indicate that the varnish was poorly formulated, yet it can just as easily be seen as an aesthetically pleasing kind of art which was created by coincidence. Even scratches can only be attributed to their respective mechanical cause sometimes; after long and intense use, a violin with a soft oil varnish will naturally show more wear and tear than one with a harder spirit varnishes. These traces often communicate a great deal; for example, there may be many minor flaws around the fingerboard if a previous owner played a great deal in high positions. An old violin with such marks invariably spent a long time in the hands of good musicians who had the ability to play the upper registers. And the more they were satisfied with their instrument, the more traces of use they will have left. Varnishes and the wood they coat can also undergo significant changes in colour over the years. Taken as a whole, these factors all contribute to the typical aesthetic of an old violin — the varnish may no be longer flawlessly smooth and may have an uneven colour, but its overall character is distinctive and charming. For generations, several violin makers have deliberately attempted to imitate this look by “antiquing” their new violins. As a result, the art of antiquing varnish has become a violin-making discipline unto itself since the 19th century. It should not be overlooked, because it can also indicate a well-crafted instrument.
In other words, the varnish provides some important information about the craftsman standards with which it was made, but beyond that, there are another few details which also help you assess an instrument’s quality. Special tools and extensive experience are both needed to review important acoustic characteristics such as how the thickness of the top and back were crafted. However, even lay people can often see for themselves whether the scroll and the purfling were made carefully and by hand. On an old violin, these parts serve as a good point of orientation, even though they do not provide any information about the violin’s musical properties. Once again, however, the Italian violin-making tradition offers numerous exceptions to the rule, dating all the way back to famous masters such as Guarneri del Gesù. Some such instruments show very sloppily crafted details but still possess an exceptional sound. Another exception to the rule is the manufactured work from the French violin-making town of Mirecourt, which was created with the objective of providing instruments that were as good and as affordable as possible. Particularly in the 19th century and the fin de siècle period, these violins sometimes only had traced-on purfling, which significantly decreased the time needed to produce them. Nevertheless, amongst these violins there are several instruments with a truly good sound and outstanding playing characteristics which are certainly adequate for the standards of an advanced student musician. And of course, there are luthiers who emphasise the overall “cosmetics” of an instrument at the expense of its musical quality. The result is that sometimes there are exquisite-looking violins with features such as a meticulously carved scroll, complicated purfling and perfectly executed antiqued varnish, but their sound is mediocre. In assessing violins, an important rule of thumb is never to focus on a single characteristic by itself, but rather to look at the instrument in its entirety.
Last but not least, older violins, violas and especially the large cellos commonly have undergone repairs, which themselves do affect the value of a stringed instrument and can be a sign of quality work. For example, bushed and reworked peg holes usually indicate that the instrument was in use for a long time and was frequently tuned, which in turn meant that the peg holes expanded due to the friction from the pegs and thus had to be readjusted. Furthermore, a new neck or new scroll is no longer considered to be damage that lowers the value of an instrument; instead, this confirms that the violin was good enough to justify such extensive maintenance work. This is also true of cracks in the top, back or ribs, as long as the repairs were done properly and do not have an effect on the sound. The quality of these repairs can often be a good signal about the instrument’s value, and highly respected restorers often sign their work by applying their own label in the violin’s body.
For those who see their violin as a musical instrument (as opposed to a decorative object), once the material and craftsmanship have been assessed, the next step is to examine the sound and playing characteristics. It goes without saying that individual preferences and personal prerequisites are the most important factor here: everything from the volume of the instrument’s voice to its timbre all the way to its response depends on who is playing the violin and what musical goals they have.
The Corilon online violin shop places great importance on presenting an accurate description of each instrument’s acoustic character, and we further document its sound with an audio clip to provide an initial point of orientation. By offering an extended return policy, we also provide additional security as you explore the musical personality of your instrument.
The age and provenance of a violin
The advantages of old violins vis-à-vis new violins – and vice versa – is one of the most widely-discussed issues in the world of stringed instruments. Nearly every six months a new article makes its way through the media in which a scientific study claims to have found definitive proof for one standpoint or another. For the most part, these alleged revelations only point towards a one-dimensional approach which can never adequately address a phenomenon as complicated as a stringed instrument. The quality of an old violin — especially of the finest historic master instruments — can never be traced back to a single factor, such as a secret kind of varnish, a specially textured wood, climatic conditions where the violin was crafted, or the effects of certain fungi. None of these alone can turn a violin into a masterpiece. What’s more, the ever-popular blind comparisons in which the acoustics of old and new violins are directly contrasted with each other make one thing clear above all: they reveal a dubious understanding of the way musicians deal with their instruments. They have to interact with their violins intensely so they can fully understand and make the most of its tonal opportunities.
In other words, there is no rule stating that old violins always sound better than new ones. There can, however, be no doubt that countless historic violins have an unmistakable and distinctive maturity in their sound. And this in turn may be due to anything ranging from the grain of the wood, the individual way the wood aged, or advantages of a particular design, not to mention the art and agile hand of its maker. At Corilon violins, our enthusiasm for the personalities of these older instruments is what informs our work and our catalogue, yet we also appreciate contemporary violins of outstanding quality.
The provenance, in other words the fact that an old violin comes from a particular region or luthier is neither inherently a guarantee of quality nor a shortcoming. The many varying traditions have all resulted in certain distinctive identifying traits. When you select a violin, these regional differences are not primarily a question of quality, since bad instruments were (and are) produced everywhere, and there is no place on earth which produced only good violins. Instead, you should focus on the acoustic profile and its ability to create the sound you desire. As a rule, for example, Italian violins are highly praised for their soft, melting undertone which is often accompanied by an unconventional and ingenious aesthetic design. Good French violins are characterised by a dominant sound that is ideal for soloist performance, and many experienced musicians prefer these instruments because of their extreme precision. Others may incline towards the comparatively strict sound of English violins for nuanced ensemble playing.
Many different regions favoured particular nuances in craftsmanship which are often evident only to the trained and experienced eye, although there are also many far more conspicuous features that frequently serve as proud indications of a local tradition. One prominent example here is the very striking and eye-catching design favoured by the Hopf violin-making dynasty in the Saxonian village of Klingenthal: it is easily identified by its slightly “angular” upper bout. Many of these violins, including those with more conventional contours, also feature the traditional Vogtland brown varnish against a striking yellow background that shines through. As a general rule, an old violin’s varnish and colourful ornamentation provide good information about its provenance, such as the extremely dark, if not almost black, varnish found on many 19th-century Bohemian and Austrian instruments. On a similar note, French violin making commonly involves a very elegant aesthetic and blackened edges on the body and especially the scroll. Regional characteristics of this kind should not be confused with prominent individual characteristics which were inspired by the personal style of certain master luthiers. The famous Italian luthier Maggini developed flourishes such as double purfling or a scroll with an additional winding, and they were soon imitated around the globe.
The value of a violin, appraisals, certificates and valuations
Today, violins are sold at a greater spectrum of prices than ever before, ranging from extremely cheap mass-produced instruments (usually from China) all the way to priceless historic collectors’ items. This divergence in value started in the late 18th century: publishing companies and factories first made it possible to churn out large numbers of simple and affordable violins, and simultaneously the exceptional traits of historic instruments made by Stradivari, Guarneri and other classic masters were being discovered. The exceptional quality of the latter meant that musicians became more interested, although soon collectors and investors followed, and general demand led to a sharp increase in prices. In the second half of the 20th century, these masterpieces by famous luthiers ultimately became objects of speculation, and in some cases prices rose 200 times over. The development of value and price of fine stringed instruments also opens the door to fraud and forgery that exploits the ignorance and naivety of most musicians. The purchase of an expensive violin that exceeds a certain price range should be considered only from legitimate sources, via the retailer; from private individuals if offered with a appraisal or certificate of a recognized expert.
Whilst cheap violins have never been as affordable and expensive instruments never as pricy as they are today, these two extremes are viable options for only a very few musicians. For years now, even outstanding soloists have not been able to afford valuable historic instruments, which is why old violins are often made available to them as part of a scholarship or a donation from a patron of the arts. On the other end of the scale, today’s factory-made violins include many items which are sold at bafflingly low prices. This is a response to the demand amongst the many beginners and students, but most of the instruments are not suitable for learning how to play. It is certainly true that most people’s budget for buying a violin is quite modest, and having the wide range of acoustic possibilities which a top-quality master instrument provides is a luxury which is not critical in the first few years. That said, however, a proper musical education will not be a success unless you have an instrument with a good sound which is responsive, “forgiving” and motivates you. Trying to meet this standard obviously means production cost can be rationalised only to a limited extent, which in turn creates a natural limit on price structures. It is thus truly astonishing that there is hardly any public discussion about whether environmental and social principles are being upheld in the mass production of stringed instruments. The very fact that new sets of violins and bows are available for less than €100 should give rise to numerous critical questions.
Old violins provide opportunities to offset these countervailing tendencies. Today, fine stringed instruments with certificate or appraisal and major names on the labels have become collectors’ items, regardless of the violins’ musical value, whilst violins with a heritage that is not fully known or is less in demand often have brilliant playing and acoustic characteristics – and are available at surprisingly low prices. Such instruments sold by reliable sources feature extensive documentation that takes full advantage of all of the technical tools the Internet has to offer. Furthermore, the violin’s value is determined by experts after the instrument was professionally set up, thus ruling out any hidden repair costs. This high standard is the guideline for the Corilon violins online catalogue, which also features our client-friendly terms and conditions, including an extended 30-day return policy. By providing extensive consultation, we help our clients select the right violin for their needs — the perfect instrument with the format and musical character to suit each musician’s individual style.
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What is a Vintage Violin, and How Are They Different?
I am often asked if my violin is an antique or a vintage violin. Well, first of all, let’s define exactly what is antique or vintage. These seemingly nebulous terms do, in fact, have more precise definitions. An antique dealer, as well as the U.S. Customs Service, will tell you that the item must be at least 100 years old to be considered an antique. So today, an antique violin would have to have been made in 1921 or earlier. The word vintage is slightly more subjective though. The word itself literally means “of age”. However, if we talk to our antique dealer again, he will tell you that the vintage violin or other object really needs to be about 40 years or older. In other words, it would have to be made around 1981 or as far back as 1921 when it then becomes an antique.
Personal Experience With Vintage Violins
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My own violin was made in France by Didier Nicolas around 1820, so it is most definitely an antique by these definitions. Many of the great violin makers we are familiar with such as Amati, Guarneri and, of course, Stradivarius were making their instruments over 300 years ago. In fact, Stradivarius’ “Golden Period”, when most of his best work was done, was between 1700-1725. There are over 600 Stradivarius instruments still in existence today and generally considered by most to be the finest ever made.
While there is no doubt that Stradivarius may represent the epitome of violin perfection, are they truly different and so much better than a modern violin? An article in the New York Times some years ago said that “Sure, there are excellent modern violins, but convention has it that the sound of a $50,000 modern instrument cannot compare to the magic of a Stradivarius worth millions.”
I had the pleasure of playing one such violin, The Windsor-Weinstein Strad made in 1717; a wonderful instrument with a glorious tone quality. This violin is valued around $6,000,000 and is certainly the greatest violin I have ever played. It is interesting to note that many believe Stradivarius had a secret ingredient in his varnish which helped to produce the beautiful tone. Some research has been done using modern scientific technology, and we now know that in fact there was no secret ingredient; he was simply a master at using ingredients available to all.
The Old Vs. New Violin Debate & a Fascinating Experiment
The debate about old versus new has been raging for decades, and many tests have been done to try to determine if there is truly a significant difference between the million dollar Strads and modern violins. One such test took place in Paris, France in 2014. 10 professional violinists were blindfolded and asked to play 12 different violins split evenly between old and new and the test included 5 Stradivarius violins and a Guarneri del Gesu from 1740.
They all played every instrument firstly in a small rehearsal room. Then, the same players evaluated the same instruments in a concert hall and then finally played them again with full orchestral accompaniment. There was a small audience made up of violin makers, other musicians and critics. Each soloist had been asked to imagine they had to replace their own violin and were about to head off on a concert tour. The results were quite surprising. Six of them actually chose new, modern violins over the old masters. In fact, as a group, they did no better than simple pot luck when picking old from new. Interestingly, most of them felt that it was the new violins that were more immediately playable.
Violinists & Their Instruments
Of course, tests like this that weigh the sound of a vintage violin against the sound of a newer model are not new and certainly not infallible. Some of the players suggested that this type of test cannot take into account the months it may take for a violin and player to acclimatize to each other. There was also a suggestion that perhaps some of the old violins were not top quality. On the other hand, perhaps it also suggests that modern day violin makers may be just as skilled as the great masters such as Stradivarius and Guarneri.
So, what is the final word on this subject? In truth, there is no final word and the debate will continue to rage on. My guess is that most violinists still favor the belief that the old masters are the greatest. After all, I haven’t heard of any great soloist who is planning on trading in his or her Strad or Guarneri for a modern violin.
Who Made My Violin?
A quirky clue, but if you look at the bridge (the small pale piece of wood holding the strings up), it may have a name stamped on it. The most common is probably ‘Aubert’ which is a generic stamp, but some might have the name of the shop that originally sold the instrument. This might provide a clue.
In the end, nothing is a substitute for an expert being able to inspect the instrument to tell you who made the violin. We at Amati provide a free online service where people can send in photographs, and valuation days around the UK and the rest of the world, where our specialist can, in person, examine your instrument.
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