The repeated line "You might find me by the water" suggests a sense of waiting and anticipation, as if the protagonist is hoping for something momentous to happen. Water often symbolizes purification, rebirth, and emotional depth. By positioning himself by the water, the protagonist may be seeking solace or a fresh start.
Not at all. The trick is to establish your priorities before you begin looking. Thatmight sound rather obvious, but it is seldom the case. Most people, in searching for a newinstrument, think in terms of price: what they have spent, what they can afford to spend,what they’ve been told they will have to come up with. It makes perfect sense,because it’s the way most markets are organized -- the more you spend, the more youget. So it’s only natural to expect that with violins, too; but the fiddle world isnot that straightforward. While unlimited funds can get you a great fiddle (although thatis far from guaranteed) the truth is that you can find everything you need to satisfy yourmusical needs in the antique violin market without spending a fortune. In fact, trueexcellence can be found for less money than you might expect to spend for a Hyundai. Howso? The answer is simple: the price of a violin has very little to do with the way itsounds.
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Due to the way the market for antique instruments and bows operates, the best buyspurely for sound are the instruments that have no maker’s name attached. The marketmight be organized around what’s on the label, but the audience can’t see it --and wouldn’t care even if they could. True, the name Stradivari does have somemarquee value, but not much; the audience is there to hear you, not look at your violin.If it sounds good, that’s all that counts. Looked at from the perspective of sound,the reason Stradivari is held in such high esteem is that his instruments gave musicianswhat they needed: a rich, powerful tone with a fast response. And how did he achieve this?Model, craftsmanship, wood, and varnish. And those are the criteria to use in finding agood-sounding violin: one that was made by an experienced, well-trained maker, who usedthe Stradivari or Guarneri model and the finest wood, with a top-quality varnish, awell-executed arch, good graduations, and a condition as close to mint as you can find.Instruments that fit all these descriptions were being made before the end of the 18thcentury all over Europe, so you’ll have plenty to choose from; and chances areexcellent that you will find one at a price you can afford.
But you can find instruments with an excellent attribution and provenance that arestill relative bargains. Many makers, and even entire schools, are seriously undervalued-- the victims, for the most part, of the common prejudice in favor of anything Italian(or French, if it’s a bow). But let others be the ones who pay for their prejudices.What follows is a brief look at the best makers of the various national schools activethrough the early twentieth century whose work is well worth seeking out. Of all thevarious factors that govern the violin market, the primary one is nationality. Italianworks command a premium; then French, Dutch, or English, then German; and then barely onthe radar screen, American. In general, one might argue that these categorizations havesome validity, but there are enough good and bad violins in each school to mean that manyinstruments suffer or benefit unfairly from this preconception. e24fc04721
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