Sources and Quality
The best violins have traditionally come from Europe, with the finest and most valuable being made in Italy. The other countries with histories of fine violin-making are Germany, France, England, Austria, and Bohemia (now the Czech Republic). Smaller groups of makers have historically worked in several other European countries, such as Spain, Portugal, Hungary, and Poland. In recent years many of the best hand-made instruments have come from the United States; and there is a growing group of excellent makers in mainland China.
In addition to the fine hand-made instruments, there has been much factory production, primarily in Germany, France and Czechoslovakia, and more recently in Japan, China, Korea, and even Sri Lanka, as well as in Eastern Europe (Bulgaria, Romania, and Hungary). Generally if you are looking for a student instrument of quality, you will do best with one from China, western Europe, or Bulgaria. It is possible to be deceived: many instruments are labeled deceptively, with a false name in German, French, or Italian, or with an incorrect country of origin.
There are many fine new instruments, although many people prefer an older one in good condition, as the tone has had a chance to mature. The old instruments carry an aura of romance, too. Still, the most important criteria are tone, playability, and condition. Remember that violin-making is currently at a very high level of sophistication and artistry in various parts of the world, including the United States. Some of what you pay for an old violin goes for name, age, and rarity. You may get a better new instrument for the same price.
It is very difficult for the average person to look at a violin and be able to tell much for certain about its origin, age, quality, and value. For this reason, it is best to do business with a reputable violin shop. After all, you are buying not only the instrument, but also the knowledge, skill, and warranty of the person who sells it to you. The shop should be willing to let you borrow an instrument you are thinking of buying, so that the teacher can try it and judge whether it is appropriate for the student, and so that you can try it in a familiar acoustic environment. General music stores are another source, but usually offer only poorly-adjusted rental-type instruments, with no expertise available to assist in the choice or in subsequent maintenance.
Sometimes there is an old instrument in the family. This may or may not turn out to have real value, but experience shows that some maintenance work or restoration is almost always necessary to put such an instrument in playing condition. Sometimes such a revival is not even worthwhile. A good violin shop will be able to appraise such an instrument and perform the necessary work. General music stores are generally unfamiliar with old instruments, and should not be entrusted with their appraisal and repair.
Buying an instrument through an ad in the newspaper or on the internet carries similar risks. Often such an instrument is sold because the student dislikes playing, and has not taken good care of it. Usually the seller is unaware of what repairs may be necessary, and it often happens that such repairs exceed the price of the instrument.
When buying an instrument to be used for playing classical music, it is a good idea to avoid buying from an individual or store with a primary interest in fiddle music. You’re likely to end up with a fiddle with tonal quality inappropriate for your needs, and that is set up wrong for classical playing.
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