Max Grossmann

History

Max Grossmann (b. 1856) was born in 1856 in Jastrowie, Poland. He pursued studies in acoustics in Berlin, where he developed a method for the harmonic tuning of violin plates. From 1904, Grossmann collaborated with Otto Seifert to produce 'New Cremona Violins', which also included violas and cellos, applying his acoustic principles with notable success. He published several works detailing his theories, including Es giebt doch ein Geheimniss der alten Italienischen Geigenbauer in Berlin in 1898, and Die theorie der harmonischen Abstimmung der Resonanzplatten bei der Geige und die hauptsachlichseten Einwande dagegan, also in Berlin, in 1907. According to John Dilworth, three of his collected works were translated into English and published as New Cremona in London in 1908.

Craft

• Acoustic Theory: Dr. Grossmann's research proposed that the back and top plates of a violin must stand in a simple vibrational relationship to each other, specifically a higher pure fourth or fifth, to achieve optimal sound.
• Material Selection: He theorized that the choice of spruce and maple for violin construction could be explained by the fact that, at approximately equal thickness, their fundamental tones naturally exhibit this desired vibrational ratio.
• Instrument Production: From 1904, he applied his plate tuning principles to the production of 'New Cremona Violins', as well as violas and cellos, in collaboration with Otto Seifert.

Influence

• Collaboration: Max Grossmann collaborated with Otto Seifert in the production of 'New Cremona Violins' from 1904, applying his acoustic theories.
• Adoption of Ideas: His ideas on plate tuning were adopted with success by various violin makers, including the Markneukirchen firm C. G. Schuster jun.

Legacy

• Publications: Max Grossmann left a significant legacy through his published works on violin acoustics, such as Es giebt doch ein Geheimniss der alten Italienischen Geigenbauer (1898) and Die theorie der harmonischen Abstimmung der Resonanzplatten bei der Geige und die hauptsachlichseten Einwande dagegan (1907).
• Translated Works: A collection of three of his works was translated into English and published as New Cremona in London in 1908, broadening the reach of his theories.
• Instrument Line: His theoretical work was embodied in the 'New Cremona Violins' (and violas and cellos) produced from 1904, demonstrating the practical application of his research.

Further Information

• Birthplace: Max Grossmann was born in Jastrowie, Poland.
• Study Location: He studied acoustics in Berlin.
• Key Publications: His published works include Es giebt doch ein Geheimniss der alten Italienischen Geigenbauer (Berlin, 1898) and Die theorie der harmonischen Abstimmung der Resonanzplatten bei der Geige und die hauptsachlichseten Einwande dagegan (Berlin, 1907).
• Journal Article: Dr. Grossmann further elaborated his theory in an essay published in the Berliner Mus. Instr. Ztg. on July 16 (1897/98), No. 41.
• Translated Collection: A collection of three of his works was translated into English and published as New Cremona (London, 1908).

Summary

Max Grossmann (b. 1856) was a Polish-born acoustician who studied in Berlin and developed a significant theory of plate tuning for violins. His research proposed that the top and back plates of a violin should be in a simple vibrational relationship, specifically a pure fourth or fifth, to achieve optimal sound. He collaborated with Otto Seifert to produce 'New Cremona Violins' based on these principles and published several influential works on his findings, which were adopted by other makers.