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Ray Weaver

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About Ray Weaver

  • Birthday 02/26/1956

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  1. I am already planning to acquire this bow shortly simply as an excellent playing tool for not much, but was curious if the name of the maker rings any bells. It rang mine, until I realized that what I assumed was a brand of "August Rau" was in fact "Anton Rau", about whom I can find not a whiff on Google. Since even obscure makers usually turn up somewhere on Cozio, Tarisio, or other sites is there anyone who may have run across the brand? Sorry for the lousy photos. The frog is bad shape, some weird plasticky black stuff on the stick between the wrapping and the frog and the tip looks stunted. The bow was played by a mid level fulltime orchestra player for their career for I'd guess 30-40 years if not more. I know it's not special, but it sure is focused and draws out a big sound with excellent handling. So any Anton Rau sightings?
  2. A friend of mine who is a string teacher in a nearby county school system and a freelance professional (and a wonderful kind and honest person) contacted me to see if I could help a former student of hers who has stopped playing and wants to sell her two violins and a bow. I tried to get her to approach a couple of local alternatives since I am not obviously a professional appraiser in any way, or an outlet for violins other than as a regional rep for Baroque Violin Shop in Cincinnati, but the teacher dropped by and I said I’d look at them. The violins are just Eastmans. The bow is more interesting. It is stamped *Albert Nurnberger* and is obviously aged. Looking online and in discussion on Maestronet it ticks all the boxes to actually be a Nurnberger and seems in good shape except for wear around the frog and wrapping. I’m guessing this might be worth more than the violins combined if it is genuine. It plays well. I am simply offering her advice and do not intend to sell the bow for her, but suggest the best outlet for her to do so. Any thoughts? Nurnberger_Violin_Bow.zip
  3. Who would have guessed that this was a thread about comparing the geographical beauty of one nation to another?
  4. Rats. The first time it auto corrected to "degradation"...which was bad enough, or perhaps worse.
  5. So for my second and likely last violin photo id question. The label is a non dated Juzek, my guess being 1925 to 1945, nothing special. The sound (subjectively in terms of quality, demonstrably in terms of projection and clarity) is all I desire after a lifetime of trying lots of instruments between 10K and 60K. Apparently, according to some old Russian violinist I met in a regional orchestra, someone took the time to do a thorough degraduation. Still only worth a middling or lesser Juzek I know.
  6. Funny I never even really looked at it but the word would be gigantic. I put a string it was missing and played it and it was certainly full size.
  7. Sadly it's on the back although it's quite extensive and looks well done. There's some thought of trying to turn it into a baroque violin.
  8. Thank you, Jacob. That's all I need to know. I forgot to mention it does have a rather large soundpost patch and a repaired bass Bar crack of course. I the label was a Joseph klotz Jr I believe. I will advise them to make use of it in some way other then putting it in the hands of inexperienced students.
  9. First time ever posting pictures. This violin was donated to a project for school kids. A friend who is a violinist is helping them out and wondered if I thought it would be appropriate as a handout instrument for beginning violinists. Or alternatively it could be sold and proceeds go towards clean inexpensive modern instruments for beginner violin classes. Any clues appreciated.
  10. I am surprised to see that Russian trolls are even being instructed to create division on Maestronet.
  11. I can't comment on the instrument in question. I have never paid any attention to Juzek's but just wanted to relate my recent experience. I had a mandolin/guitar/ playing friend who asked me and a friend from the local full time symphony to play some of his four fiddles he was thinking of selling (he picks them up at pawn shops/antique sales etc). The least valuable of them was a Juzek with a common label not dated likely from the 1920-1940 period. Nice top wood, average back, crude scroll. However it sounded really good, better than the other three much more valuable instruments and even better than a couple of professional instruments including mine we had brought along. I quickly put in to try it for a week or so and subsequent trials in symphony concert halls showed that it had both a rich but attractively dark sound but also considerable projection both on the top and bottom, quick response, and the ability to play softly but still be heard. It has a weird tailpiece with four tuners but I am loathe to mess with it. Nothing canine in the least and now I'm thinking of selling my 50K plus fiddle.
  12. One aspect, which has been mentioned, is that an instrument must usually function in collaboration with other instruments unless you are planning a career of solo Bach suites. This test did not address that question at all. I had this aspect driven home forcefully many years ago while listening to a rehearsal of the Mozart Concertante. The violinist's instrument was a Rocca which filled the hall with a large, vibrant sound as he warmed up to play. The violist (who had connections in the high end trade) suggested he might try a Strad that the violist had with him. The Strad sounded lovely but seemingly much softer and less bold - certainly the volume of the Rocca dwarfed it. The orchestra arrived and the violinist switched back and forth throughout the rehearsal. Strangely, the Rocca could be clearly heard only in the higher registers of the E string so much so that runs in the middle of the instrument could scarcely be heard at all. The Strad on the other hand projected every note with extreme clarity and with a heartbreaking beauty that gave an emotional meaning to phrases that was entirely lacking in the Rocca. The violinist, despite several of us in the audience suggesting the Strad would be preferable, chose the Rocca for the concert because of it's greater "power". This experience taught me that testing a violin without the context of other instruments may lead to an incorrect assumption. By no means am I suggesting that all Strads possess the characteristics of the one I heard that day, or that modern instruments would not have the ability to project in the exactly the same way. I don't know enough and probably never will to have any certainty but I'm glad the comparisons are being done. Perhaps the next one could be in a quartet setting?
  13. in 2 weeks time there is a book launch in Cremona of the first comprehensive monography about Nikolai Kittel.

    Written by the experts on Kittel: Grünke, Gabriel and Chins. 30 Kittel bows in it. And some photos of documents contributed by kenway.

    There will be a lot of your questions and answers in it. www.nikolai-kittel.com



  14. I love the allusion to Keyser Soze which was a fascinating movie. I know of a Spiegel that is for sale for around/over 20K right now in Chicago - it's a lovely instrument. And I am relieved that there is evidence that Nemessanyi is not Keyser Soze.
  15. I can't resist interjecting that I have been told a number of times by an expert with not inconsequential heft in the international world of Strads, Guarneri's and such that Nemessanyi in fact didn't make ANY violins personally. Unless I misunderstood him he once claimed that Nemessanyi didn't even exist.
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