alittlebettereveryday

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Everything posted by alittlebettereveryday

  1. ...in October...it was lot 245 and sold for $100,000 even -- $124,000 including buyer's premium...my net was $89600...they charged 1.5% for insurance plus $900 for the photography...they paid 5 weeks after the auction which turned out to be 6 weeks thanks to "snail mail"...the story of how I acquired it is somewhat interesting...four years ago I was reading Maine Antique Digest and spotted a tiny photo of a violin in an ad for Doumouchelle's auction house in Detroit...normally, I pay little attention to Duomouchlle's because they usually handle rather low grade antiquesalthough occasionally they get a worthy estate from a ritzy suburb north of the city...in any case, under the photo it said "Andrea Guarneri violin, est. $35000-45000"...curiosity took me to Duomuchelle'swebsite but the single photo there was very dark...nevertheless, I was able to make out a gold medallion on the tailpiece which I knew was Moeinnig's "trademark"...so I called the auction house andasked if there was a certificate...and they said "sure" -- in fact, there are TWO certificates...PLUS an appraisal done by Moennig 2 years previous in 2001..they faxed me copies and everything lookedcorrect...they emailed better photos and everything matched up...so I decided to phone bid...the appraisal was for $125000 so I decided to set my limit at $60000...I didn't expect to win but as it turned out I think was in fact the only bidder...I opened it at $35000...then it went 36, 37, 38, 39, sold...I doubt it lasted more than 15 seconds...with the premium the total came to $43000...none of the usual delivery services would touch it -- they were afraid to go into the part of town where Duomuchelles was located!!...one of them referred me to what I swearwas a Mafia hit man...he said he'd be happy to bring it to me to bring it to me -- and he guaranteed that "no one was going to f__k with my fiddle as long as he had it"...needless to say, I tipped him generously...upon opening the case the first thing I noticed was Duomuchelle's had left out yet more pertinent information...they failed to mention it included a bow!...I popped the bow out and saw it was octagaonal and mounted with rather pale, worn gold...Ilooked at the stamp and it said "E. Sartory a Paris"...I don't know for certain that it's real but it certainly has the best feel of any bow I've ever owned...so, overall, I'm quite happy with the results...although I'm not sure whether I should have included the appraisal...I wonder if that might have inhibited bidders from going higher.
  2. ...Amazon indicates it will be released April 24: http://www.amazon.com/Tchaikovsky-Violin-Concerto/dp/B000N0W9LK/ref=sr_1_1/102-8223903-4548918?ie=UTF8&s=dvd&qid=1175611144&sr=8-1
  3. ...old "scotty" has been a topic of discussion before: http://www.maestronet.com/forums/messagevi...20AND%20romedio
  4. ...etudes, I might have to consider buying it:
  5. ...has a bunch of performances available for viewing: http://www.violin.org/2006comp/listen_watch.html ....you may also download them using free software available from this site: http://sdp.ppona.com/ ...one caution -- these are full performances and some last over an hour so downloading may take quite a while...all of the performances are quite good but none struck me as especially exciting.
  6. The violinmasterclass website is particularly nice...there are downloadable pdf files explaining the various techniques plus videos demonstrating both instruction of the techniques as well as videos of student performances illustrating use of the techniques...moreover, its all FREE...Mr. Haslop's course requires three volumes to cover just the Kreutzer etudes and all three volumes (volumes 1, 2 AND 3) cost almost $450.
  7. I couldfind little online about Mr. Haslop other than he was once associated with the New Hollywood String Quartet at one time -- I believe they have disbanded now...I can't find that he has much in the way of a curriculum vitae either for performing or teaching...therefore, it's difficult to judge merit from past results...however, I'm inclined towards skepticism of any remarkable transformation his advice might offer and -- more to the point-- I'm disclined to part with upwards of $450 for all three volumes of his Kreutzer series...I did examine his website: http://www.violinmastery.com/ ...he does offer some videos of his performing on the website: http://www.violinmastery.com/videos.htm ...while the performances are good they aren't anything to get excited over...moreover, they don't provide any examples of him actually teaching the pieces...and then there is his blog: http://www.violinmastery.com/violinsecrets/index.html ...reading it over I didn't feel as though he offered anything particularly trancendental or otherwise special...and frankly he sounds just a bit FOS with a pitch for either his DVD's or his seminar every three or four paragraphs...at the very least I think I would make sure he offered a money back if not satisfied guarantee before making a purchase.
  8. ...for a FEL "Chambord" case see page seven of the Zoller-Levy catalog: http://www.zollerlevy.com/cufiles/cuerdas.PDF
  9. ...photos: http://kenjimiyagawa.it/restorationit.html
  10. It depends on what level you have reached...in the early years playing in tune with a piano or computer or tuning device is perfectly fine...granted playing in tune with a piano may be musically "inadequate" in a true "violinistic" sense...nevertheless if you can sound as good as a piano then you will be able to perform far better than most "violinists" and the average listener won't know the difference...as you progress the individual notes have to be studied more acutely within the context of the scale and the chord...and ultimately intonation has to be determined within the context of the musical phrase as well as within the context of the harmonic structure of the piece.
  11. I plan on consigning it to be auctioned next fall...I think the Moennig certificate should be more than adequate...in Christie's auction both lots 257 and 258 had Moennig certificates...as I recall lot 257's certificate was from 1973 and lot 258's was from 1978...lot 257 carried an estimate around $60000 but failed to reach reserve...258, on the other hand, sailed past it's estimate to sell for $132000...I doubt updating the certificate would have made much difference.
  12. Mine is a 1690 Andrea Guarneri with a William Moennig III certificate from 1967...it's been awhile and my memory isn't the best but as I recall the rep wanted to send it to either Biddulph or Beare....after he thought about it awhile the rep changed his mind and decided Moennig's word would be "acceptable"...this certificate, that certificate -- I'm always rather astonished that no one ever seems particularly interested in how the instrument actually sounds.
  13. ...you have to register at their website to actually bid...however, you can watch the proceedings live if you download the software: https://www.christies.com/LiveBidding/Download.asp ...unlike ebay live bidding apparently you actually view the auction live via a camera from inside the auction gallery.
  14. Thanks for the response...the question pertains to my situation...I have a violin that I'm looking to consign...it has two certificates -- one about 80 years old from a French firm and another about 40 years old from a respected American firm...in the course of discussing it with various auction houses one of their representatives -- someone you probably know -- suggested it might be worthwhile to pack it up and ship it to London to get a certificate from "the" expert on the maker...I was taken aback somewhat by that suggestion -- I don't like the idea of shipping old violins halfway around the world and back...on the other hand, well, if it would make a substantial difference in the bidders attitude then perhaps it would be with it...any input would be appreciated...thanks.
  15. ....the Guarneri violin comes with a Rembert Wurlitzer certificate from 1972...would a Wurlitzer certificate be considered reliable?...moreover, might it have been in the seller's interest to have obtained a more current certificate from a respected dealer?...or should it just be obvious from the instrument's workmanship?
  16. ...per the website this article was rejected by the Catgut Acoustical Society Journal for being "too technical": http://home.online.no/~an-buen/CASJ%20Mode...%20spectrum.pdf ...there are other articles that may be of interest: http://home.online.no/~an-buen/Publications.htm
  17. Interesting analysis of the effects of fine tuner mass: http://iwk.mdw.ac.at/Forschung/pdf_dateien...nstimmer_WH.pdf ...in German but an English summary is provided on the website: "In this master thesis I tried to investigate the influence of fine tuners on the acoustical properties of violins. This is the worldwide first attempt, concerning related literature there exists only one paper (Stough 1996) on the vibration modes of tailpieces and it's influence on the acoustical properties of violins. The influence of fine tuners on the instrument is primary caused by it's mass (weight) which usually is between 1,6 and 5,5 g and depends on the mass of the tailpiece. A high mass of the tailpiece lowers the influence of fine tuners, a low mass increases their influence on the entire instrument. Influence on the tailpiece: In general fine tuners shift the frequencies of the lower corpus modes downwards. The larger the mass, the larger the frequency shift. extremely light fine tuners can generate additional vibrating modes of the tailpiece. Influence on the entire instrument: The typically lower vibration modes of a violin up to 250 Hz are shifted downwards. Heavy mass fine tuners can cause narrow band collapses in the fundamental frequency range of the instrument."
  18. The thread "kathyk" referenced if anyone's interested: http://www.maestronet.com/forums/messagevi...eyword1=muncher
  19. From a structural point of view, using a chain to determine the inside shape of a violin produces an inverse catenary in the plate...the inverse catenary is an especially strong and stable shape...force is distributed equally along its length for any given thickness...this produces the maximum resistance to shear forces and, hence, maximal resistance to any deformity those forces might produce...applying force to the base of the catenary -- in this case where the ribs attach -- as would happen when tightening strings causes the catenary to deform into a parabola...parabolas are useful for focussing waves and may have some relevance to stringed instrument sonics....coincidentally, the catenary curve became particularly popular in Italian architecture starting about the late 16th century with the rise of Palladio, Vignola and others...I wouldn't be surprised at migration of their ideas to instrument construction.
  20. http://www.youtube.com/watch?v=7XA16CzV_Y0&eurl=
  21. You can purchase "thickened turpentine" here: http://www.woodfinishingenterprises.com/varnish.html ...method for making it yourself is here: http://www.scavm.com/Fulton.htm
  22. "...different set of principles..."...what principles?...what I have read indicates only a vague understanding of the basic mechanics of how a bridge works...calculated forces, vectors, static forces, blah, blah, blah,...none of which translated to any "principles" that relate to any sound coming out of the instrument...sure, narrowing the waist has some effect on sound; paring the wings has another -- but nothing apparently that can be consistently defined so as to become a "principle."
  23. A more direct and -- I think -- better source -- for videos of older classical performances: http://www.vaimusic.com/
  24. Toxicity depends on strength...practically everyone has had a dose at some point in their lives since aluminum potassium sulfate -- aka "alum" -- is used in most tetanus vaccines to keep the ingredients in suspension.
  25. Alum was used for a variety of purposes...it could be used to clarify liquids by precipitating suspended dirt particles and alkaline earth carbonates -- e.g. it was used to purify muddy water...it fixed pigments to wood fiber and paper -- functioning somewhat like a paint primer...it prevented foaming...it was used to keep dyes in suspension (preventing flocculation)...it was also used as a hardening agent -- particularly for making paper but perhaps for making varnishes as well...it also makes a good toothpaste and cures toothaches.