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Magnus Nedregard

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About Magnus Nedregard

  • Birthday 01/24/1976

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  1. Also, the amount of information and the degree of openness that Tarisio has brought to the violin market was much needed. I am not sure how it would have looked now if Tarisio did not happen. Many instruments are sold with more than one certificate I can't quite see any problem or anything strange about that.
  2. Hei Salve! I acknowledge I am totally a dwarf compared to you on hardangers, but on the age, I still think this looks quite 1780-90's in many ways, woodworm or not! But I am perhaps not totally convinced the fingerboard is original to that fiddle, what do you think? The fiddle itself has suffered relatively little wear, whereas the fingerboard looks curiously worn and damaged.
  3. The outline is of the old, archaic type, in other words it is most probably from before they started making the hardangers on the outline of italian and german violins. They are usually much shorter than a violin, virtually always unpurfled and with a through-neck. In my opinion this is how a proper hardanger should look, I always liked them better than the violin-like type. I should think it is a late 1700-fiddle from somewhere south of Bergen, but I am no hardanger-connoiseur. I would say this is one now for the museum or a collection... with that kind of woodworm damage, there's really no good solution that keeps the original pieces.
  4. Good point to think about and mention to some musicians, on some violins the peg have been set low, so the gap is especially narrow.
  5. I can't answer the question, but the thought experiment is extremely interesting! If Strad by time travel could enter the VSA competition, would he then be rewarded for his genius? Or could it be his contribution would be dismissed because he had developed yet another model that no one had seen before? Could it be his varnish would be found too intensely coloured, and too much filler was found to be used in the purling mitres? Would he be excluded when it was discovered that the scroll scandalously, was actually made by his son? The G-string was found to be somewhat lacking in power? Or, would actually his genius be recognised, and in a blaze of light it was as if all the other participants just disappeared and died of shame, and he took every prize there was, (except perhaps the "luthier under 20") and disappeared back to the 18th century with a devilish laugh? Or perhaps his participation had went by totally unnoticed?
  6. Well, fond as I am of many english types of cheese, and indeed other types of english food, I must still conclude that italian food is pretty hard to beat! Food questions apart, I have good reason to think that Newark is a very good school, and would probably be my second choice. If your main interest is antiqued instruments I would probably go for Newark. Although antiquing has become rather normal in italy too over the last decade or so, the Italians have a continuing tradition of making "new" instruments that I find sharper and more accentuated, although it might not be to everyone's taste right now. (I know, the english have that too, but as a general tendency I would say that the most important difference in focus is this. Newark also prepares you much better for restoration. At least that was the case when I last checked, but things might have changed in Cremona there.)
  7. When I tried to choose a school back in the days, I was told that other scools were "better" and that Cremona was a disorganzed bunch of italians. That's probably right, but I still don't regret I went there nevertheless. The advantage in Cremona is the great variety of makers, teachers, instruments you get to meet there. You will have the triennale, exhibitions, and great opportunities to study both old and new italian making close up. I feel that some other schools have a narrower and perhaps less "open" approach, and certainly not this intensely violin-saturated environment that there is in Cremona. The best teachers were really good. And we still have not talked about the cheese.
  8. Ok! And of course it is a valid method. But if you glue the linings continuously on both sides of an inside mould, how do you manage to pop it off the mould? And often when I've seen violins with continuos linings, there are little triangular gaps in the transitions from block to upper and lower bout ribs, because this line isn't quite as hourglass shaped as we like to think. There's actually an angle in the inside shape on most models, unless one fills it up with a very large block shape. It is very natural to do this in a naturally hourglass shaped instrument like the guitar, but at least the classical violin models, really aren't!
  9. About this one... might be impossible.. the total sum of information in the picture is a just a little bit to sparse, not easy to tell neither how the ribs meet at the point nor what the inlet part of the lining looks like, but I would think the maker used probably some kind of inside mould. My initial impulse is to think it looks like a block from somewhere in the Bohemian/Austrian belt, but that is already far into unqualified speculation land.
  10. Yes, I saw a Cesare Candi not long ago with ribs like that, I think he used an outside mould? It is a little akin to guitar-construction to do that. I doubt that it is structurally superior, but it hasn't any particular problems either, as far as I know. The trouble is you have to fit the inside of the blocks and the lining together, which is sort of one extra operation, without any real purpose. At this point it could be interesting to reveal the makers of the violins in the first quiz, they are David Tecchler (Rome) G.B. Guadagnini (Milan) and Johann Christian Ficker (Märkneukirchen).
  11. Another important issue with blocks, (and construction method in general) is to be able to decide when the blocks, or perhaps the entire lining and block system has been substituted or altered. It can create some confusing situations. I have some interesting examples there too, that might be subject for a later quiz. I believe these are all original.
  12. Yes, this is meant only as a topic of entertaining and educational speculation - as little else is possible, but I like to focus on one detail for a while without drawing all other aspects of an instrument into the question at all times. To arrive at a maker, is really not all that interesting. As for construction methods I think they already were nailed in Michaels' first post, so this was much too easy! it's inside, inside and BOB, as far as I can tell, too. His other speculations are quite relevant too, it is all in the right direction except that number one moved to a different country so geography is confused, number two is certainly Italian, but not cremonese. Number three is part of a very large group of instruments, but this is one of the better (and earlier) makers of the area. The underside of these blocks, if we could see them, are cut at an angle upwards towards the point. (Not flat towards the back).
  13. I think that corner block quizzes must be among the three most entertaining things to do in this world, and since no one else has thought of arranging it, I will have to do so myself. It might even be slightly educational! Three very different ways of doing it, all 18th century. Any ideas about geography anyone? Construction methods?
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