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Torbjörn Zethelius

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Everything posted by Torbjörn Zethelius

  1. A novice has better to trust the opinions of more experienced people until he gets some experience of his own. Standards do change over time, but often very slowly.
  2. Kristiania is the old name for Oslo, the capital of Norway. It's a repair label. I guess he knew that it was going abroad since it states Europa.
  3. The difference is that you only see an ugly scroll in the Cannon, which I do too by the way. But in realising that it wasn't completed the way it was intended it becomes much more interesting as a study object.
  4. I've never denied that the scroll is decorative. On the contrary, that was my point! You either don't understand, or you don't want to understand. But fine, you do as you learned. I'm not your teacher.
  5. Naturally. Still, the pegbox was made first. I've seen a Strad before.
  6. What is the mainstream in MN? Violin makers are a bunch of individuals. Somebody whose name shall remain in the dark once said to me, If two violin makers agree, one of them is lying.
  7. In violin making school we learn to finish the volute before the pegbox, because we are obsessed with decoration (due to the copying illness). But for them function and structure came first, so the pegbox was finished before the volute was carved. It's a matter of saving time and energy. If the pegbox turns out to have a flaw in the wood and deemed unusable, scrap it and go on to the next. The volute is purely decorative, so don't waste time doing it the other way. That's what we see happening in the Cannone.
  8. It's evident to me that Del Gesu had help. I also think that he had a bunch of violin parts waiting to be assembled. An assistant would finish them, carving f-holes and scrolls and in some cases putting in purfling.
  9. Yes, the Carrodus had the same treatment. Where you see ugliness, I see work in the making. The process went like this: a bunch of pegboxes including the first turn were finished. Right in that process something happened and Giuseppe was unable to finish them properly. Someone else, or Giuseppe himself due to failing eyesight as Melvin suggested, did the best they could. Why would del Gesu go from his -37 style, which is his best period in my opinion, to this "complete freedom of expression". It does not make any sense. Yes, I know, I took that quote out of its context. Conor has a good point.
  10. So we have opposite views. And you still haven't realised that the scroll on Il Cannone is good all the way up to the second turn. It's a scroll in the making.
  11. However, I feel pretty certain that Giuseppe didn't have the artistic intention to transform his Cremonese heritage. Why would he do that? It was all an unfortunate accident which copyists are doing their best to preserve.
  12. I might add that everything except the scroll on Il Cannone is perfectly made. Somebody took a half finished scroll from the heap to finish it up. Giuseppe might have had a bunch of finished and half finished violin parts laying around for maybe Katerina to finish and assemble. I have no theory of who carved the funky scrolls.
  13. I didn't say that she carved the Cannone scroll. I said that it's a half finished scroll. She might have cut the 40's funky f-holes though.
  14. I suspect that in the 40's del Gesu got more and more assistance from his wife. Guess I'm not alone in thinking this. The Cannone has a half finished violin scroll. Interestingly, because we can see how he went about when carving it.
  15. I don't think so, but it's more pronounced because of the thick central area.
  16. I'm still waiting for proof that mode matching has a positive effect. It's been going on for decades. Somebody must have proof.
  17. Here's a 1574 Andrea Amati violin. From John Waddle/Steve Sirr.
  18. I think we can rule out Andrea from the Amati-smile family trait.
  19. Savart may have had great influence on the field of violin acoustics, but as far as violin making he didn't advance it a single bit. i think he rather did the opposite. IMO
  20. I should add that a personal model opens up for a tremendous freedom with stylistic features and arching which you don't have with a fixed model. It was sort of a revelation once I had my own model ready. As you say, there's no reason why a Stainer or Amati shouldn't be as good as a Strad. It takes a special talent, or technique to get the best out of a Strad or del Gesu which few in reality have. A Stainer/Amati I suspect, might be better suited to the mass of players who are looking for an instrument which gives them what they want but with less struggle.
  21. To make an Amati type arch with broad scoop which is also quite thin in this area. I suspect that this kind of arch might be better suited for many if not most players than the Strad/GdG type with narrower scoop and thicker. Does anyone have experience with this kind of arch?
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