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Mark Caudle

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About Mark Caudle

  • Birthday 06/06/1953

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    cmarkcaudle@yahoo.com

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  • Gender
    Male
  • Location
    Lodz/Colchester
  • Interests
    Professional baroque and renaissance cello, bass violin/viola da gamba and viol player in UK and Poland since 1973. Also makes baroque instruments - mainly celli. Around no. 15 + some restorations of baroque wrecks!

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  1. I am in the same city (Łódź) and, without advertising, I can say that I know a good violin shop in this city run by an excellent violin maker.
  2. I am a passionate proponent of the balderdash! Anyone who has played any kind of "baroque" cello with entirely historical setup will know that it is completely different to a modern setup and demands a very different technique and position of left and right hands.
  3. If I had to make this work I would fill the mortice and glue the neck to the body with some reinforcing screws. That way you would have more freedom in setting up the right angle of neck and shaping the south end of the neck.
  4. I seem to remember that the Strad had to reissue this poster as there were some mistakes in the original version. You should probably check that you have the revised version before relying on any of the numbered measurements.
  5. Not sure about this but I think that the right gauge of wire used for keyboards would work. In Uk I know that Malcom Rose is widely respected http://www.malcolm-rose.com/Strings/Spinning-wires/General-information/general-information.html
  6. The f holes seem to me clearly to be damaged. A trace of the outside notch is visible on the treble side and one of the notches has been carved away on the bass side.
  7. According to Wikipedia Jones drives from Hebrew, Johan, so In Italian, Giovanni. Giacomo M Giovanni??
  8. I have a ?Saxon? violin which has a similar, maybe Brescia inspired scroll.
  9. The question of fluting is interesting to me. I think that the purpose is to produce a lighter bow while retaining sufficient stiffness (apart from the decorative appearance). Snakewood has a tendency to be a bit too flexible if it is thin enough to be of a comfortable weight. Therefore fluting is a good solution specifically with snakewood but not necessarily for other, less dense woods. I think bloodwood would be in this category so i can't see any reason for a fluted bloodwood bow or even pernambuco. There are possibly some fluted pernambuco bows for pardessus or small viols or even violins and this might make sense because of the light weight needed. But not for cellos.
  10. Real baroque bows were made straight and the bend was produced by the tension of the hair. I don't think weight is that important or anyway success depends on the tension of the stringing of the instrument. But around 70-78 grams is probably a good range. I have found it is possible to adjust the ease of articulation after making bows by altering the graduation up to 1/3rd of the distance from the tip. My experience is nearly 50 years as a pro baroque cellist and more recently as a blundering experimenter in making bows.
  11. This Strad article might be useful to the discussion.
  12. There is another critical parameter which is elasticity. You can imagine that a solid rod would not function as a string at all because it has virtually no elasticity. Whereas a rubber string would have too much elasticity to produce much sound. Therefore the thick lower strings need to have enough elasticity to respond easily but not too much to produce a strong sound.
  13. Yes and they weren't always small like the Hoffman models that are mostly used now. The Stradivari Saveuse is similar size to this one and has the hole for playing da spalla.
  14. 1736 is an interesting date for a violoncello from this region. It is rather close to the time when treatises like Majer (1732) described the violoncello only as an instrument played across the chest with a strap (da spalla). This is exclusive in all the German language treatises from the last quarter of the 17th century up to about the time of this cello. it is likely that Quantz was already describing different circumstances as he is a bit later. But there are other examples of important cellists from this period like Vandini (associated with Vivaldi) who apparently played cello solos in a gamba position with underhand bowing. So it is not impossible that this cello would have been played in a similar way. Perhaps because of its slightly small size it is more likely that it was intended to be played da spalla. There is an enormous variety of sizes of cello like instruments from German speaking lands at this time as would be very obvious if you visit somewhere like the museum in Nuremburg. I suspect most except the very large ones were played da spalla and I say that against my own interests as a player of violoncelli da gamba! The nomenclature of all these instruments is completely unhelpful-bass geig, violone, viola da basso etc etc. Not sure from the photo but is there an extra piece at the bottom of the heel of the neck to raise the overstand apart from the little shim?
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