Mark Caudle

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Everything posted by Mark Caudle

  1. While the value of the instrument might have been ruined by re-varnishing, its worth and value to a player as a musical instrument remains mostly unaltered.
  2. I think buyer's premium was only introduced in 1975. They managed to make the business work ok up to then without it.
  3. These samples are useful to composers of commercials etc so that they don't have to pay for live musicians.
  4. The splicing in of a modern neck would probably remove this feature.
  5. There is quite a lot of information from Mersenne in 1636 onwards. The Aquila String website has a lot of historical info although Equal tension and its variants is a matter of heated controversy!
  6. The idea that there is more tension on the treble side does not apply to Stradivari's time when equal tension stringing was the norm. The advantage of nailing the neck is that with the neck fixed to the ribs before gluing to the back, any misalignment of the neck could be corrected and the back outline adjusted before being glued to the ribs.
  7. I would be very sceptical about any bridge with modern style ankles to the feet before about 1750
  8. Rib height is given among the dimensions on the MIMO page along with LOB and body widths and diapason. This allows other dimensions to be calculated approximately from the photo making allowances for perspective distortion. There is a clue given about the arching in that the front is described as slightly arched where the back is described as arched. The ribs are a massive 170mm in height. I have produced a surprisingly good image of the left f hole at actual size from the photo.
  9. Thanks Jacob and i followed the discussion about the Fichtl with great interest. I have an old instrument with a back length of 802mm so I do have something to go on with these large instruments. i am just very interested to try and see how an even bigger one works. i have seen that one of the French ensembles uses a very large 5 string as a basse de violon and wanted to try myself although as a 4 string. Do you have any ideas what the museum one might be?
  10. Thanks, and I have already done this for the head where the one in the photo doesn't look very attractive! I enlarged a Testore cello head proportionally. It's probably not a very historically convincing method but I enjoy the process and as I am mostly making this to use myself I am free to experiment. I will try to get some information from the museum in the future ( or go and have a look) but need to get on with making this now while I have the time and no concerts to play.
  11. https://mimo-international.com/MIMO/search.aspx?SC=DEFAULT&QUERY=testore+#/Detail/(query:(Id:'1_OFFSET_0',Index:2,NBResults:5,PageRange:3,SearchQuery:(ForceSearch:!f,Page:0,PageRange:3,QueryString:testore,ResultSize:15,ScenarioCode:DEFAULT,ScenarioDisplayMode:display-mosaic,SearchLabel:'',SearchTerms:testore,SortField:Author_sort,SortOrder:0,TemplateParams:(Scenario:'',Scope:'',Size:!n,Source:'',Support:'')))) There is some confusion but this is the site nearer to the source of the information where it is assigned to CG Testore
  12. 1665-1738 CG Testore so the dates are ok. I don't really mind if it's a Testore or not. I just see an instrument of the size of some of the pictures of instruments from Bologna at the time of GB Vitali etc. And another similar size or a bit bigger in the Queen's collection that belonged to Dragonetti is set up like a small double bass but perhaps should rather be more like this.
  13. Does anyone have any information/photos/drawings about the 1696 Testore violone/basse de violon in the Musee Lascaris in Nice because my UK lockdown project is to make an instrument based on this and I only have a photo of the front + some measurements. I have made the ribs and cut out the scroll etc but it would be interesting to see the back. I am quite excited to see what such an instrument with LOB 850mm will sound like! Probably tuned Bb F c g.
  14. I really like this violin and think it looks as if the arching is very good and consistent between front and back and the whole thing is well made and professional. The f's are handsome and the shape characterful and well thought out. The trouble is that violins of less familiar traditions are condemned too often as "amateur".
  15. Lots of freshwater mussels in Ukraine.
  16. The strings I mostly use in an 18th century type of set-up are an equal tension set with a plain gut G. Toro top about 1.2mm, Real Guts d and G and a Kathedrale C but I understand that these may not be available now because Nick Baldock has been ill. For the middle, high twist strings Real Guts are by far the best but you could also try pure corde of which I have heard good reports. If you want to play Boccherini and the like you will probably need a covered G. I don't find any problem with tuning but the plain G helps a lot because the top 3 strings change with climate together in a predictable way.
  17. I'll try and put together some sources but I have to play a concert tomorrow which I am practising for so give me a few days!
  18. It seems very clear if you look at the violin parts (which you can do online) where the violoncello piccolo parts are included. There is also sufficient time between violin numbers to change instruments. The violoncello piccolo solo parts are never included in any of the continuo parts to be played by various instruments such as violoncello, violone or bassoon.
  19. Bass violin tunings from various sources: BbFCg CGDa BbFCgd FCgd GDae CGDg etc!
  20. It depends what sort of instrument you are looking for. Some of the Bach Cantata solos sound very good with a very small cello piccolo having more of a viola sound. But probably these parts were originally played by a violinist as the parts are in the violin parts. Therefore very likely played "da spalla". However the suite probably sounds better on a larger instrument. I made a few small ones with a 636mm back based on some photos of a Testore from a Tarisio sale which is that size although originally 4 string. They are probably not ideal for the 6th Suite but not as weak in the bass as you might predict.
  21. It seems likely that many of the existing French and English cellos that are or were originally with 5 strings and are of various rather large sizes (3/4+) may have been played with a top d string a fourth above an a string rather than a top e. This would have been comfortable for players used to a bass viol with a top d string. 5 string cellos around 1/2 size may be less consistently successful than slightly larger ones although it is not a problem for me to avoid the knees on the smaller ones. The ones that Bylsma, Wispelwey etc play/played are around 3/4 size (Barak Norman etc). I am doubtful if these had a top e string originally although they work fine.
  22. But this was a choice made in the 1780's. Doesn't mean earlier musicians would have made that choice for the music and instruments they were playing.
  23. "With the ferrule, the bow became even better....." This is surely the issue. The bow worked differently with a ferrule but not necessarily better. Maybe historically and today the softer articulation has been preferred. A matter of taste rather than progress. On another point, bows without ferrules have another solution to preserving the contact of the hair with the end of the frog. The trench is angled slightly away from the stick.. This has a similar effect to tying the hair to the frog with string etc and removes the need to do this.