baroquecello

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  1. so ugly it's almost cool...

    Very cool indeed! It made me think of These bolian Cellos from the 18th century, visible in this Video at 1'16.
  2. Help identifying violin

    No idea how much you'd manage to get for it. I'd say that has a lot to do with luck also. I wouldn't hazard to advise you on what to do about the varnish to save it. I Imagine some might give it a French polish or even some colourless varnish, but I'm not qualified enough to say anything specific. But others here are. If Antero is right, then it may just be worth Fixing up after all (but personally I'm highly sceptical this violin would sell for more than 300 Eur, even fixed up). The flaking varnish, the ugly scroll, the fake purfling, the boring Wood, the missing Corner.... A violin must Sound heavenly to make People disregard all of those aspects....
  3. Help identifying violin

    It Looks like something that will Sound quite badly when fixed up. Is it very heavy, which would Point to thick graduations etc.? You can throw the bow away, that is worthless. The violin seems repairable, but I doubt it is worth it, financially speaking. Is the varnish flaking or chipping off? Then I would say it probably was a brittle Spirit varnish that Needs some help now, but at least it is not nitro varnish. But really, if it were mine, I'd try selling it over eBay as it is, unless you bought it for the fun of making it playable yourself. For that it could be a good Thing. I'd be merciless, regraduate the top if necessary, glue up the box, add new Wood to the broken off Corner, Strip off al the varnish, and revarnish, maybe adding new fake purfling. You may even end up with something that sounds halfway decent. Oh, do take out the Label afterwards.
  4. Ideas about my new friend please?

    @Violadamore & @Blank face, I think that there were many different tastes for violin Setup in the baroque era. First of all since it spans such a wide period, but also because of the difference in Musical style and venues in which was played. Lets say we stick to 1680-ish. In Italy, the main Thing is opera. Instrumental Concerti were mostly composed as Music for in between Acts. Opera halls were comparatively large and very dry, acoustically. You Need Instruments that Project well under all circumstances, like the great italian Instruments from that era do. A nice Sound Close by is not such a priority, especially not for professional musicians. The violin was the predominant Instrument. Germany. Keyboard Instruments were the most important Instruments. The main venues were the church and the chamber, opera was important in exceptional places only. Apart from that, Germany was ravaged economically by the 30 year war. Violins didn't Need the projection they needed in Italy, thus more forgiving, less loud Instruments that nonetheless may have a nice tone were more admired. In Paris at the court, chamber Music was very important, and soft wind instrments like the traverso flute, the Gamba still and also the harpsichord. Violins were not highly regarded. I'm sure all of this led to great differences in the Preferences of Players, and their assesment of what is a good violin, and also violin strings in Terms of gauges. I would even speculate that many a professional player may have had two instruments, depending on what they were playing. Quantz actually recommends this for cellists, fifty years later. So I think both of you are right. A baroque violin doesn't Need to Sound less loud than a modern one. But it can, depending on what you aim for in that particular instrument. But it always has to have a certain Quality, if not projection, then sweetness of Sound Close by. (I think we can agree on that well projecting violins often Sound a Little rough Close by) I have a newly made "baroque" Cello after matteo gofriller, and it is considered to be too loud by many of my colleagues, most of whom Play on original 18th century german fiddles, which Sound nice, but just don't have the power of italian style Instruments. I'm now seriously considering trying to tone down my Cello by getting a fatter baroque style Bridge (something like a strad style bridge or so) than the current, relatively slender baroque Bridge, even if the Sound of my Cello as it is is quite good. I could also try to find a nice but less loud other baroque Cello, but that is a considerably more expensive solution...
  5. Ideas about my new friend please?

    I vote for Salzkammergut, with the blocks being a later Addition. late 18th/early 19th century. Lets see what Jacob Saunders has to comment on this one.
  6. Pietro Guarneri di Venezia

    Thank you Bert, err Ben....
  7. Pietro Guarneri di Venezia

    Bert, I'm curious about this. As I understood, only sympathetic strings were made of steel wire, but you seem to be saying These five string Instruments had steel wrire strings that were ment to be bowed?
  8. Violin ID and Restoration Tips?

    I'm a complete novice myself so see my comments in that light! Hmm it Looks as though you placed the bass bar perpendicular to the centre seam/annual rings of the Wood. The bar is usually slightly angled compared to those. have you read Roger Hargraves "Fitting a bass bar"?:http://www.roger-hargrave.de/PDF/ViolinMaking/Fitting_a_Bass_Bar.pdf Also, you said you were planning on regraduation the top plate. I see you've cleaned it up a bit, but if you plan to further regraduate, it would be good to do that before Fitting the bass bar. I can't help with your chladni Patterns nor with your tap tones. I do have the Impression there are good makers that don't really do any of the sort, personally I wouldn't worry too much.
  9. Flood Damaged/Moldy Instruments

    Maybe I'm not understanding this well, but, shouldn't the mold die as soon as the wood dries out? How could the mold survive on dry wood? And it is the spores that are dangerous, dried out mold doesn't produce spores anymore, so shouldn't be a danger, should it? Why would you need to bleach it, won't just time and dry air do the trick? I believe UV light should also work.
  10. Only the good survive

    Back to the initial question. I'd say the opposite: the good ones tend to get used and therefore tend to be the ones accidently sat upon or thrown over or something of the Kind. We are left with the Instruments that ended up on the attic.
  11. Violin ID and Restoration Tips?

    Question for @jacobsaunders: I see this REALLY short bass bar here on this obviously-never-intended-to-become-great violin. Is it true that one of the irritating and time consuming Things about making a top with an integral bass bar is not damaging it while gauging out the Wood you don't want? Seeing as especially These kind of rough gauged tops were product of a way of working that was designed (probably) for Speed, could one say that the Shorter the bass bar is, the less a workman cared aesthetically, or the smaller the bass bar, the faster he wanted to work?
  12. Cleaning your violin

    Really, you guys hav no clue. Kendall knows it all!
  13. ErgoVio fittings

    He still exists and is making the Fittings. I had contact with him last year. A Student of mine has a very good sounding Cello with a tail Piece by him and I was interested in his work. He seems to believe that (for Cello) short and light is the key and has Special specifications for how to fit the tail pieces. Depending on the afterlength, he will make a tail Piece of different length. In the end I decided not to buy one as I thought it was quite expensive for no succes guaranteed, and I'd have needed to travel to Hannover for it, because he only Trusts lutiers specifically instructed by him on how to fit his tail pieces, and otherwise wants to fit them himself. And a lutier I trust told me he removed such a tail piece that was causing acoustic Problems. (It may have been altered by someone though)
  14. Identification and cleaning of an old violin

    I'm wondering if the Markneukirchen attribution is correct. Mainly because of the neck, as you can see, the overstand under the fingerboard starts practically exactly where the upper rib is, I believe there is a continuous purfling below the fingerboard, very unusual! It is not something one would expect to see with a through neck like you would have on a standard markie, is it? I also find the ultra wide white of the purfling and the very thin black lines unusual. I quite like the scroll, it doesn't look so quirky, like most markie scrolls do, apart from that the fluting ends at 6 o'clock. I'm wondering if it couldn't be something else, a similar building technique to Markies (see the corners and "delta" at the chin) but something else nonetheless? No fake neck graft, no bad shading of the varnish, lots of repairs... I dunno, it just doesn't look serial enough to me. On cheapo, worthless instruments I use super nikco. Is takes off anything, is not poisonous or dangerous and doesn't dissolve the varnish. But it is a very mild abrasive, therefore the varnish will be highly shiny afterwards, and theoretically a small portion of the varnish will have been removed. Many here will call it a capital sin. I don't think I'd use it on this instrument though.
  15. Andrea Guarneri cellos

    Yes, very nice Cellos. A Student of mine owns a Schnabl (purchased on my advise), and teaching her sometimes leaves me envious of her Instrument. Unfortunately as a simple Cello teacher I don't have the financial means for a world class soloists Instrument like hers and like some of the makers participating in this thread make. Maybe some day...