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Everything posted by baroquecello

  1. Some cellos just look like they want to be played. This one does, I like it, no matter wether it is a great cello or not.
  2. I too have difficulty reading music fast (I too, started at a late age). And although Fellow is partly right, he is not completely. Music usually consists of patterns, parts of scales and broken chords, patterns 'circling' around a note. When practising sight reading it is most important to start recognising these patterns, just like when we are reading words. When we read text, we don't read every letter of every word, we see a number of letters and our brain quickly finds a word with it that it has read a thousand times. That is why we often don't read typos which occur in longer words and c
  3. Thanx for your reactions, satisfied my curiosity. Interesting site Joe, I like what your varnish does to flamed woods! And Manfio, I really like the way your violalooks, nice varnish, and -maybe it's just because of the angle or my amateur eye- I really like the way the flame of the ribs fits to the flame of the back, especially in the c bout. Leonard
  4. My teacher, Viola de Hoog, is teacher for baroque cello at the conservatories in Amsterdam, Utrecht and Bremen, apart from having a well functioning career as performing artist. She started playing the cello at the age of 16, no previous string playing experience, only piano. So it is possible to achieve a good level, but it is not the standard case. The disadvantage of starting late is that you learn slower, the advantage is that you can really do the things you do with much more awareness. If you really want this, study systematically. Solve technical problems using your cognitive skills, yo
  5. I'm only a celllist so don't know much about violin making, and I've been surprised by several parts of the process of varnishing an instrument some contributors mention on this forum, I never would have expected tar/bitumen in a varnish, for one! (and it may be a good idea not to mention this to buyers who might have negative associations with tar..) My cello has been varnished partly with products from this varnish maker who makes the Magister brand varnish. Reading the articles on his site I find it seems like a possible approach to "historically informed varnishing" (hihi, did I just inv
  6. Just how easily are they removed in case you decide to change back? I'm asking since I'm considering buying some for my baroque cello, because since the pegs are used so frequently and more violently than on modern cellos, they tend to disform faster and I need adjustment every year, apart from the problems that arise with changes in air humidity. The fact that they need to be glued in is my only reservation against them....
  7. I've seen and played a mid nineteenth century german cello with a design like bill just described. The dealer talked about a misinterpretation of a Stainer model arching.... Biggest problem is that it is not possible to change the pressure on the front and back plates by moving the soundpost in and outwards, since there is no angle at all when there is a 'plateau'. The cello didnt sound that bad though, surpringly, but not great either.
  8. I've been wondering wether corner blocks influence the sound, resonance of an instrument. If there are four of them, you are talking about adding quite some weight (especially to a cello, the instrument with which, being a cellist, I'm more familiar with) and also it seems to me that by glueing a larger surface of the back and front panels, they are 'held' more rigidly, making it harder for them to resonate. Im asking since I've some very good experiences with 'cornerblockless' cellos when it comes to their sound. That they often have cracks and other weak spots usually is due to other faults
  9. Ha, had all of them correct, meaning, I heard which recordings are with the same violin. Didn't dare to guess which one is which though, esp. because I liked the scale better on the nagyvary, but the sibelius on the strad...
  10. Ken, not knowing if you deciphered the pencil writing on the back of the violin, the second word to me looks like a somewhat crudely written "repariert: 18??" which means repaired: 18?? in german, something I've seen written on labels in a few cellos too. I can't make much out of the name in front of it though...
  11. I've been experimenting with afterlengths a little on my baroque cello, which is easier to do than on a modern one because the tailpiece doesn't have one of those notches modern tailpieces have, so you can just put something (I used a piece of gut string) between the string and the tailpiece and move it around till you tuned the string afterlength. It did have quite some effect. I managed to tune my a and d strings to a fifth , so e and a respectively, the g and c strings however, probably due to the fact that they are silver wire wound and ofcourse have this textile bit at the end (I was usin
  12. First of all, hi everyone, I'm new to this forum. It seems an interesting place! I own a late nineteenth century cello, probably Bohemian. (A lutier who made the appraisal thought it was Mittenwald at first, until he saw the neck construction, guitar-like, and according to him that points towards Bohemia). The cello is in quite a bad state of maintenance and has several (mostly badly repaired) cracks. here is a list: A long soundpost crack in the back, almost reaching the edges of the cello. This crack has been repaired a long time ago, with a not so elegant patch and linen along the crack.
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