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Shadi Bartsch

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  1. Hi everyone, I'm desperately looking for the may or june issue of the 1998 Strad magazine. One of these has an article on Catenari violins that I need to get my paws on, but my library doesn't carry this journal and their editorial offices haven't been any help. Can anyone point me in some direction? Thanks, Shadi
  2. Thanks Alistair -- I liked your advice too. And Barry's. In any case, I DO want to upgrade from my current violin, which is a fairly pricy modern instrument, to an older violin, so I think the student outfit idea might not be the best one for me--although I appreciate that it's hard to give advice to someone when you don't know how long they've played or what they're looking for, as Shadowhawk points out. By the way, Barry, that D'Attili certificate is late 80s/early 90s. This raises the whole nasty question of whether these later certificates are sound, a question which makes many of Dario's friends get very indignant indeed. No fun being caught in the middle there. Anyhow, here's my decision in the end: although I'm NOT buying the violin as an investment, I also can't afford to throw away the sum in question with no chance of recovering it if I want to sell later. I think I'll continue to search, and pray that I find something that sounds as good with a lower price-tag and a really solid genealogy. I'm guessing no part of it will be Amati....boo hoo. By the way, if anyone wants to just cuddle a Strad for a while, or a Guarneri del Jesu, they sure have a lot of them at Bein and Fushi. S. thanks again for all the feedback, Shadi
  3. What a gruesome image! Any other chickens out there waiting to be plucked? Anyhow, I think my real problem is that it ISN'T easy to find another violin with the same tonal qualities. I've played now maybe 25 others in this search. Whatever this violin might be, it certainly sounds warmer and sweeter than all the 19th and 20th century instruments I've tried. I have a friend with a Gagliano and if anything, it sounds like her violin. Sigh.
  4. Thank all of you for this input. Here's what I'm hearing: a violin of dubious provenance, no matter what the tone, is a bad financial decision. Also, that attitudes towards D'Attili papers vary greatly. Oh, and that my original question about the spelling of Cremona doesn't interest anyone! I don't know much about the Sofia and Gliga options mentioned by ShadowHawk. What are those? Also, I was of the opposite impression than Mairead: namely, that the back and ribs were the most important. But that may not even end up mattering here, S.
  5. Michael -- even if the "label" is actually written ON the back? Shadi
  6. Hi everyone, I'm looking at a composite violin from a NY dealer with the following label: Nicolaus Amatus, Cremonen Hieronymi Fil. ac Antonii Nepo Fecit. 1647 The violin has a beautiful tone, but does anyone know if Nicolo Amati ever wrote Cremonen for Cremone (the latter itself a late Latin form for the locative Cremonae)? The dealer stands by the Amati origin for the back (and his high price!) and the instrument has D'Attili papers. However, a local Chicago dealer who looked at it id'd the instrument at 19th C. German. Any info from someone with more experience than me would be greatly appreciated, Shadi
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