Bruce Carlson

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  1. Federico Tresoldi is a Lawyer.He's Alfred Primavera's brother in law.
  2. No chance as a Virgilio Capellini. I worked with Capellini in 1972 along with Alfred Primavera while we were going to the Violinmaking School. The label is a facsimile of the one started at that time in collaboration with Adolph Primavera (Cremona graduate of 1951) whose shop was in Philadelphia. Before that time this label did not exist.
  3. Many other bow makers worked for Vuillaume and besides, it's not a bow but a cake of rosin.
  4. The real rosin sold by Vuillaume (while in Rue Croix des Petits Champs) looks like this. I understand much of the rosin was prepared by the bowmaker F.N. Voirin and his wife.
  5. Pretty much as Michael says. By the time you have an opportunity to work on such an instrument your experience level must be be high enough that you are not improvising anything, even though, every intervention can be slightly different than the previous jobs. Here your experience will help you to find a best way in any particular situation. In other words, if you have never done a certain operation I wouldn't start with a valuable instrument. It can be likened to a surgeon who has repeated a certain operation over and over until he can ALMOST do it with his eyes closed. The experience aids in the execution and tells you what to avoid when there is a risk of possible damage. Lack of preparation and/or improvisation is one of the major causes of damage to fine instruments and once the damage is done it cannot always be rectified. Good intentions are not enough. I can't say that I enjoy people looking over my shoulder either while doing something complicated because it is distracting.
  6. Hi all, I find it unfortunate that much visual information on the older threads disappears because the published LINK is no longer active or has been modified. I would like to suggest that whenever possible to attach a file directly to the thread for photographs, videos or specific text so that remains in time on Maestronet and can be referred to in the future. Probably someone has already said this but it just happens all too often that the point of discussion on an old thread is missing. Bruce
  7. We could use Plutonium which in addition would certainly help the radiation ratio. If we don't tell the violists, in time they may lose some fingers but would this really make a difference in the way they play?
  8. I helped Francesco Bissolotti with the setup when he made a 5 string viola for Kim Kashkashian. Initially I cut a thin (weich) Thomastik Spirocore tungsten wound cello c string in half. She appeared to be be happy with it when she picked it up but I have no information on any final string changes she may have made. Instead for Salvatore Accardo he did make a five sting with a high e string which he needed for a recording of Harold in Italy..
  9. You mean like this? I'm really astounded it didn't catch on and blow away the competition!!!
  10. Well, his father was cutting a number of the scrolls for violin bodies made by 'del Gesù'. +
  11. Del Gesù did chamfer the inside of the pegbox and would blacken it as well. Stradivari is as Davide described, outside with chamfer and inside sharp at the end of the pegbox opening and the inner side of the walls only slightly softened but not a real chamfer.
  12. It can be but in the Neapolitan school they sometimes put them too close together and it was therefore easy to create a crack between the G and E peg holes or the D and A or in a viola or cello the C and A or the G and D. Most pegs are staggered so that there is more clearance for the hand. Some more, some less. The scroll below is a viola.
  13. I believe a number of these bridges are branded. Forster, Gilkes, Betts etc. (all later makers). Those in the Schreinzner collection attributed to Stoss, Geissenhof, Thir, Leidolff, Stadlmann, Stauffer etc.
  14. You can't believe everything you read in print. I totally disagree the hypothesis that this bridge could have been put there by Guarneri 'del Gesù'. The other bridge, in the collection tagged 'Guarneri', and housed in the Cité de la Musique in Paris, could have come from the 'Alard' but is certainly not in a style that you could attribute to Guarneri 'del Gesù'. If you look at the bridges in the Schreinzner collection from Vienna, this style of bridge or similar were being used all over Europe from London to Vienna and most of these bridges are tagged with makers active after 1750 a Mark Caudle mentioned.