Will L

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About Will L

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  1. Hi All, Many years ago there was an international organization of musicians with a printed listing of member's instruments, levels of skill, and willingness to invite members into their homes for playing chamber music. Does this still exist? Can anyone remind me of the name of it? Over a few years I had several delightful evenings of quartets with interesting musicians from as far away as England. If it no longer exists, what a shame that would be; perhaps it could be reformed.
  2. NEVER MIND, ABORT, ABORT! I have sold the violin tools and wood; bow making tools and wood. The books are still available. Thanks, Will
  3. Thanks Jim and Rue (How are you Rue?) Sorry I had not read this before I complained. I'll be posting what is going on and 85% of what I have. I'm doing it rather clumsily.
  4. Well, I'm not getting a specific answer, and people are beginning to e-mail me in a manner which doesn't allow me to answer them specifically so I'll post what I have typed up already, though it is not complete. If it gets taken down, at least I tried. Also, I'm unclear on what is safe to give on line for contact info. BOOK INVENTORY, WILL L (not in any particular order) and not complete VIOLIN Ferdinando Garimberti The British Violin The Violin Book Memoirs of a Violin Collector Four Centuries of Violin Making G.B. Guadagnini (Rosengard) W.E. Hill and Sons (Sadler) How Many Strads (Bein and Fushi) Stradivari Varnish (Brandmair, et al.) Carlo Bergonzi Stradivari (Pollens) Stradivarius (Beare) A Book of Workshop Secrets Antonio Stradivari (1987 Beare) Giuseppe Guarneri del Gesu (Two Vols. Biddulph) Antonius Stradivarius (Two sets, four volumes each, Jost Thone) Strumenti di Antonio Stradivari (Ente Triennale) Jean-Baptiste Vuillaume Johannes Baptifa Guadagnino (Scrollavezza) Emerging National Styles and Cremonese Copies (Huber) The Violin (Karl Roy) Masterpieces of Violin Making G.B.Guadagnini (Edizioni Il Salabue) Violin Iconography of Antonio Stradivari (Goodkind, the recent) les Violins Venetian Instruments …And They Made Violins in Cremona Violin Varnish (Padding) Francesco Bissolotti Cesare Candi Dictionary of Contemporary Violin Makers (Woodcock) Il Manoscritto…Di A Marchi The Miracle Makers (Bein and Fushi) Sacconi A Genealogy of the Amati Family of Violin Makers (Draley and Bonetti, signed by Draley) The Voller Brothers
  5. I seem to be making a mess of this. MY CONFUSION IS THAT GHUNT'S POST OF MARCH 12, 2012 SAYS "EXCHANGE" IT SAYS NOTHING ABOUT "SELLING" I just don't want to waste time posting an inventory and conditions if my post will be taken down, because I don't have time to waste right now. I want to sell the equivalent of a small violin shop; i.e. tools, related furnishings and equipment, books, instruments. But there are some situational conditions which complicate things and are not easily explained in a few words.
  6. Thank you, IN SHORT: I'M LIQUIDATING EVERYTHING I HAVE AND WOULD LIKE TO OFFER IT HERE FOR SALE, WITH SOME SPECIFIC QUALIFICATIONS BASED ON MY SPECIFIC SITUATION. CAN I? I did read ghunt's post of March 12, 2012. It talks of exchange, but not of sale. That is my confusion.
  7. I had to sit next to a lefty one summer at the Aspen Festival. It was only mildly uncomfortable. You could not have the lefty sit on the outside as you can imagine. Although I don't remember if that player was from a major orchestra, I'd be willing to bet that these days there'd be a heck of a law suit if it could be proven an orchestra didn't hire a player because he/she was left handed. Interesting question to pose to a personnel manager.
  8. Hi all, It looks like you cannot sell things here. Is that correct? If I can't I'd like to get advice/suggestions on the best ways to sell. Thanks, Will L
  9. WOW! See what I have been missing? I can hardly wait to get back into the battle.
  10. Most of my violins have come from RUE THE DAY. BTW, my favorite street name in Paris is RUE DU CHAT QUI PECHE. https://www.google.com/search?q=la+rue+du+chat+qui+peche&client=safari&rls=en&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjl8eHtzpTZAhVh2IMKHQjtALkQsAQIQw&biw=1112&bih=754&dpr=2
  11. This cert reminds me of the plaque that amusingly says: LET'S EAT GRANDMA/ LET'S EAT, GRANDMA. WHAT A DIFFERENCE A COMMA MAKES. "..., in our opinion only..." Is that to mean we are the only experts who think this is a Bernardel or does it mean it is ONLY our opinion? I like that they "...BELIEVE...it is their opinion only..." Kinda oily, no? At any rate, it is the most pretentious and poorly written form I can remember. It is—or WAS— ONLY IN MY OPINION ONLY: worthless except for the provided amusement. Also reminds me of the framed cert that Wurlitzer had on their wall from some self-styled expert in Oklahoma in the '50s: "I am the only one with the God given knowledge to recognize the violins of Stradivarius and Guarius [sic] and this violin IS a Guarius." PS, if anyone has a Guarius, I'm willing to pay top dollar, since I'd like to see one; in my whole life I have unfortunately only seen Guarnerius and feel I have been cheated in life's lottery.
  12. 2 cents' worth, since I'm not sure where you stand technically. Off hand it looks like you are holding the bow in a stiff and gripping manner—as if you are trying too hard. In person it is easy to demonstrate sautille but unfortunately not so easy to explain verbally. To do the bowing (most bowings, in fact) we can't have the bow in a "death grip." The old idea of simply holding the bow as if you had picked up a pencil is a good general rule. Another problem especially beginners have is that they think we control the bow at all times. In fact, in a way we are going along for the ride much of the time. Sautille is a perfect example. We are simply setting up ourselves for the bow to work its magic. One way to teach it is like this: 1: find a part of your own bow where you can play detache 16th notes comfortably at any speed. By detache I mean the simplest on-string stroke in which all you're trying to do is keep the pressure and speed even: NOTHING FANCY, and we are not looking to hide the bow changes. Start with broader, slower strokes, but get narrower and narrower and faster and faster until you are using very little hair for each stroke, but with exactly the same motion as you would have with 8ths or quarter-notes. At this point you should be thinking of your hand and arm as going parallel with the stick. 2: once you are able to do that, to bring the bow to life (so to speak) and get a sautille simply angle the motion of the wrist and forearm instead of staying parallel to the stick; this is initiated with the hand with the wrist like a hinge— the forearm is simply allowed to be free. Note that in sautille, in spite of the translation which is "jumping or hopping," the hair doesn't actually leave the string; sautille is NOT an off-string bowing; it is NOT simply a faster spiccato, for example. It is its own unique stroke which has much more in common with detache. The one other thing is to find the spot on every bow where the sautille works best. Once you get the hang of it finding the best spot on different bows comes pretty quickly and naturally, but if you haven't learned the stroke yet and start in the wrong place you'll have trouble. And, BTW, not all bows give a good sautille; it's one of the tests I always use when evaluating a bow. This video gives a little chance to see that "angled" motion around 1:00. Maybe the Menuhin shows even better. —MO Good luck.
  13. I'm just seeing this, since I've been very busy for a while. I'm glad to see the question, but one reason I've quit making is because I really don't have a clue how to make what I consider a great violin. But playing them for so many years and being very aware of changes, I believe Conor's and Mason's points are right. And I'd add that adjustment can effect the sense of response greatly. More than once I got a violin back from a good adjuster to find that the notes tended to "snap into place" with much more definition and would feel better to the bow. Regarding gluing seams, as an example of the importance, I had one violin which all of a sudden sounded false and dull. This was years ago when strings were not always perfect, so I kept changing strings. Finally, I found the top where the hand goes was quite open; once glued the problem was solved. As for what constitutes a "good arch," I think that is the last secret to be found. It seems as if there is some subtlety that most people (maybe all) haven't put their finger on yet. Good luck.
  14. The humerus is independent of the acromial end of the clavicle, at least as it applies to the range of motion needed to play the violin. If you experiment by constricting the movement of the acromial end you'll see that. Since most shoulder rests—and a violin without a rest—will be in at least partial contact with the clavicle, I don't see any difference whether touching the acromial end makes any difference. I agree with the idea of trying to keep the strings fairly parallel to the floor. But I also think the ideal is to not use a shoulder-rest* so the player is freer to manipulate the violin to the bow's advantage. This pertains especially to rotating the violin along the axis, but raising and lowering the strings a little is helpful, too. * If someone ever invents a shoulder-rest which allows as much freedom to manipulate the violin as a player has without one, I'd be the first to buy it. MO