hendrik

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Everything posted by hendrik

  1. In a way my almost complete ignorance of music theory and composition theory might be a blessing in this case. Not being ironic. I remember how as a teenager a certain vinyl recording of violin middle movements from early romantic concertos gave me the goosebumps , many times. I think it was a more intuitive kind of listening. Then years later I found those performances not very inspiring or moving any more, having listened to a great number of the same with critical ears. And yet even though many of the later recordings were outstanding, none gave me that " rapturous" sensation I used to have. I regretted having lost that. Almost like a loss of innocence. Was it overly critical listening that killed it? Over familiarity? It never came back, and it won't any more I think, not in the same way. Now I appreciate music differently, appreciate more of the subtleties, the technical mastery, the interpretive style, the flow, the cohesion, but the more primal, direct connection to - whatever it is that moves us - works in another way now. A performance a few years ago of Shostakovich' 8th quartet brought me to tears. In my teenage years I would not have "understood" - gotten - much of it.
  2. Phillip K.T. : if I hear you correctly you find Brahms' music to be contrived. ( My words, not yours) I agree , some of his music comes across that way to me as well. For example some of his solo piano works, and bits and pieces in his compositions everywhere. Yet when I hear his first symphony , the piano concertos, so many other compositions he blows me away. He can create an atmosphere, as for example in the adagio of his G major violin sonata that one doesn't find anywhere else. Playing his chamber music is quite a challenge, but a very moving experience. It can easily sound muddy or dragged down. It seems he is trying to expound on Beethoven without leaving the restraints of the classical period too much. There is something very German in his music I think, this complexity , ( too ) much emphasis on detail, gründlichkeit, somehow lack of natural flow. Mozart was pretty well the opposite in many ways . His complete mastery came naturally - and yet from the "German" tradition as well. I am not a music scholar, just enjoy all kinds of music. Including both Brahms and Dvorak. Brahms is actually one of my favourites. He didn't write any bad music. There is some nobility to it. Sometimes he sounds tortured, maybe because he was often very unhappy. Some of Dvorak's music is astounding - 9th Symphony, piano quartets, quintets, , romance for violin and orchestra, romantic pieces, but he also wrote some very uninteresting second rate stuff. Just my 2 cents.
  3. In the 80s I met an elderly colleague who sounded British --- I thought. Last name was Hassett. What do I know. Foolishly I asked what part of England he was from. That did not go over very well. Mind you he was an active IRA supporter. Things have changed though.
  4. You're a sh.... disturber are you..
  5. Markneukirchen later 19th century imho
  6. Sweet and mellow? Maybe. Could be loud and a bit unwieldy. Will be interesting to hear when finished.
  7. Are the ribs let into a groove in the back? The one picture seems to suggest that. ( not the Juzek but the original OP's violin)
  8. Quite a non-starter. Who is going to make your new top? And what quality wood? At the end of the day even if well done the violin would be worth considerably less than the original instrument.
  9. Is it possible to turn clamped rib ends into what we see here, by fitting a corner block, using a dremmel and what not , and revarnish the area? I'm not saying this happened here but I wonder if that is possible.
  10. Mendicus, could you show us some UV pictures? The tiger stripes on the one side of the scroll but not the other side are a bit odd.
  11. And here a puzzle: second one should not be too hard to guess as far as region: https://commons.wikimedia.org/wiki/File:Violin-scrolls.jpg
  12. Looks like a nice scroll to me, with some character. Different from Mkn or Mittenwald. But what do I know. Here some history, ( hope I didn't break any copyright laws) not chronologic : Guarneris, love those funkier ones: View large image Andrea Amati Stainer, love that scooped out first turn The Betts Stradivari AHHope opA2/2
  13. Not sure you can tell from the angle of the pictures. Might be ok?
  14. Bass side soundhole has been butchered a bit as well.
  15. "And yes, Cerruti label (1817)." Interesting. If they can't spell Ceruti it's probably Chinese. Seen some very interesting spelling mistakes on Chinese wannabe products. Other than that it does look nice indeed.
  16. Agree, if you meant German to be: trade violin from Mkn/Sch. Not Mittenwald imho. I think could be as late as early 20th century. The usual pictures would help, particularly head on on corners and bottom rib, but varnish, delta on scroll, shape of scroll, outline of the violin all fit Mkn. So do the droopy corners. I'm not sure if Mittenwald can have that kind of purfling? But I'm not an expert by any stretch of the imagination.
  17. It is remarkable that the sound holes are cut really very well and professionally - as they often are on those fiddles. Besides the usual boxes it also ticks off droopy corners and crappy chinrest. If you could show the original case that would seal the provenance.
  18. Even if the neck and button were not original : imho the body, edging etc does not look like JTL either. If you maybe meant the corners have been squared off more than most Mkn and it doesn't have rolled edges: that doesn't get one very far in figuring out origin.
  19. Yes pictures aren't great. Scroll doesn't look French to me.
  20. What model viola and what is the LOB if I may ask? Beautiful sound.
  21. hendrik

    New Hill violins

    Congratulations on a terrific purchase. Are you still in Toronto? I would love to drop by next year , end of April. Will pm you if that is ok.
  22. Agree with Jerry, Mkn /Sch second half of 19th century. But I' m not an expert.