romberg flat

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About romberg flat

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    Fifth row right, seat No.10

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  1. Baroque bass bars

    I have never heard for Sol Babitz until now, sorry. As I wrote before I am not a maker or musician of any kind but only audience on this extraordinary forum (yes, that one with a hat and a pipe, from 5th row right, seat No. 10). I hope my ignorance and constantly messing around with professionals will be benevolently forgiven, if not for anything else then because I'm really eager to learn. In my quest for knowledge I came across - among many - to an article by Christian Rault (you probably know him personally) that I highly recommend. Those who do not have enough time can skip the first half and start reading from the chapter "The Early Violin". A lot interesting stuff there for one who wants to learn or to refresh his knowledge about history of violins. http://www.christianrault.com/en/releases/how-when-and-where-the-specific-technological-features-of-the-violin-family-appeared
  2. Baroque bass bars

    I think we were talking about bridge position... I hate to argue, but you are the one who wrote about surviving material that contradict iconographical record regarding the bridge position, and in the same post gave examples that just prove that iconographical record, i.e. accuracy of old masters paintings. With all due respect I couldn't not to notice that.
  3. Baroque bass bars

    That’s very true and very practical. Why to mess with the bridge if you can just turn the pegs to change the pitch. But alas, we have to consider that the word is about a period at the end of the 16th and early 17th centuries when violins are just starting to get their present appearance. We are talking about the transition period of Renaissance music to Baroque, followed by changes in instrument construction to meet new demands for play. In the evolution of the violin form, the changes are rather drastic, and the position of the bridge is just one of them, which is very well illustrated by examples from Ben's post, so there is no need to go into further elaboration. The idea of a connection between the position of the bridge and the pitch is not, of course, mine, it can be found in almost every HIP expert's writing. The images of the old masters have certainly helped make that idea come true.
  4. Baroque bass bars

    As an architect (neither maker nor musician, so there is a high probability that I am wrong ) I can see only one simple, but good reason: low bridge = low pitch = late Renaissance/early Baroque music. No need for being dogmatic, but also no need for doubt in accuracy of violins on old paintings, which appears in some (not yours) posts. Thank you for the excellent topic and extraordinary examples in your posts. high pitch (pink), moderate pitch (red), low pitch (blue) edit: On Giovanni Maria lira from 1580 the mark of lower bridge position seems to be clearly visible, and on Bassano it could be possibly hidden under (later) tailpiece.
  5. Baroque bass bars

    Respecting all what is written about accuracy of Old Masters painting, one thing can’t stop to intrigue me: When look at the painting Still Life with a Violinist by Master of the Acquavella feat by Bartolomeo Cavarozzi we can see that both, the violin and the music sheets are painted with great precision. In fact presented music sheets are the edition of madrigals by Cipriano de Rore. Moreover, on the sheets could be recognized notes of cantus from his most famous composition - Anchor che col partire. So, if Cavarozzi ménages to paint exact notes and text on the sheets, how to the devil fails to place the violin bridge on the proper position? And how the same sloppiness repeats on his other painting – Aminta's Lament? I'm trying but can’t figure out the answer since 2014, when the similar thread (with its ups and downs) was running here: https://maestronet.com/forum/index.php?/topic/331453-how-to-interpret-violin-color-in-old-italian-paintings/&page=11
  6. Baroque bass bars

    And you too Giovanni, haven't you heard what the Lady said?! Or maybe Old Masters simply didn't know how to paint violins?
  7. Violin geometry references

    VdA an Marty I'm afraid you have completely misunderstood my yin and yang metaphor. Now, if you excuse, I'll take a break and go to (men's) restroom to powder my nose.
  8. Violin geometry references

    None of that. Yin and yang describes how opposite opinions may actually be complementary. Don't you think this perfectly illustrates this thread?
  9. Violin geometry references

    But you still need to use drawings, isn't it so?
  10. Violin geometry references

    It seems that after 15 pages the full circle is complete. Without a divider, but divided on analytics and pragmatism .
  11. Violin geometry references

    "I heard Angel's music in the wood and carved until I set it free." ...would not work
  12. !8th century working methods

    For the perfectionist (as Poirot from my gif) the most important thing is to make the composition balanced. It does not necessarily have to be absolutely symmetrical, but it must look equally weighted on both sides of its vertical center. Like Leonardo's "Last Supper" ... or Addie's "Landolfi".
  13. !8th century working methods

    The example of an almost perfect symmetry
  14. !8th century working methods

    For perfectionists symmetry is very important ...
  15. A 200 year old Cornerless Cello signed by Chanot

    Tonio? No way! Tonius? Maybe