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MANFIO

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About MANFIO

  • Birthday 03/01/1963

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  1. I imagine most of his clients were nobles, courts, the Catholic Church, rich amateurs. That for Strad and the Amatis. Some of the Cremonese makers such as Storioni, perhaps del Gesù, may have sold to musicians. Marquis Carbonelli was contemporary to Stradivari, he was a Stradivari client, he commissioned instruments from Cremona, Venice and Mantova. He had instruments sufficient to a small orchestra. His inventory was made in 1740. It seems the decorated violin known as "The Rode" was made for him. The inventory lists 22 precious violins, 8 violas (including Gambas, that is, viols), 3 celli, clavicembali, etc. The descriptions are like this: "two violins by Signor Antonio Stradivario Cremonese, one of the year 1723, and the other of 1726, with their double case covered in yellow Moroccan leather with brass latches, marked number 1. "two violins with their case covered in read leather, one by Antonio and Girolamo Brothers Amati of the year 1614 and the other by Nicolò Amati of 1643, "Two violins in a case covered in red leather, one by Antonio Stradivario... "Two violins in a case covered in black leather, one by Antonio Stradivari... "Two violins in a case covered in red leather with brass latches, both by Nicolò Amati..., Two violins in a rose colored case, one by Antonio Stradivari of 1702 and the other by Pietro Guarneri of said year 1702... two violins in a case lateched with brass, covered in red leather, both by Stradivari, A violin by Stradivari of the year 1715, with its case covered in black leather, with brass latches, Two violins, one by Stradivari... in a case covered in yellow leather
  2. Perhaps because of the short corners and wide lower bouts... but my model is more orthodox, I think. The Tertis model is based in low,, full but unscooped and rather thin plates, with deep ribs. The Tertis model solved some problems such as response, C string and dynamic range, but the sound may lack warmth and colours.
  3. Marquis Carbonelli was contemporary to Stradivari, he was a Stradivari client, he commissioned instruments from Cremona, Venice and Mantova. He had instruments sufficient to a small orchestra. His inventory was made in 1740. It seems the decorated violin known as "The Rode" was made for him. The inventory lists 22 precious violins, 8 violas (including Gambas, that is, viols), 3 celli, clavicembali, etc. The descriptions are like this: "two violins by Signor Antonio Stradivario Cremonese, one of the year 1723, and the other of 1726, with their double case covered in yellow Moroccan leather with brass latches, marked number 1. "two violins with theis case covered in read leather, one by antonio and Girolamo Brothers Amati of the year 1614 and the other by Nicolò Amati of 1643, "Two violins in a case covered in red leather, one by Antonio Stradivario... "Two violins in a case covered in black leather, one by Antonio Stradivari... "Two violins in a case covered in red leather with brass latches, boty by Nicolò Amati..., Two violins in a rose colored case, one by Antonio Stradivari of 1702 and the other by Pietro Guarneri of said year 1702... two violins in a case lateched with brass, covered in red leather, both by Stradivari, A violin by Stradivari of the year 1715, with its case covered in black leather, with brass latches, Two violins, one by Stradivari... in a case covered in yellow leather The text in Italian mentions "due violini del Sig. Antonio Stradivario Cremonese, uno dell'anno 1723 e l'atro del 1726, con sua Casseta da due violini.... This "con sua Casseta da due violini" (with its double case) may indicate that the two violins belonged to that case, this is one of the possibilities of the translation of "con sua casseta". Other instruments are not mentioned with "sua casseta", indicating, perhaps, that they had a "different" case. Other violin is again described as "A violin by Stradivari of the year 1715 with its case coverd in black leather with brass latches...". In other ocasions instruments are mentioned "in a case", instead of "its case". This inventory is in the book THE STRAD LEGACY.
  4. Thanks Rue and David! Rue, I have 15.5 viola model that sounds nice, it is a "fat" lady.
  5. I unearthed this thread... Melvin, have you done the borax treatment to avoid woodworms?
  6. MANFIO

    SG .45?

    http://www.fiolinmaker.no/tips-triks.php?uside=eigenvekt.en&flagg=en A calculater for that.
  7. This is a new, 42 cm. (16.5) viola model, a bit bigger than my previous models. When we make a big viola, it is important to keep the quick response and the sound focus, you can lose these things with a bigger soundbox. Do you find a 42 cm. (16.5) viola too big?
  8. Another thing is that some players will impose their sound on the instruments. During a viola Congress in Cincinnati, Roberto Dias made all the 40 (or so) violas he played sound about the same. And of course they were all very very different. In the hands of another player, they would sound very differently.
  9. As far as viola sound and playability are concerned, I am a good judge. But I can't evaluate a violin or today, I don't have references in my ears for that.
  10. How qualified is the audience to evaluate the sound? The audience can't judge playability. The sound may be good, but the instrument may be a hell to play. It is the player that evaluates and buys the instrument.
  11. Carl, I think she is an amateur, not a professional player.
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