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  • Birthday 03/01/1963

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    Sao Paulo

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  1. One of my violas in action, in Berlin. This trio is new to me, many viola solos. The violist is principal of the European Union Youth Orchestra and studies with Hartmut Rohde at the UDK Berlin.
  2. As always, it is hard to say if the label belongs to the viola... the overall model (corners, f holes, f holes position, C bouts) is far from being "canonical" or orthodox...
  3. Aristide Cavalli had a small workshop in Cremona called "Claudio Monteverdi". The ticket mentions "e i suoi alluni", that is, and his students. This viola is probably a workshop instrument. He established the first violin factory in Cremona. the Here some information about him, but in Italian:
  4. Two of my violas in South Korea, the one on the right belongs to Jayyoon Kim, principal viola of the Korean Chamber Orchestra, the one in the left to one of Jayyoon's students.
  5. Perhaps, but it serves to see how prices can change in a different way.
  6. In the early 80's a Poggi violin had the same price of an air ticket Sao Paulo/Rome...
  7. Zukerman sounds very powerfull when you are very near him, I had this experience sometimes, so he sounds very powerfull "under the ear" too, I think.
  8. Eventually it is the player who pays for the instrument, and he pays for a quick response, clarity, a wide and generous dynamic range, an instrument that is easy to play, and in tune, good tone and yeah, good tone even under the ear. If you can't notice thing like change of color and volume under the year, the audience will not notice that too.
  9. I've seen many projection tests in concert rooms... In many cases, the "bad" instrument projected the same, but it was a hell to play, the player had to spend a lot of energy to make it sound properly, and would never use professionally. I remember Roberto Diaz playing many violas in a concert room during a viola Congress, he imposed his sound to them all and they sounded about the same. Zukerman will do that too.
  10. I will quote David Burgess: "From my conversations with Curtin and Tao, one of the things which stands out to me is that during their various tests, they haven't run across any instruments conforming to the legend of sounding soft under the ear, yet projecting well in a hall. Instead, loudness under the ear, and perceived projection in a hall seem to be highly correlated." (David Burgess).
  11. I made this squirrel tail plane many years ago.
  12. The dead violinist and dead violin maker myths are stronger than ever!!!
  13. I like the idea of the adjustable neck. I don't like the idea of not having an endpin (and no view of the post from the endpin hole). The tailpiece may get too stiff without the tailgut that makes it "float" a bit. The incorporated chin rest is nice, but may cause problems if you take it to another place and want a different time. Also, if you have a canonical, orthodox viola, a luthier in any part of the world will be able to make a quick adjustment or a small repair. That is VERY important if you are a professional, you may be in London today, NYC tomorrow, in São Paulo in a week and so and forth.
  14. Grazie mille Davide! Very usefull? Do you bend the plywood arched lid?
  15. Nice box Davide? Do you use the endpin hole to give some "suspension" to the violin too?