MANFIO

Members
  • Content Count

    9558
  • Joined

  • Last visited

  • Days Won

    2

9 Followers

About MANFIO

  • Rank
    MANFIO
  • Birthday 03/01/1963

Contact Methods

  • Website URL
    https://www.facebook.com/ManfioViolas/
  • ICQ
    0

Profile Information

  • Gender
    Male
  • Location
    Sao Paulo

Recent Profile Visitors

31030 profile views
  1. Here another article, by Fabio Chiari: http://www.fabiochiariliutaio.com/articles/articles_3.html
  2. Sacconi calls it "acero campestre", some say "acero nostrano". Roberto Montagna, a maker, wrote this about it: Acero Campestre (acer campestris) L’acero campestre è uno degli alberi più conosciuti dal medioevo in poi in Italia, cresce fino a quote collinari e nella terra dove sono nato nasce spontaneamente dove il terreno non è già stato coltivato. Il suo legno è spesso compatto e se stagionato secondo il giusto metodo restituisce una fibra dura e sorprendentemente elastica. Storicamente, l’uso che ne è fatto riguarda più un uso agricolo, come ad esempio quello di tutore naturale e vivente per i filari delle viti o come legna da ardere. Oggigiorno tale pratica è molto cambiata, sia per carattere culturale poiché sempre meno persone dedicano tempo a tale pratica, sia per carattere economico poiché si tende a sostituire tali tutori con semplici pali prefabbricati i quali non richiedono nessun trattamento anno per anno. L’acero campestre infatti, soprattutto se nato spontaneamente e con sufficiente luce non ha una crescita molto veloce anno per anno, tende a far crescere un grosso e tozzo tronco alla base con tanti rami a cespuglio. Probabilmente per questo motivo viene chiamato “loppo” oppure “oppio” in pianura padana, poiché ogni anno veniva capitozzato per togliere i rami in eccesso e poter quindi usare il tronco per l’uso prefisso. Un altro uso, data la sua buona fibra era quello di essere usato per lavori al tornio oppure per delimitare zone di confine terriero. Per quanto riguarda la liuteria gli strumenti musicali costruiti con questa essenza sono tantissimi, tant’è che in una nota del ‘600 di un artigiano di Cremona vi è appunto indicato l’oppio “per fabbricare violini dolci e sonori”. Gli strumenti pervenuti a noi sono dei più abili liutai di tutti i tempi, dalla scuola napoletana passando per quella toscana e quindi diffondendosi in tutto il nord Italia. Data la sua tipologia di crescita non sempre è possibile poter usufruire del suo tronco poiché spesso non raggiunge pezzature utili all’utilizzo liutario.
  3. I agree with David. It was mentioned here sometime ago that the number of makers living exclusively from new making is less than 20 in the USA. In the case you don't live in a region with a good demand, things are even more difficult. I've heard from an Italian friend maker that Scarampella rehaired bows in front of the Opera, on the street, and tried to exchange food for violins. And Rocca asked to be declared legally poor. The Hills mention in their book that most makers lived from hand to mouth.
  4. One of my violas played by Karolina Pawul, principal viola of the European Union Youth Orchestra, she studies with Hartmut Rohde at the UDK Berlin, these orchestral excerpts are very difficult to play.
  5. Here my two cents about choosing a good viola, as a maker a player. Avoid monochrome instruments. Look for many colours and contrast, you can have that only when you have a good dynamic range. With a good viola you can work with the bow to create colours. In most violas you will change your bowing and nothing will happen. With a good viola when you draw your bow from the fingerboard towards the bridge increasing the weight you will notice a big change in volume and sound color. Just good instruments offer that. The viola must not choke when you play FFF near the bridge. Avoid hollow sound, look for a focused sound. Clarity is important too, when playing quick passages the notes should not mix. Check the instrument in the upper regions of the C and G strings. You may not be using the 7th positions of the C string now but as you start studying more difficult pieces you will have to do that. Just good violas will sound good in high positions of the C string, in general you will have many wolves and rasped notes there. Playing comfort: not only the size matters here but also string length, upper bouts width, rib height, weight, feeling "under the chin". Try to play in high positions of the C string. Look for a quick response too.
  6. Bene, io, si può dire, sono Italo Brasiliano.... this make things even more complicated!
  7. Ha! Yes, syphilis was an ever presente problem in our society till recent times. It had a huge impact in the lives of many composers and musicians. Benvenuto Cellini, on his book "Life", an autobiography, mentions that syphilis was known in Italy as "mal francese" (French disease), and by the French as "mal di Napoli".
  8. Interesting! Thanks for that!
  9. Lobotomy was considered a great scientific achievement too. The creator of the surgery was a Portuguese neurologist, who got a Nobel Prize for his discovery. Thalidomide was good for pregnant women too, and mercury was very good for syphilis patients.
  10. Loved it, loved the scroll, the texture. What wood is that? I noticed also the the relation of the upper X lower corners is similar of that he used in his violins.
  11. I imagine that 90% or more of the good Italian violins were made WITHOUT that tool. Some of them are even oval, and not perfectly round. If you make a smaller hole, you will make it larger quickly with a round file, or even sandpaper wrapped in a round piece of wood.
  12. Given the same wood quality, one-piece backs are more expensive. You need a bigger tree, perhaps there is a bigger loss of wood in the cutting. When I was in a wood dealer in Cremona decades ago I asked about one-piece backs and the guy answered that he sent them to his friends....
  13. American maple is not a new thing, even with Italian makers. Eric Blot mentions in his book "Un Secolo di Liuteria Italiana 1860 - 1960" that Giuseppe Rocca was using American maple back in... 1850!!! The Rocca violin used by Paolo Borciani, of the celebrated Quartetto Italiano was made with American maple and is pictured in Blot's book. Francesco Bissolotti in Cremona used a lot of American maple on his violas too.
  14. I agree. There are many contemporary makers producing fantastic celli too.
  15. Ha ha!!! Loved it! I would like you in my law office Michael!!! What I see is that when the instrument is excellent, the first good set up will work well right away. It can get better, but will sound good from the first set up. On the other hand, when the instrument is bad, you will can try many things that will not work. Bad instruments will not respond well, they are like when you are playing an instrument that does not response well.