Horolsky

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About Horolsky

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  1. Thank you for the link! I agree with you, I personally prefer to perform Renaissance music with Baroque setup and a Baroque bow. This historically informed radicalism may lead us to use horses for arriving at a concert))
  2. I believe that the early pre-classical violins could have different solutions for pressure resistance, but the hypothesis of the central soundpost in Cremonese violins, in my opinion, does not hold water. While the Andrea Amati works are questionable (if the evidence could have been lost due to changes in the belly, which I hardly believe), I think the later violins could not have the central soundpost, because it's usage together with an asymmetrical positioning of a bassbar is unlikely (even illogically). On the other hand, the axial bar, proposed by Rault for N. Amati and A. Guarneri, should exclude the central soundpost at all, if I clearly understand what he meant.
  3. Here is a question - what about a bassbar in the tenor viola by Andrea Guarneri, 1664, which survived in the original condition? Is it really never moved, and where is it positioned now?
  4. Hello everybody, I recently discovered for myself this article of Christian Rault: http://www.christianrault.com/en/releases/how-when-and-where-the-specific-technological-features-of-the-violin-family-appeared I know that at this forum I can find discussions on the most controversial topics of lutherie, but the Rault's ideas about central positioning of the soundpost and bassbar are quite ignored (if I searched the forum properly). Can somebody give me an objective opinion on that hypotheses, or a link to already existed discussion\analysis\critics? Below is the fragment of Rault's text on the subject:
  5. The cost was 500$. And also there was a great story on the border - the local "expert" identified it as a "German workshop" instrument which "has a cultural value". The Customs officer didn't accept such "expertise", so the violin stayed on their warehouse whole month, during which they were discussing whether the workshop instrument can have a cultural value or not. So you understand that it would be impossible to move it back through the border to sell it to you)))
  6. @deans, thank you for the reply! The neck is thorough, as I can see from the button hole. Does it mean, that your first guess was correct? I looked to the instrument more intently and found that measures and angle are almost OK. The last can be improved a little by lowering of the nut, which is too high now (so the fingerboard has a wedge shape in opposite direction to beech wedge under it). A problem for the pupil can make increasing thickness of the neck and its original shape of the heel, which are not extremely "baroque", but still perceptible by violinist. I hope it will be good enough to not serve as children instrument, because I really don't want to touch the neck.
  7. Hello everybody! I bought a cheap 7/8 violin on eBay for pupils of my wife. It looks like fairly rustically instrument, but it has an original transitional neck, which creates problems for using it in education. I have to decide: to rebuild it into a modern setup, or to save it for early music (the violin sounds much better than it looks even in its current poor condition). I hope I can find some help in choosing here (note, my wife does not accept an option with burning). What may be the origin of the violin, some German workshop? It came also with a bow, which is about 2 cm shorter of the modern and has an old style frog (see the pictures).
  8. vathek, yes, because of its small parameters and construction (bent top, flat back and dovetail joint of neck) I think it was made special for early music performing. I want to convert it to 5-string violone in D. It sounds very good in lower register despite the small size. Also it is possible to convert it to violone in G like this one - http://www.orpheon.org/oldsite/seiten/Instruments/violone/vo-ger.htm, but I don't want to open it for replacing the neck.
  9. Hello everybody! I have a small double bass which sounds VERY GOOD. I'm in love with this instrument, so I want to know something about its origin. Will be grateful for any information! It looks like 1st half of XX c. workshop instrument from northern Europe (I'm not sure), and the shape is unusual. Photos are here: http://www.flickr.com/photos/104475325@N07/ P.S. Please excuse my poor English!