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j15310

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  1. How could I as a consumer avoid the problem? Suppose I commission a violin (which I might do sometimes in the future -but that project still is in its "daydream phase"). Would a violin maker agree to workshop visits? For example one after the wood selection, one after the plates are carved, and one to see the violin in the white?
  2. My Saxon violin has also a stamp under the button, but the letters are of matching size and perfectly aligned; probably a stamp that was made in one piece. Are there known examples of makers who used "one-letter stamps", or can one conclude that such stamps are always fake?
  3. Does anyone know any 19th century sources that indicate what type of intonation was used by violinists? I find it surprising Spohr insists on using equal temperament - but even his translator seem to disagree : From Spohr's violin method (1832, the English translarion ca. 1850, by John Bishop (1817-1890)): "[...] The teacher will also save himself much trouble thereafter, if, in the pupil's first attempts, he rigorously insists on perfect purity of intonation*. [...] [footnote:] * By perfect intonation, is naturally understood that of equal temperament (a), no other being suitable for modern music. It is also the only one with which the pupil has need to become acquainted. Hence, throughout this school, as little allusion is made to an unequal temperament, as to the distinction between major and minor semitones; by either of which, the doctrine of uniform magnitude of all the 12 semitones, would only be rendered confused. AUTHOR (a) This being the case, I have preferred rendering the German word "rein" by TRUE or CORRECT, as best suited to the context: perfect intonation, in an absolute sense, having no existence. TR[ANSLATOR]" The German original: "[...] Der Lehrer kann sich naemlich fuer die Folge viele Muehe ersparen, wenn er sogleich bey den ersten, vom Schueler gegriffenen Toenen mit unnachgiebiger Strene auf vollkommene Reinheit der Intonation haelt. *)[...] [footnote] *) Unter reiner Intonation wird natuerlich die, der gleichschwebenden Temperatur verstanden, da es fuer moderne Musik keine andere giebt. Der angehende Geiger braucht auch nur diese eine zu kennen. Es ist deshalb in dieser Schule von einer ungleichschewbenden Temperatur eben so wenig die Rede, wie von kleinen und grossen halben Toenen, weil duch beydes die Lehre von der voellig gleichen Groesse aller 12 halben Toene nur in Verwirrung gebracht werden wuerde. "
  4. Correct me if I'm wrong (I'm here to learn...): The pressure of the bridge is counteracted by the stiffness of the top, and the stiffness of the back (through the post). If the top looses it's stiffness and deforms, more of the counteracting force has to be created by the back and the post becomes tighter. 2. A completely different question comes to my mind: I know that wood swells and shrinks with changes in humidity; but it seems that old wood (e.g. in antique furniture ) is in general somewhat shrunken, panels are cracked, marquetry with shrunken veneers &c. Is the observation correct that woods generally shrinks over the centuries? If yes- what's the reason -does wood slowly loose its ability to take up water? Could it be the case that not only plastic deformation and the seasonal changes cause changes in the arching resulting in a tighter post, but also general wood shrinking?
  5. Does the post have to move to become tighter? Is it not more likely that a tighter post is caused by deformation of the top (due to the constant pressure the bridge exerts -if the top deforms more than the back the post should be tighter)?
  6. http://www.kolberg.com/products/en_GB/294/product/1014.html#prettyPhoto
  7. A "Very old labelled " violin means a violin with a label claiming that it's very old?
  8. I have a violin with the stamp " GLAS. " under the button. Could this be a Glass?
  9. I'm just a very casual listener of traditional music and I have to admit that I can't quite follow the discussion. Just one question out of general curiosity: What do you think of Honeyman's (1883) advice on strathspeys bowings -is that similar to Gow style ? https://archive.org/stream/violinhowtomaste00hone#page/60/mode/2up (on p. 60ff)
  10. I have never seen a violin with an edge work like that; is it typical of the Hungarian school? More generally, is a particular type of edge work a characteristic feature of a school, or is it highly individual to the maker?
  11. Man buys a cheap violin on the internet for his kids. Takes a long car ride to pick it up. In the car he meditates about the question, why are some violins cheap, and others cost millions. Sudden insight: because God was with Stradivarius. With engineering skills, hard work and a pious mind the man starts building violins. By and by the secrets of violin making are revealed to him. He now builds some of the best violins today available; his violins are priced accordingly. Have I found the right web page?
  12. I'm far from being a"learned head", but as far I am informed, spiccato was "invented" by Cramer in the late 18th century, and his contemporaries saw it as a unique feature of his virtuoso violin playing. However it was not in universal use before the mid-19th century. (e.g. Spohr does not teach it in his 1832 violin method -he uses wedges for martele and fouette). I'd be surprised if there was a Scottish 18th century school that used spiccato. My guess is sharp short bows in the upper third (in #16). I have a litte off-topic question: how to pronounce "Neil Gow" (rhymes with "low" or with "cow") ? English is not my first language, and such things can be surprisingly difficult to find out.
  13. My try at deciphering: "1915 ; uber .... an Bruder anno 1921" 1915; over .... to Brothers, in the year 1921 "1915" seems to be written by a different hand; the right half of the first line is still illegible. To further Blank face's speculation; perhaps it could mean "1915; handed over to brothers in 1921" The violin of a soldier who died in 1915? But that's pure speculation.
  14. Thanks again for the info and advice! I have just ordered a Herdim 1:20 peg reamer. Interesting point; but I think the 1:20 taper is probably not a problem for me: Where I live, there are only a few days each year the humidity gets so low that I can actually turn off the dehumidifier. Thanks for the tip. I have heard this advice before, but I also remember that I've heard 'Never run a reamer backwards, it quickly dulls it' But I don't remember exactly where, and it's quite possible that I've got things mixed up and that advice was about metal working reamers. At any rate, buying one of these just to compress a little wood would surely be overkill: https://www.dictum.com/en/musical-instrument-making/special-tools-for-musical-instruments/herdim-reamers/730525/herdim-taper-pin-violin-taper-120
  15. Thanks to both of you for sharing your knowledge! So I have learned that pegs with a 1:20 taper are probably the more "historically correct" choice and are easier to operate under varying conditions while pegs with a 1:30 taper hold better. (Closer to parallel is the 1:30 taper: for 1 step in diameter difference you would have to go 30 steps in lengthwise direction instead of only 20) I use gut strings; I would suspect that the contribution of peg slippage to the overall tuning instability is probably small compared to string-inherent factors (stretching due to humidity, &c.). But due to the frequent retuning easy operation is more important. So 1:20 taper is better for gut strings? Pegs with minimized slippage are probably more important to players who use synthetic strings (and perhaps even string adjusters on all four strings); perhaps that's why 1:30 is now standard? Or is this all just an undercooked theory? So I'm going to buy a Herdim 1:20 reamer, try to make a peg shaper and replace the pegs on my viola with the correct 1:20 taper, which is the original, probably the better choice for my gut strings and the "historically more correct" option as well. I think I also follow Conor Russell's advice and leave the 1:30 taper pegs on my violin alone as long as they work, even if they are historically less correct.
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