J-G

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Everything posted by J-G

  1. On fretted instruments, the bridge saddle is usually slanted to give the thicker strings more length than the thinner ones. Also plain strings need to be a little longer than wound ones of the same diameter. The compensation isn't perfect, as the fret themselves aren't slanted, but it helps. I wonder if Stephen's problem might have something to do with going from all wound strings on viola to three wound and one plain on violin (assuming you use a plain E, Stephen). Seems to me that could take some getting used to.
  2. J-G

    Violin Gustav Roth

    I wonder if the "Willy Roth" bows we sometimes see have any connection to one of these two.
  3. The Hudson bow mentioned above was made and marketed explicitly as a student bow. A shop that produces both professional bows and student bows doesn't seem like such a strange thing in the bow world. But this is a one-man shop, and I'd guess that some of the work apprentices might have done in the past is now being done by other professional shops that exist for that purpose.
  4. A dealer in my town is offering new bows by good local maker Reid Hudson. Reid makes two levels of bow, differently stamped. The lower level is described as " A silver mounted violin bow by Reid Hudson, with a commercial frog and adjuster." Price is half that of his upper model. This may be a common practice, but it's the only time I've seen it spelled out clearly.
  5. Very fine. Thank you, Carl. Performance was done on March 12th. Apparently the soloist was filling in for Joshua Bell.
  6. OK, there are other variables. Still, one would like to hear something about the bow from its owner.
  7. Its value will depend on the feel and sound experienced by the cellist using it. Are you a cellist? If so, how do you like it?
  8. Good question. Sounds like you're playing the octave G#-G# with fingers 1 and 4, and want to roll (or flatten) finger 4 in order to get the D# without lifting. Makes sense, but for me the 4th finger won't quite work. I see in the Auer edition the upper G# is fingered with 3— i.e. extend back to reach the low G#, then continue in first position (instead of half-pos.), rolling on 3. That works much better for me... playing on mandolin. I can't tell what Uncle Duke is talking about.
  9. Welcome to the forum, Derek. You'll probably get more help by giving the bar numbers where you're having trouble.
  10. Probably: Millant: To (my) friend Ingigliardi, the informed amateur who has made the bow his second passion (?); hearty thanks for your support. (Paris, 17 July 2001) Raffin: For Monsieur Ingigliardi, great amateur (=lover) of bows; with all my thanks and my finest feelings. (Paris, 20 July 2001)
  11. Probably no need to post photos in this case, as the OP seems to know exactly what he has. And what he paid for it.
  12. Why not ask the maker?
  13. Well, Huberman's stolen Strad comes to mind, disguised as a cheap violin for decades while the thief played it on gigs. There could well be other cases like that.
  14. This seems a good point at which to remind ourselves how fundamental turtle shells are in music history. Grove online gives us this reference for the Latin word testudo (=tortoise): The Latin name for the Greek lyre, the body of which was sometimes made from the shell of a tortoise, though the word could also mean any arched structure. In medieval Latin it came to be used for the lute, since no specific term existed for that instrument (the genitive and ablative forms, ... (Sorry, I do not have access to the genitive and ablative forms.}
  15. Wow! That is terrific. I get the feeling your grandfather was an imaginative and resourceful man. He saw possibilities others might miss. And versatile too, since he went on to make good Strad-model violins. Looks like it was a real usable instrument-- does anyone in the family remember hearing it played? And what is that puck-like piece the strings attach to? Looks like maybe a repurposed bicycle bell? Thanks again, Jungashick!
  16. Thank you for that, Philip. "Pre-carved necks" I guess were necks manufactured abroad and imported for use by American makers? May have been a widespread practice among amateur and solo builders. It seems mine was one of his first violins, though he was already 40 in 1923. I wonder how he got started. And yes, the other Ohio Hildebrand could be part of the story. I'd love to know more about that mandolin!
  17. Actually a long scratch. Funny thing is it's under the varnish.
  18. Here is the Hildebrand violin I mentioned in the Modern Peg Taper thread. It turned up in a music store here on Vancouver Island, and I was glad to find it. It is signed inside on each panel of the back plate: Bernard L. Hildebrand 1923 Cutler O. I gather Hildebrand later had a violin shop in Springfield (Ohio) where he built, repaired and sold instruments. My instrument seems very neatly built and is in very solid condition. Sound (in my hands) is not huge, but strong and full. Response is very even, with no bad notes. I'm playing it in a community string orchestra, and enjoying it very much. The maker's great-grandson responded in the other thread, and I hope we'll hear again from him or his father with biographical information and/or personal memories. I believe Hildebrand also had an entry in the Wenberg book; can anyone here look that up? Any other Hildebrand players here? I know there was one on MN as recently as 2009.
  19. J-G

    Modern Peg Taper

    Thank you for the information here and in your private message, Matt. When I get home from my holiday travels I will photograph my violin and start a new thread here devoted to Hildebrand instruments. Sorry to have derailed somewhat this discussion of peg taper.
  20. J-G

    Modern Peg Taper

    It's very nice to hear from you, Mr. or Ms. Hildebrand. I own and play a violin built by your great-grandfather in 1923 in another Ohio town, before he set up shop in Springfield. The Internet seems to be aware of only two others he built, viz. FidPup's instrument and another that was sold at auction by Skinner about a year ago. Incidentally, my violin came to me with its original 1/20 taper pegs; they have now been replaced, but without changing the taper. A brief biographical note on Hildebrand with information from the Wenberg book was posted on the Amati site until recently, but I can't find it now. According to that note, he built about 100 instruments between 1922 and his death (1961?). Any information you could add to his biography would be very welcome. By the way, I know some people on the Mandolin Cafe site who would love to know more about that mandolin!
  21. I went through this process about ten years ago. Rented a basic kit for three months ($30 per month). Got a teacher and took a few lessons. Then went around to all the shops and tried everything. Got help from friends who play. Found something quite decent, though at a little higher price than where you're looking. There's so many for sale,— get out and try them. Look till you find something a little better than your rental.
  22. J-G

    New Hill violins

    They sure don't seem to want to tell us much about their "workshop". Or their violins. And what's with calling them all "The Hill"?
  23. Leawong, we don't have much to go on here. It would be helpful to give us some information: composer, title of work, name of editor, publisher, date of edition. And maybe the full page of text. Are the hand-written notations your own? How are you playing that last measure now? (With a staccato dot on the quarter this would look normal; but then we'd expect the same in the lower part.)
  24. Interesting detail. We gather that some early 20th century American "violin makers" added nothing more than labels to instruments that were brought in ready to sell. I wonder how common it was a hundred years ago to import violins, then regraduate (and varnish?) them for sale as US instruments. There's certainly a lot of that going on nowadays.
  25. Wow, talk about provenance! What is that wood on the back?