J-G

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Posts posted by J-G


  1. 21 hours ago, jandepora said:

    ... the more “interesting” is that the ribs art made of one piece carved complete with the form of the violin from a unique piece of wood.

    Wow!  Sounds like an early example of the Jackson-Guldan method.

    Then again, I seem to recall that some early Spanish guitars (and viols?) were made by carving the whole body cavity from one piece.  Like carving a canoe.


  2. 2 hours ago, Jwillis said:

     I think it looks american. 

    The scroll could have been imported. 

    I'm curious whether the maple used gives you that impression.  An imported scroll (and neck) would likely use European maple, a U. S. builder probably a new world variety.  Can you (or anyone else here) identify the maple(s) of the scroll and body?


  3. Oops, I missed the "m.s." in the excerpt above.  If that applies to the whole passage, then it isn't the flamenco-style strumming after all.  (Might be easier with right hand though?)

    (Edit: )  I now see that neither of the two scores on imslp has the m.s. indication, so I guess the composer intended right hand. 

    (2nd edit:)  Just checked Hilary Hahn's performance on Youtube.  As I expected, she plays LH pizz for the open E only, then strums with right hand.


  4. 14 hours ago, Brad Dorsey said:

    It is indeed a noteworthy birthday, but Thomastik was not "the first string manufacturer in the world to introduce music strings with a synthetic core" as it claims to be.  Wound nylon-core guitar strings were available in the 1960s or earlier.

    Augustine nylon guitar strings were on the market from about 1948.  They were endorsed by Segovia, and almost overnight no guitarist was using gut strings.  The plain (unwound) nylon strings had taken longer to develop than the wound basses.  But so far as I know no synthetic E-string has ever been been available for violin, so that synthetic-core sets still use a plain steel E, or a metal-on-metal wound string.


  5. 4 hours ago, Jeff Krieger said:

     Is there a list of bow makers who worked in the Bazin shop? 

    I see this in Paolo's discussion of C. N. Bazin (link below):

    Workers hired by C.N. Bazin in 1901

    BRIQUEL Victor, CARDOT Charles, DUMONT Auguste, FETIQUE Victor Francois, GILLET Georges, JOLY Charles Louis, MORIZOT Louis, PIERNOT Charles Emile, REMY Camille, REMY Emile, SCHWARTZ Paul, TOUSSAINT Auguste.

    Workers hired by C.N. Bazin in 1906

    BAZIN Louis, BRIQUEL J. Victor, BROUILLER Victor, CARDOT Charles, DUMONT Auguste, DUMONT Leonis, GILLET Georges, HENRY Alexandre, HUSSON Artur J., LOTTE Francois, LOTTE Rene Emile, MALINE Sigisbert, MORIZOT Louis, PIERNOT Charles Emile, REMY Camille, REMY Georges, SCHWARTZ Paul.

    http://www.atelierdarcheterie.com/blog_eng/Articoli/charlesnicolasbazinthefou.html


  6. 2 hours ago, jacobsaunders said:

     

    I’m not aware of any Sudeten-German folk-music using the whole tone scale, although I remember being impressed as a teenager when Stevie Wonder started “isn’t she lovely” with one.

    Pretty sure that was You are the Sunshine of my Life. :)


  7. The spacing of the inlaid dots doesn't look right for 'markers'.  On fretted instruments the dots mark the space behind frets 3, 5, 7, 9 (or 10) and 12.  So minor 3rd, fourth, fifth, etc.  Can you tell what notes you'd get on this fiddle by fingering at the dots?  I'm guessing it'd sound dreadful.


  8. 5 hours ago, Andres Sender said:

    That book is pretty well known in historical bow circles.  Most, if not all the drawings are of pre-modern bows.  It's a very interesting resource for early bows, particularly if you can read German.

    Thanks for that information, Andres.  The publisher's description doesn't tell what bows the book presents, though the cover design does suggest pre-modern ones.  So this resource won't cover the same ground as the books the OP asked about.  Still, looks worthwhile.


  9. Since the topic of bow books and detailed images has come up, I'll ask if anyone here is familiar with the Holfter book displaying bows held in various Vienna collections.  Looks interesting, but I've never heard it referred to anywhere.  Here's the description from the Holfter site:

    R. Hopfner: Streichbogen.

    Katalog. Sammlung alter Musikinstrumente und Sammlungen der Gesellschaft der Musikfreunde in Wien.

    Hardback. 257pp and an added appendix with 21 large-scale, fold-out diagrams and drawings.Featuring b/w photographs and detailed descriptions of 119 bows from all musical eras, curently to be found in Vienna collections. For each bow there is a corresponding diagram giving exact measurements of the bow’s diameter at every point. Text in German only.