J-G

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Posts posted by J-G


  1. 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.


  2. 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


  3. 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. :)


  4. 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.


  5. 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.


  6. 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.
     


  7. Wikipedia tells us Bottessini played on a Testore bass that had been converted from four to three strings.  Can you tell from the video what the tuning was?  I'm thinking probably fifths, and that many other players did the same thing in the 19th century.


  8. A possible alternative:  a few years ago I had a student violin I was ready to be rid of.  It would have sold for three or four hundred dollars (Canadian), but I found it easier and more satisfying to pass it on to the instrument bank of this school in Vancouver:

    https://sjma.ca/

    They were very glad to get a decent violin to put in the hands of a child whose family could not have bought one.  The school had an appraisal done and sent me a tax receipt.  I don't imagine it's possible to visit the school these days, but it's a lively and inspiring place when the kids are there.


  9. Thanks, stringer.  The OP hasn't checked in here in ten years, but left an email address in his first post.  You might be able reach him that way (if you haven't already tried).

    Does your Anrneson have a label with a place name and date?


  10. Thanks for that, Dwight.  A treasure trove of information about local builders here in B.C. way back in 1963, and their connections and horizons.  By coincidence, I just went through the 1958 issue a few weeks ago researching a good local builder called Martha Kozak who was active then.  These makers were serious about sharing and documenting their activities, a much more laborious process then than now.


  11. 13 hours ago, BlueSquare23 said:

    It is called a Plinian signature. 

     

    Yes, a common usage in the letters of Pliny (and of Cicero and others).  Sometimes called an "epistolary" imperfect, it reports in the imperfect what was happening in the present as the writer wrote.  The tense then is that of the reading, not the writing.  So:  (Builder) was building at Cremona in (year).


  12. On 6/17/2020 at 7:24 AM, doctahg said:

    Hello to all. Would someone be willing to comment on this violin? The label reads Lor y Tom Carcassi, In Firenze nell' anno 1749, etc. I have owned this instrument for about 10 years.

    What I don't get is how someone could own a violin for 10 years, or acquire one in the first place, without knowing whether it's a four-figure or a six-figure instrument.

    By the way, "Such rare!" is more Casablanca talk...