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Everything posted by J-G

  1. J-G

    Bow pictures

    Also the Hill Bows site, if your tastes run that way. And I like the photos of their bows in stock on the West Country Violins site, as they show the full length of the stick under tension instead of just frog and tip. (The hype there is a bit off-putting though.)
  2. Interesting to see that in both quartets Kolisch played with the stage set-up put the lead violinist on the stage-left side of the group. Visually a very satisfying effect; I wonder how the players experienced the adjustment from normal quartet set-up.
  3. See the Strad article, Omobono. Looks like he only conducts now.
  4. The responses here to an honest query seem needlessly nasty. Question (I think) is whether this violin could have been given to an American just after the war. The fact he could have bought such a violin hardly answers that question. Nor does the fact it was likely built during the Nazi era. Can anyone interpret the symbols on the scroll?
  5. I wonder what Reinhard Goebel used for an instrument when he went from a right-handed to a left-handed player in mid-career. He talks about the change (and the later change back) here, but doesn't address that question: http://www.thestrad.com/violinist-reinhard-goebel-adapting-focal-dystonia/
  6. Fascinating stuff. The academic paper (in English) is here: https://hal.inria.fr/hal-01393625/document
  7. Hmm. Looks like Jim joined MN 3 hours ago to get tough with people (potential customers) who posted three years ago. A bit odd.
  8. Vathek, I would think the long tradition of vibrato-less choral singing works against that idea. There hasn't been much said in this discussion about vocal vibrato, which a priori would seem to be the model for instrumental, and which likewise seems to appear first as an ornament before becoming generalised.
  9. And Addie: thank you for that interesting monograph. Another good academic discussion of vibrato is in Ruth Rodrigues' 2009 Birmingham thesis, Selected students of Leopold Auer: a study in violin performance-practice. It is available for download. A 50+ page chapter is devoted to discussion of vibrato and close analysis of its musical uses in a number of old recordings by Auer students and others. (I don't think this has been mentioned here; if it has, sorry to duplicate.) Of course, it doesn't answer the question we began with, but gives us lots of angles to think about.
  10. My experience is a little different. If I start a down bow with too much pressure, and far from the bridge, the note begins about a semitone flat. The problem goes away if I use less pressure and more speed, and stay closer to the bridge.
  11. Modern classical guitarists (nylon strings, metal frets) use a vibrato motion similar to that of cellists, but with a different logic. The fret fixes string length for each note, so instead of rocking the finger to alter length, guitarists rock the finger to alter tension; rocking towards the bridge reduces tension and so lowers pitch, and vice versa. The player is actually pushing or pulling a bit of string over the fret with each oscillation. I don't know whether the old lute and viol players (gut strings, gut frets) used a similar effect, but I wouldn't rule it out. The effect we see rock guitarists use-- squeezing the string along the fret-- can only raise pitch, and only works well with metal strings. (So a "vibrated" C natural is done by playing a B natural or even Bb and raising it to C, then wobbling the C.)
  12. Main thing I notice is the different feel: the aluminum string is thicker (which I like).
  13. Looks like it was a pretty decent six-string guitar. Early to mid-nineteenth century probably: 6-string guitar didn't exist yet in 1720, nor did the machine heads for tuning that this one was built to take. Almost no one nowadays plays on this type of guitar, so it's hard to imagine anyone will want to restore yours. But you never know...
  14. Tried this on my two violins. Very tricky on the good one, easy on the Jackson-Guldan, a fiddle with crummy sound but very easy response. For the kind of bow control required, Simon Fischer has good exercises on "pivoting" in his book Basics. But none with a harmonic, and the harmonic increases the difficulty here. BTW, getting too far from the bridge will put you near a node where the harmonic can't sound.
  15. All three notes? It's two notes, no?
  16. For an individual's birth and death dates violin labels can't help you. Local church records might.
  17. Lovely playing! Thanks for that, Addie.
  18. Looking at the score on imslp I can't see any reason why you'd need an arrangement. Looks like the oboe part should be quite playable on flute as is. (But you'd be playing in the original key of F major; the arrangements are both in G.)
  19. From the same maker: https://www.gilai.com/product_1179/Brass-Instruments-From-An-Original-Drawing-Set-By-Buterfield--Paris.
  20. J-G

    Choosing a Baroque bow?

    The OP's senior recital will have occurred nearly five years ago. It's good though to hear about what's available now for players wanting to experiment. I haven't gone in that direction myself, but if I were contemplating it I would start by absorbing the information presented here: http://www.historicalbows.com/
  21. J-G

    MALINE - Violin

    Here's the typical guitar bridge of the period. The pins press the string knots through the top.
  22. J-G

    MALINE - Violin

    A beautiful thing! Presumably the builder also made guitars: pin bridge, ivory edge-binding (ruined by a chin rest?). Any guitar-style bracing inside? The black sheep of the Maline family? (Like the guitar-building Panormo in London.)
  23. It seems off the string can mean two things: sautillé is sometimes described as a bouncing stick with the hair never leaving the string. That is, a faster alternative to spiccato. I think that's what you mean, Stephen? In post 7, exx. B and C, we get two forms of the "vertical dash". Does any composer or editor really distinguish between those two symbols? I think of them as meaning off the string. Fischer, in his ed. of Sevcik's Op. 3 Variations (sort of a bible for this stuff), defines the vertical dash as "jeté, spiccato or saltando". He defines the dot as "staccato or martellato'. A useful symbol not mentioned here so far is the bracket used by Sevcik to indicate at what point exactly in a passage the bow is to be lifted, or first lifted.