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Everything posted by J-G

  1. Here's maybe an alternative. It is detachable, but probably hasn't been off the fiddle for decades, and gives a little something to hold on by both above and below. Don't know if these were ever common-- it's the only one I've ever seen. Ridge height is about 8 mm at the higher end.
  2. Maybe 1st pos. to open D in ms. 3, then jump to 3rd: take Eb/Bb with 3rd finger and proceed. So fingering for the last three beats is 3313-4323-1234. Possible? Or get into 3rd right away with a slide from Eb to G. Better yet: stay on the D string. After open D play Eb with 1, then slide into 2nd pos. for the rest: 424-1434-234...
  3. Yes, sounds pretty good. They must have been common enough that a Munich company was manufacturing the machine-head assembly. (Is the name Albmeyer?) Hard to see the logic of reversing the bracing and stringing if the instrument was played cello-style, but maybe it makes sense if you play it flat like a Hawaiian guitar. Would a normal violin bow have been used, or something else? Two observations on the video: the fretting may not be quite accurate, as the scale played doesn't sound in tune. This of course is linked to action and set-up, so might be corrected without refretting. Also, notice that the vibrato is guitar-vibrato, not violin-vibrato: when you pull you're not increasing the string length, but rather the tension, so pitch rises instead of falling. When you push, it falls. I wonder what kind of musician used this kind of fiddle.
  4. Interesting contrast between this discussion and the OP's concurrent thread on the French forum. Here it's been all about where the violin was made; there the comments have mainly focused on its poor condition and the question whether it has any future potential as a musical instrument. http://forum.le-violon.org/post144953.html#p144953
  5. J-G

    Stolen Poggi

    Interesting current case: a Picasso seized from a yacht in French waters after the owner apparently tried to illegally export it from Spain. http://www.telegraph.co.uk/news/worldnews/europe/france/11782480/Picasso-worth-25m-seized-from-British-registered-yacht-off-Corsica.html Quoting: The ship’s captain could only produce two documents regarding the work of art, the statement said – one of which was a May 2015 Spanish court ruling confirming that the painting was “a national treasure (which) could under no circumstances be taken out of Spain”.
  6. Interesting idea, though I've never seen a standard one-string trill indicated in that way. Maybe a two-string trill, as you suggested in the first post? That could be it, and in that case all the durations can be respected so long as the high G in bars 5 & 6 is played as a harmonic on the G string (fourth finger at the octave point, with C held down, gives the right G). We'd expect more precise markings though, if these are the effects required.
  7. Not sure if I understand you, vathek. The high G is 4th finger on the A string in third position, which is the position you're in if you play C and G together with first finger. No? (It may not have been clear to you I was saying hold the first finger at C-G, then play the trill with 2nd and 3rd fingers on the D string. In this case the half-note G is lost as soon as the trill starts, and that is where the notation seems problematic. All the other trills would be done on the A string. Just my guess at what may have been intended.)
  8. I can't play the passage, but musically it looks to me like all the trills must be A to Bb. The problem comes in the 4th bar, where the fingering 1 must apply to both C and G. I wonder if this editor played the 3-note chord, then trilled A to Bb on the D string, allowing the half-note G to drop out. Then the higher G is available on the A string. The next chord would be played back in first position. Is there a recording of this version, I wonder?
  9. J-G

    Vecsey Tartini

    Good stuff. (The von Vecsey, not the Perlman.) There's also a great version of the complete sonata done by Vasa Prihoda, and it looks like that is also on You Tube. The Carmen clip is a little disappointing. Well, he was eleven, and there was as yet no way of editing recordings. But Midori was not much older when she played that sensational Carmen for Bernstein's birthday concert, also on You Tube.
  10. Wonderful stuff! The Gran Duo video brings back memories of a really buffo festival performance long ago with Gary Karr and Ruggiero Ricci. John Ogdon was the pianist, and he joined in the fun too. Thanks for posting.
  11. A wood-block sounds like a good idea though. I once saw a cellist crack the rib of his Vuillaume in a rehearsal when directed to deliver a hand-slap during a modern piece. A local quartet used to have the violist, who used a cheap bow, do all the col legno. The others simply ignored the marking.
  12. Question seems mighty abstract. Perhaps you have a particular case in mind? Tell us about it, with photos if possible .
  13. Interesting discussion of the character of the vibrations that occur within the stick in Andreas Grütter's little "book" about the bow, in the chapter on Damping: http://www.andreasgrutter.nl/bow-couch/damping.html
  14. Holy cow! "Dead silence in the woods; melodious already dead gray." The really shocking fault (aside from "dead" for "living") is missing the two verbs and putting instead an impossible noun and an ungrammatical adjective. Can computers really be that dumb?
  15. You might try contacting Michael Richwine at K. C. Fiddles. He may know something about the builder, and he posts here.
  16. Thanks for that, Martin. That's the information I was looking for. The 1886 date then is probably correct. So a slightly less pointless label than those presented by Jacob.
  17. Not a Klotz, and probably not made in 1886 either. I wonder if the phrase Deutsche Arbeit may have been a labeling requirement for domestic production at some point. To me it has a 20th-century, if not a post-1933 ring, but I haven't seen any information about just when it was used. Whatever its origin, the violin itself looks like a decent instrument, and in this price range it's really all about finding something that plays well and sounds good in your own hands. So it's another anonymous old German violin. Enjoy it!
  18. Good long list of books, articles, blogs and videos in the first post of this long thread on the Lemuel site: https://www.violins.ca/forums/viewtopic.php?t=1672&postdays=0&postorder=asc&start=0 The Bolander book 1000 Bows and a Tribute is available as a free download.
  19. J-G

    Peg size

    Interesting information. I'm curious whether the different tuning ratios produced by different shaft diameters are an issue that enters into the choice of pegs to be used on new violins. Is this why the smaller shafts are preferred, with the larger shafts destined for worn pegholes?
  20. That is, as out of tune as every piano performance is? Yet string players do play with pianists and do get in tune with them.
  21. In my experience, pianists giving an A for tuning normally play the D below as well, often with an F or an F# between. So the violinist is tuning the two middle strings to the piano. The outer two strings will be tuned by ear, but whether that gives "just" or "tempered" pitches may well vary from player to player; in any case the difference is a very few cents. But when you're playing in A major, where do you place the C#? This is where there is a real divergence. My impression is that players in (say) a quartet are willing and able to go flatter than when playing with a pianist. But I'm not sure this is consciously thought of as a choice of "just" over "tempered". Could be simply a knack for getting in tune with the environment.
  22. Nice demonstration of three different mechanical approaches in this Sassmanshaus video, but no discussion of the arm's role:
  23. Makes sense; thanks, Brad. And yes, if it plays well there's nothing to fix.