The Violin Beautiful

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    Alexandria, Virginia

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  1. In that case, take it to a luthier. There are a number of things that could cause the issue.
  2. Ah, hadn’t heard of them. It looks like they’ve been gone for a long time.
  3. If the nut is too low, the string will buzz whether the string is stopped or not. The bridge may be too low as well, but there’s a good chance that the Don’t Fret caused the clearance issue.
  4. Are you thinking of Musaica and A. Cavallo? They were in Omaha, Nebraska and closed down a couple years ago. No relation to International Violin.
  5. Your string is buzzing against the fingerboard. The nut may have been low to start with, but the Don’t Fret effectively lowers your nut height. You may need the nut either shimmed or replaced. It’s also worth having a luthier check the string heights at the bridge end and the amount of scoop in the fingerboard in case those are off.
  6. They’re alive and well as far as I know.
  7. Antonio Curatoli instruments were higher quality Markneukirchen violins. If I recall correctly, they were sold through Sears & Roebuck in the early 20th century. I don’t know which manufacturer made them, although I’ve heard speculation that they were made by E.R. Schmidt or Knorr. They’re well-regarded. It’s not unlike the case of the upper tier Karl Meisel instruments that were labeled Carlo Micelli.
  8. For the shops, the Rue de Rome. To see makers, I’d probably go to Montpellier.
  9. The center seam must have come apart at some time. Either someone just tried to clamp it from the outside and fill gaps with glue, or it just wasn’t rejoined properly. If the clamps were over tightened or moisture caused the plates to swell and the seam was glued without accounting for that, it might partially explain the poor fit. There’s a lot of discoloration around the seam, which could be the result of someone aggressively attempting to clean the seam and damaging the varnish, or the result of a retouch attempt. It looks like a lot of dirt/glue/varnish has gotten into the opening. If
  10. Light retouching is usually fine, although the larger the area, the greater the chance it’ll be visible. Sealing bare spots is important to keep the wood healthy, but the wood needs to be clean from dirt and oil before anything is put on—otherwise all that debris is trapped in and might go deeper into the pores, which will make the area darker.
  11. If the hair is still in good shape, a new plug can solve the problem. If the hair is damaged or worn already, it’s better to just rehair.
  12. Good luck with your studies! That’s one of my favorite short pieces—so much fun to play and a true crowd pleaser.
  13. They do take a lot of practice to develop. Something that helped me was to focus on getting the fully stopped part of each harmonic stopped and to avoid pressing down too much on the upper part. It’s not so hard with single harmonics, but sometimes wires get crossed when you’re doing double harmonics. It can be helpful to think about the mechanics of the fingers. The passage you showed is not really as hard as you might think. After the second harmonic, you don’t have to change finger positions—it’s a chromatic progression. The second passage is a bit different but uses the same fin
  14. One way to approach the spots that are giving you trouble is to deconstruct the measures. You can mark where each beat falls, then focus on getting the correct double stop for each beat. That gives a framework for the progression. Then you can focus on the trills in between the beats. The fingerings provided ought to work. I’d add that you can make things a little easier for yourself if you make use of the open D in measure 2 and the rests in other spots to prepare your shifts. It’s much more difficult to make the leaps if you’re trying to do it on or immediately before the beat. Those li
  15. The saddle crack on the treble side looks like it extends into the soundpost area. I’d be very cautious.