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About carlosviet

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  1. After a month, I'm giving it a litlle bump. Any ideas which school or models would be the inspiration of this '71 Fernando Solar violin? Thank you!
  2. Hello everyone. First, lots of respect to the exchanges I often read in this forum, in particular to the expertise in identification through designs and patterns of the different luthier schools around the world. I would like to ask the favor of asking for some comments on the possible influences and base patterns of my violin (not a roasting, please. I love my instrument... if you think it's a piece of shit...well. That's what you think... but I love it anyway). I don't want to make this an ID contest. The origin of my violin is known. It's a Spanish violin, made by Fernando Solar González in 1971, number #159. As the most prominent violin luthier in Spain after the Spanish Civil War up to the mid-seventies, his work and life is well researched. I like to talk about those details when people ask me about my instrument, and I'd like to know more about it. What I don't know and I would love to, are some particulars about the characteristics that luthiers are able to see regarding construction, patterns, influences, etc. The )probably embellished biography of Fernando Solar says that in order to make violins, which was his vocation, he trained first in guitar luthier, of which there are plenty in Spain. When he got his luthier mastership, he started to make violins up to the point that he was the main violin luthier and was even curator and carer of the Royal Stradivari collection. But that was later. I could not find any reference of who was his master or teacher when he went from guitar to violin. Post-war Spain was embargoed, being under the dictatorship of Franco and cultural influences were blocked. Material were also difficult to come upon. I guess he would be copying available examples from collections in Spain, but in that sense I don't know if he settled for one particular model or school (French, German or Italian) if he made a mix of them, or if he freewheeled the construction, being pretty much the only serious source for contemporary violins in Spain at the time. As for the violin itself, all who play it acknowledge that it is a good one, very powerful in the low notes (one calling it "the little Spanish Cello"). Very picky about setup, but overall is an instrument that satisfies professional orchestra players and can make you proud (it makes me proud). Here are some pictures for you to analyze, if you can do me that favour. If you need some other detail, I will add it. Thanks in advance!
  3. Kind of rude for a first post, but that initial letter is a G. Not an M or a J. And the "n" is actually a double "r" Prof. G. Gerrard, whoever he was. Not good on violins... Playing or making, but used to transcribe and translate medieval scripts.