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Borisravel

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Everything posted by Borisravel

  1. He was a fine seller, but had the bad obsession to glue his label on every instruments. A friend of mine bought a Vuillaume bow on his shop.
  2. Here is the Charotte familly tree, I think the first document is rather old and wrong. Claude Charotte is 1669-1744 and Charles Claude Charotte is 1731-1788. The confusion comes from the baptism names, sometimes, the first name is used and sometimes, it's the second. The problem is exactly the same with the Vuillaume familly. https://www.luthiers-mirecourt.com/charotte_genealogie.htm
  3. The Charotte dinasty was an important familly of Mirecourt, as the Vuillaume has been. I suspect some exchanges in apprentices...I've a baroque violin from Charles claude, the summary is rather violnet for a typical transitionnal violin and neck with some french arches and marvelous "bec de colibri" corners.
  4. Yes, Paul and Pierre Beuscher were two sellers in Paris, but they are not from the same familly. Paul sold some low budget instruments, Pierre was a real luthier et sold some high end and antique instruments. In the same spirit, they was Camurat too, but rather in guitars.
  5. These are violins with a classical fitting (not modern). These transitionnal violins are made from 1750 from 1820, depending of the coutries (around 1750 in Mirecourt, until 1820 in some german workshops). They can be made with differents ways (neck with angle but at the soundboard level in Mirecourt and Paris, flat neck and tapered fingerboard in Germany)...
  6. Hi. Can you post a profile picture with a zoom on the body/neck joint ? Thanck you.
  7. No, in order to have a correct bridge high and a correct position changing without shoulder rest. Saxony necks can be really flat, too flat for a standart bridge, that's why they are often modified with a tapered block under the fingerboard.
  8. Just a last thing about bow: don't do the same mistake as me, buy direcly a clip in frog bow. Screwed frogs are not generalized before a time after Mozart. In Bach's time, bows are made with a clip in frog and are hold rather in a french holding position (with thumb on hair). The italian holding position is clearly in minority in violin methods, it will generalize a little later in the end of the 18th century.
  9. This reasonning don't surprise me in a country where a 100 years old house is "old"...
  10. For an inexpensive baroque violin, I would buy an inexpensive saxony violin and I would tell a luthier to change the fingerboard. I don't know where you live but in France, you can buy a saxony violin for less than 200$. Saxony violins have sometimes a very flat neck which can be fine with a thick baroque fingerboard. These violins are almost lights, I think it would perfectly go with a baroque fitting, since metal an high tension strings were generalized in the 50's and maybe a little later in some countries. In fact, I think the most expensive cost would go to the bow. Chinese bows are not recommanded, you can find an used baroque bow for 800-1000$. For those who only know Stradivari, this making is only representative of an italian making at this time. Exactly at the same time, we don't make same violins in Germany or France.
  11. First, it would be my baroque one. Second, a Tecchler I've tried long ago. This violin and a whole baroque fitting would be certainly the best violin for me.
  12. Gut strings were used till 1960...
  13. I think it's a Salzakammergut school violin. Very nice in my opinion. It could be a nice baroque violin.
  14. I thought it was the rule. Yes, it's from Charles Claude Charotte, not Charotte-Millot. Neck, veneered fingerboard and even lower nut are 100% original.
  15. Another Laberte (1910): And a C.C. Charotte, ca 1760-1770:
  16. That's exactly this. For me, in Mirecourt school, the neck is morticed very less deep.
  17. I've tought it, but the way of neck is jointed in body is not very mirecourt. Thank you. Yes, I saw it. Interesting, but head is a little too damaged for me. But I think it could be a nice baroque violin.
  18. Hi. Saxony too, I presume ? https://www.ebay.fr/itm/interessant-violon-XVIII-eme-4-4-de-Benoit-FLEURY-fait-a-Paris-1758/372382916530?hash=item56b3c05fb2:g:TNoAAOSwhUtbWx6O
  19. Long set-up, but fast work About Shelix spiral head, it seems to be a good option. But it's expensive and here in France, we must add custom taxes. Maybe in a few year, there will be a chinese copy.
  20. Just for fun, my last joint for a viola da gamba back has been done... with a TS55 Festool circular saw and I think with flat back, it's easyer than with a jointer. If you can set your jointer in a very accurate manner, you can joint wood in a few minutes.
  21. Italian music unadorned ??? Listen to Orpheo's aria with Caron or virtuoses castra cantate. You don't have to agree with me and it's not the subject of this post.
  22. Please, I'm french and I wrote it with a french corrector for a german word. My harpsichord and music history teacher (teacher in national superior music school in Paris) had written a wonderfull thesis in which he explained baroque period ended with end of little formations. I consider the first baroque is from 1580 to +/-1700 and it's the experimentation period. The second baroque period should go from 1700-1800 and it's the orchestral period. But there is a problem with this classical period. Certainly, it's the bi-thematic sonata form period, but it beguns with Scarlatti. Yes, it's the pianoforte period, but this instrument was invented in early 1700. This classification could reconciliate music, litterature and architecture periods. Violin making has exactly the same periods if you consider baroque ends with Vuillaume.
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