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Derek Law

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Everything posted by Derek Law

  1. These instruments’ photos are in the Amati DNA book.
  2. I recall looking into this a couple of months ago and did not find any solutions. I conclude that to play at that range I should learn the cello.
  3. https://www.thestrad.com/news/with-this-ive-fulfilled-a-lifelong-dream-violinist-david-garrett-on-his-1736-guarneri-del-gesu/15408.article?fbclid=IwAR0a4ewu9GYYDBR39P1A1ZX0UH8yywp8ME84ZnrCW0cmO3EqKsddGveKXRw&fs=e&s=cl news from the Strad reporting on the club
  4. He did own many good stuff. But then he ended up not well financially - I recalled he remarried, invested in some hospitals in Egypt, and ended up needing to liquidate his collection. I think I read that from the David Fulton book, which also talks about how to pronounce ‘Knoop’.
  5. Ok, now the story of the violin posted. This is my violin that my parents bought for me in 1986 in Hong Kong, and I have owned this violin for 36 years. At the time of purchase, my violin teacher has a dealer put three violins in for2 of us students to pick. (There was also a third student, whose father played the violin, and he decided to commission a more expensive new violin). It was represented to us (with a handwritten note - but not a certificate if I recall correctly) that my violin shown here was a Germany-made violin, definitely over 90 years old (as of 1986), and verbally it was said that it could be as old as 120 years old. (so in any case it would be a product from the second half of the 19th century). The price my parents paid (36 years ago) was HK$22,000, about $2,800 USD (the exchange rate back then and now are both roughly 7.8 HKD/USD. I do not remember if the price included the bow (possibly) and the case (probably not) or not. The violin has a direct sound (not nasal at all), pretty loud, has more oomph / power in the lower strings. I was the leader of the second violin in the school orchestra back then, and in hindsight the violin sounds to me as a good workhorse orchestral second violin instrument (rather than a soloist / first violin instrument). In 2018 my older son was picking his full-size violin - and auditioning instruments from local violin shops (the town has a pretty famous music school, so I presume the violin shops are at least ok, though definitely not on the level of NY City / Boston / Chicago / LA shops) for instruments <$10,000, and we couldn't find any instruments that were clearly better than mine in that price range. In 2019, my older son's violin teacher has an instrument at $2,200 for us to test, and that violin is quite soprano, also direct / bright, maybe a little less loud, but the sound was clearly more complex and interesting than the one shown here. We bought that violin and my younger son is playing that instrument now. My older boy still prefers my violin (the Markie as I now know). Because it really is our instrument, we are not shy in putting good strings on the violin. (e.g. "golden" E string of the green Evah Pirazzi set, haha). In summary: - I think my parents got ripped off in the purchase of the violin at that price. But given it is used for 2 generations (and likely more), I guess it is still ok. - Both my older son and I do not play violin that well; maybe we would have been stronger players if the money has been spent on a better instrument. - I definitely would not sell my instrument for anything less than $8,000 (given the trials in 2018) ... so most likely I will keep the instrument "forever". Honestly I never noticed the flattened scroll much, and defintiely didn't know it was a "make" feature - there are just a lot to learn about instruments.
  6. I have now subscribed to Shelbow's channel!
  7. I thought the widening is just because that is the part that keeps touching hard surface and thus flattened over the years. The flattening seems to also happen to the edge of the scroll. Am I understanding the delta right? On this typical Markie, what more can be said? Rough date? What type of quality/price range in the Markie spectrum? Is it trying to be based on some prototype model?
  8. Evah sounds a bit more interesting than dominant I think. back of scroll Thanks!
  9. What is this violin? I presume this was a mass produced German violin in late 19th century. Is that correct? is this a usual Markie?
  10. Some on this forum may be supporting more than 7 instruments as their "partners" - I admire their stamina too!
  11. Some sound from the Maggini violin at Chi Mei
  12. Thanks for posting Dwight. The “dancing master” violin head is quite interesting!
  13. Agreed. If I were you I’d play the new violin for some months, have that well adjusted / test what strings / tension sound good on the violin, and then go bow shopping because the bow will need to work well on the violin.
  14. It helps to have at least an Italian-sounding name
  15. Thanks very much maestro. By wide deep scoop you mean curving the other direction before it reaches the edge, like most of the N. Amati ones? For del Gesu, based on your comments yesterday, I looked up his output for 1734-1737 (I am lucky enough someone is lending me the 2-volume Biddulph catalog from 1998), but not 100% sure if this is what you meant. For Strad, what are some of the examples you have in mind for the wide deep scoop? And do you think rib height affects tonal quality a lot? Is there a direction of development there?
  16. Yes, shop actually quite big in downtown Portland.
  17. Rib height is a very interesting topic. My simpleton narrative is: Strad messed around with long pattern and stumbled on the fact that it was the arching that mattered most to the sound, thereby opening up his Golden Period. Once this is known the sound of later Cremonese instruments are just better. Del Gesu knows this so he wasn't even playing around with forms / moulds like Strad did, and what he experimented with was mostly arching and f-holes. Not sure how rib height (and variation in rib height) fit into this narrative.
  18. I have the Plowden poster. I thought it was a nicer looking del Gesu in the 1730s; but the data seems to say it sounds the worst out of the 30 violins tested. Do people who have the Miracle Makers CD hear the same?
  19. When we asked about whether different composers write music of different sound quality, the answer would be yes, a Haydn sonata is a different sound scape from a Chopin Nocturne. BUT, at the hands of bad players, they can sound equally aweful. It does not mean that there is no sound quality difference between a Haydn sonata and a Chopin Nocturne, I think the implicit question the OP is asking is: [As made by good / competent luthiers], how would you characterize the sound quality of a Strad, Gesu, Amati, Guad, Bergonzi, Testore, Pietro Guarneri, or other models? And by "models," per the discussion above, I think it is the model as it is specified in the sense of a Strad poster ... no poster would be able to give all the information available about a physical object, but the basic parameters on posters to include plates thickness gradations, archings, etc. besides the size and outlines. I am interested in the OP's question - because if there are really no difference, are people picking models to copy purely because of looks? If it is not for tonal reasons, why do people need to pick generally good sounding historical instruments as a starting point? But if it is for tonal reasons, then the OP question is highly relevant.
  20. Paul Cortese uses a harp tailpiece: https://www.youtube.com/watch?v=exR6tMdGN6A
  21. But if you were in the bidding, maybe the violin would end up selling at ~$10M.
  22. I was minding my own business, strolling Tarisio's database, and saw that David Garrett was the one who bought this del Gesu. https://tarisio.com/cozio-archive/property/?ID=69587
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