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  1. FWIW, Eugene Altschuller advised me (mid-1970s) to never play a Mozart concerto as an orchestra audition piece, because no matter how you played it, somebody on the committee would insist it was too slow/too fast/too romantic/too matter-of-fact & so on. In his experience, with Mozart, there was no pleasing everybody, which is what you have to do in that situation. This despite seeing Mozart 4 sometimes as a mandatory since then.
  2. https://www.zerohedge.com/technology/new-study-shows-humans-think-more-efficiently-when-robot-stands-nearby-and-insults-them
  3. Jacqueline Du Pre recorded the Elgar Concerto on hers. Who knows.
  4. And if Lott typically (or even occasionally) made instruments this happened to without heat being involved, and to the same extent, you'd have solid ground to base an argument against the obvious explanation on.
  5. A432

    Giussani (luthier)

    Fictitious dealer's label ? A later descendant/relative seems to be a guitar maker. Nice viola either way. Bridge made his way in the world as a quartet violist (with teaching & an orchestra chair) long before he got over (briefly) as a composer, so I'd think this viola would be a bigger deal, in England, than it seems to be. https://www.classicfm.com/composers/britten/listen-britten-on-original-viola/
  6. 1) Thank you for the courtesy (your first) of the link to the older thread. That is the kind of substance-free retort that, IMO, has disfigured more than one thread recently. The instrument you commented on was made by John Lott. A432 : It looks like it was overheated because it was overheated. JS : "So called 'old wives tale' ." BF : All this was answered in the threads I linked to, one should only bother to read them instead of wasting time again in redundant discussions. Great ! Let's do that, then : MS : "This kind of varnish damage comes from excessive heat, generally storage for a full summer in an uninsulated attic. Milder craquelure could I suppose be to do with a defective varnish, but mainly it's heat that does this. Since we bought our old farm in Croatia, I have become aware of the ferocious heat that builds up in an uninsulated roof space, and I think it's actually a logical explanation, given how many violins are abandoned in attics. I thought the hide glue size was the reason for the instability of the Mittenwald varnish ...?" AD : " With regard to the discussion about causes of craquelure.....anyone heard of 'fat over lean' as the explanation? . . . I believe that this was an attempt to duplicate the Cremona look NS : There are all kinds of varnishes which crackle and heat can definitely speed up the process. I have seen two instruments salvaged from burned houses which really did look exactly like the ribs and scroll of the OP's violin and which according to the owners did not look like that before the fire. And I have seen a really beautiful Joseph Hel which was removed from England to Australia and developed a really very nice crackle, such as Blank face"s first example of this thread, within a couple of years. My guess would be that the Mittenwald reds discussed here have a general tendency in this direction but that heat was also involved in this particular case. A432 " And certainly was in the case of the Lott.
  7. Back to your usual sweet self, I see. Always refreshing. So the above makers/places census = 2 (?)
  8. Very tough to find information on this guy. Frank Bridge had a viola made by him in 1843 that's pretty famous. Anybody ?
  9. Interesting. And those instruments would be . . . (?)
  10. if any. In this case, given its history, and the certainty that it wasn't put away looking like that, the onus would necessarily be on anyone alleging non-causality. This is, of course, not forthcoming. People ignoring common sense to automatically play "How do we know that we know what we know ?" has become a virtual disease across all fields over the last 50 or so years -- a sort of fashion that people have adopted. So. Q : How do we know that it was correlational ? A : We don't. And can't. Yet the theoretical possibility that it might have been is considered sufficient to overrule common sense. This is not sound procedure.
  11. According to the owner of the house it came out of, it had been stored in the attic for many years. I apparently need to remind you that this sort of thing is filed under the heading, "provenance," and is highly valued. Except by oppositional defiants with axes to grind.
  12. The Lott 'cello, http://www.aviolin.com/cellos/lott.html was the subject of an interesting article by a restorer-dealer in Britain who bought it at auction there, still in its original configuration and period case. He'd been hoping to sell it as it was to a period instrument player ; it looks like that fell through and it was modernized. At any rate, the blog post (which used to be found easily) no longer is. Inquiring into it via the auctioneer connecting him with the owner, he found it had, in fact, been kept in an attic, where it had repeatedly gotten overheated over a long period of time. It looks like it was overheated because it was overheated.
  13. http://www.aviolin.com/cellos/lott.html
  14. https://www.classicfm.com/discover-music/instruments/cello/instrument-heat-damage/
  15. Relieved at that -- picture suggested otherwise. Hill-style would be much preferable. FWIW