• Announcements

    • ghunt

      Whole Site SSL   03/08/17

      Whole site SSL is now turned on and forced for all pages on Maestronet. If you have any problems, please contact the admin team.


  • Content count

  • Joined

  • Last visited

  • Days Won


About Omobono

  • Rank

Contact Methods

  • ICQ

Profile Information

  • Gender
  • Location

Recent Profile Visitors

38747 profile views
  1. It is an advertisement for the BAM case. (see one site with it priced at $1100) .... and just maybe Coda bows?
  2. Better to hear the actual instrument than him talking about it. Sounds just fine to me. Instrument also seem in a fine state of preservation.
  3. I have previously seen this instrument presented elsewhere as a Stradivari of 1718 and came to the conclusion it must be a 'copy of a 1718' instrument. Now I see it illustrated in an advertisement here: Can anyone shed some light on this attribution? (In the case appear to be a Coda bow below a baroque model bow? The be-jeweled E-string adjuster seems a little over the top? )
  4. The Strasd didn't quite make the £2M mark. The Storioni and a Rugeri doubled their estimates.
  5. I just saw that it is close to 25 years since David Rivinus unveiled his ergonomic viola the 'Pellegrina' http://stringsmagazine.com/luthier-david-rivinus-fights-injuries-with-unorthodox-instruments/
  6. I see a Carlo Bergonzi fiddle highlighted from the forthcoming Tarisio auction in May 2017. Don't recall seeing it documented before and it seems a relatively late date - 1746? Hence the attribution of collaboration of Michelangelo? Just how much Carlo and how much Michelangelo...? None of the certificates are at all recent. (There is 1744 Carlo B illustrated on this site with a somewhat similar plain back.) http://www.romangoronok.com/portfolio
  7. This was the way I was going to address the question too. It doesn't mean you will have to use the two fingers in tandem indefinitely but may just give you a sense of support and security. (I presume we are talking violin here? It's more an issue for me on viola.) I would like to here a cellist or bassist's view on this because it occurs to me it is more a part of their regular technique? Am I right?
  8. She seems to like it..... Here is her 'philosophy' and apparently she plays a Giovanni Francesco Pressenda of 1834 and gets good value form it I would say.
  9. You probably don't want to go there again but for those who want to torture themselves..... https://maestronet.com/forum/index.php?/topic/332628-paganini-with-an-operatic-vibrato/& (with apologies to Ben Hebbert.... )
  10. Nemanja Radulovic may match her in his more flamboyant atire as a fashionista. Here is one of his more somber renderings.
  11. Now that's a cadenza! A born entertainer. This is not Karkowska, but Kopatchinskaja, of course. I thought it was the same performer when I saw the title of the thread. Anyone know what fiddle she is using? Obviously makes her own gowns as well
  12. Martin, you surprise me with a couple of statements, but I'm happy to be surprised. When you talk about scrolls being handy for establishing a region of manufacture, I presume you are talking about the way a classic model of a scroll based is interpreted in a different school or region? Your reference to well-traveled scrolls I take to mean grafted on to new fiddles?
  13. Maybe the old reference thread is useful when talking about parts of the scroll so that we use the same language. terminology thread I'm not sure how useful it is to talk about 'French' or 'German' scrolls rather than models, schools or styles? But I'm prepared to learn. Would we ever talk about 'Italian' arching, for instance?
  14. Hey! Don't should on yourself so much.... It was a good, convincing very 'listenable' performance. Much better than I could manage in my dotage. (I too use the Simon Roland-Jones' edition along with the reference to the Ricordi Bruno Giuranna edition which i also like.)
  15. I have to confess when I saw the topic title I thought it must be referring to a new brand of string I hadn't encountered. As to ovations, I am reluctant to be the first to stand having witnessed a few times people who do so and left standing alone and looking a little foolish.