Omobono

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Everything posted by Omobono

  1. The 1781 ex-Bruno Giuranna viola is featured on Tarisio. It claims an original label and dendro results of 1706-1756. At length of 43.2 cm she's a big baby (same as the " ex-Michael Tree?) https://tarisio.com/cozio-archive/property/?ID=44532
  2. For those with modest budgets and who are not in the game of buying for future investment value, there is something to be said for finding a lesser known maker whose instruments you like, and commissioning without a long waiting time. You can enjoy the same pleasure of seeing an instrument coming to birth with you input hopefully, and at the same time provide opportunities for makers keen to turn over some trade. I did so with some three violas and two fiddles for students and naturally know of others who have done something similar.
  3. I am intrigued too by this.... Players commissioning top flight contemporary makers or bench copies of their 'Cremonesi' then not using them in concert. What ever happened to all the talk about 17th/18th cent. instruments being 'played out' and no longer serviceable?
  4. On the current Tarisio auction there is a fiddle back notable for a couple of 'features' Would you use or avoid such wood? (Must be good tone wood?) https://tarisio.com/auctions/auction/lot/?csid=2198962176&cpid=3569418240&filter_key=
  5. I recently saw a documentary on the origins of the pigment cochineal. Just for my enlightenment might I ask....... When did cochineal first find it's way into Italian (or European) instrument varnish? Was it already used in Northern Italy in the 17th century? Omo.
  6. Far from it....... fascinating....... I'm all ears!
  7. Guffaw... guffaw..... what goes on here? I fall into responding to old threads but this one is almost 20 years old....
  8. Speaking of big violas...... Scary......
  9. Interesting insights into lives of the contributors here. Congratulations. Martin, on your move and hope your impending 'decrepitude' is not all that imminent, Jeffrey. Nice studio. Whose portrait is on the wall with the massive viola or baby cello?
  10. She also appears to like violins with decorative backs...... ?
  11. Basically there is an agreement here I think. If players tune their perfect fifths independently they will be out of tune in some part of the range. If they match individual strings or notes even an octave apart their adjacent strings will need some slight accommodation to play a true sounding cord.
  12. Obviously your question hangs on the phrase "with no musical experience". I know of one gifted teenager who went from violin to cello and performed to a very high standard within a couple of years.
  13. You're right..... Crystal last visited in 2014.... Why don't I check those OP dates...............
  14. So the topic heading got me in.......... In raises the question though of "Temperament" and string instruments. Ever tried tuning low C's on viola and cello in a quartet? Not as simple as it seems. If you start your tuning in perfect fifths from the top A's it is impossible to arrive at the same low C. So tuning a quartet is something of a compromise (without even considering getting in tune with a tempered instrument such as a piano).
  15. Ghee... that's not a particularly clear image... My attempt to distinguish them was based on the C-bouts forms and I can just about see the Amati, Strad & Guarneri patterns there I think. On reflection, not that difficult, I suppose.
  16. Bruce, a generous contribution on your part which is a good summary of some issues. Should be very useful to many readers.
  17. Do you have a photo of the fiddle before your work? Love to see a 'before and after' comparison. ^^ Do I detect a certain awkwardness in the scroll relative to the overall model?
  18. Are you suggesting a certain clumsiness on the part of violists?
  19. Fascinating topic. Thanks. Anyone ever seen a left-handed flautist in an orchestra? Years back here Al Stancel strongly protested there was no need to adjust a fiddle for a left-handed player other than reverse the strings and bridge (I may be oversimplifying but he saw no need to reverse the bass-bar). This was hotly disputed but i respected Al's opinion.
  20. Quite striking. Thanks for sharing. I have only ever seen a viola. My recollection is that it was roughly this hue of varnish too.
  21. Curious about the sobriquet .... I remember a 1721 Shinsheimer, guess it's the same owner. Is it this Bernard Sinsheimer? obit A good Gaud was only one item among some more illustrious.