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Dr. Mark

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Everything posted by Dr. Mark

  1. Yes, that's a moving address. I've never desired to capture or express despair and I would say that the essay is weighted towards this single attribute. Keep in mind that I'm coming from the position of someone who has always wanted to understand music but is unable to grasp it (hence I can't play violin despite repeated attempts). But another related facet of music is exploring emotion. Let's assume my point of view - that conscious thought and language is based on buried autonomous emotional response to sensory input. Language, images, dreams - based on interactive experiences - are tied to one's emotional state at the time the image is formed, so an emotional state evokes the arts and languages that we produce. When we hear music I suspect our first response is to try to associate it with familiar emotions. Chamber music is much like a discussion, and great music, like Bach (is to me - Wachtet Auf! Ruf uns die Stimme) creates on top of the familiar, other emotional vignettes that evoke profound emotions for which I have no associated connection with an experience. Essentially I can feel them, then they're gone. And this is the point I'm very badly trying to express - a use of music is to explore the emotional foundation of consciousness. I had a dog many years ago who heard this: https://music.youtube.com/watch?v=5tvW_k4_H9Y and set herself down with her ear to the speaker for the entire piece. What she felt is a mystery to me because I always associated it with art deco and city life back when people were leaving the farms for more opportunity and excitement.
  2. Isn't Evans work a rehash of work published in the Catgut Acoustical Society and JAS journals from the 1980's? I should look that up when the alcohol wears off. Maybe I shouldn't wait....
  3. Wow. Less than one beer - granted a Sour Monkey at 9+ % alcohol - and that is like Alice in Wonderland. One step at a time...let's see...fiddle measurements which involve numbers can be duplicated with sticks of wood cut to a certain length... and marked wedges...to determine the differences between your measuring stick and what is in front of you...if one can't just see that stuff...that seems like it should make sense... Where's my coffee?'.....COFFEE PLEASE!!!!
  4. This navel... is.....how profoundly deep...how perfectly smooth and round.... Ommmmmmmmm
  5. I feel your pain...I, however, have no pride so four of them (since 1989) belong to others. God help them. One day I'll make one with enough je ne sais quoi to post some photos and take the heat.
  6. A 'tighter' tone, it seems to me. You don't think that the lack of ring is because the room is acoustically dead?
  7. Well and thoroughly dissed.
  8. It is, and much appreciated.
  9. Don't be depressed. I thought the bow below was a Trico force high performance. Maybe its from a Datsun, but in any case it's easy to find American-made bows like these so lah-de-dah Jacob..
  10. That could be enough, however the post I quoted is still available on MN which is a public forum, potentially dragging Jeffery into any action the seller would want to take. Private discussions aren't at issue, but what's available to the public certainly is. I'm not going to say any more about it other than it's best to avoid giving personal injury lawyers free gifts - and more so if you have absolutely nothing to gain.
  11. Food for thought. Plus there could have been a potentially serious penalty from his libel suit if you 'spread the word' and damaged his business. You might have been able to escape on the grounds that you acted without malice, believed that you were telling the truth, and apologized - but a court could also decide that subsequent humility is an insufficient virtue.
  12. You may want to rephrase your question - are you asking whether a different violin (than that of the OP) was built in France or Germany, based only on a French/imitation French label?
  13. What he said ^! Maybe enjoying a violin is the prerogative of the well-to-do lol.
  14. I understand that many/most Guarneri's were regraduated. Maybe as you said (Aug. 22, 2017), the topic is a minefield.
  15. There is a conciseness to the tone that I like: it seems clearly present behind the room acoustics and effects of recording and playback - it's as though each note is rich in overtones (if that's the word) but at the same time rigidly confined. I wonder if it's an expression of Stainer's character - and once he recognized it he began to developed it. More idle speculation...
  16. "Drooling banjos" eh? That may be what I was calling 'pure' and 'focused', and what Mike D. doesn't like to listen to for any length of time. Interesting that we all may be describing the same perception, but to me it's still new and admirable so I use favorable terms, while Mike has apparently exhausted it's content and is attracted to more complex and sophisticated tone. Your take is to describe the phenomenon in physical terms, matesic approaches it from a psychological standpoint. Very cool. Maybe the tone question is best answered by what Mike's attitude indicates: Many listeners/players gravitate towards the tonal complexity of the Cremonese instruments. On the other hand, Baroque music at least may be best expressed by the Stainer tone and many continue to appreciate this. Just my musing and speculation.
  17. In the context of my proposal that I was imagining a vibrato,I took what Mike said to mean that the vibrato I hear is real, not just something I think I hear (but don't) because of my expectations, some beat phenomenon, or because I can see the violinist using it etc..
  18. That's all right. It's my nature to try to add a little humor now and then. Back to topic....
  19. Refrain is a countrified 'And Your Bird Can Sing' by the Beatles lol.
  20. It must be a psychological effect given the comments here, but I believe I can hear her vibrato fairly distinctly at numerous places throughout the piece including the opening. It does vary in strength. I also believe that the purity and focus of the tone goes well with Vivaldi so there's no accounting for taste, is there? I'll bet it would also go well with Bach.
  21. Browsing through Tarisio, Bonham's, and some other internet sites, I'd really like assurance that the second >scroll< is actually attributed to Gobetti, violin as a whole aside. It has essentially none of his typical characteristics according to the examples I've found - the turn into the eye is much higher than other examples and the side view silhouette suggests a different template. For comparison with a maker whose scrolls also (or actually) differ to this extent or more, del Gesu's have a freehand feel that unites them despite their differences (I'm aware that some are tentatively attributed to his wife). Unless there are other examples matching #2 or differing to a similar extent I'd attribute the second scroll to 'unknown' pending further research e.g. if it's integral with the neck, is the neck original? If the neck appears original, is the body attribution correct? But what do I know lol?
  22. Nature doesn't have errors. I'm in the camp that the violin body is a stylized female torso - I also don't see why the intellectual and spiritual fruits of the Renaissance (it was a slower world before J. C. Maxwell lol) wouldn't encourage a luthier to attempt to design a perfect instrument based on mathematical relations that he was familiar with, moderated by personal taste.
  23. If I recall correctly I somewhere ran across a photo of an x-ray that showed nails in situ in a violin neck and maybe I can find it. In the meantime - the Hill's Stradivari His Life and Work, Dover Ed., copyright 1963, p. 189 has a drawing - possibly from first-hand observation - of the three nailheads on the inside of a top block. There's also an interesting photo and some drawings in the booklet that accompanies a recording of Salvatore Accardo playing the Cannon published by Dynamic in 1995 - an interior photo through an endoscope on page 65 showing the top block with Candi's 1937 tag with what looks like a nailhead - or a screw lol - behind the top of the tag. Candi's drawings on pages 67 through 69 clearly show the positions of two nails.
  24. Right, but any way of measuring dimensions seems rather problematic. What measurements and what differences among measurements are sufficient to indicate that instruments were built on different molds? And the measurement uncertainties introduced by distortion and repair/reconstruction would seem comparatively large if we're talking about something on the order of a few mm. Caveat emptor applies to all reported research.
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