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Modern makers.


stephen redrobe
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I like Curtin. His instruments has a lot of raw power. His tone isn't as silky and smooth but it's great if you are an adrenalin junkie like me.

When I was in London, I liked Paul Harrild's violin a lot too. Almost went home with one for such a bargain price.

I laid down a commision last year with Terry Borman, I should have that fiddle in Nov. Borman's instruments don't appear to be as powerful as Curtin. But the projection is great and the tone is just beautiful. Another maker who's instrument has that kind of subtle qualities is Metsuo Matsuda.

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There's an article in this month's Strings about the acceptance (or occasionally lack thereof) of new instruments, with particular reference to orchestras. Without giving details it alludes to orchestra players who have cashed in on their old Italian instruments and play contemporary ones instead, and also claims that certain orchestra managements have expressed unhappiness about this.


Steve,

Is that in the Feb/Mar issue of strings or the April (which I haven't received yet)?

Thanks

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You say youe Harrild is an exact copy of the del gesu but,and please correct me if i'm wrong,surely the genius of the great makers was in getting the most out of the particular piece of wood that they were working with and perhaps then making an exact copy is missing the point,since no two pieces of wood are going to work in the same way?

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Anyone ever play a Jennifer Becker? I've seen one, and it was certainly well made, but I've never played one. She has the right pedigree.


My husband has a Jennifer Becker and is very happy with it. He just played it Monday night in a chamber music series, which is a high recommendation from him. We had a violinist friend from out of town staying with us last week and he was crazy about it too. I'm very bad at describing sound but I'd say it's a very "live" sounding violin... bold, a little aggressive (in a good way) with a lot of ring and a very broad/wide/deep sound (as opposed to his Matsudas, which are sweet with a more compact sound). It's a bit brighter than a Carl Becker. As far as playability goes my husband describes it as "stiff," which is a quality he particularly likes in it but sometimes throws off students. It's also a powerhouse of a violin. If you click around enough on our Web page you can see it a little -- it's the one in the pictures. It's funny to see people's reactions to it at first since it's bright orange and not at all antiqued.

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This one is 100% Jennifer's work. She does make instruments in partnership with her father, but unfortunately that's all I know. My husband didn't look into those when he bought this one -- actually, I'm not sure the Beckers were doing partnership instruments back in '95. Don't quote me on that, though. I'm in over my head here.

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I have just commissioned a violin by David Folland. I still plan to keep my other fiddle (Sgarabotto) for variety and investment (although I'll have to make payments for seven more years). I believe David is one of the finest makers around. I had the good fortune of trying two Guadagnini violns the same week as I played a Folland,and his violin was superior (to my ears)

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ha ha ha! yes rachel. she cracks me up. when i was there she also showed me a violin with Beare certificate by "Cristofo Affler" or something like that. Great fiddle. But she was asking for too much. She also had a Sgarbi, now that's a really nice violin. However, all of the modern violins she showed me, I had absolutely no interest in them. But Paul Harrild's... yes... was interested but didn't have 8000 pounds on me.

You should hop on the tube and to Beare's sometime. It's not a hard to get an appointment with Beare and just go play for an whole afternoon.

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