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Most copied instrument?


Craig Tucker
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I was just curious if there is a definitive answer to this question.

Of course, my best guess would be Stradivari, but how much further can it be narrowed down? - to a praticular period? How about to a particular mold? How about a single particular violin?

Then, (best guess allowed) do people copy it more for its form or for its tone?

(If neither, then I wonder, why copy it?)

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It depends how you look at it. In recent years it might be the Kreisler del Gesu, simply because it was one of the earliest and best STRAD posters, which was the first opportunity for people who hadn't ever seen a good violin to try to copy one, which immediately magnified the scope of the copying by making it readily available to anyone. It didn't hurt that Rembert Wurlitzer once called it possibly the best concert violin in existence, so it's obviously an effective model, beyond simply being available.

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Yes, and they are far from being accurate, I think.

I agree with Michael, the Strad posters made things easier for makers. The Cannon is an instrument that was little copied in the past (with the exception of Villaume and the makers of the Liguria region that had access to it) and now is available for makers by the means of a Strad poster.

Many makers in the past had a classic instrument to copy, unfortunatly most of us can't afford one now for this purpose, that's why good posters are important, and I hope one day we will have resin casts of instruments, that will be really great.

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I see that this poster is still available from the Strad.

Further, if one were to choose this violin (the Kreisler) to copy - are the particulars given regarding arching and thicknessing accurate on the poster?

Is this one of del Gesu's Strad-like violins in conception, or is it constructed more along the lines of the Cannone model violin?

Does any of this matter to the average palyer?

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Hi! Every DG is a single, unique instrument, something will be different from one to other (sometimes dramatically different) so the best thing is getting the right poster. I think the Kreisler is quite different from the Cannon.

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The Kreisler is one of the Strad-like del Gesus, yes, which is why it has such universal appeal. I don't remember if the grads are on the poster, or were in the magazine, but they were reasonable for the type. The most interesting thing about the violin is the arch, which is just about perfect. It's not dissimilar in concept to the King and the Cannone--violins which are widely separated in date, but respected tonally.

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Arching and graduations, and that's obviously intentional, because the f-holes are very similar to Strads of that period, too, and dissimilar to his father, with whom he was working, as well as being different from his own fs a couple of years later. I'd guess that as the new guy in town he was looking down the street and seeing all the action there, and figured that if he wanted a piece of it, he'd better do what that guy was doing.

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Furthermore & for what it's worth - if you order the Kreisler DG Strad poster make sure they send you the correct print. There are - or have been - two. I lovingly framed the one they sent me 6 years ago only to disover last year that the front plate is printed back to front (it has no strings and the scroll isn't visible so it's not easily spotted by the uninitiated).

I had some fun last year at Mondomusica when Cremonabooks generously lent me both their Kreisler prints (one correct, one not) for 10 minutes to take round to the Strad stand as proof - they had thought I was nuts till I was able to get them to play "spot the difference"!

Annoyingly, the wrong print looks somewhat sharper than the correct one.

The measurements on the back will be the same on both of course.

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