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PhilipG

A nice performance.

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Yes, definitely my kind of thing. Concertos are all very well but straight unaccompanied Bach shows the performer and the instrument as they ought to be heard. Absolutely sublime.

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It is very beautiful and I'm lucky enough to be able to listen to it with some old Polk speakers. I also like the Korngold Concertos which you can also find on youtube.

I wonder who built her violin.

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It is very beautiful and I'm lucky enough to be able to listen to it with some old Polk speakers. I also like the Korngold Concertos which you can also find on youtube.

I wonder who built her violin.

It is a Strad. Possibly "the Lord Dunn-Raven" It's from the Wiener Musivereinsaal and I think she played that tune in memorial of the conductor Herbert von Karajan that meant a lot to her especially in her early career. I saw the performance on Norwegian television about a year ago. I think it was a new year concert. It made an impact on mee too. And the instrument sound very even intense and good. But it is a recording and these type of productions are often modified e.g. the spectral balances etc by the sound production engineer.

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It is a Strad. Possibly "the Lord Dunn-Raven" It's from the Wiener Musivereinsaal and I think she played that tune in memorial of the conductor Herbert von Karajan that meant a lot to her especially in her early career. I saw the performance on Norwegian television about a year ago. I think it was a new year concert. It made an impact on mee too. And the instrument sound very even intense and good. But it is a recording and these type of productions are often modified e.g. the spectral balances etc by the sound production engineer.

Cozio.com lists the Lord Dunn-Raven Stradivari violin as owned by Anne-Sophie Mutter. It also lists her as the owner of the Emiliani Strad.

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Very Nice indeed. I was wondering, are those two mutes on the a and e strings, or wolf tamers?

Those are just adjusters. Violinists rarely use wolf tamers and certainly not on the A or E string.

Ron

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I have extracted the sound file from the Youtube movie and made Long Time Average Spectra in 1/3rd octave- and narrow band frequencies. I have compared spectra from two recordings with the same musical piece by Perlman and Kremer, both playing a del Gesu on these recordings.

You see that the spectral balance is as typical for Strads and del Gesus. Mutters Strad is stronger in the bridge/body hill area while the del Gesus are stronger in the low mid frequency range. One really cannot compare the sound levels of different recordings like that as there is no reference. The spectra have been set at the same overall level for comparison. But I think we can say that the spectral balance between the recordings may be sound.

Mutters example is from a performance with audience and orchestra on the stage present. The higher sound level below 200Hz is due to the noise from the people, orchestra, possibly a HVAC a system, and possibly traffic noise, although one cannot hear traffic on the recording. I know that the sound insulation is not good against outdoor noise in Musivereinsaal. The reason is the large windows, which is likely to be the weakest sound insulating surfaces in the facades. Modern concert halls are usually constructed better in that respect.

post-25136-1262094121.jpg

post-25136-1262094130.jpg

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Cozio.com lists the Lord Dunn-Raven Stradivari violin as owned by Anne-Sophie Mutter. It also lists her as the owner of the Emiliani Strad.

Yes, the Emiliani has a one piece back and seems to have somewhat more original varnish left on the top, the scroll is less weared than on the Lord Dunn Raven wich has a two piece back. Its difficult to see if there is a two or a on piece back on the Youtube movie, but maybe somebody has a better resolution version of the movie? I still think it is the LDR as the scroll looks more weared and I think the varnish on the top fits better with that violin. I also speculate that the wide flames on the one piece back would have been easier seen in the movie than what we see. The narrower symmetric flames will easier blend into the equal color we see.

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Yes, the Emiliani has a one piece back and seems to have somewhat more original varnish left on the top, the scroll is less weared than on the Lord Dunn Raven wich has a two piece back. Its difficult to see if there is a two or a on piece back on the Youtube movie, but maybe somebody has a better resolution version of the movie? I still think it is the LDR as the scroll looks more weared and I think the varnish on the top fits better with that violin. I also speculate that the wide flames on the one piece back would have been easier seen in the movie than what we see. The narrower symmetric flames will easier blend into the equal color we see.

I'm sure the cool-looking Ms Mutter doesn't perspire much but it still bothers me that the skin of her shoulder is direct contact with the back of the violin

Glenn

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I'm sure the cool-looking Ms Mutter doesn't perspire much but it still bothers me that the skin of her shoulder is direct contact with the back of the violin

Glenn

Glenn,

I was surprised as well.

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It is a Strad. Possibly "the Lord Dunn-Raven" It's from the Wiener Musivereinsaal and I think she played that tune in memorial of the conductor Herbert von Karajan that meant a lot to her especially in her early career. I saw the performance on Norwegian television about a year ago. I think it was a new year concert. It made an impact on mee too. And the instrument sound very even intense and good. But it is a recording and these type of productions are often modified e.g. the spectral balances etc by the sound production engineer.

I looked on Wikipedia and found that she does own those two Strads; the ones listed here and also a modern instrument built by Roberto Regazzi, who I now will be researching also. I wonder what he charges. I'm sure she owns several other fine instruments but these were the only ones listed. I also read that she never uses a shoulder rest.

I can really get lost on youtube watching all these performances. Thank goodness for vacation time and rainy days.

http://en.wikipedia.org/wiki/Anne-Sophie_Mutter

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I have extracted the sound file from the Youtube movie and made Long Time Average Spectra in 1/3rd octave- and narrow band frequencies.

Methinks some of us need to get out a bit more.... :)

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Methinks some of us need to get out a bit more.... :)

Well, the curves may not tell you much, but to the techical minded maker it will. I think it e.g. is interesting to see that the maximum of the spectrum in the higher frequency region is around 2,5kHz and not higher in frequency, that the "hill" is somewhat broad, and that the spectrum is somewhat "balanced".

The music is great, I like it. And I like the sound of the instrument and I am puzzled by how much she has tightened up the bow.

Could you elaborate on what you would get out? Maybe I and the otehrs here can learn something from what you have in mind. :-)

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I looked on Wikipedia and found that she does own those two Strads; the ones listed here and also a modern instrument built by Roberto Regazzi, who I now will be researching also. I wonder what he charges. I'm sure she owns several other fine instruments but these were the only ones listed. I also read that she never uses a shoulder rest.

I can really get lost on youtube watching all these performances. Thank goodness for vacation time and rainy days.

http://en.wikipedia.org/wiki/Anne-Sophie_Mutter

I visited Regazzi in Bologna in 2001 and was very taken with him and his violins. However a $25,000 price tag and five year waiting list rather dampened my excitement. I wonder what he charges now and if there is still a waiting list?

He did have an amazing website which he'd built himself, but that seems to have been inactive for a while now. Anybody here able to shed some light on Roberto and his current activities?

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Well, the curves may not tell you much, but to the techical minded maker it will. I think it e.g. is interesting to see that the maximum of the spectrum in the higher frequency region is around 2,5kHz and not higher in frequency, that the "hill" is somewhat broad, and that the spectrum is somewhat "balanced".

The music is great, I like it. And I like the sound of the instrument and I am puzzled by how much she has tightened up the bow.

Could you elaborate on what you would get out? Maybe I and the otehrs here can learn something from what you have in mind. :-)

The curves tell me much.... :)

She always plays with a tight bow, dunno why, some people like this. Some also like their Bach with no vibrato.

From a players point of view the most impressive feature of the performance is the way she is holding the violin with no external support just resting on her bare skin.

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Methinks some of us need to get out a bit more.... :)

I'll go to bat for Anders contributions. They may be overly technical for the player section of the Forum, but they are much appreciated by those of us who are pro makers with some technical background.

Haven't some of the greatest strides been made by those who didn't get out much?

If Strad made 1100 instruments, I'll guess he didn't get out much either. :)

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I'll go to bat for Anders contributions. They may be overly technical for the player section of the Forum, but they are much appreciated by those of us who are pro makers with some technical background.

Haven't some of the greatest strides been made by those who didn't get out much?

If Strad made 1100 instruments, I'll guess he didn't get out much either. :)

Funny. I thought you might say that......

.....however, if I may be so bold.....

There may be some other fundamental difference between our Norwegian friend and Stradivari.

irrespective of whether they get or got out much..... :)

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Funny. I thought you might say that......

.....however, if I may be so bold.....

There may be some other fundamental difference between our Norwegian friend and Stradivari.

irrespective of whether they get or got out much..... :)

I thought you might say that, :) but keep in mind, I was only addressing your thoughts about getting out more, not writing a book about regional approaches to violin making. :)

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I thought you might say that, :) but keep in mind, I was only addressing your thoughts about getting out more, not writing a book about regional approaches to violin making. :)

Thanks for your support, David. I do stay in a lot, and I enjoy it. Should have been in the workshop a bit more, but that will come when the time is ready for it. I do have a three year wait list, but not much orders are needed to get that, as I have another full time job. :-)

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I visited Regazzi in Bologna in 2001 and was very taken with him and his violins. However a $25,000 price tag and five year waiting list rather dampened my excitement. I wonder what he charges now and if there is still a waiting list?

He did have an amazing website which he'd built himself, but that seems to have been inactive for a while now. Anybody here able to shed some light on Roberto and his current activities?

I had a feeling that the price for one of his instruments was going to cost that much. Obviously, it's way out of my price range. Still, with an ability to restore instruments, I can at least hope that I will come across something much better than what I have now, that others would pass up simply being in an unplayable condition.

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Yes, definitely my kind of thing. Concertos are all very well but straight unaccompanied Bach shows the performer and the instrument as they ought to be heard. Absolutely sublime.

I LOVE the Bach unaccompanied pieces and agree that they show off the instrument at its best. I have several recordings, including Szigeti, Grumiaux, Milstein, Szeryng, Hahn, Tetzlaff, Kavakos, among others. Even though Bach would have heard (or played?) the music on instruments with Baroque set-up, I like the modern set-up versions just as much, rolled chords not withstanding. Hearing only the violin gives a chance to appreciate the different masterpieces played by these famous players.

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