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A nice performance.


PhilipG
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Here is a youtube video with some better resolution and a little more of the performance.

I see the narrow flames of a two piece back towards the end of the piece, so I think is indeed is "the Lord Dunn-Raven" Strad.

Much better than my original link and thank you. Very nice and I'm glad the applause was included in the video. I saw also the tightness of her bow, which was pointed out earlier and what appears to be a slightly higher action of the strings. Probably slightly higher at the nut rather than at the bridge alone. I'm sure it's a style she has perfected for herself over the years.

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  • 1 month later...

Yes, Anders, of the two I think it could be the Dunn Raven - I think I too can just make out the descending flame on a two-piece back

Whatever about tailpieces and accessories..... but it's not definitive from these you tube shots.

top2ar.jpg

top3qo.jpg

scr1761635e.jpg

1710dunnraven.jpg

1710 Dunn Raven

1723emiliani.jpg

1703 Emiliani

Then again, it could be some other fiddle too?

The performance - what struck me was the full use of the bow - tip to nut

AND not one bow retake, did you notice?

Smooth!

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Enjoyed the video! A question for the luthiers - is there any way in which you would protect the varnish on the back of the Strad in contact with ASM's skin? While I can understand her not wanting to use a shoulder rest, it seems a little reckless not using a cloth either. I mean we girls use moisturiser, self-tanner and all sorts of other stuff which I'm sure Antonio S. didn't envisage meeting his varnish... and that much contact must be taking quite a toll on the fiddle?

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Enjoyed the video! A question for the luthiers - is there any way in which you would protect the varnish on the back of the Strad in contact with ASM's skin? While I can understand her not wanting to use a shoulder rest, it seems a little reckless not using a cloth either. I mean we girls use moisturiser, self-tanner and all sorts of other stuff which I'm sure Antonio S. didn't envisage meeting his varnish... and that much contact must be taking quite a toll on the fiddle?

I'm still puzzled how she can play 'naked' without the fiddle slipping off.

It's probably another of her 'secrets' of technique she refuses to reveal.

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Yes, Anders, of the two I think it could be the Dunn Raven - I think Itoo can just make out the descending flame on a two-piece back

Whatever about tailpieces and accessories..... but it's not definitive from these you tube shots.

top2ar.jpg

top3qo.jpg

scr1761635e.jpg

1710dunnraven.jpg

1710 Dunn Raven

1723emiliani.jpg

1723 Emiliani

Then again, it could be some other fioddle too?

The performance - what struck me was the full use of the bow - tip to nut

AND not one bow retake, did you notice?

Smooth!

My vote is that it's the first fiddle. Those dark dings close to the edge and the stripes under the lobe of the treble F hole match.

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I'm still puzzled how she can play 'naked' without the fiddle slipping off.

I, too, would expect the violin to cling to the skin, and that clinging is exactly what might damage the varnish. Yehudi menuhin, in a book he wrote on violin playing, said he thought it was important to touch the varnish as little as possible. He said he only allowed himself rarely to give the varnish on his instruments a gentle caress with his finger tips.

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