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actonern

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If really the Guarneri sound as good as players say, then there are at least 2 immediate possibilities.

First these violins have retained their original graduations and such graduations were the best ones, or the violins were regraduated and one has to consider the possibility that the original graduations were not that critical.

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I love the piece he's playing - does anyone know what it is?

It's the Ernst arrangement of Schubert's "Erlkonig". Excellent, and fantastically tricky!

For me, del Gesus (in general) seem to have more of the throaty low-end response that I really love in a violin. I find that instruments that are too soprano-edged end up sounding screechy to me -- guess it's too many years of doubling on viola... :)

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I love the piece he's playing - does anyone know what it is?

The sound is great for a recording, but IMHO as a maker, there's a little too much reverb, or "room" to be able to hear the instrument clearly. Really nice, though.

a search on youtube says the piece is Ernst Grand Caprice. Indeed it sounds like a paganini caprice, since both were virtuoso and lived at the same time.

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If really the Guarneri sound as good as players say, then there are at least 2 immediate possibilities.

First these violins have retained their original graduations and such graduations were the best ones, or the violins were regraduated and one has to consider the possibility that the original graduations were not that critical.

Good point,

I think, original graduation/arching is still critical.

I expect the (DG Dynamics) foundation is still there..

Just guessing..

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If really the Guarneri sound as good as players say, then there are at least 2 immediate possibilities.

First these violins have retained their original graduations and such graduations were the best ones, or the violins were regraduated and one has to consider the possibility that the original graduations were not that critical.

Not critical - yes that is a possibility - or perhaps, not really correct, or not optimum.

Which may have become obvious after some time had passed.

We may not like the implications, but that is a distinct possibility also.

Isn't it?

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Concerning the Barati/del Gesu performance: It's good to see a Hungarian doing well -- meaning the player, not the fiddle, although Samuel Nemessanyi, a Hungarian, made some impressive, del Gesu inspired instruments.

In this piece, with all that spiccato bowing, the responsiveness of the instrument might be more important to the player than the tone color. The fiddle has to speak clearly when the bow movements are just a few millimeters, at a very fast tempo, and even when played very softly.

Del Gesus are famous for lush, dark, thick sounds. Now we see that they can be incredibly responsive, too.

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Not critical - yes that is a possibility - or perhaps, not really correct, or not optimum.

Which may have become obvious after some time had passed.

We may not like the implications, but that is a distinct possibility also.

Isn't it?

Yes, optimum is the right word.

there was some time ago a display of many copies of the Ole Bull if I am not mistaken. Of course the violins were very different, made with different wood etc... but just imagine the same kind of exhibition where all the makers would be asked to really stick to the arching and shapes given and only given freedom on the graduations, let's say half of the makers being free on the top graduations, the other half on the back. Statistically some very interesting patterns might appear. :)

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