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ViolaGeo, April 21, 2017 in The Fingerboard
Beautiful poplar back.
Those four finetuners may be an indication that tuning with the pegs is not smooth sailing.
Here is a Spanish violist, one generation younger than Tamestit, playing on a Enrico Catenar instrument from roughly the same era as Tamestit's Strad, and frankly it sounds much better for a fraction of the money.
People should really lose this obsession with the Strad brand.
Tabea Zimmermann, arguably the premier recording alto player of the turn of the century, plays on a 1980 Etienne Vatelot.
The Strad is "The Gustav Mahler" our own Manfio has examined it up close (lucky guy!) The Spanish young lady did play well and the Brahms is a great piece to show off a viola's sound. I wish we had been able to hear the Strad. The tailpiece is a a French Bois D'Harmonie one. I don't think it is a reflection on the function of the pegs, but rather a choice of the player. I would like to try one sometime but they are a bit pricey to try on a whim. They make pretty crazy carved pegs too.
Antoine Tamestit is not someone I have listened to a lot. My mistake. He is a wonderful player.
As to his sound as opposed to anyone else I will leave that to you.
oh, I'm definitely interested, I have a lot of his cds.
I'm just a little iffy about that "I couldn't have done it without a Strad" narrative.
For better or worse having the use of a Strad viola probably does help his career. I am sure he would sound great on about anything though.
Better to hear the actual instrument than him talking about it.
Sounds just fine to me. Instrument also seem in a fine state of preservation.
Nice view of that wide spruce grain on the table.
Antoine is such a nice guy and viola test driver. It was nice having the Mahler Strad viola in my hands, there are very few Strad violas.
As I took the Mahler in my hands I immediately remembered of the Hill's book, the head is very big when compared to the viola's soundbos.
Antoine produces a beautiful sound on it, quite a fine player.
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