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PhilipKT

Who is the modern Vuilluame?

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14 minutes ago, jacklinks said:

Are all Vuillaumes workshop violins?  

No, whenever someone is selling one, theirs is always made by the man himself ;)

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51 minutes ago, jacklinks said:

Probably a dumb question, but Hillary Hahn plays a Vuillaume violin, correct? So is that a workshop violin too? Are all Vuillaumes workshop violins?  

That’s an interesting question, the cello example that I played a couple of years ago had a vague price on it, But now I wonder whether it was “made to a price” Or “best quality”

Shannon Lee played piano trios with me last summer on her old Vuilluame, Which was a dark Maggini copy if I recall, it certainly had double purfling. I think she said it was too big for her? And she got rid of it and acquired another Vuilluame that she adores. I think they’re perhaps 25 years apart? Haven’t heard the new one personally, but a mutual colleague, a retired Dallas symphony violinist, who certainly knows his stuff, heard both and thought they were extremely different in sound and character.

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Some Vuilaumes have been "cooked" ( pretty well literally) and are not as valuable today. Was that JBs own doing, or did it happen to violins by others in his workshop as well?

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2 hours ago, jacklinks said:

Probably a dumb question, but Hillary Hahn plays a Vuillaume violin, correct? So is that a workshop violin too? Are all Vuillaumes workshop violins?  

Workshop violin when a dealer buys, Master made violins if a dealer sells. 

In the case of Vuillaume who had a pretty strict control on the things made in his shop, this is a tricky question. In any case, from a legal standpoint it can be said that all those violins are made by the master because in legal terms it is allowed to hire helpers for whatever you produce under your name.

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10 hours ago, jacklinks said:

Probably a dumb question, but Hillary Hahn plays a Vuillaume violin, correct? So is that a workshop violin too? Are all Vuillaumes workshop violins?  

Since we are here in the MN Universe, where one finds interminable threads about Stradivari's Unattainable Secrets, the mystical properties of geometrical constructions, the voodoo of varnish, and the arcane properties of fermented rabbit effluvia, assume that the magical law of contagion applies.  Any violin Hilary Hahn touches becomes a masterpiece for as long as she's playing it.  If she picked up a Markie, it would sound like a Strad until she put it down.  :ph34r:  :lol:

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On 10/9/2019 at 3:28 PM, PhilipKT said:

I owned a Kiernoziak, as did the colleague who inspired me to get my Caron. A student bought a Bednarski, another bought a wonderful Garavaglia, My former professor played a Bronek Sisson instead of his Ceruti(As a matter fact, in all the years I knew him, I never saw the Ceruti) And this area abounds in instruments from the Lee shop. 

But im very interested in investigating Machold. Never seen an example. Maybe they don’t make it to Texas.

I had a Bronek Cisson before my Matsuda. The Matsuda was from 2002 after he had left Lee.  I have at least one viola by a Lee Alumnus, Will Whedbee It is early but labeled for Warren and Son. I dream of an 18th century or earlier instrument by a known maker but the truth is there is not one of my instruments including a Chinese factory baroque violin that I deserve at all.

DLB

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9 hours ago, Violadamore said:

Since we are here in the MN Universe, where one finds interminable threads about Stradivari's Unattainable Secrets, the mystical properties of geometrical constructions, the voodoo of varnish, and the arcane properties of fermented rabbit effluvia, assume that the magical law of contagion applies.  Any violin Hilary Hahn touches becomes a masterpiece for as long as she's playing it.  If she picked up a Markie, it would sound like a Strad until she put it down.  :ph34r:  :lol:

Among the knickknacks that Jay has for sale in his shop, which is Approaching it’s final days, is a flight cello case that once was owned by Jacqueline Dupre, And carried her Strad. I’m not terribly impressed by name association. I would imagine that some people would be falling all over themselves to get that case. But like you said, once it no longer holds Jacqueline Dupre’s cello, it’s just a case.

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9 hours ago, Violadamore said:

Since we are here in the MN Universe, where one finds interminable threads about Stradivari's Unattainable Secrets, the mystical properties of geometrical constructions, the voodoo of varnish, and the arcane properties of fermented rabbit effluvia, assume that the magical law of contagion applies.  Any violin Hilary Hahn touches becomes a masterpiece for as long as she's playing it.  If she picked up a Markie, it would sound like a Strad until she put it down.  :ph34r:  :lol:

It goes rather the other way really, with everyone claiming her violin doesn't do her justice, because it's a mere Vuillaume ....

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Hope this isn't an offensive question, but what do people think of Scott Cao as an example of instruments that have a range of qualities from factory grade to made by a single named luthier in a supervised workshop sort of model? Obviously this is still more mass market than more boutique makers. My first real cello was a SC student model and I thought it was better than many others, and was good enough that my teacher asked if I would sell it to one of her other students once I upgraded. 

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50 minutes ago, glebert said:

Hope this isn't an offensive question, but what do people think of Scott Cao as an example of instruments that have a range of qualities from factory grade to made by a single named luthier in a supervised workshop sort of model? Obviously this is still more mass market than more boutique makers. My first real cello was a SC student model and I thought it was better than many others, and was good enough that my teacher asked if I would sell it to one of her other students once I upgraded. 

I’ve played two Caos  and I liked them both, but I don’t remember what model they were, and I actually did not even know that one could get and individually made instrument from that shop. 

Samuel Shen Comes to mind as a comparison. I’ve played and enjoyed several of them, but I also don’t know whether they offer individual he made instruments.

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20 hours ago, hendrik said:

Some Vuilaumes have been "cooked" ( pretty well literally) and are not as valuable today. Was that JBs own doing, or did it happen to violins by others in his workshop as well?

In the Reverend Morris book, he complains that several makers “baked their wood” Which I understood to mean that they were artificially dried in a kiln of some kind. According to the Reverend Morris, that destroys the sound. Is that what you are referring to here? If not, could you explain please?

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I think this all misses the point that Vuillaume's reputation was founded on his expertise, his dealing in fine Cremonese instruments, and the fact that he could use these as immediate reference examples.

Although not on the same scale, someone like Florian Leonhard would seem to be a better contemporary example.

 

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23 hours ago, Andreas Preuss said:

In any case, from a legal standpoint it can be said that all those violins are made by the master because in legal terms it is allowed to hire helpers for whatever you produce under your name.

Yup.  I recognize the business model.  Given several of the names which have popped up (and knowing more which haven't, yet), I recalled Ettore Boiardi, and wondered how many here are paying for fine Italian, and playing Beefaroni.  :ph34r::lol:

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3 hours ago, PhilipKT said:

In the Reverend Morris book, he complains that several makers “baked their wood” Which I understood to mean that they were artificially dried in a kiln of some kind. According to the Reverend Morris, that destroys the sound. Is that what you are referring to here? If not, could you explain please?

Apparently JB did experiment with chemicals and heat treatments ( sorry, yes " baking" rather than "cooking" as the wood was put in an oven ) during a period after 1850. From what I read this was not kiln drying, but rather using already dried wood to change the colour of the wood and/or affect the structure of the wood to improve sound. Dealers know these violins says Jeffrey.

I came across one of those and was told it was not as valuable as the non - treated Vuillaumes as the top had quite a few cracks and the violin was felt to be not as stable. The fiddle to me sounded fine though.

Others would know more about this. There is also a thread on the Pegbox from 2005  that makes mention of it:

 

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20 hours ago, Violadamore said:

Any violin Hilary Hahn touches becomes a masterpiece for as long as she's playing it.  If she picked up a Markie, it would sound like a Strad until she put it down

TOTALLY AGREE..........i was going to suggest an old Skylark

i like fact that she uses dominant strings

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