DOCSLIB.ORG

Fine Musical Instruments Wednesday 22 May 2013 at 11Am Knightsbridge, London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fine Musical Instruments Wednesday 22 May 2013 at 11Am Knightsbridge, London Fine Musical Instruments Wednesday 22 May 2013 at 11am Knightsbridge, London Fine Musical Instruments Wednesday 22 May 2013 at 11am Knightsbridge, London Bonhams Enquiries Customer Services Please see back of catalogue Montpelier Street Director of Department Monday to Friday for Notice to Bidders Knightsbridge Philip Scott 8.30am to 6pm London SW7 1HH +44 (0) 20 7393 3855 +44 (0) 20 7447 7447 New bidders must also provide proof www.bonhams.com [email protected] of identity when submitting bids. Illustrations Failure to do this may result in your Viewing Specialist Front cover: Lot 149 bids not being processed. Sunday 19 May 11am to 3pm Thomas Palmer Inside front cover: Lot 61 +44 (0) 20 7393 3849 Monday 20 May 9am to 4.30pm Inside back cover: Lot 1 [email protected] Tuesday 21 May 9am to 4.30pm Back cover: Lot 2 Department Fax Bids +44 (0) 20 7393 3820 +44 (0) 20 7447 7448 Live online bidding is +44 (0) 20 7447 7401 fax available for this sale Customer Services Please email [email protected] To bid via the internet Monday to Friday 8.30am to 6pm with “Live bidding” in the please visit www.bonhams.com +44 (0) 20 7447 7447 subject line 48 hours before Please provide details of the lots the auction to register for Please register and obtain your on which you wish to place bids this service. at least 24 hours prior to the sale. customer number/ condition report for this auction at New bidders must also provide [email protected] proof of identity when submitting bids. Failure to do this may result in your bids not being processed. Sale Number: 20769 Catalogue: £20 Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Deputy Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Iain Rushbrook, John Sandon, Tim Schofield, Registered Office: Montpelier Galleries Malcolm Barber Group Managing Director, Matthew Bradbury, Harvey Cammell, Simon Cottle, Veronique Scorer, James Stratton, Roger Tappin, Matthew Girling CEO UK and Europe, Andrew Currie, David Dallas, Paul Davidson, Jean Ghika, Shahin Virani, David Williams, Michael Wynell-Mayow. Montpelier Street, Geoffrey Davies, Jonathan Horwich, James Knight, Charles Graham-Campbell, Miranda Grant, Robin Hereford, London SW7 1HH Patrick Meade, Caroline Oliphant, Hugh Watchorn. Asaph Hyman, Charles Lanning, Camilla Lombardi, +44 (0) 20 7393 3900 Fergus Lyons, Paul Maudsley, Gordon McFarlan, +44 (0) 20 7393 3905 fax Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, Peter Rees, Julian Roup, Important Information for Buyers Full Conditions Full conditions are displayed in all our auction rooms and can be obtained from 101 New Bond Street, London W1S 1SR. Value Added Tax See back of catalogue please. Please note the revised figure for VAT is now 20% Important Notice Inclusion in the catalogue of statements relating to imperfections or damage is intended to be of assistance to purchasers. But lack of any such notice implies no guarantee of condition and purchasers must be responsible for satisfying themselves in this respect. No responsibility accepted for bows with repair or graft concealed by the lapping. Condition reports and limited additional photographs are provided at our discretion, and usually on lots only with auction estimate in excess of one thousand pounds. These reports will be provided only after customers have registered at [email protected] (Refer to terms and conditions at back of catalogue). By participating in this auction, bidders are assumed to have read and understood the terms and conditions of business. The prices are estimates only and do not include buyer’s premium or VAT where this is applicable. Terminology by The instrument is believed by Bonhams to be made by the maker named in the description. ascribed to A traditional attribution with which we do not necessarily agree. attributed to An opinion which may be traditional, indicating a probable maker’s identity or date of manufacture of an instrument in whole or in part. school of The instrument is in our opinion by a later or contemporary follower of the maker indicated, or is in the style of instruments associated with the area indicated. workshop of In our opinion the instrument is executed in the basic style of the maker and possibly under his direct supervision. labelled The instrument is not in our opinion by the maker indicated but merely bears (also stamped, his name. In some cases the instrument may be a later copy or is modelled inscribed, etc.) after the maker indicated. L.O.B. Length of back, excluding button. Clearance during the Sale A storage charge of £3.60 per day after Wednesday 12 June 2013. During this sale, certain lots can be cleared at the discretion of Bonhams. Clearance from the saleroom will be on production to the saleroom staff of a delivery order which can be obtained from the Cashiers on payment in full for the lot. Please note that the Cashiers will need to obtain bank clearance for any cheque payments. As this can take some time we would recommend that clients apply for clearance prior to the sale. Please note that any clearance will be in accordance with our standard Terms and Conditions of Sale and the contract made on the fall of the hammer and Bonhams reserve all rights in cases of error arising on settlement and clearance during the sale. Cites For aditional information relating to cities please see notice to bidders paragraph 13. Cataloguing Please note the figure in brackets after the description gives the number of items within the lot e.g. Violin, Bow and case = (3) Contents Spinet 1 Guitars 2 Woodwind and Brass 11 Violins Part I 13 Violas 64 Violin Bows 77 Ephemera 131 Viola and Bass Bows 132 Cello Bows 137 Basses 145 Cellos 149 Violins Part II 184 Spinets 1Y An English Bentside Spinet by Benjamin Slade, London, circa 1700 Benjamin Slade was born around 1669 and apprenticed to James Aland Inscribed on the jackrail; Benjamin Slade Faciebat, London length in 1684 and became Free of the Joiners Company in 1698. He later 1655mm (65 3/16in) The case interior, jackrail above the soundboard worked with Joseph Tisseran, a French Harpsichord maker who came to and keyboard area are exuberantly and profusely decorated with syca- England circa 1690. Slade is recorded in an advertisement in the London more and walnut marquetry incorporating repeated songbirds in pairs Courant for 21 August 1727 as “harpsichord maker in ordinary” to the and alone, of varying sizes, with acanthus thickets bordered by continu- Royal Household and probably worked in the West End of London rather ous peak and sphere margins with some contrasting scorching; the four than the City. and a quarter octave keyboard (72cms)GG/BB-d’’’ of ebony, the arcaded natural ends of embossed black trefoil paper, the accidentals skunktail Literature; lower two doubled, the walnut case of an aged light brown colour with Boalch; Makers of the Harpsichord and Clavichord (1995 p.632) referred pierced naturalistic brass accessories all on a later eighteenth century to as “Slade B 1700.” turned, pinned walnut stand. (2) James P; Early Keyboard Instruments (1930 p.110 )Plate XXX. £10,000 - 15,000 Beurmann A; Harpsichords and More, 2012 OLMS Hildesheim Zurich US$15,000 - 23,000 New York. €12,000 - 18,000 Bonhams; London FMIA November 2004 lot 23; 11254. 4 | Bonhams Guitars and Mandolins 2 A six string Classical Guitar by Hermann Hauser II, Reisbach, Ba- varia, 1959, No. 661 Labelled by the maker, Hermann Hauser, Kunstwerkstatte fur Intrumen- tenbau, Siten-Spinnerei, 1959, Reisbach/Vils Length of back 485mm (19 1/8in) overall length 978mm, the back and ribs of vibrant rosewood with green and white marginal inlay decoration, the table of narrow grain, widening on the flanks, with exuberant concentric soundhole decora- tion, the open head with matching purfling decoration and machine turners and rollers, well preserved, in case. (2) £20,000 - 30,000 US$31,000 - 46,000 €23,000 - 35,000 A similar later example is illustrated in ‘The Classical Guitar; The Com- plete History’, Outline Press, London, 1997, p. 60-61. The above maker was favoured by Julian Bream CBE and Pepe Romero, along with many other notable players. Fine Musical Instruments | 5 3 3 3 5Y A Spanish Guitar by Jose Maria Recio Beltran, Cadiz, circa 1850 A six string Italian Guitar by Gennaro Fabricatore, Naples, 1812 Labelled Anode 18... Jose Recio, Calle de ..., En Cadiz ... Length of Labelled Gennaro Fabricatore, Anno 1812, Napoli, Strada Giacomo, No. back 465mm (18 5/16in) the spruce front with circular inlaid wood and 87, Length of back 441mm (17 3/8in) the back and ribs of fruitwood mother of pearl decoration around soundhole, the back and ribs of with triangular oak inlay, with carved face at top back, the table of maple with vertical alternating inlaid rosewood and lightwood decora- spruce with ivory and ebony inlay around circular soundhole, the head tion, brass rollers with later tuners, use wear and restoration, in green and neck of stained darkwood with vertical ivory inlay, use wear and canvas case. (2) restorations, as seen. (1) £1,500 - 2,000 £1,000 - 1,500 US$2,300 - 3,100 US$1,500 - 2,300 €1,800 - 2,300 €1,200 - 1,800 Information on this maker can be found in ‘The Vihuela de Mano and 6 The Spanish Guitar’, by Jose L. Romanillos Vega and Marian Harris Win- A six string Guitar circa 1880 spear, The Sanguino Press, 2002, p. 326. Labelled Jose Ferreira Sanhudo, ... da Banharia No. 49 e 49, ..
Load more

Recommended publications
  • Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C
    Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’
    [Show full text]
  • Musical Instruments Monday 12 May 2014 Knightsbridge, London
    Musical Instruments Monday 12 May 2014 Knightsbridge, London Musical Instruments Monday 12 May 2014 at 12pm Knightsbridge, London Bonhams Enquiries Customer Services Please see back of catalogue Montpelier Street Director of Department Monday to Friday for Notice to Bidders Knightsbridge Philip Scott 8.30am to 6pm London SW7 1HH +44 (0) 20 7393 3855 +44 (0) 20 7447 7447 New bidders must also provide proof www.bonhams.com [email protected] of identity when submitting bids. Illustrations Failure to do this may result in your Viewing Specialist Front cover: Lot 273 & 274 bids not being processed. Friday 9 May Thomas Palmer Back cover: Lot 118 +44 (0) 20 7393 3849 9am to 4.30pm [email protected] IMPORTANT Saturday 10 May INFORMATION 11am to 5pm The United States Government Department Fax has banned the import of ivory Sunday 11 May +44 (0) 20 7393 3820 11am to 5pm Live online bidding is into the USA. Lots containing available for this sale ivory are indicated by the symbol Customer Services Ф printed beside the lot number Bids Please email [email protected] Monday to Friday 8.30am to 6pm with “Live bidding” in the in this catalogue. +44 (0) 20 7447 7448 +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax subject line 48 hours before To bid via the internet the auction to register for Please register and obtain your this service. please visit www.bonhams.com customer number/ condition report for this auction at Please provide details of the lots [email protected] on which you wish to place bids at least 24 hours prior to the sale.
    [Show full text]
  • A History of Mandolin Construction
    1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago.
    [Show full text]
  • Musical Instruments, 30 October 2013, Knightsbridge, London
    Wednesday 30 October 2013 at 11am 30 October 2013 at Wednesday London Knightsbridge, Instruments Musical Musical 20770 Musical Instruments, 30 October 2013, Knightsbridge, London Musical Instruments Wednesday 30 October 2013 at 11am Knightsbridge, London Bonhams Enquiries Customer Services Please see back of catalogue Montpelier Street Director of Department Monday to Friday for Notice to Bidders Knightsbridge Philip Scott 8.30am to 6pm London SW7 1HH +44 (0) 20 7393 3855 +44 (0) 20 7447 7447 New bidders must also provide proof www.bonhams.com [email protected] of identity when submitting bids. Illustrations Failure to do this may result in your Viewing Specialist Front cover: Lot 230 bids not being processed. Sunday 27 October Thomas Palmer Back cover: Lot 3 +44 (0) 20 7393 3849 11am to 3pm [email protected] Monday 28 October 9am to 4.30pm Department Fax Tuesday 29 October +44 (0) 20 7393 3820 9am to 4.30pm Live online bidding is available for this sale Customer Services Bids Please email [email protected] Monday to Friday 8.30am to 6pm with “Live bidding” in the +44 (0) 20 7447 7448 +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax subject line 48 hours before To bid via the internet the auction to register for Please register and obtain your this service. please visit www.bonhams.com customer number/ condition report for this auction at Please provide details of the lots [email protected] on which you wish to place bids at least 24 hours prior to the sale. New bidders must also provide proof of identity when submitting bids.
    [Show full text]
  • Tarisio June 2016 Highlights Catalogue Online Version
    Violins June 2016 London 186 A FINE ITALIAN VIOLIN BY ALESSANDRO GAGLIANO, NAPLES, c.1700 Highlights Catalogue Unlabelled. Enlarged at the c-bouts. Catalogue online : 8 June LOB: 35.3 cm Bidding opens: 14 June Certificate: W. E. Hill & Sons, London, Oct 21, 1896 Bidding closes : 27 June Estimates: £150,000–180,000 185 A FINE ITALIAN VIOLIN BY GENNARO GAGLIANO, NAPLES, 1760 ‡ Labelled, "Januarius Gagliano filius, Alexandri fecit Neap. 1760." LOB: 35.2 cm Certificate: John & Arthur Beare, London, Aug 25, 2011 Estimates: £100,000–150,000 184 A GOOD ITALIAN VIOLIN FROM THE AMATI WORKSHOP, CREMONA, c. 1685, PROBABLY BY HIERONYMOUS II Labelled, "Hyeronimus Amati Cre... Nicolai Filius, Fecit 1692." LOB: 35.1 cm Dendrochronology dates the latest ring of both sides as 1682 and finds a tree match with the 1697 'Molitor' Stradivari. Written report by Peter Ratcliff available for purchase upon request Estimates: £50,000–80,000 183 A GOOD ITALIAN VIOLIN BY FRANCESCO MAURIZI, APPIGNANO, c. 1850 ‡ Unlabelled. Inscribed to inside back, "3958." LOB: 35.5 cm Certificate: Beare Violins Ltd, London, May 31, 2016 Estimates: £40,000–60,000 182 A GOOD FRENCH VIOLIN, ASCRIBED TO AND PROBABLY BY NICOLAS LUPOT, PARIS, c. 1800 Labelled, "Nicolas Lupot luthier rue de, Grammont a Paris l'an 1795." Inscribed to the inside bass c-bout in red ink, "6121." The head slightly recut at the final turn of the volute but probably original to the instrument. LOB: 35.9 cm Dendrochronology dates the latest ring of the bass and treble side as 1673 and 1671 respectively.
    [Show full text]
  • Download Booklet
    Delicate Delights BEST LOVED classical mandolin and lute music Delicate Delights Best loved classical mandolin and lute music 1 Johann Sebastian BACH (1675–1750) 6 Isaac ALBÉNIZ (1860–1909) Concerto in the Italian Style, 4:10 Suite española No. 1, Op. 47 – 6:23 BWV 971 ‘Italian Concerto’ – No. 5. Asturias (arr. for mandolin I. Allegro (arr. for mandolin and guitar) and guitar) Dorina Frati, Mandolin Jacob Reuven, Mandolin Piera Dadomo, Guitar (CDS514) Eyal Leber, Guitar (8.573566) 2 Antonio VIVALDI (1678–1741) 7 Tom G. FEBONIO (b. 1950) Mandolin Concerto in C major, 2:52 Water Ballads, Op. 47 – II. Sprite 2:29 RV 425 – I. Allegro Daniel Ahlert, Mandolin Paul O'Dette, Mandolin Birgit Schwab, Guitar (8.559686) The Parley of Instruments • Peter Holman (8.552101-02) 8 Johann HOFFMANN Mandolin Concerto in D major – 4:24 3 Johann HOFFMANN (1770–1814) III. Rondo Mandolin Sonata in D minor – 3:24 Elfriede Kunschak, Mandolin III. Allegro Vienna Pro Musica Orchestra Daniel Ahlert, Mandolin Vinzenz Hladky (CD3X-3022) Birgit Schwab, Archlute (8.557716) 9 Silvius Leopold WEISS (1686–1750) 4 Ludwig van BEETHOVEN (1770–1827) Lute Sonata No. 14 in G minor – 4:07 Mandolin Sonatina in C major, 3:02 VI. Chaconne WoO 44 Daniel Ahlert, Mandolin Elfriede Kunschak, Mandolin Birgit Schwab, Baroque lute (8.557716) Maria Hinterleitner, Harpsichord (CD3X-3022) 10 Antonio VIVALDI Concerto for 2 Mandolins in G major, 3:12 5 Johann Sebastian BACH RV 532 – II. Andante Lute Suite in G minor, BWV 995 – 3:57 Silvia Tenchini and Dorina Frati, Mandolin III. Courante Mauro and Claudio Terroni Mandolin Orchestra Konrad Ragossnig, Lute (CD3X-3022) Dorina Frati, Conductor (CDS7787) 8.578183 2 11 Johann Sebastian BACH 16 Ermenegildo CAROSIO (1886–1928) Lute Partita in E major, BWV 1006a – 3:29 Flirtation Rag 4:18 III.
    [Show full text]
  • 1002775354-Alcorn.Pdf
    3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin.......
    [Show full text]
  • Mmandolini, Tradizione E Musica
    I 180Mandolini, anni della Liuteria Calace tradizione e musica M180 yearsMandolines, of Calace Lutes-shop tradition and music Con il patrocinio e il contributo COMUNE DI NAPOLI XI edizione - 2005 assessorato commercio ed artigianato C.C.I.A.A. camera di commercio industria artigianato e agricoltura di napoli PROTEUS azienda speciale della c.c.i.a.a. di napoli E.R.S.V.A. ente regionale sviluppo e valorizzazione artigianato campano coordinamento del catalogo Mariano De Luca testi a cura di Realizzazione Raffaele Calace jr. traduzioni di ARTIGIANAPOLI Federica Longobardi arte tradizione ricerca catalogo e comunicazione a cura di ARTEMISIA COMUNICAZIONE 2005 © artigianapoli artemisiacomunicazione.com L’Artigianato e la tradizione Handicraft and tradition Raffaele Tecce Raffaele Tecce Assessore al Commercio ed Artigianato del Comune di Napoli Trade and Handicraft Assessor of the municipal district of Naples Il viaggio nel mondo dell'Artigianato e nelle sue The vojage in the artisans' world and its tradition tradizioni continua con questa pubblicazione dedica- goes on through such a publication dedicated to ta alla liuteria napoletana ed alla famiglia Calace che, Neapolitan art of making stringed instruments and da oltre cinque generazioni, ha realizzato splendidi the Calaces that, for over five generations, have rea- esemplari di mandole e di mandolini, molti dei quali lized splendid models of mandole and mandolins, sono conservati anche in diverse collezioni private. many of which are preserved in several private col- L'esperienza della famiglia
    [Show full text]
  • Media – History
    Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.
    [Show full text]
  • Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
    14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part.
    [Show full text]
  • Practical Treatise on the Mandolin and Kindred Instruments.
    1 1'=\ 'tZ. 7 -71> ,?/ rt/' A Descriptive and <z) Practical Treatise on the Mandolin and Kindred Instruments. - Iltustrated from Orlginal Drawings and Photographs. OF IT' S TURN Appeared originally ir TsE CADENza Music Iuagazine Nunlbers of JaDuary, February, Llarch, April al]d IIat' I9o1' and reprinted by courtesy of the C. L. P^rtee Company, PublisLers, New York. L URING the past twentv years no musicll instrument in modern times hts atlt'ancetl so rapidly in popular favor in tr)uro|e antl in this country as the Nerpolitan mondo- . lin. In Germany and in Eugland, lrhere n few yelrs ago the instrument was virtually unknowlr, and in Paris only in a very modest way, to-dl,y the mand<-rlin is phyed by thousonds, &nd it ranks as I n especiall.v elegant and artistic instrument. Titled cmateurs give it first prominencc in their exclusive dr&wing-room musit:alcs lntl rcceptions. Francc has innumerable Societics l\Ianclolinistcs scrttcred all ovcr the country. England has its mrDJ'mt!n- tlolin bancls; Germany its malrilolin orchestras. Thc ilstnt- ment is becoming extremely popular in the large citics of South America. Nlusicinns are taking it up in far-off Attstrrllir. Italy has its greai i\Iandolinisii Circolos; its cclebrltcd soloists tr:rvel about the Continent, givilg conccrts tncl recitols. The Drofessols of Paris have established conservltories for the instrument, and with their assistants are having more thtn they can attend to. In London, Paris, and Berlin, where onlv a iew years ago there was absolutely no music being published lor thc mantlo- Iin, to-day hundreds ol beautiiul compositiors of the very highest class are being written by ihe best comltosers, mo-st' of them original compositions, and many of thcm arrangetl for fuil mandolin orchestra.
    [Show full text]
  • Fine Violins As an Alternative Investment: Strings Attached? Received (In Revised Form): 13Th December, 2007
    Fine violins as an alternative investment: Strings attached? Received (in revised form): 13th December, 2007 R.A.J. Campbell completed her PhD on risk management in international fi nancial markets at Erasmus University, Rotterdam in 2001. She currently works at the University of Maastricht as an assistant professor of fi nance. Her work has been published in a number of leading journals, including the Journal of International Money and Finance , Journal of Banking and Finance , Financial Analysts Journal , Journal of Portfolio Management , Journal of Empirical Finance , Journal of Risk and Derivatives Weekly . She teaches for Euromoney Financial Training on art investment and works as an independent economic advisor for The Fine Art Fund in London, and for Fine Art Wealth Management, UK. She currently is a member of the supervisory board of ARTESTATE GmbH, based in Germany. Abstract The continual search to reap higher risk-adjusted returns has led to a number of highly alternative assets to be considered for fi nancial investment purposes. Recently, a number of funds have emerged to indirectly invest in the arts sector. The focus has been on fi ne art, wine and more recently into the possibility of investing into other collectible items and memorabilia. One such area is musical instruments. In this paper, we take a look at the violin sector in particular, which has shown steady annual growth in market value over the past half century; fuelled by a combination of a shortage in supply at the high end of the market and a continued increase in global demand. Using data collected from auction houses and private dealers, we analyse the risk-return characteristics of the violin sector, compare it to other fi nancial assets and assess the implications for portfolio diversifi cation and the ability of pension houses to benefi t from this sector.
    [Show full text]