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A Violin by Jacobus Stainer 1679
146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer . -
“Triennale” Violin Making Competition Antonio Stradivari Cremona September 4Th - October 11Th 2015 Exhibition from September 24Th
14th International “Triennale” Violin Making Competition Antonio Stradivari Cremona September 4th - October 11th 2015 Exhibition from September 24th www.museodelviolino.org Graphic designer: Corrado Testa Graphic designer: Corrado regulation Dear Maestros, 1 the 14th International Triennale Violin Making Competition to be held in September 2015 will be of special importance. On the one hand, it will coincide with the Universal Exposition Milano EXPO 2015 in which Cremona aims at playing a leading role and being a pole of attraction for a great number of visitors. Cremonese violin making will in fact be signifi cantly represented in the Italian Pavilion; the winners of the Competition will be presented at the Pavilion the day before the offi cial awards ceremony that will be held, as is tradition, in the beautiful Teatro Ponchielli. On the other hand, it will be the fi rst Competition to be disputed after the opening of the Museo del Violino, a museum where the history of fi ve hundred years of Cremonese violin making is illustrated in a direct and fascinating way. The last room of the exhibition 2 is especially dedicated to contemporary violin making and the history of the Triennale Competition of Cremona. All the gold medal winning instruments are displayed here, in the same place as the great masterpieces of the past made by Stradivari, Amati and Guarneri, just to mention the main ones. We believe this to be a great honour for those makers who were awarded fi rst prize in this Competition and, at the same time, a great incentive to participate with enthusiasm in a contest which is universally known as “the Olimpics of Violin Making” for its reputation, number of entrants and the quality of selected instruments. -
Stradivarifestival
STRADIVARIfestival Cremona incanta. E suona Musical Enchantment in Cremona Cremona, Italy 14.09 - 12.10.2014 CONSIGLIO DI AMMINISTRAZIONE Fondazione Museo del Violino Antonio Stradivari Cremona - Soci Fondatori Gianluca Galimberti, Paolo Salvelli Paolo Bodini, Luigi Vinci, Roberto Zanchi CONSIGLIO GENERALE Gianluca Galimberti, Presidente Giovanni Arvedi, Presidente onorario Paolo Salvelli, Vicepresidente Paolo Bodini, Presidente “friends of Stradivari” Gian Domenico Auricchio, Stefano Bolis Chiara Bondioni, Manuela Bonetti Rossano Bonetti, Giuseppe Ghisani Renzo Rebecchi, Alessandro Tantardini Luigi Vinci, Roberto Zanchi Direttore Generale Museo del Violino Virginia Villa Direttore Artistico Stradivari Festival Francesca Colombo Tutto ciò che valorizza le eccellenze della nostra città vede The administration supports everything that promotes our city’s merits. l’Amministrazione presente come sostegno e come promozione. The council is working on extensive and detailed programming, based “ Come Giunta stiamo lavorando ad una programmazione ampia “ on alliances and shared projects. We’d like to thank the Museo del e precisa, fatta di alleanze e progetti condivisi. L’iniziativa Violino and Cavalier Giovanni Arvedi for making the STRADIVARIfestival STRADIVARIfestival, voluta dal Museo del Violino e dal Cavalier a reality. It’s an opportunity for the whole city. Giovanni Arvedi, che ringraziamo, è un’opportunità per tutta la città. Gianluca Galimberti Gianluca Galimberti Mayor of Cremona - President of Fondazione Museo del Violino Antonio Stradivari Sindaco di Cremona - Presidente Fondazione Museo del Violino Antonio Stradivari The STRADIVARIfestival is a privileged occasion, bringing together STRADIVARIfestival è un momento privilegiato dove, nel segno creativity and scientific rigour, product and gesture, symbolic content della liuteria, trovano sintesi creatività e rigore scientifico, prodotto “ and wonderfully physical objects, all under the banner of violin “ e gesto, contenuti simbolici e oggetti meravigliosamente fisici. -
The Working Methods of Guarneri Del Gesů and Their Influence Upon His
45 The Working Methods of Guarneri del Gesù and their Influence upon his Stylistic Development Text and Illustrations by Roger Graham Hargrave Please take time to read this warning! Although the greatest care has been taken while compiling this site it almost certainly contains many mistakes. As such its contents should be treated with extreme caution. Neither I nor my fellow contributors can accept responsibility for any losses resulting from information or opin - ions, new or old, which are reproduced here. Some of the ideas and information have already been superseded by subsequent research and de - velopment. (I have attempted to included a bibliography for further information on such pieces) In spite of this I believe that these articles are still of considerable use. For copyright or other practical reasons it has not been possible to reproduce all the illustrations. I have included the text for the series of posters that I created for the Strad magazine. While these posters are all still available, with one exception, they have been reproduced without the original accompanying text. The Labels mentions an early form of Del Gesù label, 98 later re - jected by the Hills as spurious. 99 The strongest evi - Before closing the body of the instrument, Del dence for its existence is found in the earlier Gesù fixed his label on the inside of the back, beneath notebooks of Count Cozio Di Salabue, who mentions the bass soundhole and roughly parallel to the centre four violins by the younger Giuseppe, all labelled and line. The labels which remain in their original posi - dated, from the period 1727 to 1730. -
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. -
Open Model Specification Sheet As
Model name: A-48 Archive of guitar models Guitar type: 6-string Body shape: Auditorium Top: AAA Engleman spruce Back & Sides: Macassar ebony (Style 48) Neck: Cedro Soundhole rosette: Premium Design with two woods and abalone purfling Headstock: Slotted headstock Headstock veneer: Ebony Body bindings: Yew Headstock bindings: Yew Fingerboard bindings: Yew Body purfling: Abalone purfling on soundboard Fingerboard: Ebony Headstock inlays: White MOP Lakewood logo Fingerboard inlays: none Heel cap: Ebony Nut: Bone Neck width at nut: 46 mm (1.81 inch) Neck width at body-neck-joint: 57 mm (2.24 inch) Neck thickness: 21mm to 23mm (0.83 to 0.91 inch) Neck profile: C-shape Body-neck-joint: at 12th fret Scale length: 650 mm (25.6 inch) Frets: 19 frets Bridge: Ebony Bridge saddle: Bone String spacing at bridge: 57mm (2.24 inch) Bridge pins: Ebony with pearl dot Tuners: Schaller old style gold Tuner buttons: Gold Body finish: High-gloss finish Neck finish: Satin-gloss, filled grain End pin: Lakewood end pin (matching bridge pins) Strings: Elixir Nanoweb Phosphorbronze .012 - .053 (light) Case: Hiscox Lakewood hard case Recommended retail price: $ 0 incl. 0.0% VAT You've had a Lakewood guitar for a long time and now you cannot find it within our guitar range? Maybe you are luckier here. This is a list of older guitar models that have been taken out of the series program. Most of them are still available via our customshop. This Guitar was part of the Premium range from 2005 until 2006. Specification sheet A-48 - Copyright 2021 by Lakewood Guitars. -
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....... -
Fine Musical Instruments
2018 ND OMPANY 22 NSTRUMENTS C I & CTOBER , O ONDAY USICAL ESTENBAUM M K M INE . F KESTENBAUM & COMPANY FINE MUSICAL INSTRUMENTS • MONDAY, OCTOBER 22ND, 2018 t K ESTENBAUM & COMPANY ! . Auctioneers of Rare Books, Collectibles and Fine Art Lot 7 Catalogue of FINE MUSICAL INSTRUMENTS . To be Offered for Sale by Auction Monday, 22nd October, 2018 at 1:00 pm precisely ❧ Viewing Beforehand: Wednesday, 17th October - 10:00 am - 6:00 pm Thursday, 18th October - 10:00 am - 6:00 pm Friday, 19th October - 10:00 am - 3:00 pm Saturday, 20th October - NO VIEWING AVAILABLE Sunday, 21st October - 10:00 am - 7:00 pm No Viewing on the Day of Sale ❧ This Sale may be referred to as: “Adam” Sale Number Seventy-Eight Illustrated Catalogues: $40 (US) * $50 (Overseas) KESTENBAUM & COMPANY . 242 West 30th Street, 12th Floor, New York, NY 10001 • Tel: 212 366-1197 • Fax: 212 366-1368 E-mail: [email protected] • World Wide Web Site: www.Kestenbaum.net K ESTENBAUM & COMPANY! . Chairman: Daniel E. Kestenbaum Operations Manager: Zushye L.J. Kestenbaum Client Relations: Sandra E. Rapoport, Esq. Fine Musical Instruments (Specialist): David Bonsey Fine Musical Instruments (Administrator): Adam Rosenbaum Judaica & Hebraica: Rabbi Eliezer Katzman Rabbi Dovid Kamenetsky (consultant) Auctioneer: Mark O. Howald (NYCDCA license no. 1460490) Israel Office: Massye H. Kestenbaum (Tel Aviv) ❧ Front Cover Illustration: See Lot 98 Back Cover Illustration: See Lot 37 List of prices realized will be posted on our website following the sale www.kestenbaum.net — FOREWORD — fter nearly 25 years focusing upon auctions of Rare Books, Manuscripts and Judaica, Kestenbaum & Company is delighted to A present our inaugural auction of Fine Musical Instruments. -
Special Winter, 2011 Sale List
Special Winter, 2011 sale list 50% off any book 60% off purchase of 2-10 books 70% off purchase of 11 or more books 1. Abele, H. and Niederheitmann, F. THE VIOLIN: Its History & Construction Illustrated & Described, From Many Sources. Together with a List of Italian and Tyrolese Violin Makers. Translated by John Broadhouse. London: William Reeves, n. d. vi, 151 pp., frontispiece, 28 illustrations, music plate. (5 x 7 1/2 inches, covers sl. worn) $30.00 Sold! 2. Adler, Hans. TRAVEL THE RAINBOW. The Story of the First Violin. Vantage Press, 1962. 240 pp. (5 1/2 x 8 1/4 inches, sl. wear to covers) A novel about Gasparo da Salo. $35.00 Sold! 3. Alton, Robert. VIOLIN MAKING AND REPAIRING. London: Cassell and Co., Ltd., 1923. 152 pp., 61 illustrations. (4 3/4 x 7 1/4 inches, paper covers, spine worn, covers a bit worn) Includes full and detailed instructions for making a violin or bow, including selecting wood, making the bass bar, etc. $35.00 4. Arakelian, Sourene. THE VIOLIN. Precepts and Observations of a Luthier. My Varnish, Based on Myrrh. Frankfurt, 1981. 81 pp., frontispiece. (5 1/4 x 8 1/4, stiff paper covers) $35.00 5. Balfoort, Dirk J. ANTONIUS STRADIVARIUS. Amsterdam, n.d. 60 pp., numerous illustrations. (boards sl. warped) A biography of Stradivari in Dutch, with a survey of his works.$30.00 Sold! 6. Barjansky, Serge. THE PHYSICAL BASIS OF TONE PRODUCTION for String Instrument Players. 1939. 19 pp. (6 x 9 1/4 inches, paper covers, minor wear, belonged to Ernest Doring) $35.00 7. -
Acoustic Guitar Catalog Jean Larrivée Guitars USA Inc
Jean Larrivée Guitars USA Inc. Acoustic Guitar Catalog www.larrivee.com | Email: [email protected] 1070 Yarnell Place Oxnard, CA USA 93033-2454 Jean Larrivée Guitars USA Inc. Larrivée Custom Shop For over 50 years, Larrivée has been searching the globe and sourcing the finest materials available for our guitars. It is the best of the best that ends up on our custom shop series. Whether it’s our topline 72 Presentation model or a complete custom build, our world-class craftsmanship results in a peerless instrument of extraordinary sound and beauty. Your imagination is our limit. For a full list of custom options and inlays, please see our custom option price list found on our website and visit our inlay section. Jean Larrivée Guitars USA Inc. 03 Recording Series We build our 03 Recording Series using only all-solid Indian Rosewood or African Khaya Mahogany. Just like our top-end models, this series features our hand-fit dovetail neck joint for superior fit and sustain. Available in satin finish and all body styles, the 03 Series is our most versatile line played by pros and beginners alike. Whether it’s front stage at the coliseum, local jam night at the pub, or just picking & grinning on the couch, this is a series built for all players. SPECS INCLUDE • Rosewood or Mahogany • Sitka Spruce Top • Mahogany Neck • Ebony Fingerboard & Bridge • Satin Finish • Herringbone Rosette • Maple Trim • Available In All Body Styles Jean Larrivée Guitars USA Inc. 40 Legacy Series The 40 Series features our revolutionized parabolic hybrid bracing combination. Utilizing non- symmetrical scalloped lateral cross-bracing, the 40 Series allows even further vibration of the soundboard, resulting in a much greater dynamic and controlled bass response. -
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. -
Appendix: Francesco Stradivari and His Salabue Violin
Appendix Francesco Stradivari and his Salabue violin Given the willingness of late-eighteenth-century collectors and dealers to falsify labels and modify instruments, and given the lack of respect for the creative artistry of craftsmen of the calibre of Stradivari, Guarneri, Bergonzi, and Guadagnini – artistry which should have been held sacrosanct – it is sometimes only with difficulty that certainties of manufacture and authorship can be established to everyone’s satisfaction. Even with a violin maker who apparently made very few instruments the uncertainties often outweigh the certainties by a wide margin, and such a situation exists with some of the instruments made by, or attributed to, Antonio Stradivari’s eldest son, Giacomo Francesco. Two of Francesco’s early violins, label-dated 1707 and 1716, are illustrated by Simone Sacconi,1 and were listed on the Cozio.com website with the identification numbers 4993 and 4992. The website also identified a 1713 violin (no. 6345) with the label Franciscus Stradivarius cremonensis filius Antonii faciebat Anno 1713, a cello (no. 4453) labelled Sotto la disciplina2 di Antonio Stradiuario F. in Cremona 1733, the Le Besque violin (attributed to the year 1742 by Cozio.com but ‘has a Stradivari [Antonio?] label of 1734’), and the Petersen violin which the website attributed to circa 1740 despite the label: Antonius Stradivarius Cremonensis Faciebat Anno 1734. The Tarisio.com website (in August 2014) illustrated just five violins by Francesco: the Oliveira (1730), un-named (1732), Humser (1740), Salabue (1742), and the Le Besque (1742).3 ***** A violin which is associated with Francesco Stradivari – a violin which is label-dated 17304 – is twice described by Count Cozio (1A and 1B, below), with a third description (2, see later) including detailed measurements of what, at first sight, appears to be the same violin.