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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’ -
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. -
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. -
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....... -
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. -
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. -
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. -
Rare Violins Violas Violoncellos of the Seventeenth Eighteenth And
V I O INS V I O AS V I O O N E O S L , L , L C LL O F T H E S E V E NT E E N T H E I G H T E E N T H A N D NI N E T E E NT H C E N TU R I E S O F T HE WU R L I T Z E R C O L L E C T I O N PAR T I T H E RU D O L P H W UR L I T Z E R C O M P A N Y C I NC I NNAT I NE W YOR K LO S ANG E L E S C HI C AGO S AN F R ANC I S C O D E T R O I T C O PYR GHT 1 1 B Y I , 93 , T HE RU D OLPH WU RLITZ ER C OM PANY JNN O UN CE M E N T T is our ri e e as well a s a easu re to u sh this ear a p vil g , pl , p bli y comple te c a talogue of the Wurlitzer Collection o f rare old o n o as a nd o on e os h h in the n eres of con ve vi li s , Vi l vi l c ll w ic , i t t to the reader a ear in two o u es ni emce , will pp v l m Par I the resen o u e o r ses des r on s and u s t , p t v l m , c mp i c ipti ill of ns ru en s e on n to our o e on u to tr ations i t m t b l gi g C ll cti , p A B ow Su n o Par I i u d ara an u e . -
Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi
Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi To cite this version: Marco Pérez, Emanuele Marconi. Wooden Musical Instruments - Different Forms of Knowledge: Book of End of WoodMusICK COST Action FP1302. Marco A. Pérez; Emanuele Marconi. 2018, 979-10-94642-35-1. hal-02086598 HAL Id: hal-02086598 https://hal.archives-ouvertes.fr/hal-02086598 Submitted on 1 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Musical instrument are fundamental tools of human expression of Knowledge Forms — Diferent Instruments Musical Wooden that reveal and reflect historical, technological, social and cultural aspects of times and people. These three-dimensional, polyma- teric objects—at times considered artworks, other times technical objects—are the most powerful way to communicate emotions and to connect people and communities with the surrounding world. The participants in WoodMusICK (WOODen MUSical Instrument Conservation and Knowledge) COST Action FP1302 have aimed to combine forces and to foster research on wooden musical instruments in order to preserve, develop and disseminate knowledge on musical instruments in Europe through inter- and transdisciplinary research. This four-year program, supported by COST (European Cooperation in Science and Technology), has involved a multidisciplinary and multi-national research group composed of curators, conservators/restorers, wood, material and mechanical scientists, chemists, acousticians, organologists and instrument makers. -
Old Violins and VIOLIN LORE
CORNELL UNIVERSITY LIBRARY From the library of Dr. Ernest Bueding MUSIC II Hill mil nil 3 1924 063 24 46^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924063241461 OLD VIOLINS PAGANINI. From the worlt of IJie aiiist, Ingres. Old Violins AND VIOLIN LORE BY Rev. H. R. HAWEIS. WITH 13 PLATES. LONDON WILLIAM REEVES Published by William Reeves Bookseller Ltd., la Norbury Crescent, London, S.W.16. Copyright. All Rights Reserved. Printed in England by Lowe &• Brydone (Printers) Ltd., London, N.W.IO. CONTENTS CHAP. FAQB PRELUDE 7 I. VIOLIN GENESIS 15 IL VIOLIN CONSTITUTION .... 22 III. VIOLINS AT BRESCIA 30 IV. VIOLINS AT CREMONA .... 42 V. VIOLINS AT CREMONA {eontinned) . 60 VI. VIOLINS IN GERMANY .... 91 Vn. VIOLINS IN FRANCE 104 VIIL VIOLINS IN ENGLAND 118 IX. VIOLIN VARNISH 146 X. VIOLIN STRINGS 153 XI. VIOLIN BOWS 161 XII. VIOLIN TARISIO 171 XIIL VIOLINS AT MIRECOURT, MITTEN- WALD, AND MARKNEUKIRCHEN . 186 XIV. VIOLIN TREATMENT 198 XV. VIOLIN DEALERS, COLLECTORS, AND AMATEURS 214 POSTLUDE 241 DICTIONARY OF VIOLIN MAKERS . .243 BIBLIOGRAPHY 285 DESCRIPTION OF PLATES 237 V — OLD VIOLINS PRELUDE What is the secret of the violin? Why is it that when a gi'eat violinist appears all the other soloists have to take a back seat ? The answer is : the fascination of the violin is the fascination of the soul unveiled. No instrument—the human voice hai'dly excepted provides such a rare vehicle for the emotions—is in such close touch with the molecular vibrations of thought and with the psychic waves of feeling. -
Perception of Old Musical Instruments Stéphane Vaiedelich, Claudia Fritz
Perception of old musical instruments Stéphane Vaiedelich, Claudia Fritz To cite this version: Stéphane Vaiedelich, Claudia Fritz. Perception of old musical instruments. Journal of Cultural Her- itage, Elsevier, 2017, 27 (Supplement), pp.S2-S7. 10.1016/j.culher.2017.02.014. hal-01521107 HAL Id: hal-01521107 https://hal.sorbonne-universite.fr/hal-01521107 Submitted on 11 May 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Perception of old musical instruments St´ephaneVaiedelich1 and Claudia Fritz2 1Cit´ede la musique - Philharmonie, Equipe´ Conservation Recherche - Mus´eede la musique, F-75019 Paris, France 2Sorbonne Universit´es, UPMC Univ Paris 06, CNRS, UMR 7190, Institut Jean Le Rond d'Alembert, F-75005 Paris, France Abstract Defining what is an old instruments is complex. In a general way, we can distinguish two categories of old instruments. On one hand, there are the instruments which are not or barely in use nowadays. Due to a period of abandonment, those instruments are representative of an epoch different from ours and can be relatively easily dated. On the other hand, there are the instruments which are still being played despite having been made a few centuries ago. -
Rare Old Violins
LYON & HEALY'S CATALOGUE RARE OLD VIOLINS FORTY-FIFTH YEAR ALSO THEIR CELEBRATED CREMONATONE NEW VIOLINS /f OJ LYON & HEALY WABASH AVE. AND ADAMS STREET CHICAGO - i 4 3Qtmtttb wxh 5term& We take pleasure in presenting this edition of] other similarly priced violin in our collection for one our catalog of Rare Old Violins, — which marks the year from date of first sale. Any old violin may, 45th year of our business. be returned AT ANY TIME and the full amount It has been our aim since its inception to keep will be allowed toward the price of a better instru our collection of fine old Violins up to the highest ment. possible standard of excellence. OUR PRICES in this catalog are NET. In pursuit of this policy our violin connoisseur OUR TERMS are cash or easy monthly pay has made many European trips for the purchase of ments. If the latter we expect a cash payment of instruments, and we have spared no expense to keep about 20 per cent, and the balance divided into our collection well stocked at all times with choice monthly payments extending over a period of two specimens; and the public has rewarded us with years, to bear 6 per cent interest per annum. A its confidence and patronage, for which we are minimum payment of $5.00 per month is expected deeply grateful. We bespeak a continuance of on the purchase of instruments of low price. patronage for the future. We take violins in exchange at their full value to Our present collection is rich in gems, some of us, and will be glad to give information on this point which are unequaled in the violin world.