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Stowell Make-Up
The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c. -
B&F Magazine Issue 31
No. 31 A VIOLIN BY PIETRO GIOVANNI GUARNERI, MANTUA, 1709 superb instruments loaned to them by the Arrisons, gave spectacular performances and received standing ovations. Our profound thanks go to Karen and Clement Arrison for their dedication to preserving our classical music traditions and helping rising stars launch their careers over many years. Our feature is on page 11. Violinist William Hagen Wins Third Prize at the Queen Elisabeth International Dear Friends, Competition With a very productive summer coming to a close, I am Bravo to Bein & Fushi customer delighted to be able to tell you about a few of our recent and dear friend William Hagen for notable sales. The exquisite “Posselt, Philipp” Giuseppe being awarded third prize at the Guarneri del Gesù of 1732 is one of very few instruments Queen Elisabeth Competition in named after women: American virtuoso Ruth Posselt (1911- Belgium. He is the highest ranking 2007) and amateur violinist Renee Philipp of Rotterdam, American winner since 1980. who acquired the violin in 1918. And exceptional violins by Hagen was the second prize winner Camillo Camilli and Santo Serafin along with a marvelous of the Fritz Kreisler International viola bow by Dominique Peccatte are now in the very gifted Music Competition in 2014. He has hands of discerning artists. I am so proud of our sales staff’s Photo: Richard Busath attended the Colburn School where amazing ability to help musicians find their ideal match in an he studied with Robert Lipsett and Juilliardilli d wherehh he was instrument or bow. a student of Itzhak Perlman and Catherine Cho. -
A Violin by Giuseppe Giovanni Battista Guarneri
141 A VIOLIN BY GIUSEPPE GIOVANNI BATTISTA GUARNERI Roger Hargrave, who has also researched and drawn the enclosed poster, discusses an outstanding example of the work of a member of the Guarneri family known as `Joseph Guarneri filius Andrea'. Andrea Guarneri was the first He may never have many details of instruments by of the Guarneri family of violin reached the heights of his Joseph filius at this period recall makers and an apprentice of contemporary, the Amati school, this type of Nicola Amati (he was actually varnish, in combination with registered as living in the house Antonio Stradivarius, but he the freer hand of Joseph, gives of Nicola Amati in 1641). Andrea's does rank as one of the the instruments a visual impact youngest son, whose work is il - greatest makers of all time. never achieved by an Amati or , lustrated here, was called. We should not forget he with the exception of Stradi - Giuseppe. Because several of the sired and trained the great vari, by any other classical Guarneri family bear the same del Gesu' maker before this time. christian names, individuals have traditionally been identified by a It should be said, however, suffix attached to their names. that the varnish of Joseph filius Thus, Giuseppe's brother is known as `Peter Guarneri varies considerably. It is not always of such out - of Mantua' to distinguish him from Giuseppe's son, standing quality the same can be said of Joseph's pro - who is known as `Peter Guarneri of Venice'. duction in general. If I were asked to describe the instruments of a few of the great Cremonese makers Giuseppe himself is called 'Giuseppe Guarneri filius in a single word, I would say that Amatis (all of them) Andrea' or, more simply, `Joseph filius' to distinguish are `refined', Stradivaris are `stately', del Gesus are him from his other son, the illustrious 'Giuseppe `rebellious' and the instruments of Joseph filius An - Guarneri del Gesu'. -
Antonio Stradivari "Servais" 1701
32 ANTONIO STRADIVARI "SERVAIS" 1701 The renowned "Servais" cello by Stradivari is examined by Roger Hargrave Photographs: Stewart Pollens Research Assistance: Julie Reed Technical Assistance: Gary Sturm (Smithsonian Institute) In 184.6 an Englishman, James Smithson, gave the bines the grandeur of the pre‑1700 instrument with US Government $500,000 to be used `for the increase the more masculine build which we could wish to and diffusion of knowledge among men.' This was the have met with in the work of the master's earlier beginning of the vast institution which now domi - years. nates the down‑town Washington skyline. It includes the J.F. Kennedy Centre for Performing Arts and the Something of the cello's history is certainly worth National Zoo, as well as many specialist museums, de - repeating here, since, as is often the case, much of picting the achievements of men in every conceiv - this is only to be found in rare or expensive publica - able field. From the Pony Express to the Skylab tions. The following are extracts from the Reminis - orbital space station, from Sandro Botticelli to Jack - cences of a Fiddle Dealer by David Laurie, a Scottish son Pollock this must surely be the largest museum violin dealer, who was a contemporary of J.B. Vuil - and arts complex anywhere in the world. Looking laume: around, one cannot help feeling that this is the sort While attending one of M. Jansen's private con - of place where somebody might be disappointed not certs, I had the pleasure of meeting M. Servais of Hal, to find the odd Strad! And indeed, if you can manage one of the most renowned violoncellists of the day . -
Die Sammlung Historischer Streichinstrumente Der Oesterreichischen Nationalbank
OESTERREICHISCHE NATIONALBANK EUROSYSTEM Die Sammlung historischer Streichinstrumente der Oesterreichischen Nationalbank The collection of Historical String Instruments of the Oesterreichische Nationalbank Inhaltsverzeichnis Contents Impressum Medieninhaberin: Oesterreichische Nationalbank, Otto-Wagner-Platz 3, 1090 Wien, T: (+43 1) 404 20-6605, F: (+43 1) 404 20-6697, www.oenb.at Redaktion: Mag. Brigitte Alizadeh-Gruber, Muna Kadum, Martina Leitner, Mag. Irene Mühldorf Grafik, Layout und Satz: Melanie Schuhmacher Fotos: © Graphisches Atelier Neumann, Wien Druck: Oesterreichische Nationalbank, Abteilung für Öffentlichkeitsarbeit und Publikationen, Gruppe Multimedia-, Internet- und Print-Service. © Oesterreichische Nationalbank, 2013. Streichinstrumente/ String Instruments 9 Amati Andrea 10 Violoncello, Cremona, spätes 16. Jh. 10 Bergonzi Carlo 12 Violine, Cremona 1723 12 Violine, Cremona nach 1724 14 Bergonzi Michelangelo 16 Violine, Cremona um 1740 16 Violine, „ex Hamma-Segelman“, Cremona um 1750 18 Camilli Camillus 20 Violine, Mantua 1736 20 Ceruti Giovanni Battista 22 Viola, Cremona um 1810 22 Gagliano Alessandro 24 Violoncello, Neapel ca. 1710 24 Grancino Giovanni 26 Violoncello, „ex Piatti“ – „ex Dunlop“, Mailand 1706 26 Guadagnini Giovanni Battista 28 Violoncello, „ex von Zweygberg“, Piacenza 174. 28 Violine, Mailand 1749 30 Violine, „ex Meinel“, Turin um 1770–1775 32 Violine, Turin 1772 34 Violine, „Mantegazza“, Turin 1774 36 Violine, Turin 177. 38 Viola, Turin 1784 40 Guarneri Andrea 42 Violine, Cremona, Mitte 17. Jh. 42 Guarneri del Gesù Giuseppe 44 Violine, „ex Sorkin“, Cremona 1731 44 Violine, „ex Guilet“, Cremona nach 1732 46 Violine, „ex Carrodus“, Cremona 1741 48 Lorenzini Gaspare 50 Violine, Piacenza um 1760 50 Maggini Giovanni Paolo 52 Viola, Brescia, frühes 17. Jh. 52 Montagnana Domenico 54 Violine, Venedig 1727 54 Seraphin Sanctus 56 Violine, Venedig 1733 56 Violine, „ex Hamma“, Venedig nach 1748 58 Silvestre Pierre 60 Violine, „ex Moser“, Lyon ca. -
A Micro-Tomographic Insight Into the Coating Systems of Historical Bowed String Instruments
coatings Article A Micro-Tomographic Insight into the Coating Systems of Historical Bowed String Instruments Giacomo Fiocco 1,2 , Tommaso Rovetta 1 , Claudia Invernizzi 1,3 , Michela Albano 1 , Marco Malagodi 1,4, Maurizio Licchelli 1 , Alessandro Re 5 , Alessandro Lo Giudice 5, Gabriele N. Lanzafame 6 , Franco Zanini 6, Magdalena Iwanicka 7, Piotr Targowski 8 and Monica Gulmini 2,* 1 Laboratorio Arvedi di Diagnostica Non-Invasiva, CISRiC, Università degli Studi di Pavia, Via Bell’Aspa 3, 26100 Cremona, Italy; giacomo.fi[email protected] (G.F.); [email protected] (T.R.); [email protected] (C.I.); [email protected] (M.A.); [email protected] (M.M.); [email protected] (M.L.) 2 Dipartimento di Chimica, Università di Torino, Via Pietro Giuria 5, 10125 Torino, Italy 3 Dipartimento di Scienze Matematiche, Fisiche e Informatiche, Università degli Studi di Parma, Parco Area delle Scienze 7/A, 43124 Parma, Italy 4 Dipartimento di Musicologia e Beni Culturali, Università degli Studi di Pavia, Corso Garibaldi 178, 26100 Cremona, Italy 5 Dipartimento di Fisica, Università di Torino and INFN, Sezione di Torino, Via Pietro Giuria 1, 10125 Torino, Italy; [email protected] (A.R.); [email protected] (A.L.G.) 6 Elettra-Sincrotrone Trieste S.C.p.A., S.S. 14 km 163.5, Basovizza, 34194 Trieste, Italy; [email protected] (G.N.L.); [email protected] (F.Z.) 7 Institute of Art Conservation Science, Department of Fine Arts, Nicolaus Copernicus University, Sienkiewicza 30/32, 87-100 Toru´n,Poland; [email protected] 8 Institute of Physics, Department of Physics, Astronomy and Informatics, Nicolaus Copernicus University, Grudzi ˛adzka5, 87-100 Toru´n,Poland; ptarg@fizyka.umk.pl * Correspondence: [email protected]; Tel.: +39-011-670-5265 Received: 21 December 2018; Accepted: 28 January 2019; Published: 29 January 2019 Abstract: Musical instruments are tools for playing music, but for some of them—made by the most important historical violin makers—the myths hide the physical artwork. -
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’ -
Dirk Brossé Cello Concerto for Isabelle Marie Hallynck London
Dirk Brossé Cello Concerto for Isabelle Marie Hallynck London Symphony Orchestra Dirk Brossé §2016 Dirk Brossé, under exclusive license to Warner Music Benelux NV-SA, a Warner Music Group Company ©2016 Warner Music Benelux NV-SA. All rights reserved. Printed in EU. Marketed and distributed by Warner Music Benelux. MCPS/Biem 5054197257650 PAG. 02 PAG. 03 The Cello Concerto for Isabelle Dirk Brossé was commissioned by Pierre Drion and is dedicated to Isabelle Schuiling Cello Concerto for Isabelle __________ ... when love becomes an instinct ... Marie Hallynck is playing a Matteo Goffriller, 1717 The documentary ‘The Making Of’ by Jacques Servaes 1 Part 1 Flirting (9:33) can be viewed on Youtube.com/DirkBrosse 2 Part 2 Unrequited Love (9:13) French and Dutch booklet texts available on www.dirkbrosse.be 3 Part 3 Butterfly Belly Waltz (5:51) Many thanks to Nicolas, Julian, Stephen, Maggie, Jake, Adam, Fiona, Aline, Bastien, Luk, Emily, Luk, Piet, Brigitte 4 Part 4 Spiritual Love (10:51) 5 Part 5 Me, myself and I (7:15) Engineer: Jake Jackson Assistant engineer: Adam Miller 9 Part 6 Fatal Attraction (5:20) Editor / assistant engineer: Fiona Cruickshank Additional editing: Aline Blondiau 7 Part 7 Romantic Love (6:00) Additional mix: Bastien Gilson Recording coordination: Maggie Rodford & Emily Appleton Holley Marie Hallynck, cello Mastering: Bastien Gilson London Symphony Orchestra Producer: Luk Vaes Dirk Brossé, conductor Artist photos: Luk Monsaert Carmine Lauri, concertmaster Graphic design: Piet De Ridder Translations: Stephen Smith Recorded at Air Lyndhurst Studio London, on 1-2 September 2015 Executive producer: Brigitte Ghyselen Edited at Air Lyndhurst Studio, London PAG. -
A Prima Vista
A PRIMA VISTA a survey of reprints and of recent publications 2002/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: 020-6796575 CDs: 020-6751653/fax: 020-6646759 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2002/1 PAGE HEADING 03 PIANO 2-HANDS 07 PIANO 4-HANDS, 2 AND MORE PIANOS, HARPSICHORD 08 ORGAN 09 KEYBOARD 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 10 VIOLIN SOLO, VIOLA SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 11 VIOLIN WITH ACCOMPANIMENT 12 VIOLIN PLAY-ALONG 13 VIOLA WITH ACCOMPANIMENT, CELLO WITH ACCOMPANIMENT 14 VIOLA DA GAMBA WITH ACCOMPANIMENT 14 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 18 FLUTE SOLO, OBOE SOLO 19 CLARINET SOLO, SAXOPHONE SOLO, BASSOON SOLO, TRUMPET SOLO 20 HORN SOLO, TROMBONE SOLO, TUBA SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 20 PICCOLO WITH ACCOMPANIMENT, FLUTE WITH ACCOMPANIMENT 22 FLUTE PLAY-ALONG, ALTO FLUTE WITH ACCOMPANIMENT 23 OBOE WITH ACCOMPANIMENT, OBOE PLAY-ALONG, CLARINET WIT ACCOMPANIMENT 24 CLARINET PLAY-ALONG 25 BASSETHORN WITH ACCOMPANIMENT, SAXOPHONE WITH ACCOMPANIMENT 27 SAXOPHONE PLAY-ALONG 28 BASSOON WITH ACCOMPANIMENT, TRUMPET WIT ACCOMPANIMENT 29 TRUMPET PLAY-ALONG, HORN WITH ACCOMPANIMENT 30 TROMBONE WITH ACCOMPANIMENT, TROMBONE PLAY-ALONG 31 TUBA WITH ACCOMPANIMENT, EUPHONIUM PLAY-ALONG 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 31 2 AND MORE WOODWIND -
Violin Detective
COMMENT BOOKS & ARTS instruments have gone up in value after I found that their soundboards matched trees known to have been used by Stradivari; one subsequently sold at auction for more than four times its estimate. Many convincing for- KAMILA RATCLIFF geries were made in the nineteenth and early twentieth centuries, but the science did not exist then. Forgers now are aware of dendro- chronology, and it could be a problem if they use wood from old chalets to build sophisti- cated copies of historical instruments. How about unintentional deceit? I never like to ‘kill’ a violin — reveal it as not what it seems. But if the wood does not match the claims, I investigate. I was recently sent photos of a violin supposedly made by an Italian craftsman who died in 1735. The wood dated to the 1760s, so I knew he could not have made it. But I did see strong cor- relations to instruments made by his sons and nephews who worked in the 1770s. So Peter Ratcliff restores and investigates violins from his workshop in Hove, UK. I deduced that the violin might have been damaged and an entirely new soundboard made after the craftsman’s death. The violin Q&A Peter Ratcliff was pulled from auction, but not before it had received bids of more than US$100,000. Will dendrochronology change the market? Violin detective I think it already has, and has called into Peter Ratcliff uses dendrochronology — tree-ring dating — to pin down the age and suggest the question some incorrect historical assump- provenance of stringed instruments. -
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. -
Stradivari Violin Manual
Table of Contents 1. Disclaimer .................................................................................................................. 1 2. Welcome .................................................................................................................... 2 3. Document Conventions ............................................................................................... 3 4. Installation and Setup ................................................................................................. 4 5. About STRADIVARI VIOLIN ........................................................................................ 6 5.1. Key Features .................................................................................................... 6 6. Main Page .................................................................................................................. 8 7. Snapshots ................................................................................................................ 10 7.1. Overview of Snapshots ................................................................................... 10 7.2. Saving a User Snapshot ................................................................................. 10 7.3. Loading a Snapshot ......................................................................................... 11 7.4. Deleting a User Snapshot ............................................................................... 12 8. Articulation ..............................................................................................................