Fine Musical Instruments
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Lavoce: Our Voice All and Winter Made Their Marks on More Than Fa Few Instruments This Year
OF CLAIRE GIVENS VIOLINS, INC. SPRING 1999 LaVoce: our voice all and winter made their marks on more than Fa few instruments this year. Fluctuating climat- ic conditions in the fall followed by the sudden onslaught of winter and a stint of exceedingly dry air brought many customers to our shop to have a wide variety of concerns addressed, from troublesome e- strings to serious cracks. Caring for string instruments requires attention and dedication on the part of play- ers.Taking preventative measures and paying atten- tion to any changes in your instrument’s sound are crucial (poor sound quality can indicate open bouts and cracks).The two key climatic threats to string instruments are temperature and humidity. Keep humidity levels at 50% (35% at the least) in the room in which your instrument is regularly stored and played. If you use ‘Dampits,’check and dampen them regularly. Do not leave instruments near heating vents, radiators or in direct sunlight.Allow instru- ments to adjust gradually to temperature changes when transported from one location to another. Xue-Chang Sun, Andrew Dipper, Claire Givens and Mr. Ni in Quilted case covers such as those made by Cushy and front of Beijing workshop on a sunny day in October 1998 Cavallaro, which we sell, add a valuable layer of insu- lation and serve well not only during cold months, Claire and Andrew visited three workshops, each but during hot summer months as well.Take care! dealing with a different level of instrument, and each overseen by one of three master makers who have won international -
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 . -
David Moritz Michael (1751–1827) 80580-2 Parthien 10-14 Pacific Classical Winds
DAVID MORITZ MICHAEL (1751–1827) 80580-2 PARTHIEN 10-14 PACIFIC CLASSICAL WINDS David Moritz Michael’s woodwind Parthien are found only in the music collections of the early American Moravian settlements—Bethlehem, Lititz, and Nazareth, Pennsylvania, and Salem, North Carolina. While Michael (1751–1827) lived only twenty of his seventy-six years in America (from his 44th to 64th year of age), he was not known as a composer in Europe, and none of his music found its way to the archives of the European Moravian churches. Parthien 10-14 are found only in the collections of the Philharmonic Society of Bethlehem, Pennsylvania, and the Lititz, Pennsylvania, Collegium Musicum—thus this is not only “American” music, but specifically Pennsylvania music. David Moritz Michael wrote fourteen Parthien for combinations of clarinets, horns, and bassoons (with the occasional flute or trumpet). Exact dates for these compositions have not been established. These works, well within the tradition of the divertimento or serenade of the eighteenth century, were performed in concerts in Bethlehem and Nazareth, Pennsylvania, and in informal serenades. Each consists of three to five movements with formal structures like those of the early classical symphonies, with movements generally longer than those of the two Water Journey suites. In addition to these Parthien, he wrote two Water Journey suites, designed to be used during the Whitmonday holiday celebrations in Bethlehem, Pennsylvania. While more serious in character than either of the Water Journey suites, the Parthien retain the light-hearted exuberance, even playful whimsy, of the eighteenth-century divertimento—including, nevertheless, some passages very reminiscent of Haydn’s Sturm und Drang writing. -
SKINNER Fine Musical Instruments
SKINNER Fine Musical Instruments May 1, 2011 Sale 2544B Boston Fine Musical Instruments specialist in charge David Bonsey 508.970.3224 General Inquiries: [email protected] auction 2544B Sunday, May 1, 2011 at 12 noon 63 Park Plaza Boston, Massachusetts preview Friday, April 29, 2011 12 to 7 p.m. Saturday, April 30, 2011 10:30 a.m. to 5 p.m. Sunday, May 1, 2011 9 to 10:30 a.m. absentee bidding Tel: 617.874.4318 Fax: 617.350.5429 Online: www.skinnerinc.com general inquiries 617.350.5400 View all lots online at www.skinnerinc.com cover : 55, inside back cover : 186, back cover : 1 Register… Preview… and Bid Live Online Preview Auctions Online Bid Live Online with SkinnerLive! Flip through the pages o our interactive virtual catalogues, Get the live auction experience rom your home or oice or view all lots in an upcoming auction to browse with SkinnerLive! Register in advance or an auction to bid through images and detailed lot inormation. You can also online in real time. download and print a PDF ile o a catalogue. Find Items with Lot Alert Read the Skinner Blog Find out immediately when items you like are available at Keep up on market trends with tips rom our expert auction. Lot Alert searches upcoming Skinner auctions or appraisers. Discover the stories behind the art and items matching your interests, and automatically emails antiques Skinner oers at auction, and add your own you when an item is posted in the online catalogue. comments to join the conversation. Track Lots and Leave Absentee Bids Get Email Updates on Auctions and Events While previewing any auction online, you can ask Subscribe to the Skinner email list to receive monthly specialists questions with a lot inquiry, keep a list o items auction schedules, invitations to events, and notiication that interest you with Track Lots, or place secure and when auction previews and catalogues are posted to the conidential online absentee bids. -
For Release at NAMM 2014 December 3, 2013 Conn-Selmer Is Proud to Announce Its 2014 Launch Line-Up Flutes Saxophones
For Release At NAMM 2014 December 3, 2013 Conn-Selmer is Proud to Announce Its 2014 Launch Line-Up 2014 is going to be a big Music industry year and Conn-Selmer is excited to share these newly, innovated instruments that will invigorate its core categories. Flutes Announcing the new PCR Headjoint. All flute models in the Armstrong line will have the new headjoint. PCR represents increased: Projection Clarity and Response. This new headjoint has the familiar Armstrong durability that everyone loves, with improved sound and playability. Armstrong is Made in the USA and the new headjoints on all models street price ranges from $994 - $1,449. Models are: 102, 102E, 103, 103OS, 104, 303B, 303BOS, 303BEOS, 800B, 800BOF, 800BEF, 800BOFPICC, FLSOL301 and FLSOL201G. Saxophones Revealing the new Selmer Tenor Saxophone, model TS44. This custom designed Henri Selmer Paris neck and mouthpiece comes with a BAM case. With this natural addition, it expands the highly successful 40 Series. MAP is $2,899 and also comes in black nickel (pictured) and silver plate. Both the TS44B and TS44S MAP for $3,265. Trombones Bach Artisan has extended its line of professional trombones. The Artisan Collection is customizable with fully interchangeable components and can become 81 different horns! This horn is adaptable to a variety of trombone artists. You can choose from three (3) bell material options, three (3) valve options, three (3) hand slide options and three (3) tuning slide options, to make it your own sound. It comes in standard models A47 (MAP is $2,758), A47I and A47MLR (MAP is $4,487). -
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 Chinese Clarinet Legend Also in This Issue
Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017. -
Additional Research Notes
Additional Research Notes Below is more information related to Joe’s story, including concen tration camps, ship transporting dislocated persons, camp for dislocated persons, camp commandants/other Nazi officials and their fate, and famous shoe companies. 1. Concentration Camps A. Auschwitz/Birkenau, Poland (Concentration Camp) Author’s Note : Joe arrived at Auschwitz on April 30, 1942 and was housed at its sister camp, Birkenau, or “Auschwitz II,” where two days a week he was forced to move the bodies of the dead from the gas chamber to open pits. He was also required to do daily calisthenics and work in many other areas around the camp, including snow removal on the massive grounds. Joe was eventually assigned to a slave labor crew working in a nearby coal mine. For a short while, the inmate miners were forced to walk several miles each day to the coal mine and back. When Joe was finally moved from Birkenau to a camp near the coal mine, he le Auschwitz for the last time, but the mining camp remained under the authority of Auschwitz. Joe permanently lost the hearing in one ear from the repeated explosions of dynamite. Documents provided by the United States Holocaust Memorial Museum in Washington, D.C., show that in June 1944, Joe (Juzek Rubinsztein) was sent from the Auschwitz complex (we believe from the Jawischowitz Sub-camp/Brzeszcze Coal Mine) to Buchenwald, Germany. His official number while at Auschwitz was 34207. At Buchenwald, his number was 117.666. 1, 2 e Auschwitz Concentration Camp, located thirty-seven miles west of Krakow, near the Polish city of Oswiecim, was in an area annexed by Nazi Germany in 1939 aer its invasion of Poland. -
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. -
New NAMM Products Information and Pricing
SALE New NAMM Products Information and Pricing HOT NEW TRUMPETS FROM YAMAHA The new Yamaha Custom Xeno Pro Bb Trumpets feature a revamped bell, providing a powerful tonal core and more precise slotting in the upper register, as well as a newly designed leadpipe. The lighter valve casing and pistons allow for enhanced response and optimal tone control. Yamaha YTR-8335IIGS (Yellow Brass Bell, ML Bore) MSRP: $3,423 Our price: $2,439.99 (IN STOCK!) Yamaha YTR-8335IIRS (Silver Bell, ML Bore) MSRP: $3,510 Our price: $2,535.99 (IN STOCK!) HOT NEW SAXOPHONES FROM CONN-SELMER SELMER AS42 PRO ALTO SAXOPHONE The 40 Series saxophones from Conn-Selmer, Inc. are a first ever collaboration between Henri Selmer Paris and Selmer USA. All the horns feature a custom designed and manufactured Henri Selmer Paris neck and mouthpiece, along with a feature filled body that responds at a top performance level.The black nickel and silver- plated versions both feature a silver-plated Henri Selmer Paris neck. Yellow brass, fully ribbed construction, hand engraved, genuine BAM case, genuine Selmer Paris neck and mouthpiece, Pisoni pro pads with metal resonators, High F# key, rocking table mechanism, adjustment screws. Selmer AS42 PRO MSRP: $4,043 Our Price: $2,779 (IN STOCK!) SELMER AS32 INTERMEDIATE ALTO SAXOPHONE Featuring a post to body construction, leather pads with metal resonators and hand engraving - the body for the AS32 is ready for the advancing player, but it also comes with a neck designed and manufactured by Selmer Paris for this instrument, as well as a mouthpiece from Selmer Paris specially made for the advancing player. -
19Th INTERNATIONAL CONGRESS on ACOUSTICS MADRID, 2-7 SEPTEMBER 2007
19th INTERNATIONAL CONGRESS ON ACOUSTICS MADRID, 2-7 SEPTEMBER 2007 Acoustic measurements along the history of saxophone: from Adolphe Sax to vintage instruments. PACS: 43.75. Vincent Gibiat1 Hamid Louaked2 Jerôme Selmer2 1University Paul Sabatier PHASE 118 route de Narbonne 31062 TOULOUSE Cedex 9 France ; [email protected] 2Henri Selmer Paris 18 rue de la fontaine au roi 75011 PARIS France; [email protected] ABSTRACT A complete collection of alto saxophones belonging to the successors of Adolphe Sax factory (Henri Selmer Paris) beginning with Adolphe Sax instruments (1856) followed by all the different models produced all along the twentieth century has been acoustically studied. Model 22, 26, 28, Radio improved, Balanced Action as well as the mythic Mark VI or unique instruments based on a factory model and realised for a special event have been studied to follow the evolution of what is both an historic instrument and a popular one. As these instruments are all in playable conditions impedance measurements on all the possible fingerings have been obtained. Sound recordings have also been realised on chromatic scales and short musical excerpts. We present the synthetic results obtained that show the continuity between Adolphe Sax production and the earlier Selmer Instruments, then the quality and homogeneity gap between some different models. Through the evolution the musician demands on sound quality appear clearly. These historic instruments have also been compared to the most recent models showing an evolution and a preservation of the historic sound that is certainly not finished. INTRODUCTION Both ancient and popular the saxophone has a peculiar place in music history. -
Volume 71, Number 09 (September 1953) Guy Mccoy
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1953 Volume 71, Number 09 (September 1953) Guy McCoy Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation McCoy, Guy. "Volume 71, Number 09 (September 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/114 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. Preparation for Opera Licia Albanese The Piano Art of Ferruccio Busoni Christopher Paddack What Can Technical Instruction Achieve? Martha Neumark Mental Practice Aldo Ciccolini What the Junior Music Festival Can Do For Your State Norma Ryland Graves A Symphony of Bells Paul D. Peery The Place of the Non-Concertizing Artist in American Music LeRoy V. Brant E PRESSER COMPANY, Letters from THEODOR PENNSYlVANIA :bear Cenfurlp BRYN MAWR, b hearing that your to the Editor I have een I new issues are t he best ever. Please send me the numbers Articles checked below, am enclosing 25¢ a copy. 'or several months I Dear Sir: F ., to express my have been interndllt'l,ooe edi~orship of • ' ti n 'or .