DAVID ANGEL: Champion 2Nd Violin
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
Concerto for Violin and String Orchestra
BRITISH VIOLIN CONCERTOS Paul Patterson Kenneth Leighton Gordon Jacob Clare Howick, Violin BBC Scottish Symphony Orchestra Grant Llewellyn Paul Patterson (b. 1947): Violin Concerto No. 2 (‘Serenade’) (2013) 21:57 British Violin Concertos For Clare Howick Paul Patterson • Kenneth Leighton • Gordon Jacob 1 I. Toccata – 5:15 Contrary to opulent violin concertos conceived on a grand movement is virtually monothematic in its close allegiance 2 II. Barcarolle – 8:45 scale by Edward Elgar and William Walton, for example, to a haunting and wistful refrain, which is constantly the three British violin concertos featured here adopt a recast in fresh and varied guises. Once again, the harp 3 III. Valse-Scherzo 7:57 more concise approach to the genre using chamber comes to the fore as the music dies away. forces. Though not shunning the time-honoured elements Full orchestral forces are deployed in the sparkling Kenneth Leighton (1929–1988): of bravura display anticipated in concertante works, they Allegro finale. After a short introduction presenting Concerto for Violin and Small Orchestra, Op. 12 (1952) 24:10 cast the solo violinist as first among equals, engaging in tantalising wisps of thematic material, the solo violin has a To Frederick Grinke telling dialogues with a responsive ensemble, rather than brilliant cadenza. This forms a roguishly extended as an individual pitted against the mob. preamble to a lively Valse-Scherzo whose sly harmonic 4 I. Allegro con brio, molto ritmico 7:49 Born in Chesterfield on 15 June 1947, Paul Patterson shifts and intoxicating melodic sweep rounds the concerto 5 II. Intermezzo – Moderato con moto, sempre dolce 5:58 studied composition with Richard Stoker at the Royal off in exuberantly urbane style. -
Catgut Acoustical Society Journal
http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s. -
The Top, Bassbar and Soundpost
19281204.DOC The Top, Bassbar and Soundpost By Louis Kramer Innumerable experiments have been made to improve the tone of instruments by changing positions of bassbar and soundpost; but every attempted change in that direction has brought about negative and detrimental results, with the exception of change—and this is indeed an outstanding feature—the lengthening of the bassbar. This improvemcnt has since its innovation been recognized and adapted as a success; it may be mentioned here that thc adaption of a longer bassbar becomes even a necessity, with the gradually rising of the "Diapason," the accelerated string pressure caused by a higher pitch; the resistance of the old and short bassbar proved insufficient, hence had to be lengthened in order to establish the much needed support and This bassbar is of vital importance; not alone does it scrve as a reinforcement of the instrument when the string pressure proves to be the strongest, but also—and this mainly—for the gradual slackening of vibrations of that particular part of the upper plate where the lower strings require slower vibrations. lf the bassbar is too thin or too light, the "G" string will invariably sound dull; if too stiff and thick, it will not be responcive. The bassbar may be safely called the "Nerve System" and the soundpost the "Heart" of a violin. The most insignificant change in the position of either post or bar will change the tone of an instrument; and the best violin will not respond if bassbar and soundpost are not in their right place. Worth mentioning here -
Katrien Vandermeersch
Itzel Ávila (M.A. Univesité de Montréal) Itzel Ávila is a Mexican-Canadian violin maker and violinist who discovered the art of violin making as a teenager. She graduated with honours in violin performance from the National Autonomous University of Mexico, and holds a Master’s degree in the same discipline from the University of Montreal. As a Violin Maker, Itzel further perfected her skills in Cremona, Italy, and San Francisco, United States, under the supervision of Francis Kuttner, as well as in Montreal, under the supervision of Michèle Ashley. She has worked at the workshops Wilder & Davis in Montreal, and The Sound Post in Toronto. In 2010, she established her own workshop in Toronto, where she resides. Very active in the international violin making scene, her instruments have participated in exhibitions in Italy, Netherlands, Germany, Canada and the United States. She is also a participant member of the annual Oberlin Violin Makers Workshop of the Violin Society of America. Thanks to her integral formation as an interpreter and violin maker, her instruments are characterized by an ergonomic and comfortable playability, reliable responsiveness, and a clean and clear sound. She is also a photographer and mother of two kids. www.itzelavila.com 2020 Virtual New Instrument Exhibit Gideon Baumblatt and Mira Gruszow The construction of a singing instrument has fascinated Gideon and Mira from the very beginning and brought them to Cremona at a young age. It’s their common starting point on a path that took them to very different places and experiences and eventually reunited them on this quest after many years. -
A Bow on the Couch
A bow on the couch Index Preface 3 Concerning the Author 4 1. The Note 5 1.1 The Response 6 1.2 The Damping 7 1.3 The Tone 9 2. Specific Instrumental Differences 11 2.1 The Bass Bow 11 2.2 The Cello Bow 12 2.3 The Viola Bow 13 2.4 The Violin Bow 14 3. Weight and balance 16 4. The Wood 17 5. Colour and Varnish 20 6. Distribution of Strength 22 7. Aesthetics 26 Page 2 A bow on the couch Preface The Chinaman Ein-lei-tung (about 2,000 BC) in his boundless wisdom, concentrated on one thing only during his entire life, namely his bamboo stick. After 50 years of deepest meditation, Tung, a man of genius, invented the bow, while stretching his bamboo stick with a bundle of horsehair. Even today we still think of him with the greatest respect. Unfortunately the original model, alleged to have had great mythical power, is irretrievably lost, but in spite of this, there are always adventurers who still go in search of the wonderful original. Page 3 A bow on the couch Concerning the Author The author - well, that's me. It is possible that you, the reader, don't really care, and just want to get down to business. But how can you understand the title without reading this introduction? Besides, I have not written many books, and therefore find it hard to pass up the opportunity to say something about myself. My parents are psychoanalysts, both of them. But there’s no need to pity me on that account, my childhood was no worse than yours. -
A Menuhin Centenary Celebration
PLEASE A Menuhin Centenary NOTE Celebration FEATURING The taking of photographs and the use of recording equipment of any kind during performances is strictly prohibited The Lord Menuhin Centenary Orchestra Philip Burrin - Conductor FEBRUARY Friday 19, 8:00 pm Earl Cameron Theatre, City Hall CORPORATE SPONSOR Programme Introduction and Allegro for Strings Op.47 Edward Elgar (1857 - 1934) Solo Quartet Jean Fletcher Violin 1 Suzanne Dunkerley Violin 2 Ross Cohen Viola Liz Tremblay Cello Absolute Zero Viola Quartet Sinfonia Tomaso Albinoni (1671 – 1751) “Story of Two Minstrels” Sancho Engaño (1922 – 1995) Menuetto Giacomo Puccini (1858 – 1924) Ross Cohen, Kate Eriksson, Jean Fletcher Karen Hayes, Jonathan Kightley, Kate Ross Two Elegiac Melodies Op.34 Edvard Grieg (1843 – 1907) The Wounded Heart The Last Spring St Paul’s Suite Op. 29 no.2 Gustav Holst (1874 – 1934) Jig Ostinato Intermezzo Finale (The Dargason) Solo Quartet Clare Applewhite Violin 1 Diane Wakefield Violin 2 Jonathan Kightley Viola Alison Johnstone Cello Intermission Concerto for Four Violins in B minor Op.3 No.10 Antonio Vivaldi (1678 – 1741) “L’estro armonico” Allegro Largo – Larghetto – Adagio Allegro Solo Violins Diane Wakefield Alison Black Cal Fell Sarah Bridgland Cello obbligato Alison Johnstone Concerto Grosso No. 1 Ernest Bloch (1880 – 1959) for Strings and Piano Obbligato Prelude Dirge Pastorale and Rustic Dances Fugue Piano Obbligato Andrea Hodson Yehudi Menuhin, Lord Menuhin of Stoke d’Abernon, (April 22, 1916 - March 12, 1999) One of the leading violin virtuosos of the 20th century, Menuhin grew up in San Francisco, where he studied violin from age four. He studied in Paris under the violinist and composer Georges Enesco, who deeply influenced his playing style and who remained a lifelong friend. -
How to Mahe a Violin
HOW TO MAKE A VI O LIN by JOHN BROADHOUSE V IOLIN NOTES by OLE B ULL Revised Edition LONDON W ILLIAM REEVES B ookseller Ltd. l No W I 6 a b r C esce S . r u y r nt , Printed in Grea t B ritain by w m N W r e and B e e s e . o Lo rydon (Print r ) Li it d , London , F ORE WORD . H E demand for this little work On the T construction Of the violin h as con tinned steadily for years and f or a short time has been out o f print . T his present editi on has been cons iderably improved a n d has had the advantage O f being revis ed by - one of our well known violin makers . With a V iew O f further improving this edi tion the outline ill ustrations O f the model s O f s s Stradivariu , Guarneriu and Amati have been re-drawnand that O f a Maggini added to the list . CONTENTS Int roduction CH APTER 1 . The P a rts of the V iolin I CH APTER I . On the S el e ction of Wood CHAPTER III . The Tool s Re quired H A ER I C PT V . The Mode ls A ER CH PT V . The Moul d A ER I CH PT V . The S ide -pi eces a nd S id e - l inings H P TE V I I C A R . The B a ck A ER CH PT VIII . -
Henry Bischofberger Violins, LLC Voted Evening Magazine's Best of Western WA 425 822-0717
Henry Bischofberger Violins, LLC Voted Evening Magazine's Best of Western WA www.hkbviolins.com 425 822-0717 What to Look for when Purchasing or Renting a String Instrument. By Henry Bischofberger, Violin Maker It is imperative that you get a good instrument, even if it is a child's size. Quality does not have to mean expensive. Many factory made student instruments, if well “set-up,” will be of good quality for your student. Having an instrument “set up” mean a qualified Violin Maker makes the final adjustments by hand. These adjustments include making sure the pegs fit properly, cutting the bridge to fit the instrument, putting on good quality strings, and making sure the bow hair is clean and full. Proper set-up can make the difference between a good instrument and one that doesn’t play well. Your child is much more likely to stick with it if his instrument sounds and feels like it should. Read on to avoid the most common instrument problems. The Strings: Look closely for any fraying or imperfections. Run your finger up and down each string and feel for bumps or divots, which indicate the string should be replaced. Steel strings are the lowest quality. It is well worth the extra fuss to upgrade to Perlon core strings (Dominant brand). Old or metal strings will not make a clear tone and they are more likely to squeak or break. It is best to use Dominant for violin/viola, Spirocore or Jargar for cello and Spirocore or Helicore for Bass. The Pegs and Tuners: Make sure the pegs fit snuggly and turn easily but also stay without slipping. -
Guide for Violin Care & Maintenance
the sound post Guide to Proper Care and Maintenance of Violin Family Instruments and Bows Instrument Care and Maintenance by the Player Temperature & Humidity: In most parts of North America, temperature and humidity levels vary dramatically from summer to winter. Stringed instruments are made principally of wood, which expands in the humid summer months and contracts in the winter. Expansion and contraction can cause minor inconveniences such as buzzing or open seams or major problems such as cracks. You can minimize humidity related problems by doing the following: 1. Humidify your home during the dry winter months. Ideal humidity for instruments is 30- 40% in most areas. Most homes require supplementary humidification from a cool mist, steam humidifier, or evaporative wick humidifer. 2. Maintain a relatively constant humidity year-round. Dehumidification or A/C helps in the summer. 3. Use an instrument or case humidifier when humidity drops below the normal range. These can be purchased at your violin shop. 4. Do not subject your instrument to extreme temperatures. Never leave your instrument in your car. Pegs: Stiff or slipping pegs are common problems. The three main reasons behind peg problems are: 1. Seasonal humidity variations 2. Improperly wound strings 3. Poor peg fit Slipping pegs are common during the winter because pegs shrink when conditions are dry. In most cases, rewinding a string in the optimal manner (see: Strings section) is all that is required. If pegs continue to slip or turn unevenly poor peg fit is likely the cause. A qualified technician can refit the pegs and solve the problem. -
A Consideration on the Sound Radiation Pattern of Violin
International Journal of Emerging Engineering Research and Technology Volume 4, Issue 2, February 2016, PP 22-28 ISSN 2349-4395 (Print) & ISSN 2349-4409 (Online) A Consideration on the Sound Radiation Pattern of Violin Yuya Nishimura1, Nozomiko Yasui2, Sohei Nishimura3 1 Department of Control and Information Systems Engineering, National Institute of Technology Kumamoto College, Japan 2 Department of Information Engineering, National Institute of Technology, Matsue College, Japan 3 Department of Mechanical and Intelligent Systems Engineering, National Institute of Technology Kumamoto College, Japan ABSTRACT The Violin is the musical instrument in the stringed instruments family and is usually considered as the most important instruments in classical music. When the violin is played, it radiates sound waves in various directions. The sound that we hear includes the sound played from the violin, and the sound that has reflected from the hard surfaces from around us. In order to study the sound radiation pattern accurately, we will set up a 42 channel spherical microphone array on a human sized Icosahedron in the Anechoic Chamber to prevent any sound reflection. A violinist will be playing in the middle of the spherical microphone array to record and analyze the spatial radiation pattern of the sound which is an important factor affecting our hearing of the violin sound. Keywords: spatial radiation pattern, violin, microphone-array. INTRODUCTION The violin is a string instrument. Amongst the string family, it has the highest pitch. The violin body constitute by a large number of parts. Figure 1 shows the detail of violin parts [1]. The quote given below is from homepage on “Violin wizard” about major violin parts [2].