A&M News Sept08

Total Page:16

File Type:pdf, Size:1020Kb

A&M News Sept08 ȱ ȱ ȱ Take a Bow 2008 Diary N o v e m b e r ȱ ȱȱȱ1 Saturday Ely ȱ 2 Sunday Ely ContemporaryȱCelloȱBowsȱ 3 Monday Ely ȱ 4 Tuesday Ely Welcomeȱ toȱ ourȱ specialȱ newsletterȱ containingȱ fullȱ 5 Wednesday BIRMINGHAM detailsȱ ofȱ thisȱ autumn’sȱ sellingȱ exhibitionȱ ofȱ 6 Thursday Ely internationalȱ contemporaryȱ bows.ȱȱTakeȱ aȱ Bowȱ 7 Friday Ely 2008ȱpromisesȱtoȱbeȱtheȱmostȱexcitingȱcollectionȱofȱ 8 Saturday Ely celloȱbowsȱwe’veȱeverȱassembledȱandȱweȱareȱveryȱ 9 Sunday Ely muchȱ lookingȱ forwardȱ toȱ sharingȱ theȱ bowsȱ withȱ 10 Monday MANCHESTER cellistsȱinȱElyȱandȱonȱtourȱaroundȱtheȱUKȱ(seeȱtheȱ 11 Tuesday MANCHESTER diaryȱoppositeȱandȱtourȱdetailsȱonȱtheȱbackȱpage).ȱ 12 Wednesday MANCHESTER ȱ 13 Thursday Ely PrizeȬwinningȱBowȱMakersȱ 14 Friday Ely ȱ 15 Saturday SOMERSET ThirtyȬthreeȱ bowȱ makersȱ areȱ sendingȱ bowsȱ toȱ theȱ 16 Sunday SOMERSET exhibitionȱthisȱyearȱincludingȱfamousȱnames,ȱprizeȬ 17 Monday Ely winnersȱ andȱ excitingȱ newȱ makers.ȱȱTheirȱ 18 Tuesday Ely biographiesȱonȱpagesȱfourȱandȱfiveȱgiveȱanȱinsightȱ 19 Wednesday OXFORD intoȱtheȱwonderfulȱexpertiseȱandȱtalentȱwhichȱTakeȱ 20 Thursday Ely aȱBowȱbringsȱtoȱtheȱUK.ȱȱContemporaryȱbowsȱofferȱ 21 Friday Ely 22 Saturday Ely exceptionalȱ qualityȱ andȱ valueȱ andȱ alsoȱ makeȱ 23 Sunday Ely excellentȱlongȬtermȱinvestments.ȱȱAȱlistȱofȱinterimȱ 24 Monday CARDIFF bowȱpricesȱcanȱbeȱfoundȱonȱpageȱsix.ȱȱȱ ȱȱȱ 25 Tuesday Ely 26 Wednesday Ely ElyȱExhibitionȱ ȱ 27 Thursday GLASGOW Theȱ mainȱ exhibitionȱ takesȱ placeȱ atȱ ourȱ workshopȱ 28 Friday Ely homeȱ atȱ 7ȱ Cambridgeȱ Roadȱ inȱ theȱ beautifulȱ 29 Saturday Ely cathedralȱ cityȱ ofȱ Elyȱ (seeȱ pageȱ sevenȱ forȱ maps).ȱȱ 30 Sunday Ely ȱ ThreeȬhourȱ appointmentsȱ canȱ beȱ bookedȱ sevenȱ D E C E M B E R ȱ daysȱ aȱ week,ȱ startingȱ atȱ 10am,ȱ 1pmȱ andȱ 4pm.ȱȱ 1 Monday Ely Pleaseȱphoneȱ01353ȱ668559ȱasȱsoonȱasȱpossibleȱtoȱ 2 Tuesday Ely bookȱ yourȱ visit.ȱȱForȱ aȱ fullȱ descriptionȱ ofȱ theȱ 3 Wednesday Ely exhibitionȱprocess,ȱseeȱinside.ȱȱ 4 Thursday Ely ȱ 5 Friday Ely ExhibitionȱTourȱ 6 Saturday COPENHAGEN ȱ 7 Sunday COPENHAGEN Inȱresponseȱtoȱrequestsȱfromȱthoseȱlivingȱfarȱawayȱ fromȱEly,ȱweȱareȱvisitingȱmostȱcornersȱofȱtheȱUKȱonȱ Advanceȱbookingȱisȱessentialȱforȱallȱvenues.ȱȱ anȱextensiveȱtourȱwhichȱincludesȱSomerset,ȱCardiff,ȱ Seeȱbackȱpageȱforȱtourȱdetails.ȱȱOnȱtourȱdaysȱ Birmingham,ȱ Oxford,ȱ Manchester,ȱ Glasgowȱ andȱ ourȱcontactȱnumberȱisȱ07765ȱ413636.ȱ Regularȱupdatesȱwillȱbeȱpostedȱat: London.ȱȱPleaseȱ contactȱ usȱ wellȱ inȱ advanceȱ toȱ arrangeȱyourȱvisitȱtoȱtourȱvenues.ȱȱForȱtourȱdetails,ȱ www.aitchisoncellos.com/exdetails seeȱtheȱdiaryȱoppositeȱandȱalsoȱtheȱbackȱpage.ȱ ȱ w o r k I n g t h r o u g h t h e` b o w s ȱ ȱ Theȱaimȱofȱtheȱexhibitionȱisȱtoȱgiveȱcellistsȱanȱ Theȱ‘semiȬfinal’ȱstageȱusuallyȱinvolvesȱputtingȱ opportunityȱ toȱ tryȱ exceptionalȱ contemporaryȱ eachȱ bowȱ throughȱ aȱ systematicȱ seriesȱ ofȱ testsȱ celloȱ bowsȱ inȱ aȱ supportiveȱ andȱ comfortableȱ inȱorderȱtoȱnarrowȱtheȱselectionȱdownȱtoȱtwoȱ environment.ȱȱComparingȱtheȱplayingȱqualitiesȱ orȱthreeȱbows.ȱ ofȱaȱwideȱrangeȱofȱfineȱbowsȱatȱtheȱsameȱtimeȱ ȱ Inȱtheȱfinalȱroundȱyouȱareȱlikelyȱtoȱbeȱchoosingȱ andȱ placeȱ isȱ anȱ idealȱ wayȱ toȱ discoverȱ exactlyȱ betweenȱ twoȱ orȱ threeȱ bows,ȱ eachȱ ofȱ whichȱ whichȱ bowȱ bestȱ suitsȱ youȱ andȱ yourȱ cello.ȱȱ mayȱappealȱinȱdifferentȱways.ȱȱWeȱareȱhappyȱ Visitingȱ cellistsȱ haveȱ atȱ leastȱ threeȱ hoursȱ toȱ toȱlistenȱandȱtoȱgiveȱfeedbackȱasȱyouȱplayȱeachȱ playȱ throughȱ theȱ collectionȱ ofȱ bowsȱ inȱ ourȱ bowȱandȱwillȱalsoȱgiveȱinformationȱaboutȱtheȱ comfortableȱmusicȱrooms,ȱassistedȱbyȱaȱfriendȱ bowȱ makersȱ andȱ provideȱ anȱ insightȱ intoȱ theȱ orȱ colleagueȱ ifȱ theyȱ wish.ȱȱWeȱ areȱ happyȱ toȱ craftsmanshipȱofȱeachȱbow.ȱȱȱ accommodateȱplayersȱforȱasȱlongȱasȱtheyȱneed;ȱ ȱ ourȱ recordȱ soȱ farȱ isȱ sixȱ hours!ȱȱDrinksȱ andȱ Doȱfeelȱfreeȱtoȱtelephoneȱorȱemailȱifȱyouȱwouldȱ snacksȱ areȱ freelyȱ availableȱ throughoutȱ yourȱ likeȱtoȱdiscussȱanyȱaspectȱofȱtheȱexhibition;ȱweȱ stay.ȱȱȱ willȱbeȱonlyȱtooȱhappyȱtoȱhelp.ȱȱ ȱ ȱ Withȱatȱleastȱfiftyȱbowsȱtoȱtry,ȱyourȱfirstȱ playȬthroughȱisȱlikelyȱtoȱtakeȱwellȱoverȱanȱ hour.ȱ ȱ Whenȱyouȱarriveȱweȱwillȱshowȱyouȱtoȱoneȱofȱ ourȱ musicȱ roomsȱ whereȱ youȱ willȱ haveȱ exclusiveȱaccessȱtoȱtheȱentireȱcollectionȱofȱcelloȱ bowsȱwhichȱareȱnumberedȱandȱstoredȱinȱboxesȱ ofȱ six,ȱ soȱ youȱ canȱ workȱ throughȱ themȱ systematically.ȱȱWeȱprovideȱfeedbackȱformsȱonȱ whichȱ youȱ canȱ recordȱ yourȱ impressionsȱ ofȱ eachȱbow.ȱȱIfȱyouȱdoȱnotȱhaveȱaȱcompanionȱtoȱ helpȱyou,ȱweȱareȱhappyȱtoȱtakeȱnotesȱforȱyouȱ andȱ toȱ tighten,ȱ loosenȱ andȱ rosinȱ eachȱ bowȱ soȱ thatȱ youȱ canȱ relaxȱ andȱ focusȱ onȱ playingȱ theȱ bows.ȱȱȱ ȱ Weȱ recommendȱ playingȱ throughȱ theȱ wholeȱ ȱ collectionȱasȱquicklyȱasȱpossible.ȱȱWithȱatȱleastȱ ȱ fiftyȱ bowsȱ toȱ try,ȱ thisȱ firstȱ playȬthroughȱ isȱ Forȱinsightsȱintoȱtheȱbowȱtestingȱprocess,ȱyouȱ likelyȱ toȱ takeȱ wellȱ overȱ anȱ hour.ȱȱTheȱ aimȱ ofȱ mightȱlikeȱtoȱread:ȱ thisȱ firstȱ stageȱ isȱ toȱ discardȱ aȱ significantȱ ȱ numberȱ ofȱ bowsȱ onȱ theȱ basisȱ ofȱ tone,ȱ Theȱappealȱofȱbows:ȱ articulation,ȱ weightȱ orȱ balanceȱ andȱ toȱ reserveȱ http://www.aitchisoncellos.com/bowart2.htmȱ ȱ aboutȱaȱdozenȱbowsȱtoȱtestȱmoreȱextensivelyȱinȱ Bowȱtestingȱtechniques:ȱ aȱsecondȱround.ȱIt’sȱmostȱeffectiveȱtoȱstartȱbyȱ http://www.aitchisoncellos.com/bowart.htmȱ tryingȱtheȱbowsȱ‘blind’ȱwithoutȱreferringȱtoȱtheȱ ȱ makerȱ orȱ priceȱ ofȱ theȱ bow.ȱȱThisȱ allowsȱforȱaȱ Playersȱtestȱbows:ȱ moreȱ objectiveȱ selection,ȱ basedȱ purelyȱ onȱ theȱ http://www.aitchisoncellos.com/bowart3.htmȱ bow’sȱperformanceȱinȱyourȱhands.ȱ ȱ ȱ ȱ ‘Aȱbowȱisȱmoreȱpersonalȱtoȱtheȱplayerȱthanȱanyȱinstrument.ȱȱItȱisȱaȱprolongationȱofȱyourȱrightȱ arm,ȱaȱpartȱofȱyou,ȱandȱifȱyouȱgetȱitȱright,ȱthereȱisȱaȱhappyȱmarriageȱbetweenȱthreeȱparties:ȱ theȱplayer,ȱtheȱinstrumentȱandȱtheȱbow.’ȱȱBernardȱMillantȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ t o p t I p s f o r t r y I n g b o w s ȱ ȱ Bringȱyourȱownȱbow.ȱȱIt’sȱveryȱusefulȱtoȱplayȱ yourȱ ownȱ bowȱ whenȱ youȱ firstȱ arrive,ȱ toȱ groundȱ yourselfȱ andȱ toȱ getȱ usedȱ toȱ theȱ acousticȱofȱtheȱmusicȱroom.ȱȱYourȱexistingȱbowȱ canȱ alsoȱ actȱ asȱ aȱ controlȱ toȱ compareȱ withȱ theȱ bowsȱyouȱtry.ȱȱȱ ȱ Bringȱ aȱ fellowȱ cellist,ȱ friendȱ orȱ partner.ȱȱ We’reȱ veryȱ happyȱ toȱ helpȱ youȱ handleȱ theȱ bows,ȱ makeȱ notesȱ andȱ giveȱ feedbackȱ butȱ it’sȱ especiallyȱgoodȱtoȱhaveȱaȱfriendȱwithȱyou.ȱ ȱ Allowȱ yourselfȱ plentyȱ ofȱ time.ȱȱYouȱ areȱ welcomeȱtoȱtryȱbowsȱforȱasȱlongȱasȱyouȱneedȱ toȱmakeȱyourȱchoice.ȱ ȱ Prepareȱ aȱ selectionȱofȱphrasesȱwithȱwhichȱtoȱ exploreȱeachȱbow’sȱstrength,ȱtoneȱandȱagility.ȱȱȱ ȱ Don’tȱhesitateȱtoȱaskȱifȱyou’dȱlikeȱanyȱhelpȱorȱ feedbackȱ aboutȱ theȱ bowsȱ youȱ areȱ trying.ȱȱIfȱ youȱ areȱ strugglingȱ toȱ getȱ throughȱ theȱ collectionȱweȱcanȱhelpȱtoȱfindȱbowsȱwhichȱareȱ mostȱlikelyȱtoȱsuitȱyouȱasȱaȱplayerȱandȱwhichȱ willȱalsoȱmatchȱtheȱcharacterȱofȱyourȱcello.ȱ ȱ ȱ P u r c h a s I n g b o w s ȱ ȱ ȱ Ifȱyouȱdecideȱtoȱbuyȱaȱbowȱfromȱtheȱexhibitionȱ Ifȱyouȱfeelȱyouȱneedȱtoȱtryȱaȱbowȱforȱaȱlongerȱ youȱ willȱ beȱ invitedȱ toȱ payȱ aȱ 20%ȱ depositȱ toȱ periodȱbeforeȱmakingȱaȱfinalȱdecision,ȱyouȱcanȱ secureȱ theȱ bow,ȱ withȱ theȱ balanceȱ payableȱ byȱ bookȱ oneȱ orȱ moreȱ bowsȱ forȱ aȱ sevenȱ dayȱ trialȱ theȱendȱofȱtheȱexhibitionȱonȱ7ȱ Decemberȱ2008.ȱȱ periodȱafterȱ1ȱDecember.ȱȱTheȱcostȱofȱbookingȱ Allȱsoldȱbowsȱwillȱbeȱmarkedȱwithȱredȱstickersȱ aȱbowȱtrialȱisȱ£20ȱtoȱcoverȱtheȱcostȱofȱpostingȱ –ȱ asȱ inȱ aȱ traditionalȱ artȱ exhibitionȱ –ȱ andȱ willȱ bowsȱtoȱyou.ȱ remainȱ withȱ theȱ exhibitionȱ untilȱ 1ȱ Decemberȱ ȱ Ifȱanotherȱplayerȱsubsequentlyȱpaysȱaȱdepositȱ soȱ thatȱ theȱ workȱ ofȱ eachȱ bowȱ makerȱ canȱ beȱ onȱ aȱ bowȱ whichȱ youȱ haveȱ bookedȱ forȱ homeȱ appreciatedȱbyȱtheȱmajorityȱofȱvisitors.ȱ ȱ trial,ȱ yourȱ trialȱ willȱ beȱ cancelledȱ andȱ theȱ feeȱ Soldȱ bowsȱ willȱ beȱ sentȱ toȱ theirȱ newȱ ownersȱ willȱbeȱrefundedȱinȱfull.ȱȱȱ fromȱ 1ȱ Decemberȱ orȱ asȱ soonȱ afterȱ thatȱ asȱ fullȱ ȱ Weȱwillȱdonateȱ5%ȱofȱtheȱpriceȱofȱsoldȱbowsȱtoȱ paymentȱ hasȱ cleared.ȱȱAllȱ purchasersȱ willȱ theȱ Internationalȱ Pernambucoȱ Conservationȱ receiveȱ aȱ freeȱ insuranceȱ valuationȱ andȱ willȱ Initiativeȱ (IPCI)ȱ anȱ internationalȱ organisationȱ needȱtoȱarrangeȱinsuranceȱcoverȱfromȱtheȱdateȱ ofȱbowȱmakersȱworkingȱtoȱsupportȱtheȱfutureȱ theȱ bowȱ isȱ delivered.ȱȱAllȱ bowsȱ remainȱ theȱ ofȱtheȱpernambucoȱtreeȱinȱBrazil.ȱȱȱ propertyȱ ofȱ theȱ makersȱ untilȱ fullȱ paymentȱ isȱ ȱ received.ȱȱPaymentȱ methodsȱ includeȱ internetȱ Toȱ discoverȱ moreȱ aboutȱ theȱ workȱ ofȱ theȱ IPCIȱ bankȱ transfer,ȱ chequeȱ orȱ creditȱ card.ȱȱAȱ 2.5%ȱ youȱcanȱreadȱourȱrecentȱarticleȱat:ȱȱ processingȱ chargeȱ isȱ payableȱ byȱ thoseȱ whoȱ ȱ www.aitchisoncellos.com/articlepernambucoȱ wishȱtoȱpayȱbyȱcreditȱcard.ȱ ȱ ȱ ȱ ȱ B o w M a k e r B I o g r a p h I e s ȱ ȱ MORGANȱANDERSENȱattendedȱtheȱViolinȱMakingȱ THOMASȱGERBETHȱstudiedȱwithȱDürrschmidtȱandȱ SchoolȱofȱAmericaȱinȱSaltȱLakeȱCity.ȱȱUponȱgraduation,ȱ LeichtȱandȱworkedȱwithȱRichardȱGrünkeȱ1991Ȭȱ1997ȱ heȱstudiedȱbowȱmakingȱwithȱFrankȱPassaȱinȱSanȱ beforeȱestablishingȱhisȱownȱworkshopȱinȱVienna.ȱȱPrizes:ȱ Franciscoȱandȱsinceȱthenȱheȱhasȱworkedȱinȱhisȱnativeȱ goldȱ(vc)ȱManchesterȱ1992;ȱbronzeȱ(vc)ȱManchesterȱ1994;ȱ WashingtonȱState.ȱȱPrizes:ȱgoldȱmedalsȱ(va,ȱvc)ȱVSAȱ 2ȱgold,ȱ1ȱsilverȱMittenwaldȱ1997;ȱ2ndȱprizeȱ(exȱaequo)ȱȱ&ȱ 1986;ȱgoldȱ(vc)ȱVSAȱ1988.ȱȱBetweenȱ1992ȱandȱ2006ȱheȱhasȱ CertificateȱofȱMeritȱforȱPerfectȱWorkmanshipȱ(vn)ȱandȱ judgedȱbowsȱatȱfourȱVSAȱcompetitions.ȱȱ Certificateȱofȱmeritȱ(va)ȱParisȱ2004.ȱ ȱ ȱ JOHNȱANIANOȱmadeȱhisȱearliestȱbowsȱunderȱtheȱ HOWARDȱGREENȱhasȱaȱworkshopȱinȱFife,ȱScotland.ȱHeȱ guidanceȱofȱWilliamȱSalchowȱandȱhasȱworkedȱwithȱbowȱ initiallyȱtrainedȱasȱaȱprofessionalȱcellistȱandȱhasȱbeenȱ
Recommended publications
  • A Pedagogical Analysis of Dvorak's Cello Concerto in B Minor, Op
    A Pedagogical Analysis of Dvorak’s Cello Concerto in B Minor, Op. 104 by Zhuojun Bian B.A., The Tianjin Normal University, 2006 M.Mus., University of Victoria, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Cello) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2017 © Zhuojun Bian, 2017 Abstract I first heard Antonin Dvorak’s Cello Concerto in B Minor, Op. 104 when I was 13 years old. It was a memorable experience for me, and I was struck by the melodies, the power, and the emotion in the work. As I became more familiar with the piece I came to understand that it holds a significant position in the cello repertory. It has been praised extensively by cellists, conductors, composers, and audiences, and is one of the most frequently performed cello concertos since it was premiered by the English cellist Leo Stern in London on March 19th, 1896, with Dvorak himself conducting the Philharmonic Society Orchestra. In this document I provide a pedagogical method as a practical guide for students and cello teachers who are planning on learning this concerto. Using a variety of historical sources, I provide a comprehensive understanding of some of the technical challenges presented by this work and I propose creative and effective methods for conquering these challenges. Most current studies of Dvorak’s concerto are devoted to the analysis of its structure, melody, harmony, rhythm, texture, instrumentation, and orchestration. Unlike those studies, this thesis investigates etudes and student concertos that were both precursors to – and contemporary with – Dvorak’s concerto.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein Iolinv Methods
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein iolinV Methods. Allan Riggs Fuller Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Fuller, Allan Riggs, "Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein ioV lin Methods." (1974). LSU Historical Dissertations and Theses. 8156. https://digitalcommons.lsu.edu/gradschool_disstheses/8156 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. ^'SYNOPSES, COMPARISONS, AND EVALUATIONS OF THE LEOPOLD AUER AND ERICH DOFLEIN VIOLIN METHODS / A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Allan Riggs Fuller B.M., Central College, 1953 M.M,, University of Rochester, 1956 December, 1974 UMI Number: DP69543 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69543 Published by ProQuest LLC (2015).
    [Show full text]
  • 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.
    [Show full text]
  • Practical Acoustics of Instruments of the Violin Family (Bridging Science and Art)
    Jan James Practical Acoustics of Instruments of the Violin Family (Bridging Science and Art) First English Edition Henry Strobel Publisher Henry Strobel, Violin Maker & Publisher 10878 Mill Creek Road Aumsville, Oregon 97325 USA www.HenryStrobel.com First English Edition March 2002 ISBN 1-892210-05-3 Library of Congress Control Number 2002103631 Copyright © 2002 Henry A. Strobel All rights reserved. No part of this book may be reproduced in any form or by any means without the prior written permission of Henry Strobel. Printed in the United States of America This book was first published in Dutch in 1999 as Akoestiek van de Instrumenten van de Violenfamilie by Broekmans & Van Poppel, Amsterdam. This edition was set by Henry Strobel in Adobe Caslon using WordPerfect 2 7. The Bow 7.1 A short history damaged or unsatisfactory bow for various reasons, was simply thrown away. Those who manufactured A stringed instrument without a bow is almost bows in this period (usually violin makers’ useless, on the other hand a bow without an assistants) were held in low esteem. Not until late instrument is also meaningless; the two belong in the 18th century did bow making become a together. There are no definitive indications that separate profession and the practice of stamping a bowed instruments have always been preceded by bow with the real maker’s name only became widely plucked ones [67]; bowed instruments have existed established after 1800. long before the violin family appeared. In contrast to the instruments of the violin family, It is a curious fact that it is a relatively recent notion the bow has undergone quite an extensive evolution (since c.
    [Show full text]
  • Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair
    Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair Lie on the foor. Feel your shoulder blades resting on the foor. THe sound produced by a spiccato bow stroke is one of tHe most Any superfuous tension in the head neck and shoulder blade unique articulations tHat bowed string instruments can project. will become noticeable. Feel your lower back touching the foor THis is a sHort and crisp, yet resonant articulation usually used in and your hips completely free. faster passages of music composed by composers beginning in Place you right elbow on a piano or stand. Enjoy not needing to tHe Classical era. THe word spiccato is derived from an Italian verb hold up your arm. Move your forearm freely. side of tHe bow stick octagon tHat is closest to tHe player tHat means “to separate” or “witH Humor.” Its “liveliness” comes (on violin and viola) and tHe rigHt Hand pointer sHould Eventually you need to integrate all these new kinesthetic feelings from tHe energy tHat occurs wHen tHe bow bounces in “drop” into a sensation for the whole body. Find an image or a couple of be wrapped around the bow stick in its frst knuckle one and “lift” cyclical movements. Marked witH a dot above or below closest to the tip of the fnger. words that help you recalling that feeling when you play. Doing tHe note Head (like staccato), or sometimes simply denoted by this ultimately helps us to free our movements, feel physically tHe word spiccato written below tHe passage, spiccato presents • The instrument (violin and viola) needs to be as parallel better, and channel all of our energy into producing a beautiful itself in tHree variations: (a) ligHt spiccato tHat is played rigHt at to the foor or ground as possible because that will sound, allowing nothing to interfere with the music.
    [Show full text]
  • Im Himmel Und Auf Erden 2 Einleitung
    chordae freybergenses Susanne Scholz Im Himmel und auf Erden 2 Einleitung Diese CD hat mehrere Geschichten zu erzählen: Zum einen dokumentiert sie den Klang der Kopien der Freiberger Streichinstrumente – in variablen Besetzungen und wechselnden Registern gespielt und in verschiede- ner Akustik aufgenommen. Damit wird sie Teil des großen Forschungsprojekts zu diesen einmaligen Renaissanceinstrumenten aus dem Freiberger Dom, entstanden vor 1594, und bezeugt das Resultat des langjährigen Umgangs des Ensembles chordae freybergenses mit den Instrumenten und der Befassung mit den damit verbundenen besonderen Spieltechniken. Zweitens zeigt sie mit der Musik von Antonio Scandello, der aus Italien kommend und konvertiert zum Protestantismus am Dresdener Hof zum Hofkapellmeister aufstieg, die engen Zusammenhänge zwischen Politik und Religion, die sich in der zweiten Hälfte des 16. Jahrhunderts auch stark in der Musik manifestierten. Gerade Lebensgeschichten wie jene Scandellos und seine Musik machen aber deutlich, wie auch in dieser Zeit die strengste Trennung der verfeindeten religiösen Lager zum Teil überwunden wurde. Der Anspruch, mit den beiden verschiedenen Werkgattungen, nämlich der neapoli- tanischen Canzon und dem deutschen Kirchenlied, auch die verschiedenen Räume, in denen diese beiden Gattungen wohl zu hören gewesen sein werden, abzubilden, bringt uns zur dritten Besonderheit dieser Aufnahme, nämlich der Aufnahmetech- nik. Die Raumakustik ist bei historischen Instrumenten in besonderem Maße Teil des Instrumentenklanges – ganz besonders trifft dies auf die fünf Freiberger Renais- sancegeigen zu: Gerade die Kopien dieser Streichinstrumente finden sich klanglich in einmaliger Weise in einer großen Raumakustik zusammen und formen in den luftigen Höhen weiter Räume einen klar definierten Ensembleklang, der jenem ei- 3 ner Orgel mit besonderer, heller Registrierung ähnlich ist und von Anfang an den Gedanken an Engelsmusik nahe legt.
    [Show full text]
  • Volume I March 1948
    Complete contents of GSJs I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XXXV XXXVI XXXVII XXXVIII XXXIX XL XLI XLII XLIII XLIV XLV XLVI XLVII XLVIII XLIX L LI LII LIII LIV LV LVI LVII LVIII LIX LX LXI LXII LXIII LXIV LXV LXVI LXVII LXVIII LXIX LXX LXXI LXXII LXXIII GSJ Volume LXXIII (March 2020) Editor: LANCE WHITEHEAD Approaching ‘Non-Western Art Music’ through Organology: LAURENCE LIBIN Networks of Innovation, Connection and Continuity in Woodwind Design and Manufacture in London between 1760 and 1840: SIMON WATERS Instrument Making of the Salvation Army: ARNOLD MYERS Recorders by Oskar Dawson: DOUGLAS MACMILLAN The Swiss Alphorn: Transformations of Form, Length and Modes of Playing: YANNICK WEY & ANDREA KAMMERMANN Provenance and Recording of an Eighteenth-Century Harp: SIMON CHADWICK Reconstructing the History of the 1724 ‘Sarasate’ Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research: JEAN-PHILIPPE ECHARD ‘Cremona Japanica’: Origins, Development and Construction of the Japanese (née Chinese) One- String Fiddle, c1850–1950: NICK NOURSE A 1793 Longman & Broderip Harpsichord and its Replication: New Light on the Harpsichord-Piano Transition: JOHN WATSON Giovanni Racca’s Piano Melodico through Giovanni Pascoli’s Letters: GIORGIO FARABEGOLI & PIERO GAROFALO The Aeolian harp: G. Dall’Armi’s acoustical investigations (Rome 1821): PATRIZIO BARBIERI Notes & Queries: A Late Medieval Recorder from Copenhagen:
    [Show full text]
  • Lsm11-6 Ayout
    sm20-7_EN_p01_coverV2_sm20-1_BI_pXX 15-06-03 12:55 PM Page 1 RCM_LaScenaMusicale_4c_fp_June+Aug15.qxp_Layoutsm20-7_EN_p02_rcmAD_sm20-1_BI_pXX 15-06-03 12:56 1 2015-05-27PM Page 2 9:33 AM Page 1 2015.16 Terence CONCERT Blanchard SEASON More than 85 classical, jazz, pop, world music, and family concerts to choose from! Koerner Hall / Mazzoleni Concert Hall / Conservatory Theatre Igudesman & Joo Daniel Hope Vilde Frang Jan Lisiecki SUBSCRIPTIONS ON SALE 10AM FRIDAY JUNE 12 SINGLE TICKETS ON SALE 10AM FRIDAY JUNE 19 416.408.0208 www.performance.rcmusic.ca 273 BLOOR STREET WEST (BLOOR ST. & AVENUE RD.) TORONTO sm20-7_EN_p03_torontosummerAD_sm20-1_BI_pXX 15-06-03 12:57 PM Page 3 CELEBRATING 10 YEARS JUL 16-AUG 9 DANISH STRING KARITA MATTILA QUARTET GARRICK AMERICAN OHLSSON AVANT-GARDE DANILO YOA ORCHESTRA OF THE AMERICAS PÉREZ WITH INGRID FLITER AND MUCH MORE! UNDER 35 YEARS OLD? TICKETS ONLY $20! TORONTOSUMMERMUSIC.COM 416-408-0208 an Ontario government agency un organisme du gouvernement de l’Ontario sm20-7_EN_p04_TOC_sm20-1_BI_pXX 15-06-03 12:58 PM Page 4 VOL 20-7 JUNE/JULY/AUGUST 2015 CONTENTS 10 INDUSTRY NEWS 11 Orchestre National de Jazz - Montréal 12 Jazz Festival Picks 14 Classical Festival Picks 19 Arts Festival Picks 21 Summer Listening GUIDES 22 Canadian Summer Festivals 37 REGIONAL CALENDAR 38 CONCERT PREVIEWS YOA ORCHESTRA OF THE AMERICAS 6 FOUNDING EDITORS PUBLISHER OFFICE MANAGER TRANSLATORS SUBSCRIPTIONS Wah Keung Chan, Philip Anson Wah Keung Chan Brigitte Objois Michèle Duguay, Véronique Frenette, Surface mail subscriptions (Canada) cost EDITOR-IN-CHIEF SUBSCRIPTIONS & DISTRIBUTION Cecilia Grayson, Eric Legault, $33/ yr (taxes included) to cover postage and La Scena Musicale VOL.
    [Show full text]
  • Bow Strings Article
    Poetry in Motion: Benoît Rolland on the Making of Bows 1500 and 1515 STRINGS JUNE 2, 2016 Benoît Rolland Award-winning, Parisian-born bow maker Benoît Rolland studied both piano and violin, graduating from the Paris and Versailles conservatoires. He trained as a bow maker in Mirecourt, France, (1971–75) with master maker Bernard Ouchard, and opened his first studio in Paris in 1976. His bows have been played by Yehudi Menuhin, Mstislav Rostropovich, Yo-Yo Ma, Anne-Sophie Mutter, Kim Kashkashian, Lisa Batiashvili, and many other professional musicians. He moved permanently to Boston in 2001, and was awarded a MacArthur Fellowship in 2012. Rolland’s career is multifaceted: traditional bow making entwined with contemporary art, innovation, and education. In 2016 he is drafting an educational initiative called the Heritage Project. With it, Rolland aims to communicate his bow-making knowledge and celebrate the heritage of the French School of bow making, while also supporting continued innovation. Rolland penned this feature to commemorate the making of his 1,500th and 1,515th signed bows. The process, though exacting, is revealed to be as much poetry as it is motion. December 2014 I am about to make my 1,500th signed bow. This is a moving moment, after 45 years making bows nearly every day. I’ve built 1,850 pieces actually, starting with 350 bows for apprenticeship. And I’ve tested 20,000 bows over the years. As numbers grow, so does my fascination with performing music—its complexity, and the commitment and energy it demands. I postpone the making of Bow 1500.
    [Show full text]