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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. -
Quartetto Di Cremona
QUARTETTO DI CREMONA Since its formation in 2000, the Quartetto di Cremona has established a reputation as one of the most exciting chamber ensembles on the international stage, garnered universal acclaim for its high level of interpretive artistry. The 2019/20 season includes a tour in North America and one in Holland, performances of the complete Beethoven quartets’ cycle in Italy, Albania and Taiwan, concerts in Germany, Spain, France, Switzerland and Scandinavia, as well as several recitals at the major Italian musical institutions. 2020/21 season’s highlights include concerts in Geneva, Milan, Rome, at the Wigmore Hall in London and the debut at the Carnegie Hall in New York. In 2020 the Quartetto di Cremona celebrates its first twenty years of career, an important milestone for an Italian ensemble. For the occasion, distinguished concerts and record projects will be developed over consecutive seasons: several performances of the complete Beethoven quartets’ cycle, further CDs’ releases, a tour with Bach’s “The Art of the Fugue”, new music expressly composed for the Quartet. Noteworthy previous recording projects include the prizewinning Beethoven’s string quartets cycle, completed in 2018, and a double CD dedicated to Schubert, released in Spring 2019 and featuring cellist Eckart Runge, which attracted high levels of acclaim in the international press. This latter album was recorded with the Stradivarius set of instruments named “Paganini Quartet”, on kind loan from the Nippon Music Foundation (Tokyo). Frequently invited to present masterclasses in Europe, Asia, North and South America, since 2011 they are Professors at the “Walter Stauffer Academy” in Cremona. -
Volume 60, Number 07 (July 1942) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1942 Volume 60, Number 07 (July 1942) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 60, Number 07 (July 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/237 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]. — . UNITED WE IMP SUMPS DR. ALFRED HOLLINS, eminent blino the organist and composer, who had held West position as organist at St. George's Church, Edinburgh, since 1337, died there Sep- on May 17. Dr. Hollins was bom He tember 11, 1865, in Hull, England. had made many concert appearances Li the United States and Canada. DR. CHARLES HF.1N- ROTH, Chairman of the Music Department of City College, New York, and for twenty-five years JAe M/ot£d o/Mmie organist and director of music at Carnegie In- stitute of Technology, Pittsburgh, has retired. Chaubs HERE, THERE. AND EVERYWHERE A former president of Hunkoth the American Associa- IN THE MUSICAL WORLD tion of Organists, Prof. Heinroth is said to be the first man to play organ music artists very active In great influence in Orchestra was assisted by visiting over the radio. -
Nicola Amati & the 'Alard'
10 Nicola Amati & the ‘Alard’ ROGER HARGRAVE CONTINUES HIS SERIES ON THE AMATI FAMILY WITH AN EXPLORATION OF THE CRAFT OF NICOLA, GRANDSON OF ANDREA, AND AN EXAMINATION OF THE FAMOUS ‘ALARD’ VIOLIN As regular readers will recall, I promised three ar - of roses for Nicola. In fact, he must have been a fairly ticles on the Amati family of violin makers. The first, tough old bird, judging by the few details left to us. which was published in THE STRAD, December 1991, Although almost nothing definite is known about his covered the work of Andrea Amati, the founder of the early life, it is assumed that Nicola was apprenticed to Amati dynasty. The second article was to have been his father and uncle at an early age. Unquestionably, about Andrea's two sons, known as the Brothers Nicola was a superbly trained craftsman and by the Amati. Finally, I was to have covered the work of 1620s his hand was clearly the dominant one in the Nicola 1 Amati, the grandson of Andrea. Unfortu - production at the Amati workshop. nately, for various technical reasons it has been nec - essary to rearrange the natural order of these Two outstanding instruments in the Soviet Union articles. I hope that the reader will excuse this. Collection Exhibition, which took‑ place in Cremona in 1987, demonstrate this admirably. These violins, which bear the labels of Antonio and Hieronymus, re - spectively dated 1628 and 1629, are clearly the work Nicola Amati of Nicola. A comparison of the outlines also shows that these instruments were probably made on the same mould as that of the `Alard' Amati 1649, illus - Towards the end of the 16th century, the fame of trated here. -
Rare Violins Violas Violoncellos of the Seventeenth Eighteenth And
V I O INS V I O AS V I O O N E O S L , L , L C LL O F T H E S E V E NT E E N T H E I G H T E E N T H A N D NI N E T E E NT H C E N TU R I E S O F T HE WU R L I T Z E R C O L L E C T I O N PAR T I T H E RU D O L P H W UR L I T Z E R C O M P A N Y C I NC I NNAT I NE W YOR K LO S ANG E L E S C HI C AGO S AN F R ANC I S C O D E T R O I T C O PYR GHT 1 1 B Y I , 93 , T HE RU D OLPH WU RLITZ ER C OM PANY JNN O UN CE M E N T T is our ri e e as well a s a easu re to u sh this ear a p vil g , pl , p bli y comple te c a talogue of the Wurlitzer Collection o f rare old o n o as a nd o on e os h h in the n eres of con ve vi li s , Vi l vi l c ll w ic , i t t to the reader a ear in two o u es ni emce , will pp v l m Par I the resen o u e o r ses des r on s and u s t , p t v l m , c mp i c ipti ill of ns ru en s e on n to our o e on u to tr ations i t m t b l gi g C ll cti , p A B ow Su n o Par I i u d ara an u e . -
The Amati Method Dangerous, and Journeys Were Measured in Weeks, the Po River System of Northern Italy Was a Major Ar - Tery of Trade
1 Please take time to read this Poland, and the towns of Venice, Brescia, and Cre - mona in Italy. It is now accepted that many artisans warning! played a role in its development, evolving as it prob - ably did, from a number of instruments. Certainly, virtually every feature of the violin occurs either on Although the greatest care has been taken while surviving instruments or in iconographic material compiling this site it almost certainly contains many made before the time of Cremona’s first known vio - mistakes. As such its contents should be treated with lin makers. extreme caution. Neither I nor my fellow contribu - tors can accept responsibility for any losses resulting For the art of violin making to become established, from information or opinions, new or old, which are and to evolve, an enormous network of supportive reproduced here. Some of the ideas and information trades would have been essential. These must have have already been superseded by subsequent re - provided everything, from highly sophisticated spe - search and development. (I have attempted to in - cialized tools, printing blocks, tone woods, chemicals, cluded a bibliography for further information on oils, resins, gums, pigments, precious metals and such pieces) In spite of this I believe that these arti - stones, to such mundane articles as horse-hair, twine, cles are still of considerable use. For copyright or wire, nails, glues, gut, leather, parchment, paper and other practical reasons it has not been possible to re - cloth. Special accessories were also required. Pegs, produce all the illustrations. I have included the text tailpieces, strings, rosin, bows and cases must have for the series of posters that I created for the Strad been produced in or close to the main workshops. -
Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi
Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi To cite this version: Marco Pérez, Emanuele Marconi. Wooden Musical Instruments - Different Forms of Knowledge: Book of End of WoodMusICK COST Action FP1302. Marco A. Pérez; Emanuele Marconi. 2018, 979-10-94642-35-1. hal-02086598 HAL Id: hal-02086598 https://hal.archives-ouvertes.fr/hal-02086598 Submitted on 1 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Musical instrument are fundamental tools of human expression of Knowledge Forms — Diferent Instruments Musical Wooden that reveal and reflect historical, technological, social and cultural aspects of times and people. These three-dimensional, polyma- teric objects—at times considered artworks, other times technical objects—are the most powerful way to communicate emotions and to connect people and communities with the surrounding world. The participants in WoodMusICK (WOODen MUSical Instrument Conservation and Knowledge) COST Action FP1302 have aimed to combine forces and to foster research on wooden musical instruments in order to preserve, develop and disseminate knowledge on musical instruments in Europe through inter- and transdisciplinary research. This four-year program, supported by COST (European Cooperation in Science and Technology), has involved a multidisciplinary and multi-national research group composed of curators, conservators/restorers, wood, material and mechanical scientists, chemists, acousticians, organologists and instrument makers. -
Old Violins and VIOLIN LORE
CORNELL UNIVERSITY LIBRARY From the library of Dr. Ernest Bueding MUSIC II Hill mil nil 3 1924 063 24 46^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924063241461 OLD VIOLINS PAGANINI. From the worlt of IJie aiiist, Ingres. Old Violins AND VIOLIN LORE BY Rev. H. R. HAWEIS. WITH 13 PLATES. LONDON WILLIAM REEVES Published by William Reeves Bookseller Ltd., la Norbury Crescent, London, S.W.16. Copyright. All Rights Reserved. Printed in England by Lowe &• Brydone (Printers) Ltd., London, N.W.IO. CONTENTS CHAP. FAQB PRELUDE 7 I. VIOLIN GENESIS 15 IL VIOLIN CONSTITUTION .... 22 III. VIOLINS AT BRESCIA 30 IV. VIOLINS AT CREMONA .... 42 V. VIOLINS AT CREMONA {eontinned) . 60 VI. VIOLINS IN GERMANY .... 91 Vn. VIOLINS IN FRANCE 104 VIIL VIOLINS IN ENGLAND 118 IX. VIOLIN VARNISH 146 X. VIOLIN STRINGS 153 XI. VIOLIN BOWS 161 XII. VIOLIN TARISIO 171 XIIL VIOLINS AT MIRECOURT, MITTEN- WALD, AND MARKNEUKIRCHEN . 186 XIV. VIOLIN TREATMENT 198 XV. VIOLIN DEALERS, COLLECTORS, AND AMATEURS 214 POSTLUDE 241 DICTIONARY OF VIOLIN MAKERS . .243 BIBLIOGRAPHY 285 DESCRIPTION OF PLATES 237 V — OLD VIOLINS PRELUDE What is the secret of the violin? Why is it that when a gi'eat violinist appears all the other soloists have to take a back seat ? The answer is : the fascination of the violin is the fascination of the soul unveiled. No instrument—the human voice hai'dly excepted provides such a rare vehicle for the emotions—is in such close touch with the molecular vibrations of thought and with the psychic waves of feeling. -
Rare Old Violins
LYON & HEALY'S CATALOGUE RARE OLD VIOLINS FORTY-FIFTH YEAR ALSO THEIR CELEBRATED CREMONATONE NEW VIOLINS /f OJ LYON & HEALY WABASH AVE. AND ADAMS STREET CHICAGO - i 4 3Qtmtttb wxh 5term& We take pleasure in presenting this edition of] other similarly priced violin in our collection for one our catalog of Rare Old Violins, — which marks the year from date of first sale. Any old violin may, 45th year of our business. be returned AT ANY TIME and the full amount It has been our aim since its inception to keep will be allowed toward the price of a better instru our collection of fine old Violins up to the highest ment. possible standard of excellence. OUR PRICES in this catalog are NET. In pursuit of this policy our violin connoisseur OUR TERMS are cash or easy monthly pay has made many European trips for the purchase of ments. If the latter we expect a cash payment of instruments, and we have spared no expense to keep about 20 per cent, and the balance divided into our collection well stocked at all times with choice monthly payments extending over a period of two specimens; and the public has rewarded us with years, to bear 6 per cent interest per annum. A its confidence and patronage, for which we are minimum payment of $5.00 per month is expected deeply grateful. We bespeak a continuance of on the purchase of instruments of low price. patronage for the future. We take violins in exchange at their full value to Our present collection is rich in gems, some of us, and will be glad to give information on this point which are unequaled in the violin world. -
Museum Map and Description Mdv: Stories and Emotions of Five Centuries of Cremonese Violinmaking
Fondazione Museo del Violino Antonio Stradivari Cremona Museum map and description www.museodelviolino.org MdV: stories and emotions of five centuries of Cremonese violinmaking An indissoluble and ancient link exists between Cremona and in Cremona directly through the great master violinmakers and violinmaking.... The opening of the Museo del Violino (MdV) their instruments: Andrea Amati and his descendants; Antonio adds a splendid new page to this long history and presents an Stradivari; Giuseppe Guarneri “del Gesù” and his family; important structure to the international community that will Lorenzo Storioni and Francesco Rugeri. No other museum in serve as a museum, auditorium and research centre. Europe can boast such an important and complete display of At the MdV visitors can explore five centuries of violinmaking string instruments from the school of Cremona. The 19th and 20th centuries are documented through the work of the greatest Italian violinmakers of the time and the winners of the Triennial Competition, while in a series of dedicated spaces, the museum also pays significant tribute to contemporary violinmakers. Multimedia installations and a wealth of documentary displays allow everyone – from children to the most expert visitors – to enjoy an exciting and enthralling visit in which history and instruments, fragrances, sounds and images converge to give shape to stories, dreams and emotions. In the foreground, a work of the sculptor Helidon Xhixha in Piazza Marconi A general view of the “Giovanni Arvedi” Auditorium in the MdV-Museo del Violino The culture of excellence, which from its early steps has guided the highest possible finished standards. The excellence is not fuelled only realization of the Museo del Violino, is perfectly synthesized in the by engineering skill and sophisticated calculations, but also by a Giovanni Arvedi Auditorium. -
The Great Violins Volume 3
The Great Violins Volume 3 Solo works from The Klagenfurt Manuscript (anonymous, c. 1685) Note: titles in quotemarks are written in the MS (sometimes abbreviated therein). Where none are given there, descriptions allocated by the soloist are shown here in square brackets. “Normal tuning” indicated if no scordatura settings printed. Disc A total duration 71:41 1 ‘Præambulus’ | A major| Scordatura AEae 1:09 27 [Minuetto] | D major| Scordatura ADad 1:14 2 [Allemande] | A major| Scordatura AEae 1:03 28 ‘Preambulus’ | A major| Scordatura AEae 1:33 3 [Minuetto] | A major| Scordatura AEae 1:51 29 [Minuetto] | A major| Scordatura AEae 1:55 4 ‘Finale’ | A major| Scordatura AEae 1:13 30 [Gigue] | A major| Scordatura AEae 1:22 5 ‘Allamand’ | G major 1:17 31 [Allemande] | A major| Scordatura AEae 1:50 6 ‘Courent’ | G major 1:32 32 [Passepied] | A major| Scordatura AEae 2:02 7 ‘Sarabande’ | G major 1:08 33 [Sarabande] | A major| Scordatura AEae 1:24 8 [Gigue] | A major| Scordatura AEae 2:21 34 [Courent] | A major| Scordatura AEae 1:01 9 [Præambulus] | G major| Scordatura GDad 1:16 35 ‘Double’ | A major| Scordatura AEae 1:11 10 [Courent] | G major| Scordatura GDad 1:33 36 [Double] | A major| Scordatura AEae 1:47 11 ‘Sarabande’ | G major| Scordatura GDad 1:17 37 [Minuetto] | A major| Scordatura AEae 1:05 12 ‘Gigue’ | G major| Scordatura GDad 1:21 38 [Finale] | A major| Scordatura AEae 1:25 13 ‘Preludio’ | G minor| Scordatura GDad 1:07 39 ‘Pfefferstossl’ | D major| Scordatura AEad 1:01 14 [Allemande] | G minor| Scordatura GDad 1:53 40 [Sarabande] | D -
Violin Strings Adhesions
Rev. Inst. Med. Trop. Sao Paulo 55(6):435-436, November-December, 2013 doi: 10.1590/S0036-46652013000600014 LETTER TO THE EDITOR ANALOGIES IN MEDICINE: VIOLIN STRINGS ADHESIONS Belo Horizonte, August, 2013 Dear Sir read before the Society of Obstetrics and Gynecology of Montevideo, Uruguay. In his subsequent publications the clinical features of the acute Brief history of the violin. The emergence of the violin in Upper stage of the disease were completely and graphically depicted. Little Italy: The violin evolved from the viola da braccio family between information of a clinical nature has been added since. Unfortunately, 1520-1550, the Upper Italian towns of Milan, Brescia, Cremona and none of his work, printed in Spanish and French, was widely circulated Venice being the most important centers. The term “violin” (from the in the United States. Hence it was not until 1930 that Curtis called Italian word violino) is derived from the word viola and had the general attention to the frequent coexistence of gonococcic salpingitis and meaning “small stringed instrument” rather than “small viola”. The violin string adhesions between the anterior surface of the liver and the earliest surviving violins are those made by the Cremonese violin maker anterior abdominal wall discovered at operation – conditions indicating, Andrea Amati (1500-1576) in the year 1542. They still have only three presumably, a chronic, healing or healed perihepatitis. Fitz-Hugh, in strings: G3, D4 and A4. It was probably not until after 1550 that Amati 1934, described three cases in the acute stage, including one in which made the first violins with four strings.