Violin Strings Adhesions
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Borletti-Buitoni Trust Press Release: 21 September 2020 CELEBRATING 20 YEARS Italian Postcards Avie AV2436 Release date 20 November 2020 Hugo Wolf (1860-1903) Italian Serenade in G Wolfgang Amadeus Mozart (1756-1791) String Quartet No.1 in G, K.80, Lodi Nimrod Borenstein (1969 -) Cieli d’Italia, Op.88 for string quartet Pyotr Ilych Tchaikovsky (1840-1893) String Sextet in D minor, Op.70, Souvenir de Florence An album of chamber works inspired by the beauty of Italy, including a work specially commissioned for the recording, celebrates the 20th birthday of the renowned Italian ensemble Quartetto di Cremona. It is also, in part, a tribute to the late Italian philanthropist and music lover Franco Buitoni, co-founder with his wife, Ilaria, of the Borletti-Buitoni Trust. A special award was created in his name, which was designated in 2019 for Italian musicians who promote and encourage chamber music at home and throughout the world. The Franco Buitoni Award made this recording possible for the Quartet, which also won a BBT Fellowship award in 2005. With its Italian heritage to the fore, the Quartet chose works by composers who travelled to Italy and were inspired by its breathtaking scenery, rich culture and profound sense of history. The country’s splendours undoubtedly fed the creative spirit of Hugo Wolf, best known as one of the finest eXponents of the art song, including his celebrated Italienishes Liederbuch. The Italian Serenade is his most famous instrumental work, originally written for string quartet, but never performed publicly in Wolf’s lifetime and only published shortly after his death. -
A Micro-Tomographic Insight Into the Coating Systems of Historical Bowed String Instruments
coatings Article A Micro-Tomographic Insight into the Coating Systems of Historical Bowed String Instruments Giacomo Fiocco 1,2 , Tommaso Rovetta 1 , Claudia Invernizzi 1,3 , Michela Albano 1 , Marco Malagodi 1,4, Maurizio Licchelli 1 , Alessandro Re 5 , Alessandro Lo Giudice 5, Gabriele N. Lanzafame 6 , Franco Zanini 6, Magdalena Iwanicka 7, Piotr Targowski 8 and Monica Gulmini 2,* 1 Laboratorio Arvedi di Diagnostica Non-Invasiva, CISRiC, Università degli Studi di Pavia, Via Bell’Aspa 3, 26100 Cremona, Italy; giacomo.fi[email protected] (G.F.); [email protected] (T.R.); [email protected] (C.I.); [email protected] (M.A.); [email protected] (M.M.); [email protected] (M.L.) 2 Dipartimento di Chimica, Università di Torino, Via Pietro Giuria 5, 10125 Torino, Italy 3 Dipartimento di Scienze Matematiche, Fisiche e Informatiche, Università degli Studi di Parma, Parco Area delle Scienze 7/A, 43124 Parma, Italy 4 Dipartimento di Musicologia e Beni Culturali, Università degli Studi di Pavia, Corso Garibaldi 178, 26100 Cremona, Italy 5 Dipartimento di Fisica, Università di Torino and INFN, Sezione di Torino, Via Pietro Giuria 1, 10125 Torino, Italy; [email protected] (A.R.); [email protected] (A.L.G.) 6 Elettra-Sincrotrone Trieste S.C.p.A., S.S. 14 km 163.5, Basovizza, 34194 Trieste, Italy; [email protected] (G.N.L.); [email protected] (F.Z.) 7 Institute of Art Conservation Science, Department of Fine Arts, Nicolaus Copernicus University, Sienkiewicza 30/32, 87-100 Toru´n,Poland; [email protected] 8 Institute of Physics, Department of Physics, Astronomy and Informatics, Nicolaus Copernicus University, Grudzi ˛adzka5, 87-100 Toru´n,Poland; ptarg@fizyka.umk.pl * Correspondence: [email protected]; Tel.: +39-011-670-5265 Received: 21 December 2018; Accepted: 28 January 2019; Published: 29 January 2019 Abstract: Musical instruments are tools for playing music, but for some of them—made by the most important historical violin makers—the myths hide the physical artwork. -
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. -
1002775354-Alcorn.Pdf
3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin....... -
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. -
Historical Development of the Cello
Historical development of the cello The cello emerged in Italy in the mid 16th century. The chief predecessor of the modern cello was the bassa viola da braccio. The term “violoncello” was used from the mid 17th century. The earliest cellos had three strings. When four strings became used, they were initially tuned a tone lower than the present day cello (i.e. Bb, F, C and G). Occasionally, cellos were made with five strings. The violin family (including the cello but excluding the double bass) developed independently of the viol family (which flourished in the 15th to 17th centuries, until it became eclipsed by the popularity of the violin family). A consort of viols would consist of treble, tenor and bass (the latter also known as viola da gamba), although other sizes did exist (such as the contrabass, or violone). Viols are fretted, and held on or between the knees when played. They typically have six strings, with a flatter bridge than the violin’s or cello’s, making chord playing easier. Other differences, when compared with the violin family, include a flatter back, sloping shoulders, and thinner wood and strings. The bow used for the viol is slightly convex, unlike the concave bow now used by violinists and cellists. Early violin and cello makers, mostly based in northern Italy, included Giovan Giacomo Dalla Corna, Zanetto de Michelis da Montechiaro, Gasparo da Salò, Giovanni Paolo Maggini, and, most notably, Andrea Amati (c.1505-c.1576; there are surviving Amati violins dating from 1564). The tradition was continued by Andrea’s sons Antonio and Girolamo, Girolamo’s son Nicolo (1596-1684), and Nicolo’s students Andrea Guarneri and Antonio Stradivari. -
Delmas Double Bass Auction
Tarisio Blog Page 1 of 5 Auction | Register to Bid Edit Profile Home About Us Blog Archives & Results Bookstore Contact Us In the Press Coming Events « “The ex-Castelbarco” Composite Stradivarius of 1707 From our March 2011 London auction: a violin by Carlo Giuseppe Oddone » The “Delmas” double bass by Giovanni Paolo Maggini Tarisio is delighted to present the ‘Delmas’ double bass by Giovanni Paolo Maggini. It is the first Maggini bass to be offered at auction for over a century and is in extraordinarily fine condition for its age. The following article by historian and expert Duane Rosengard provides an extensive history and analysis of this rare instrument. ex- Joseph Delmas “Boussagol” A FINE AND RARE ITALIAN BASS BY GIOVANNI PAOLO MAGGINI, BRESCIA, c. 1610 Labeled, “Gio Paolo Magini in Bressa…” Also bearing a repair label, “Andreas Miller in Insbruck Repariert 1836…” LOB 101.9 cm or 104.0 cm including the button * Sold with a certificate from the Rembert Wurlitzer Co., New York (July 20, 1960) signed by Rembert Wurlitzer. A certificate available from Duane Rosengard, Haddonfield. http://tarisio.com/wp/2011/03/the-delmas-double-bass-by-giovanni-paolo-maggini-4-2/ 4/9/2011 Tarisio Blog Page 2 of 5 The ‘Delmas’ Maggini double bass by Duane Rosengard Provenance The ‘Delmas’ Maggini double bass is named for Alphonse-Joseph Delmas ‘dit Boussagol’ (1891–1958), one of the foremost French double bassists and pedagogues of the 20th century. He was a pupil of Eduard Nanny at the Conservatoire National in Paris from 1909 until he matriculated with a First Prize in 1911. -
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. -
Evolution of the Cello in Music Joshua Propst Western Kentucky University, [email protected]
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects 6-28-2017 Evolution of the Cello in Music Joshua Propst Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Composition Commons, History Commons, and the Music Performance Commons Recommended Citation Propst, Joshua, "Evolution of the Cello in Music" (2017). Honors College Capstone Experience/Thesis Projects. Paper 700. http://digitalcommons.wku.edu/stu_hon_theses/700 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. EVOLUTION OF THE CELLO IN MUSIC A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Music: Performance with Honors College Graduate Distinction at Western Kentucky University By Joshua C. Propst May 2017 ***** CE/T Committee: Sarah Berry, Chair Dr. Brian St. John Brittany Dodds Copyright by Joshua C. Propst 2017 I dedicate this thesis to my parents, Tom and Diana Propst, who are a great inspiration to me and have always encouraged and supported me throughout my journey toward becoming a professional musician. ACKNOWLEDGEMENTS I would first like to thank Sarah Berry, my cello professor and first reader for this CE/T. She has helped me grow in my knowledge of the cello and music as a whole over the last four years; I would not have been able to complete this without her. -
History of the Violin
History of the Violin Batchelder violin (USA) The earliest stringed instruments were mostly plucked (the Greek lyre). Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the erhu in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The modern European violin evolved from various bowed stringed instruments from the Middle East and the Byzantine Empire. It is most likely that the first makers of violins borrowed from three types of current instruments: the rebec, in use since the 10th century (itself derived from the Byzantine lyra and the Arabic rebab), the Renaissance fiddle, and the lira da braccio (derived from the Byzantine lira). -
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 .