„…Nice crafted, very good sounding instruments with rich powerful tone. The quality of his violins are fully compatible with fine modern Italian instruments…”
Gerald Brobst – violinist, collector and connoisseur, Washington DC
The reason to write this article is my conversation with Australian musician and teacher who teaches and plays in Germany and at home. I consulted him about the qualities of several instruments and he shared situation occurred with the end of the academic year 2012 – 2013 at the University of Music in Sydney: Young musician appeared on state examination for the award of degree – “Master of musical arts.” The Commission shall hear and…
Strong underestimation about acoustic possibilities of new made qualitative musical instruments from violin family exists at present. Instead of providing and rising the acoustic qualities of modern instruments, the violin making competitions with their regulations have a strong tendency towards the appearance only. There is an alarming trend on a world scale that the sound direction of the instruments in violin making as a function of contests valuation differs extremely from musicians expectations. Aims are divergent in achievement the following: sound characteristics and objective and precise estimation of acoustic qualities of modern instruments.
The varnish of the Old Italian violin makers of the period 1550 to 1750 has been the subject of considerable speculation and conjecture but of little scientific research for the last century. The fabulously increased value of these violins, the surpassing beauty of the varnish, the fact that no tangible records regarding the varnish have been left to posterity, and the atmosphere of mystery surrounding a “lost art,” have encouraged unbridled speculation to ridiculous extremes. Stradivarius appeared in a dream to one seeker of the secret of the varnish, according to a newspaper article; another investigator discovered the formula suddenly by accident, overnight. These “discoveries” are generally announced with indisputable certainty; but rarely arc at¬tempts made to reconcile the “discoveries” with the existing data concerning the varnish. The public has indulged in speculation also; nearly every old violin found in a garret is considered potentially a “Strad”—but rarely a Guarnerius or an Amati!
(excerpts from Merry P.Merrifield)
1.Jehan Le Begue Ms, 1431.
1.Recipe no. 117: Azzurrum sic fit. Contains a recipe for varnish: put the mastic and varnish (sandarac) in powder into the oil (olei communis) and stir it well with a stick, and when you see that they are dissolved, add the Greek pitch in powder, and let it boil a little, until the whole is incorporated. Let it stand for three days.