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amongst Andrea Amati annual rings attained axis back and belly bass bass-bar Bologna bow instruments Brescia celebrated century Chevandier and Wertheim choice of wood classical violin manufacture cloth coefficient of elasticity conductivity of sound conifers construction Cremona Cremonese Crwth Dardelli density dimensions doubt Duiffoprugcar equal experiments facture fibres fiddle Gaspar da Salo GERMAN ORIGIN given by Fetis Gofriller Guarneri instru Italian and Tyrolese Italian makers Italian tone Italian violin manufacture Italy Kerlino length London lute-makers lutes Luthier manufacture in Italy masters mechanical properties mensions ments millimetres modern violin musical Nicholas Amati note emitted Nurembourg Paris pitch present day Rebec regard Ruger Savart Savart's rods scientific seems sions sound-holes sound-post specimens Stainer Stradivari Straduarius string strument Swiss pine sycamore tables tain thick Tieffenbrucker timbre tion transverse tree varnish velocity of sound Venice vibrations Vienna viola violin makers violin-making Vuillaume whilst writer yield
Page 64 - BIOGRAPHICAL DICTIONARY OF FIDDLERS. Including Performers on the Violoncello and Double Bass, Past and Present. Containing a Sketch of their Artistic Career, together with Notes of their Compositions. By A. MASON CLARKE.
Page 64 - NOTICE OF ANTHONY STRADIVARI. The celebrated Violin Maker known by the name of Stradivarius, preceded by Historical and Critical Researches on the origin and Transformations of Bow Instruments, and followed by a Theoretical Analysis of the Bow and Remarks on Francis Tourte. By FJ FETIS.
Page 54 - Up to the present time it has not been possible to ascertain the exact causes of this lamentable mortality, which with more or less intensity always takes place among such infants, notwithstanding the utmost effort and care that has been used to combat the evil.
Page 3 - ... more at Venice ; Landolfo retained it at Milan till 1760, and with him it ended. In my next and last article I will deal with the varnish of Cremona, as illustrated by No. 91 and other specimens, and will enable the curious to revive that lost art if they choose. FOURTH LETTER August 31st, 1872.
Page 17 - ... the Rebec, which, without doubt, passed through Spain into France. Centuries elapsed, however, and a vast number of sometimes very extraordinary transformations were necessary before the violin acquired its existing form. Of these ancient varieties we are in possession of a compendious pattern-list derived from carvings in old churches and sketches in ancient manuscripts. The viola was the instrument of transition, which in its turn passed through many metamorphoses before it acquired a settled...
Page 56 - Duiffoprugcar a la Coste Sainct Sebastien a Lyon." A lute of the Lyons period, which I met with at the Neustift monastery, bore the simple signature: —Duiffoprugcar a Lyon. This is not the place to enter into technical details; but, judging from the few specimens which I myself have met with, and from the description of others, it seems really a matter for astonishment that he should have done so much, Violin Manufacture in Italy.
Page 51 - ... unknown to the Italian language, that he is not of Italian descent. Judging from the root, Kerl, the bearer of the name could only have been of Breton or German origin. But how could he have been transplanted from Brittany into Italy ? On the other hand, there is a great probability in favor of the emigration of himself or family from Germany ; for, at that time, the German lute-makers gravitated towards Northern Italy, as we observe in other cases. The name Gerle, or Kerle, is often met with...
Page 27 - He did not, however, occupy the position of master of the period in the same degree as did Amati, before him. His most distinguished disciple, Joseph Guarnerius (born 1683, died about 1745), called del Gesu, after the trade-sign which he adopted to distinguish him from a cousin of the same name—adhered, in the main, to his master's precepts, but differed from him so greatly in some particulars that their instruments cannot well be confounded. Unlike his master, who consistently strove to attain...
Page 84 - How TO MAKE A VIOLIN, Practically Treated, 2 Folding Plates and many Illustrations, by J. Broadhouse, cr. 8vo, bevelled cloth, 33.
Page 7 - Italian masters adhered to the whole time. Many thought to make them better, and deviated from the right path; and, moreover, a method was discovered of imitating the great Italian masters, and instruments were prepared which, unlike those that had once left their hands, had the appearance of Italian violins of a hundred years old and more, in a worn-out and even damaged condition. In order to make these new productions similar to the old ones in delicacy of tone and easy intonation, it was the custom...