Violin Forum/Message Board

MANFIO · Posted: Thu Jul 17, 2008 7:18 am Post subject:

Hi Oded! I think many players are dreaming with the day they will upgrade from a Strad to a Del Gesù....
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David Tseng · Posted: Fri Jul 18, 2008 9:37 pm Post subject:

The reason is like this: one could copy the shape and thickness as close as possible like Vuillaume did but still could not copy the sound. The varnish of many old violins had worn out but still sounded great. We therefore came to the conclusion that their wood is different.

Oded, I have not cracked i segreti di Stradivari. We all have to do our homework.

Oded Kishony · Posted: Sat Jul 19, 2008 7:28 am Post subject:

CT Dolan · Member Joined: 29 Jun 2008 Posts: 143

I asked the questions below in the forum on Stradivari's duds and thought Id ask them here as well, in case some of you are not navigating the other forum. So, here goes:

Of the two most highly-regarded makers, Stradivari and del Gesu, whom would you rather spend a week working alongside, and why? What if I threw Andrea Amati into the mix, where would he rate? I know these are rather silly questions, but humor me.

CT Dolan · Member Joined: 29 Jun 2008 Posts: 143

Also, I have a couple other questions which may seem off topic, but in reality are not.

In the Biddulph publication on the work of del Gesu (whose violins are beyond description on so many levels, if you ask me), in particular in the section that deals with the Cannone (a gracious gift, but I'll say no more), the author (Roger Hargrave?) mentions the lack of a ground coat on the wood, namely "...and no separate ground coat is easily distinguishable; areas of intact, slightly opaque orange-brown varnish give way suddenly to dirty, raw wood." What can we make of this? If this is true, why is the ground coat given such great significance?

Second, in the Sacconi publication on the work of Stradivari, he mentions a treating of the internal surface of the wood. What is the current thought with regard to this observation?

To many here, the questions I have asked above may seem pedestrian, but I am curious with regard to the above, so please answer if you are able.

CT Dolan · Member Joined: 29 Jun 2008 Posts: 143

Regarding the above, let's make our experience in the shop of the Cremonese master of your choice a full apprenticeship so we can actually learn something, and get to know the maker in person. Again, I realize that it is a bit of a silly question, but the reasons for choices have the potential to make it interesting.

Michael Darnton · Posted: Wed Jul 23, 2008 6:10 pm Post subject:

CT Dolan · Member Joined: 29 Jun 2008 Posts: 143

Very good response, very good indeed. We can guess at the reasons why Stradivari and del Gesu left no accomplished apprentices in their wake, and no doubt some of this may be due to the personality of the maker (which means that even though immersed in their environment, we might not learn much). Actually, this is the reason I threw Andrea Amati into the mix, but I had never given thought to Nicolo. Once again, my lack of experience and knowledge shines through!