What about yours?

June 1, 2006 at 11:31 PM · I just want to know some details about YOUR violin. Like Maker, Model, Year, How much you paid for it, when and where you got it, and if you have any nicknames for it. Heres mine: Jackson-Guldan Company, The Guldan, 1940, $1000, Got it from a friend's brother in Canada, Got a nice bow with it too!:), and its nick name is wierd: 'lil Vio. Cant wait to hear from you.

*Violins Make the World go Round*

Replies (100)

June 2, 2006 at 02:48 AM · A cheap $200 pawn-shop piece of junk =)

nah, seriously it can't be that bad, since the guy had it lying around for years, and finally let me have it for that price, a few months ago. Originally he was asking $500 for it if i remember, and he's fairly knowledged about musical instruments. Label inside the violin says "Corelli". It just needed a new bridge, and it plays perfectly as far as i can tell. Then again, i can't tell much about violins (yet) .... !

June 2, 2006 at 04:06 AM · I recently acquired a Karl Bauer, Model 90.

It's a bright red student violin with a Stradivari pattern. The plates are thick and the sound is good for the $300 price tag. For the money, it was a good buy. I don't treat this violin as a "beater" and take as good care of it as I do my other instruments.

I may sell this violin to a friend because her friend needs a violin for her novice granddaughter.

June 2, 2006 at 04:09 AM · Mine's a french violin- Paul Bailly, made in 1891. I also play on a Pere Ouchard bow, which is truly my baby. I'm not going to put a price tag on those- it's frightening to look at the price (because it's all in student loans right now!) Nonetheless, it was well worth the investment.

June 2, 2006 at 04:22 AM · Christopher White, Boston 2003, on a del Gesu pattern. $10 grand. A little tempermental but has a wonderful rich, distinctive sound especially in the lower register. It has a name, which is far too long a story to get into right now. My bow is a Benoit Rolland, 63.7 and perfectly balanced, which, apparently, I snatched up from the shop just in time. :)

June 2, 2006 at 05:05 AM · I have a Mario Gadda (possibly a Gaetano, though I'm not holding my breath), a bow by Gilles Nehr, and an octagonal Emile Ouchard in mint condition... but it's on its way out now.

I'm happy with what I have.

June 2, 2006 at 01:03 PM · Mine's got a Paul Bailly label, although experts have come to different conclusions about its authenticity. It was chosen for me by Rene Benedetti. I love it, and it has lots of sentimental value because it reminds me of the wonderful year I spent living in Paris and studying with Benedetti.

June 2, 2006 at 01:16 PM · Mine was made by William Walls of Tampa, Florida, in 1964. It is a copy of the Guarnerius owned by my teacher at the time (Myron Kartman). I am it's only owner (so far), so I can vouch for its authenticity. I paid $500 for it in 1964, but I know that several years ago his asking price was somewhere in the thousands. I love it. It has a nice rich tone, a little better on the lower strings, but I think it is long overdue for some adjustments. And it projects well.

June 2, 2006 at 01:08 PM · Just bought an amazing violin by Andrew Ryan. It's modeled after a 1742 del Gesu (Lord Wilton I think), and was made in 2004. It has the most interesting, alive, sparkling, ear catching sound I've ever heard. I tried a lot of really expensive instruments, and none of them had this kind of sound. It is very responsive and projects well. I would highly recommend this maker to anyone looking for a violin under 20k. Wont be needing a better violin for a long time.

June 2, 2006 at 01:35 PM · I have a violin which was given to me by a maker in exchange for 3 other instruments. It has a Luigi Mozzani label but there is addditional glue inside which suggests another label had been there. Moreover, the instrument has a spirit varnish much more in keeping with a German maker than an Italian. Regardless, the instrument has a large, round tone and speaks fairly easily. I use an Albert Nurnbuerger bow which is adequate but no more. At some point I know I will want to invest in a better bow. But for the moment it will do until I have begun playing better--I've only just picked up the violin after a 25 year hiatus during which I sang opera. When I have recovered my fingers I'll think about a better bow.

June 2, 2006 at 03:08 PM · One of the coolest violins I have is a 1/10 sized violin!

I didn't even know that 1/10 sized violins existed until I went to a music store in Ruidoso NM and they had one hanging on the wall. It was so cute and adorable that I had to buy it. The whole package cost me $125 with tax for the eeety-bitty violin, the eeetty-bitty bow, and the eeeeetty-bitty case.

I've toyed with the idea of getting myself a 1/16th sized violin for years, but I just couldn't get any sound out of them. A 1/10 is in between a 1/16 and 1/8 in size, and that seemed to work just fine for me. I can play just about all my repertoire on that little violin, and I use it as a gag every now and then. However, I do consider it a "real violin" and treat it as well as I do my other instruments.

June 2, 2006 at 04:46 PM · Been renting a Kohr-500, priced about $600. Now that my ear is developing, I may keep it. My teacher likes it.

Will likely upgrade my bow to a Coda Aspire before I uprgade violin.

June 2, 2006 at 09:38 PM · A new Zhang Shu Mei`s soloist ($ 1600) and Schuster`s bow ($ 350) My olds instrument was donate to youngs orchestra in my town (Scoot Cao`s violin and viola) im looking for a good 16" viola may be a Marcus Klimke or similar.

June 2, 2006 at 07:09 PM · Cool a lot of interesting stories about your violins :), I couldnt imagine paying 10K for a violin (Until I become a professional of course), I love the story of the 1/10 size violin. I'd be lucky to get any postition other then first out of that thing.

~*~Violins Make the World go Round~*~

June 2, 2006 at 07:32 PM · I like my violin. The inside of the instrument smells exactly like my grandmother's corner cupboard, where she kept the candlesticks.

June 2, 2006 at 07:55 PM · J.B. Vuillaume - Ex- Garcin

Pietro Sgarabotto

Carlo Bisiach

I. Sderci

Sesto Rocchi

O. Bignami

G. Zanetti

and a great many bows (old & new) by the best makers such as:

D. Peccatte, Maline, Guinot, Voirin, Sartory, Fetique, Thomassin, Raffin, Thomachot, Keith Peck, E. Clement, Y. LeCanu, S. Bigot, J.P. Gabriel, J. T. Lucke, Gilles Nehr.

June 2, 2006 at 08:10 PM · Gennady, you seem more like a guitarist with all those violins. Do you use different ones for different works -- orchestral, chamber, your chamber jazz project, solo...?

June 2, 2006 at 08:29 PM ·

June 2, 2006 at 08:56 PM · That's funny you should say that about the guitarists! I've wondered the same thing...violinists rarely seem to have many instruments....and yet GAS is a seemingly fundamental feature of the guitarist's practice.

Is it just htat fiddles cost too much? Is it that fiddles are too alike? Is it that fiddlers do not see a value in having a quiver of different tonal tools? Or is it that the good players all understand that the bow is more important anyway?

Perhaps it is also that the violin is more technically demanding from a set-up issue...or that the player beieves it must be used frequently to sound its best...but then again there are violin/viola switch-hitters at the top of the game (Zukerman)...

I think Gennady just likes collecting fine instruments. Having bought a few unique custom made fretted instruments lately, I can understand that desire. :-)

June 2, 2006 at 11:40 PM · Guitars, especially electric guitars, vary a lot more in their shape, sound, touch, weight, type of hardware, etc. compared to violins. Classical guitars and violins (and most other instruments) tend to be more "standardized" and built in one traditional way.

June 2, 2006 at 11:51 PM · What do yous think about those Cornerless violins?? I have never played one.

June 2, 2006 at 11:56 PM · Peter,

Yes I do use the many different instruments for different occassions.

Vuillaume is my favorite.

I have been collecting many years now.

As you probably know by now (since you have been following the many threads on v.com), I do wear many hats:

member of odeonquartet as well as Seattle Symphony and deal with Fine Musical Instruments.

June 3, 2006 at 12:51 AM · richard, i find cornerless instruments really light and easy to play on. i've been playing on a cornerless viola for about a year, and although it's a bit bigger than violas that i'm used to, i found it much easier to play. the maker told me that the corners are all blocked off with wood, and the inside of the violin looks like the figure-8 type of the cornerless. he designed his own version of the cornerless to create a rounder sound or something? anyways, i think vengerov plays a cornerless violin of his in a music video. beware though, when i went back to a viola with corners, i was seriously injuring my bow hand by ramming it into the corners. i guess cornerless violins/violas let you have your right hand much lower, which makes it easier (for me at least) to create a richer sound.

June 3, 2006 at 01:03 AM · Sharon, is that an Inokuchi instrument that you are referring to? I've heard excellent things about his craftmanship and the one instrument of his that I've played I really liked.

June 3, 2006 at 01:11 AM · My violin, an Alfred Vidoudez from 1919, used to belong to Joseph Szigeti. After a Russian train wreck my Vidoudez, in a wooden case, floated for two days down the Volga. After it was found and returned to Szigeti he used it for a lot of his remaining career.The tone, after over 80 years is still opening up. Many professionals who play it say it's better than their old Italian.

Its' monetary value is only so-so, but it's priceless.

June 3, 2006 at 01:34 AM · hi kelsey,

yes, it is an inokuchi instrument! my violin is by him as well (although it has corners), and they're both amazing instruments.

June 3, 2006 at 02:50 AM · bill , I'm down to an Esquire (my no. 1), a MIJ 72 Thinline RI, a MIM 69 Thinline RI, a chambered mahogany / bubinga top Telebastardpartsocaster I put together myself, and a Gretsch jazzbox.

June 3, 2006 at 03:44 AM · I've been playing on a turn-of-the-century Wilkanowski copy of a 1736 Strad and an A. Thoma bow for almost 10 years now. I think I paid about $2500 total for them. I Googled Wilkanowski and Thoma, and there isn't much information about them. Does anyone know anything about either maker?

June 3, 2006 at 03:51 AM · I'm down to a Gibson LP Supreme... I also had an LP Standard, and an SG which I both sold.

June 3, 2006 at 06:00 AM · Very good Pieter! You're a guitar connoisseur! Great choices there.

I've got a Gibson L-5, a Gibson ES-125, an Almansa Flamenco with cutaway, and my personal favorite: a Gretsch Tennessee Rose with fake f-holes and a Bigsby for vibrato.

I've also got a banjo and an old Neapolitan bowlback mandolin that was once a wall decoration in a music store.

I've got a Morizot bow with a broken head that was spliced together, an old soft Sartory bow that was pinned at the head, and two old violins that need massive repair work.

June 3, 2006 at 03:18 PM · Bill, different violins certainly do sound different, but since a really good one costs so much it makes more sense to have a 10k violin rather than five 2k violins, or a 20k violin rather than four 5k violins. I know a lot of collectors of contemporary steel-string guitars (I own an Ed Claxton myself) so I know of what you speak. I also have a 100-year old Washburn parlor, a '73 Ramirez 2A, Tokai strat, Fender strat 12-string, Santa Cruz 000, etc. Long ago I sold my collection of Firebirds, ES-175s and Rick 12's.

That said, I have one pretty good violin made in the Tyrol (part of Austria) in the 2nd half of the 19th century. I'd like to get something better some day but I'll do fine with this one forever if need be. I have an old Lyon and Healy which I like, an American made fiddle with an impossible to decipher label, an alleged new Italian instrument and a handful of other old European (mostly German) instruments I picked up cheap. My Tyrolean baby is the only one I paid more than a grand for, except for my Guang-Yue Chen viola.

I have a Lyon and Healy bow which I like, but a better one made by Albert Karr, mid-20th century. Again, I have other clunky, junky bows not worth naming.

In my next life I hope to be more like Gennady.

June 3, 2006 at 04:53 PM · Gibson scale length (24.75" instead of 25.5") feels kind of awkward for me, especially when playing in the upper range. And LP's have very narrow necks with the strings really close to each other... not very good for fingerpicking.

Most people who started playing on a Les Paul tend to develop bad playing habits, especially with left hand position.

June 3, 2006 at 06:50 PM · Eric..

Depends what kind of neck. Most necks they put out now mimick the 60s shape, but the early (pre 57) necks are pretty meatty...

June 3, 2006 at 07:46 PM · Did Les Paul the man develop bad playing habits? :-/

June 3, 2006 at 10:37 PM · You know what... if you know anything about rock and blues guitar, there is absolutely NO SUCH THING as "bad playing habits".

June 3, 2006 at 11:17 PM · ^ sad but (mostly) true.... however a lot of progressive metal guitarists, especially in the european scene, have very clean and disciplined technique. Even in north america there's some notable virtuosos like Rusty Cooley, Michael Romeo, John Petrucci, Joe Stump (although i find his technique a bit sloppy)....

June 4, 2006 at 12:21 AM · Unfortunately unlike classical music, the musicians with the more standardized, perfect technique make boring, pretensious music that defies the basis of rock... but then again a lot of people like Dream Theatre and all that so whatever. I just don't buy rock albums like that.

June 4, 2006 at 04:17 AM · *cough*symphony_x*cough* (MJR's band)

SymX are, yes, very technical, but aren't all about technique and show-off. Think progressive metal (DT style) with a more soundtrack-ish / orchestral approach and much more diversity in musical composition and styles.

If you're more into jazz/fusion kind of progressive, i recommend you check out Arjen Lucassen's "Universal migrator" pair of albums, especially the second one. He mixes elements from so many different styles... awesome stuff, especially considering that he can't read music =)

June 4, 2006 at 06:14 AM · my violin is just $500 and the label just says "Mavis, Made in China".. quite good in lower register but rather shrilly in upper register.. especialy G on the E string

June 4, 2006 at 08:50 AM · - F. BRETON (authentified), 1853, called 'The Duc d'Angouleme"

- L. STORIONI, 1785, but in not so good state, called "the EX-URSS"

Bows :

- one R. PAESOLD 1946

- one JP RAFFIN 2004

Guennadi, what a collection you have... I wish my fees will soon allow me to begin such a collection !

Best

Audrey

Forgot to tell the most important : my cases are both MUSAFIA ones... Just perfect, for me, unthinkable to take my violins without Dimitri's cases...

June 4, 2006 at 01:26 PM · Panizzi, 1933, made in San Remo.

June 4, 2006 at 03:33 PM · Luca Salvadori, Cremona 2003

Brilliant, responsive, rich ringing sweet sound, fast action, focused projection. Oh, and a beaut in workmanship, perfect!

June 5, 2006 at 07:56 AM · Charles Jean-Baptiste Collin-Mézin, Mirecourt/Paris?, 1929. Bought it at a shop in Antwerp.

June 5, 2006 at 09:31 AM · 1982 Michael Bitterer, sacconi winner at the stradivari trienniale that year. Maker was in a fatal vehicle accident sometime around 2000. :(

1930 Emile F. Ouchard bow.

June 5, 2006 at 11:22 AM · My violin is a mid 1800's probably German. There are no labels or identifying marks inside. It immigrated from Armenia with its former owner, an older man that my family knew. He purchased it in 1917. The top is a very wide grain spruce. The back is decorated with purfling. It has 2 rows of purflin g on the top and back, but on the back, the inside row comes in and makes a design at the curve of each bout and at the neck and tailpiece ends. There is also an additional purfling design down the middle of the back. It adds greatly to the "cool" factor. The tone is not big enough for solo playing, but plenty big enough for the playing that I do. I find it full and rich, if not overly powerful. My bow is an Alfred Nurnburger from 1977.

June 5, 2006 at 02:29 PM · The label on the inside of mine reads "W. Clayton Hurst" and gives a date of March 15, 1952 (I think). I've been unable to locate any information on him with Google, so if anyone out there can recommend other resources, I'd be curious as to its history.

Because of the pun on Hurst/Hearst, I call the violin "Rosebud". It has a big sound that will cut through many ensembles, yet with the right bow (a H. Cirilo with snakewood frog) can still produce a rich, nuanced tone. For the price I paid, it was quite the bargain.

June 5, 2006 at 08:41 PM · i have a 1750 John Johnson (london), £8000. it's beautiful and powerful and sensitive, although it needs a bit a little of pampering when i have the money for it.

i have a Dodd bow, that have has not failed me yet in 6 years, te weight's really even so you can sing at the tip without added pressure, which is lovely

June 7, 2006 at 11:00 AM · I have a 1700 AUTHENTIC Guarneri Del Gesu....in my dreams...

But in reality, I have a 2001 Marco Imer Piccinnotti which is priced at about $8,000 dollars and I am soon upgrading to a modern American Maker

I also have an old french (won the Grand Prix in 1924) bow-maker, Morizot, which is absolutely amazing...Vengerov owns own I believe. And I also own a beautiful Eugune Sartory which cost...a lot...

June 7, 2006 at 12:30 PM · At the moment I have a 2004 Williams & Krutz, $7000, which has been great, but I'm starting to outgrow it, so I've been looking at violins the past month. My favorite so far is a 2006 Anton Krutz, $10,000. Its a Del Gesu copy, and the rich tone suits me.

I have a great bow by Lev Sobol, new, which was $2400. It's really firm and has great control.

Incidentally, I got all these from the same shop, K.C. Strings.

June 7, 2006 at 01:41 PM · I have an old brownish unnamed violin that's probably from the 1700s or early 1800s that is in pieces.

Dario D'Attili said that it was a "Tyrolean" violin. It has a "Carlo Tononi" label and looks nothing like what I've seen of Carlo Tononi's work.

I bought this violin even though I have never heard it. At the moment, the top is off and it needs massive repair. But I expect it to have a sweet mellow punchy sound with a teeny bit of a soprano edge to it.

June 8, 2006 at 03:09 PM · I just got my new one yesterday. It's a 15 9/16 inch viola, 1955, from the Ernst Heinrich Roth workshop, copy of a 1700 Strad. It's kind of a cinnamon color, and it's in great condition. The tone is big, warm, sweet, and consistent. It hadn't been played much for a while, so when I first started playing it had an old-timey kind of sound. I got it from Oster in Philadelphia for 3000. I'm glad I got it there; if I had bought the same viola from the dealer that everyone down here goes to, it would have been at least 5000.

It's only 7/16 of an inch bigger than the viola I was using, but I still have to adjust my intonation. You violinists should be glad that you don't have to do that every time you switch instruments. It's kind of a pain.

June 8, 2006 at 10:27 PM · Mine's 1834 by a German man called ____ Deihl (sp? - too lazy to get violin from case :P , and can't remember first name)

It cost me about $40,000 (AUS) along with the case and bow, about 3 years ago.

June 9, 2006 at 12:43 AM · Gregg Alf 1992, Ann Arbor MI.

M

June 9, 2006 at 01:33 AM · I have a 1971 Roth Cremona 1700. It was my teacher's and it is an excellent instrument. But the neck has been thinned down which makes a big difference. Most Roth's tend to be chunky in the neck and mine having been thinned helps out tremendously.

I also play a 1929 Prokep workshop violin which has a wonderful tone.

June 9, 2006 at 01:37 AM · I have a 1971 Roth Cremona 1700. It was my teacher's and it is an excellent instrument. But the neck has been thinned down which makes a big difference. Most Roth's tend to be chunky in the neck and mine having been thinned helps out tremendously.

I also play a 1929 Prokep workshop violin which has a wonderful tone.

June 9, 2006 at 06:21 PM · I do not know who made my violin, the label says:

Antonius Stradivarius Cemonenfis

Faciebat Anno 17__ (nobody bothered to pencil in a date)

His name is Boris. (don't ask! hah)

It doesn't have any distinguishing marks on the label as to which country it was made in, so as of right now it's an adopted orphan. :) My father got it for me when I was 16. It sounds beautiful and since then my father has passed away, so I'm rather attached and only have one other violin (electric) and refuse to even look for another.

June 9, 2006 at 08:28 PM · 18C German violin by Anton Jais, Voirin bow which needed a metal sleeve in the frog soon after I acquired it. Also a couple of Hums bows.

Viola - Richards of Eastbourne, 1920s (nothing to do with Tertis model), and nondescript bow.

June 10, 2006 at 06:48 PM · I just spent the morning playing (badly) on a gold mounted, tortoise shell frog Kittel. I've played a lot of bows in the stratospheric price range, but that stick was incredible. It "got away" from me when the owner took it back with him...

If anyone here is some kind of trillionaire, you need to buy it.

June 10, 2006 at 06:51 PM · My violin is a Vuillaume.

I paid two million dollars on ebay for it

;)

June 10, 2006 at 07:24 PM · 1959 Otello Bignami made in Bologna Italy. Made under the direction of Gaetano Pollastri. Red finish on the wood. My bow was made by Charles Bazin , 1900. Hey Gennady, how is your Bignami?

June 11, 2006 at 06:27 AM · My latest: 2005 Claudio Rampini Alard Guarneri model, responsive, warm and powerful Guarneri sound. Its construction is documented here.

June 11, 2006 at 12:01 PM · Until last week, 2004 Stephen Perry. Someone decided they liked it. I already miss it. Went through it in detail before shipping. I'm pleased with how it turned out, but disappointed that it attracted a buyer!

I'm considering bringing either one of my Appalachian High Peaks models home or setting up a small-shop eastern European for myself. Some of the eastern European stuff has been rather good lately. I can have my main supplier throw one of the very best in for my next shipment. Certainly they're good enough for me!

Will probably make myself something this winter, if I get enough help in the shop to finally carve more wood.

June 12, 2006 at 12:23 AM · Clare - thanks for the link. Looks gorgeous. Fascinating to follow the progress. And he's a great photographer, too.

June 12, 2006 at 12:28 AM · I have two Hermann Guipel violins, German, 1930 or before. They were in 1930 sold at Sears and Roebuck for under $70.00 each, and the only one I can find on Google is selling for $7500.00, but it is a Viola. Regardless of the price, I have had over two dozen violins in my lifetime and these are the best. When I bought one of them, It literally sounded better than anything in the shop, but was much less money than some. It is a Strat copy but the other, which is best is a Casper Da Salo copy. I do like them. I play with a Coda Bow and a few pernambuco bows of unknown origin, but about the same response as the Coda, and carry them in a Musafia case.

June 12, 2006 at 04:22 PM · I own a Paul Bailly (paid $6,000 CAN) I get angry at this violin a lot so it has many nicknames that aren't very nice, a nameless German instrument from 1790's ($12,000 CAN) and a strange, ugly, cracked, but very powerful instrument from I don't know where dated c. 1800-1820 (it was $1100 CAN). My bow is an M.H Andersen (paid $3,000 CAN)

I play a J.B. Vuillaume that is a Del Gesu replica and a Jas. Tubbs presentation bow as well as an unnamed French bow c. 1890-1900.

Preston

June 12, 2006 at 07:53 AM · Tres Anesthesio, French/Italian, c.1880

June 12, 2006 at 01:08 PM · Hi,

I am must say that the title of this thread cracks me up every time I see it. Leaves much to one's imagination... ;)

Cheers!

June 12, 2006 at 05:48 PM · Preston... why do you own like 30 violins?

June 12, 2006 at 06:30 PM · I own and play a 1994 Joseph Tripodi. After owning a Lorenzini, Ventapane and Gragnani (even though Mr. Holmes didn't care much for it-the Gragnani), I can say I've never been happier.

June 12, 2006 at 07:03 PM · ...mine bears that label: Joseph Guarnerius, cremonis faciebat alumnus Andreas Gisalberti,1715...it is attributed to the Guarneri family, so , not the real thing... Great sound! But a freak to look at... The front is in one piece...I also own a fench violon made by the luthier Paul Kaul in 1936...I do not know the price ,these instruments run into the family for quite a while now...

June 12, 2006 at 10:37 PM · I play on a Nigel Harris violin which I bought from the maker in 1998,cost me six thousand pounds.The tone has really opened up now with constant playing,very responsive to the slightest bow stroke. My second instrument is an Emile Pouzel dated 1921.I also have a replica baroque violin which was made in China.Two bows.Howard Green and a Benoit Rolland,plus three baroque bows.

June 12, 2006 at 11:17 PM · YES! Rolland bows RULE!! :) lol

I'm considering buying a baroque bow also, just for experimentation's sake. Does anyone know of some good but affordable baroque bows?

June 13, 2006 at 12:23 AM · I don't know if I want to tell you Maura... you might just go and BUY ALL OF THEM before I even have a chance....

June 13, 2006 at 12:31 AM · Geez Pieter, I already apologized! How was I supposed to know you were after the same bow I was? :)

June 13, 2006 at 01:08 AM · I found a website selling tons of cello ones, but no violin stuff. I am going to start looking.

June 13, 2006 at 02:28 AM · Pieter,

Yah, it's wierd, eh? It's not like I want all of them either. Wanna buy one?

Preston

June 13, 2006 at 03:19 AM · One's enough for me... but for all those violins you can easily get an amazing bow.

June 13, 2006 at 04:21 PM · Yah, that's why I want to sell them.

Robertson and Sons had this AMAZING Lamy that used to belong to Heifetz. The price tag was $25,000 though. I would have sold a kidney had there been an operating table close by.

P.

June 13, 2006 at 04:33 PM · maura.If you're looking for a good and reasonable priced baroque violin bow look on ebay under the violin section.UK-USA-France.Most of these bows are made in China.cheers!

June 13, 2006 at 04:53 PM · Hmm. Good idea....

June 13, 2006 at 06:46 PM · Preston... I know all about the kidney thing. I had a bottle of vodka, a razor and 3 bags of ice ready but the collector didn't go for it..

June 13, 2006 at 09:25 PM · Hi maura, try with this link in ebay about violin baroque bow. Good luck: http://stores.ebay.com/yitamusic-violin_Snakewood-Bow_W0QQcolZ4QQdirZQ2d1QQfsubZ14QQftidZ2QQtZkm OR http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=7395881102&rd=1&sspagename=STRK%3AMEWA%3AIT&rd=1

June 13, 2006 at 10:02 PM · Responding to Kevin Huang's 6/2 post a bit late...

If you think 1/10 violins are fun, you oughta try a 1/32! That's what my 3-year-old daughter plays, and it is adorable. The sound quality is awful, I agree, but it's fun to play on something that teeny, and actually kind of educational. If you bow too hard on an open string, the pitch will vary by a half step, and you have to be very precise on bow angle when playing the D or A to avoid a double stop. There are definitely things we take for granted when playing a full-size instrument...

June 13, 2006 at 10:14 PM · This bow is so cool. It'll be dirt cheap too, I bet. link

June 14, 2006 at 12:12 AM · Jim at auction final the bow will cost near $ 200, i just offer for another one till $ 230. There are a lot of goods opinion about this chinese bow, the second link that i sugest is in Germany.

June 14, 2006 at 01:44 AM · I have more confidence in the curve in the German one, but the Chinese one is really a work of art if it works right. I'd like to see the hair tight, to see what happens to the curve. If I had it I'd be inspired to get a Geminiani book and take up baroque violin. So I'm not going to look at it again.

June 15, 2006 at 08:52 PM · My violin's got a good story... It's Latvian made, I don't know who was her maker, there's nothing written inside. I got the violin from distant family members who held her on their warderobe, 4 years ago. She was in a bad condition, yet not very broken. Last played in country fair, 30 years ago. I needed a 4/4 violin. So I showed it to my teacher. He told me it will do, and I had to repair it. That's all she cost. 180LS (appr. 250$) At first it had a very silent sound. But then, a year later, I took it to another repairman who blew tons of dust out of it. For no cost.;) And from that instant she started to have a sound. I have seen few better violins since then. (Of course, most I've seen belong to my schoolmates.) My violin's sound is very individual, she sings, her sound is anything but hollow- unlike most violins I've tried. I realize she's not the best violin out there, but she's mine, she sings my song, I'd never give her away. (of course, if you offer a Strad, authentic for a trade...;))

If I'd have to set a non-subjective price, I'd say 2000$. And perhaps even that is way too little.

June 15, 2006 at 08:35 PM · Well, like machinists and mechanics always say, "When you need compressed air, you need compressed air."

June 15, 2006 at 11:24 PM · hi everyone, thought i might join in also...

Mine is a french trade instrument, and with the help of tried and trusted luthiers around the place we've come to the conclusion that is was most likely contsructed by an apprentice of Jean Baptiste Vuillaume in Paris. It is labled... "Jean Baptiste Vuillaume a Paris. 3.rue Demours - Ternes" followed by the double encircled BV with cross. Possibly 100 - 150 years old. I was given it on permanent lend by a family friend and i count myself as very very lucky!

June 16, 2006 at 07:06 PM · I love my violin! It's a mystery violin; it's label has no maker name. All it says is: Made in Germany, copy of Antonius Stradivarius. One of the luthiers I go to alot has hazarded a guess to its past. He suggests that it's around 100 yrs. old, and was put together in a German factory - that each part is handmade, but by different people in the factory.

All I know is that it just has a rich, earthy sound, a very predominant sound, that I love (especially now that I can play it better!) And it responds well to everything I do. I've had it since I was thirteen, you see.

My bow is J.P. Gabriel, and, again, I just love it. It's quite a heavy bow, with a lot of nice tone. I was especially happy to find it (and the violin) go up in price over the years, the last time I had it appraised. :)

June 16, 2006 at 08:29 PM · Neat, I had a German violin of similar origins a while back--it was my first 4/4, I've since upgraded and my old German friend is sitting around the luthier's shop unsold. :( It had a sound similar to what you describe--very earthy and dark-hued.

I read somewhere that a lot of those turn-of-the-century "German" violins were actually made in Czechoslovakia, but the finishing touches (including the label) were put on in Germany. The Czechs have a long tradition of making fine German violins! :)

June 16, 2006 at 09:28 PM · Oooh, how interesting! I'd be really interested in finding out more about my cross-cultural mystery violin someday... :)

June 16, 2006 at 09:53 PM · My violin has a very unique story. It's a newer instrument, constructed in 2003 by Gregory Sapp. She's a 7.8th size violin, which is perfect for my size as traditional 4/4 instruments tend to be a tad too big. Gregory Sapp instruments are made in the old traditional ways, most notably that the body of the violin under the neck of the instrument does not get varnished. Some of his dimensions vary a little bit too from modern day tradition back to the olden day tradition.

She only cost me about $4500 US, and sounds 10x better than more expensive violins that I looked at. With my previous violin, I used Pirastro Olive strings (expensive!!) to get the best tone, and although my Sapp sounds great with the Olive strings, she actually sound best with Pirastro Tonica strings. She sings very sweetly up in high registers and in lower registers has a gorgeous, deep, resonant tone. It'll be al ong time before I trade her!

June 17, 2006 at 02:04 AM · My violin is a Sofia that I got a few months ago. Shes very pretty, with a reddish hue, and rosewood fittings. She has a lot of tone colors, but is generally warm and round, and sounds best with Evahs. She was inexpensive, about 3600, but sounds better than some 5000-7000 violins I tried.

June 17, 2006 at 10:13 PM · Mine sounds best (so far!) with Evah's too! And I really like the Jade rosin...

And I know what you mean about less expensive violins being personally more pleasing than the more expensive ones. Mine's only about 3500 (but gone up in value from 2500 several years ago). And I've played around, for sheer fun, with other violins in 7000-10,000 range, and there's only been one (an 8,000 Klotz that I just fell in love with!- about 300 years old if I remember right), that even came close to how much I enjoy mine!

Of course, there are plenty more "more expensive" instruments out there to try... I'm happy for now, though! :)

June 17, 2006 at 11:43 PM · I think my poor fiddle is going to get the booby prize in this discussion, since my great-grandpappy could not have spent much more than about three dollars for it when it was new, perhaps 130 years ago, and even that much would have got him in big trouble with great-grandma. He either picked it up from a mail-order catalog or through his father's tiny general store in Honey Grove, PA. No label, but it appears to be an east German factory instrument, modelled after Maggini. He played it in travelling minstrel shows in the 1880s, and after he died in 1905, it sat unused for 100 years. After some top repairs, work on the fingerboard and nut, a newly fitted bridge and soundpost, and trying a number of different string sets, it works well enough so that spending over 1000 times more than he paid for it for a replacement has yet to make sense. I did treat it to a Morgan Andersen bow a couple months back, which, of all the fiddlesticks I tried, most marvelously belies the violin's modest origins.

June 18, 2006 at 12:28 AM · Real blackface minstrel shows? I've read a lot about them. Very, very bizarre and fascinating. I can barely remember the segregated South as a small child, and this is that taken to a power of ten.

I think a lot of music today is heir to the psychology, e.g. a way for Victorian whites to be liberated performers. Probably leading to the black-derived music which is pop and rock.

Now, maybe fantasy characters are taking the place, other monsters, like with "Lordi" or ICP. Fascinating.

June 18, 2006 at 12:36 AM · My main instrument is Klotz family...and it has a new buzz that I need to have Ifshin look at :-|

June 18, 2006 at 01:42 AM · Karen Lin, I'll definitely try your 1/32 sized violin. It probably makes my 1/10 violin feel like a double bass!

William Wolcott, you play a Joseph Tripodi??? Wow! I used to go to Tripodi when I lived in Long Island - he was Margaret Pardee's favorite luthier. He makes very good violins that Pardee loved and bought. What is he doing nowadays?

The most important single possession I have is a 1800 Joannes Gagliano (certificate from Dykes and Sons) with a dark rich sound, almost like a viola but with a powerful high end. Nowadays I wear earplugs when practicing on it because the overtones hurt my eardrums.

I don't know if it's a "real" Gagliano or not, and I don't particularly care since the price I paid for it wouldn't even buy me a good modern Chinese violin then or now. Getting it took some real suffering on my part, but it was worth it.

I combine this dark-toned Gagliano violin with my bright sounding Sartory bow (my other most prized possession) which is extremely delicate and made of a wood that I used to think was snakewood but probably isn't. The warm soft feel of this combination is a good counterbalance to my angular playing style.

June 18, 2006 at 02:30 AM · Jim,

He was primarily a carpenter and an odd-jobber after losing his job at the mill in Honey Grove (no details), who would disappear for weeks on end whenever a travelling minstrel show was passing through, returning when he had a spare $5 in his pocket. The violin was his, and I know he was also a good singer, but there are very few other details left. The last person who knew him during that time well enough to give further information died in 1980. Blackface was beginning to decline in the shows by the 1880s, but unfortunately remained a part of popular entertainment well into the 20th century. It is a real shock to watch Fred Astaire do his "homage" to Bo Jangles in "Swing Time" so made-up, no matter how remarkable the footwork, and that was in 1936.

June 18, 2006 at 02:47 AM · Kevin-

I have no idea what he is doing nowadays, but the Tripodi I bought once belonged to Gerald Beal (Biel). Not sure if you've heard of him, but Tripodi says it's the best fiddle he's ever made, and I believe it.

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Pirastro Strings
Pirastro Strings

Find a Summer Music Program
Find a Summer Music Program

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Violinist.com Business Directory
Violinist.com Business Directory

Violinist.com Guide to Online Learning
Violinist.com Guide to Online Learning

Dominant Pro Strings

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Los Angeles Violin Shop

Nazareth Gevorkian Violins

Violin-Strings.com

Metzler Violin Shop

Leatherwood Bespoke Rosin

Warchal

Barenreiter

Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine

Subscribe