Stradivarius, Guarnerius ,Vuillaume, Amati...
I was just asking myself questions about rare instruments from well-known violin makers(Strad., Guarneri, Vuillaume,...)
How do you recognize them ?What are they changing in the violinst's playing?
What are their prices? Why are they so well-known? Why are they only use by Soloist and sometimes by Concert master?
How do you recognize them ?
Vuillaume instruments turn up in lots of surprising places. I've shared a stand with someone playing a Vuillaume viola, in a semi-pro orchestra. The violist who had it was a regional orchestra pro from out of town who was subbing in our orchestra while here for family reasons. She inherited it from her grandfather who was also a professional violist; it was purchased when Vuillaume instruments were not quite as expensive as they are today (though still expensive at the time). It's by far the closest I've ever been to such a good instrument. I was sitting outside for that concert, so I was extra aware of where my frog went on down bows!
Although I have a Vuillaume and in love with its looks and sound, not all Vuillaumes are created equal, even when we only take into consideration his Strad and Guarneri copies, there is a vast difference ih how they sound among them. Some are to die for and some sound nazal and nasty. They do command high prices though. I guess this is true with all makers, modern or ancient.
Yup. I love my Vuillaume too, but I'd played several that were meh, at best.
Guarneri-pattern Vuillaumes are considered superior and command a higher price. Hilary Hahn's first JBV is a Guarneri pattern.
I just look inside at the sticker. If it says something in Italian that I can't read, I assume it's a rare antique violin worth millions.
Paul, haha. I think I'd do the same
When I see a label written in Latin I assume it's a German factory fiddle. If the maker's name is French, I assume it's a French factory fiddle. If it's Italian I'm even more suspicious, having once been conned.
My strategy is to buy fiddles and resell them as violins, at the usual profit of $5000.
I don't know how many true fakes there are (i.e. a violin that's genuine designed to pass), but it's super common to see cheap student instruments with a JBV label.
Mine is close in time -- it's an 1856. I'm told it's an especially fine specimen of his work.
I'm sure it is, those were good years, just before he changed address.
And just after he'd acquired the Tarisio collection, and experimenting with personally making copies of those violins.
Lydia, what were you using before the Rondos? And is the feel of Rondos tension-wise similar to Dominants?
Somewhere on a previous post I have a big list, both strings I used for months as well as tester sets that I went through at a shop. It's a sizeable percent of the possible choices on the market. But ironically never Dominants. I would consider Rondo to feel like medium to low tension strings.
Don't wanna hijack this post to make it about strings, but I've liked Timbre and EP and am currently rediscovering the joys(?) of Dominant. So it follows I will try the Rondos next...
Julian Altman must presumably have been a great player to have been able to play a genuine strad for nearly 50 years, but was he actually either of the two functionaries (soloist or concertmaster) mentioned?
No, but Altman was a violinist in the NSO, so certainly a player of relative skill and note.
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