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Updated: May 2, 2025
The Guarnerius has a tone that seems to come more from within the instrument; but all in all I have found my Guadagnini, with its glassy clearness, its brilliant and limpid tone-quality, better adapted to American concert halls. If I had a Strad in the same condition as my Guadagnini the instrument would be priceless.
Accordingly Durden, accompanied by a Central Office man named Baird, visited Flechter's place of business and the two represented themselves as connoisseurs in violins and anxious to procure a genuine Strad. for a certain Mr. Wright in St. Paul. Flechter expressed entire confidence in his ability to procure one, and did almost succeed in purchasing for them the so-called "Jupiter Strad."
He took the instrument out of his pocket, and handed it to Clara with the pride of a fiddler showing his Strad. Clara looked carelessly at the flat row of tubes cased in nickel-silver. "Exhibition concert organ with forty reeds," said Jonah. Again Clara looked at the instrument with a slightly disdainful air, as an organist would look at a penny whistle.
He received me nobly, was proud that you should see I remembered him and simply made no secret of it. "Though I knew what you had seemed to me, I little realized that the child of true, fine musical spirits had a nature strung like my Strad fine, clear, true, matchless, as well as inspiring. I spent a beautiful afternoon with you.
It is so good that sometimes, when circumstances compelled me to, I have used it in concert, though it lacks the tone-quality of the original. This under-study violin I can use for practice, and when I go back to the original, as far as the handling of the instrument is concerned, I never know the difference. "But I do not think that every one plays to the best advantage on a Strad.
The portamento gliding from one note to another is also a lovely effect. Its proper and timely application calls for good judgment and sound musical taste. "I usually play a 'Strad, but very often turn to my beautiful 'Guillami," said Mr. Brown when asked about his violins. "It is an old Spanish violin, made in Barcelona, in 1728, with a tone that has a distinct Stradivarius character.
I generally play on an isosceles one, any two sides of which are together greater than the third. Likewise the angles which are opposite to the adjacent sides, each to each." "Well, you must take the cap round for the money." "I will. I forgot to say that my own triangle at home, the Strad, is in the chromatic scale of A, and has a splice.
This last is an important item in the consideration of the circumstances under which the "gem of art, old master, Cremona, real Strad," or whatever title the wooden structure may have been sailing under.
One oasis of humor in this desert of dry evidence gave them passing refreshment, when a picturesque witness for the defense, an instrument maker named Franz Bruckner, from South Germany, having been asked if the violin shown him was a Strad., replied, with a grunt of disgust: "Ach Himmel, nein!"
"Of course, the instrument the artist uses is an important factor in making it possible for him to do his best. My violin? It is an authentic Strad dated 1722. I bought it of Willy Burmester in London. You see he did not care much for it. The German style of playing is not calculated to bring out the tone beauty, the quality of the old Italian fiddles.
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