MOLD and MODEL
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- เผยแพร่เมื่อ 26 มิ.ย. 2024
- Why does not build every violin maker his/her personal model? Watch this video and see why makers follow so much the Great Makers from the 17th. century such as Stradivari and Guarneri.
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As a player, I don’t care about the model- I care about the sound, and how it feels when I play it. When I choose a violin, I ask for a selection of maybe 5 or so violins in the price range I am looking at, and I try them out, without knowing the price, and without looking at them too much. Then when I narrow it down between a couple I make sure I like how it looks. I think to commission a violin, I would just need to try some other violins made by that maker and trust the maker, not worrying too much. If you choose the right maker for you, you won’t have to worry about the model or whatever, you can just trust that you’re going to get something great- at the end of the day, it is not a factory instrument so some individuality or surprise is actually a good thing in my opinion.
Thanks, Philip, for your great and well explained comment. It's just exactly that way.
what a great explanation. Before you can change or break any rules, you must first understand what those rules are and what they are for, otherwise they are broken through ignorance and not through understanding.
Exacty! as always has been: All want to be, few want to become!
All the best Andy!
This makes complete and total sense.
Thanks!
Tone and playability are king & queen. I do think it would be healthy for luthiers and musicians for luthiers to settle on their own original patterns. It's an art whose craftsmanship must not only survive in a bubble, but thrive globally.
Thanks for the videos Edgar! 👏🏽👏🏽
I think an artist would choose based on sound alone. It is so easy to be seduced by a concept of what looks right or what feels right. But the real thing never needs explanation. You see it, you hear it, you love it. :)
I'm happy to see you in this posts again. This video was great, and the comments below very interesting!
👍🏼
Interesting that you studied with Carl Becker! My friend has an early violin of his and it sounds superb. Very clear and with a slight reedy sound which I like.
Thank you again for the very informative video. Keep the stunning work.
I have a question for u I wan your prfational opinion.
What model of cello would u play if u like sad story to tell.
Thank you for your time.
Wonderful analysis and explanations! ❤️👍🎶🎻
🥰 Thanks Bruce
Experienced with great information. 👍
Thank you !
You are welcome Nasser!
I sometimes wonder If I should ask for a violin that better accommodates big hands.
Great Video Edgar. I was wondering....if and when we'll ever see an Edgar model! :) Looking forward to revisiting your workshop in Cremona.
I just build it. It took me quite a few years to feel comfortable and I made it to obtain a specific sound. So comparing with traditional shapes its kind of a Hybrid of Guarneri and Stradivari. The beauty of Strad with the rough strong Guarneri sound.
I call it ER-OS
Thank you for sharing your experience in making. 🎻
👌👌👌👌👌
You are welcome! It makes me happy to know to help others.
After this many years following the golden period, it’s almost like trying to reinvent the wheel. I equate different models to a particular sound I may or may not like and physically some models are easier to play than others. Great presentation.
Thanks Jacob!
Hi Edgar! I have a question. When should you take in your violin to get a hand patch retouched? My violin is about 2 months old but a hand patch is already forming. The polish has worn down it is not shiny. There is already some wear and tear.
How about a famous guadanini violin pattern? How does it compare?
Actually an interesting question. I have to admit that by mistake I never considered too much Guadgnini. I will proceed and in a few years I will be able to tell you more.
Because Guadagnini Family from Piacenza have been an outstanding makers of the past.
I see the differences between the Guarneri and the Stradivari, but aren't there several other factors that would explain the sound difference? Archings, wood quality, different tree, wood dried more or less long, size and shape of the f-holes... Surely we cannot say scientifically that the whole difference comes down to those 1-2 mm on the sides.
I like this insight very much, as it leads to the question, what turns a Stradivari or any other Great master into a Stardivari sounding instrument beside the player, who has for sure as well big influence…. What is a holistic view bringing all mesurements, thicknesses and shapes together to this whole model? When I read about this exploding demand of instruments in times of Nicolò Amati, followed by Stradivari, Guarneri, Carlo Bergonzi and this very close relationship between new composed music and the interacting of violinmakers and musicians, there has to be an idea, a rolemodel of sound, the makers want to achieve, because the players are demanding it, while composers opened new doors of music. Maybe this very close and intense working together helps us to understand on a deeper level what a model stands for? A long time we have been „secret“ oriented, like special wood, varnish or any other detail. But now, maybe in or ahead a new golden period of violinmaking, it is more the understanding of the whole instrument which can lead us to better sounding, or let’s say recognizable and characterful instruments which give musicians unlimited ways to express their way of understanding music.
What I meant is, that after all we are creating instruments, means that are made to realise sound and music. So the purpose is not in creating a piece of art or a copy of a piece of art in itself, but an instrument for a musician to create his perception of music. This huge development in the 16th and 17th century we are still getting profit of today, has the origin of this common interest. It is kind of mysterious that in this far away from everything small city of Cremona the mastership of violinmaking exploded beginning with the Amatis and not in the big centers of cultural life like Venice for example. Of course later on with Goffriller, Montagnana, Seraphin, Guarneri da Venezia also there in a second, amazing wave.
@@finemasterviolins Yes, that’s it. When the musician demands, the instrument delivers with ease instead of exhausting at this point. Or in other words: When you know as a race driver that your car has lots of reserves even when you drive at your personal limit, your driving will be way better…