Just one point. Paganini's Il Cannone, does not translate as 'the canon', but the cannon, i.e. it did not 'lay down the law', but it sounded very loud, like a cannon would.
An excellent rendition, Thank you, looking forward to subsequent videos. I have one question. Hasn't the Cremonese golden period Italian making been lost? Michaelangelo Bergonzi died when GB Ceruti was four years old and Storioni's instruments are far removed from the perfection of the classical Cremonese makers in the actual approach to making as well as varnish. Who then carried the tradition?
Yes. The old making was lost. But, from Sacconi on through my research there have been concerted efforts to research and recover these things, bit by bit. At this point, a great portion of the geometry has been worked out. And, continuing toward a sufficiently complete recover of the old methods is the purpose of Cremona Revival.
It was lost. But the surviving instruments and tools provide evidence. Their use of proportions and geometry is there to see if we take the time to unravel it. Because of internet sharing and computer graphics tools it's finally possible to look across enough examples to understand what they did.
Many have theorized about special wood, and things like the little ice age. However, we don't see the great Cremona makers particularly choosing that extra dense grained spruce. At least some studies indicate that the mechanical properties of the wood they did actually use are in the same range as modern wood supplies from the same areas. Balkan figures maple and Italian Alpine Spruce are still available, and much the same is available today as the old masters actually used.
Please make more videos!
Have you seen the videos in my 'Making a Violin and Viola' playlist?
Thank you for this very interesting video. I am presently building my first violin to better understand it's inner workings.
Just one point. Paganini's Il Cannone, does not translate as 'the canon', but the cannon, i.e. it did not 'lay down the law', but it sounded very loud, like a cannon would.
Thank you. You can read about these violins in Big Notes: How a Stradivarius Makes Money and Music. Available everywhere.
An excellent rendition, Thank you, looking forward to subsequent videos. I have one question. Hasn't the Cremonese golden period Italian making been lost? Michaelangelo Bergonzi died when GB Ceruti was four years old and Storioni's instruments are far removed from the perfection of the classical Cremonese makers in the actual approach to making as well as varnish. Who then carried the tradition?
Yes. The old making was lost. But, from Sacconi on through my research there have been concerted efforts to research and recover these things, bit by bit. At this point, a great portion of the geometry has been worked out. And, continuing toward a sufficiently complete recover of the old methods is the purpose of Cremona Revival.
It was lost. But the surviving instruments and tools provide evidence. Their use of proportions and geometry is there to see if we take the time to unravel it. Because of internet sharing and computer graphics tools it's finally possible to look across enough examples to understand what they did.
Why does no one ever mention the trees that the old makers used? Those are long, long gone, and there is no more wood exactly like that.
Many have theorized about special wood, and things like the little ice age. However, we don't see the great Cremona makers particularly choosing that extra dense grained spruce. At least some studies indicate that the mechanical properties of the wood they did actually use are in the same range as modern wood supplies from the same areas. Balkan figures maple and Italian Alpine Spruce are still available, and much the same is available today as the old masters actually used.