February-2009
We examine the 1715 ‘Titian’ Stradivari using the latest technological methods, celebrate the 200th anniversary of Mendelssohn’s birth and investigate the history of the Cretan lyra. Plus, a report from the VSA Competition, advice on commissioning instruments and an interview with the Paris-based Calvet Quartet.
January-2009
Andrea Amati ‘King’ cello poster
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G.B. Guadagnini 1774 Salabue Berta Violin poster
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Jean-Baptiste Vuillaume cello 1865 poster
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Pietro Giacomo Rogeri cello 1717 poster
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‘Viotti’ Antonio Stradivari violin 1709 poster
One of the top Stradivari violins in the world, the 1709 'Viotti' helped to establish the master's name – thanks to its illustrious owner. The powerful tone and brilliance of sound created by this exceptional combination of instrument and performer (G.B. Viotti) helped to create the Stradivari legend. Includes measurements
‘The whole instrument seems to have been designed to be light, to exploit the minimum mass of wood in the plates and ribs which could support a low but characteristically stiff arching. The arching is full and seems undistorted and extremely regular. The front is delicately worked with a reverse gradation of 2.5–3mm around the perimeter reducing to 2mm in the centre. Yet still the arching is firm, with no sign of collapse around the fs or excessive pressure from the soundpost.’ – John Dilworth in the March 2006 issue
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Celebrating Slava
This 4 CD set features 27 works that are dedicated to Rostropovich or that he composed, initiated or premiered. The pieces are played by his friends and companions: Gidon Kremer, Mischa Maisky, Natalia Gutman, Lynn Harrell, Miklós Perényi and many others.
Works included are by Leonard Bernstein, Benjamin Britten, Claude Debussy, Henri Dutilleux, Hans-Werner Henze, Romualds Kalsons, Witold Lutoslawski, Nikolai Miaskovsky, Astor Piazzolla, Sergei Prokofiev, Yuri Schaporin, Alfred Schnittke and Sir William Walton and two world premieres of works by Rodion Shchedrin and Giya Kancheli.
Janácek String Quartets
Basics by Simon Fischer
Basics is a collection of practice methods and exercises for violin and viola players of all standards, from concert soloists to students. Based on Simon Fischer's monthly series in The Strad, Basics makes it possible to work directly on any aspect of technique. Simon Fischer, performer and teacher, studied the violin in London with Yfrah Neaman and in New York with Dorothy DeLay.
Paperback. 231pp; illustrations.
An A-Z of Instrument Care by Jane Dorner (2nd Edition)
Alfred Dubois and Marcel Maas
Alfred Dubois was one of the stars of the Franco-Belgian school of violinists. A pupil of Ysaÿe and best known today as Arthur Grumiaux’s teacher, he was also a soloist in his own right, as his fine records testify. These 1930s sonatas, recorded with his regular accompanist Marcel Maas, show his inimitable artistry and sonorous tone. A must for anyone interested in historic violin playing.
Over 68 minutes.
Brahms Violin Sonatas
Vladimir Ashkenazy wrote: 'Simon Fischer is a thoroughly accomplished violinist, a wonderful musician'. This CD introduces Simon Fischer's playing to people who have known him purely as one of the leading violin teachers in the world.
Simon Fischer plays:
Scherzo from 'F.A.E' Sonata (Sonatensatz)
Sonata No. 1 in G, op. 78
Sonata No. 2 in A, op. 100
Sonata No. 3 in D minor, op. 108
Rubbra Violin Concerto: Krysia Osostowicz
Krysia Osostowicz is on mesmerising form and wonderfully supported by Takuo Yuasa and the Ulster Orchestra. The recording’s alluring, autumnal glow fits the music like a glove. The disc opens with the violin Improvisation in which Osostowicz is the passionate pilgrim. This is followed by the Violin Concerto, which has the same dark concentration as the Improvisation.
Matteo Gofriller violin 1700 poster
A classic example of the great Venetian's work: his own pattern with glorious varnish and individual wood selection. Includes measurements
'The violin's hollowed edge is characteristic and the purfling is swept across the corner in Stradivari fashion. The f-holes are typical of the Cremona-influenced Tyrolean makers – based on the Brothers Amati but wider and upright in stance. Over the wood Gofriller laid the most supple varnish, which often seems to have no substance at all but is steeped into the wood, turning it a deep burgundy colour. Beneath the dark patina there is a slight rose-madder tint to the red.' – John Dilworth in the December 2000 issue of The Strad
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G.B. Guadagnini viola 1785 poster
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A Voice in the Dark, The Philharmonia Years by Alexander Kok
‘Conte Vitale’ Andrea Guarneri viola c.1676 poster
An important instrument from the first maker to concentrate on the smaller-pattern viola. Includes measurements.
‘Guarneri’s scrolls are always charming and totally distinctive. Careless in cutting the central eye perfectly round, he left a little tail into the first turn of the volute that is a Guarneri trademark, giving the bonus of having two different scrolls to enjoy either side of the one head. The fluting carries right round the front of the head and is very cleanly finished at the throat, ample testimony to Guarneri’s skill. What finally elevates this viola to highest rank is its almost entire coat of fine yellow varnish.’ – John Dilworth in the October 1996 issue.
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French Cello Sonatas 1871-1939 by Steven Sensbach
Steven Sensbach has compiled a treasure trove for cellists and anyone interested in French cultural life. Setting the works in their cultural and historial context, he unearths many forgotten gems – 37 of the more than 130 sonatas discussed are unpublished – while shedding new light on repertoire works. Scholarly yet practical, Sensbach uses his knowledge as a cellist to offer performance tips and give his own recommendations.
Paperback: 320 pages
Publisher: The Lilliput Press (March 31, 2001)
‘Sleeping Beauty’ Montagnana cello 1739 poster
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Brothers Amati tenor viola 1592 poster
A fine example of the rarely played tenor viola, which set the standard for all the great Cremonese makers. Includes measurements
‘Generally the workmanship, though clean and delicate, lacks something of the usual pristine quality which one would normally associate with a Brothers instrument. Fortunately true art is seldom precise and the majestic beauty of this head is not marred by any shortfall in mathematical symmetry.' – Roger Hargrave in the March 1993 issue
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‘Alard’ Amati violin 1649 poster
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Varnishes and Very Curious Secrets: Cremona 1747, ed. Vincenzo Gheroldi
This study is based on a collection of varnish recipes in an 18th-century manuscript in a Milan library. Based on this manuscript, Gheroldi, Stefania Vitale and Luciano Colombo provide the cultural background to the amateurs who wrote artistic recipe books and their preferences and technical skills in preparing varnishes for paintings, as well as 'Chinese varnishes' and varnishes for miniature paintings. Two further essays deal with 18th-century varnishes for violin making and restoration.
This is a fascinating document for understanding the techniques of the 'Golden Age' of Cremonese instruments, and to further experimentation for contemporary violin makers.
Paperback in hard box. 251pp; text in English and Italian.
Andrea Amati violin 1564 poster
The beauty of the workmanship, tonal properties and rich decoration of this royal instrument has seldom if ever been matched or surpassed. Includes measurements.
'For his scrolls, Andrea seems to have gone directly back to Nature itself. The concept was mathematically and optically so perfect that what followed over the centuries could only be a steady degeneration' – Roger Hargrave in the December 1991 issue of The Strad.
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