"Dead" E String

Your Question:  

Hi,
I have been pulling my hair out over a non-ringing E string.
No matter what brand, the string will not ring out when picked or bowed. It sounds like something is stopping it but it is not digging into the bridge or the nut. Any comments will be appreciated.

Violin E String

My Answer: 
There could be several possible problems such as:

The notch in the nut is too deep or too low and the E string hits the fingerboard.

The notch in the bridge is too deep and deadens the E string.

Does your bridge have a parchment or leather under the E string or do you use the tube that comes with the E string (used to keep the E from cutting into the bridge)?

The bridge is not centered on the instrument or straight.

The soundpost may not be in the best position for your E string to ring.

Your violin might have open seam(s).

Perhaps there is a problem with your fine tuner (most all violins have a fine tuner on the E string).  Is your fine tuner making contact with the top of the violin, or does your tailpiece make contact with the top of the violin?

Also, are you using wound, gold plated or steel E string?  Because that too can make a difference.

There are so many things that could be wrong.  Your best bet is to take it to a reputable (knowledgeable) violin shop and see if they can sort it out.

I hope this helps.

Sheila Graves, Violin Dealer

Wound Tonica Violin E String

Your Question:

Tonica Violin E

Great article about E strings, what about the Tonica wound E ?

My Answer:
Thank you for your inquiry.  In my opinion the wound Tonica violin E string seems similar to the #130 wound Dominant E string.  As far as wound E strings go the Tonica E is a high quality E string. 


The wound E strings tend to wear out quicker than the plain steel E strings, because they are generally wound with aluminum, which is a soft metal, and don't have quite the brilliance or ring that a plain steel E string has.  


If you need to tone down the E then a wound E can be a good choice.  If you have problems with a whistling E, then the Pirastro No. 1 E or the Kaplan Solutions E would be a nice choice.

Every violin is different and there is no "best" E string.  I'd say that if you like the sound of the wound Tonica E on your violin, then it's a great E string for you.

Old Cello: Antonius et Hieronimus Amati Label

Your Question:

Front of Cello

I have an old Cello with label "Antonius et Hieronimus Fr. Amati Cremona Andre M. F. 1697". This cello is at least 200 years. The label is not original and it seems to have been replaced multiple times. This cello has dark reddish brown varnish with narrow maple figure and medium ample flame in a twice piece back with matching sides.

Measurements:
Body length: 747mm
Width upper bout: 338mm
Width middle bout: 229mm
Width lower bout: 427mm
Rib height: 112mm, 112.5mm

I would like to know the maker of this cello and its fair market value.


My answer:

Scroll

Unfortunately, there are not enough details in the photos for me to give an accurate assessment.  The varnish looks a bit odd to me.  Has it had a shiny clear coat applied over the original varnish?  The appraisal mentions that there is a neck graft, which does indeed, help date the instrument, and around 200 years old seems plausible. 

Regarding fair market value, condition, maker (authenticity) and provenance are everything when it comes to the value of an instrument.  In many appraisal situations the local market is taken into account.  That's not always true for stringed instruments because they can go to one of the big auction houses, which opens up a worldwide market.  Judging by the photos I would say that fair market value could be $8,000 - $10,000.  This is just an educated guess and in your market you might be able to sell it for more or less.  If the varnish has been altered this can also affect the value and drive the price down.  Please keep in mind an object is only worth what someone is willing to pay for it.  In addition, I am assuming there have been numerous repairs (because of the age of the cello) done to this instrument, which are not evident in the photos.  Certain repairs (especially in the soundpost area, both top and back) can affect the value significantly.  In many cases the work of known makers is recognizable but this depends on the experience of the appraiser.  From the photos provided I am unable to venture a guess.

I would encourage you to take it to a violin dealer that you trust so that they can examine the instrument and give you an opinion.

Lorenzo/Tomaso Carcassi Violin?

Your Question:

Carcassi Scroll

Subject: bought this violin on e bay for 3000k is it really carcassi

I bought this instrument on e bay from a german dealer. It is labelled Carcassi, though I of course assume firstly it is not that at all. The label looks almost brand new. When I got it it had a great old italian sound (I know italian since I own a Giusseppe Gagliano.) I play in the Chicago Symphony and needed a cheap ravinia instrument. because the violin sounds so good I am willing to keep it. The link to pictures of the violin are here:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item@0222552468&ssPageNameSTRK:MEWNX:IT

Even if it is an old italian instrument it looks as if the violin has had a thick new coat of lacquer put on over a brown thick varnish. It looks terrible and scandalous that whoever did this to the violin but surprisingly the violin has a great sound and I would think just from the sound it would be an authentic Carcassi. I even like the sound over my Gagliano. Anyways, it would be nice to hear your opinion.

Regards,
CSO
first violinist

My Answer:

Thank you for your inquiry.  The eBay link has been disabled so, I am unable to view the instrument.  I should mention that there is a dealer from Germany who sells lots of instruments on eBay, which are known to be fakes.  I have no idea if this is that dealer or not.  From personal experience I have found purchasing instruments or bows on eBay can be very risky.  

There are several violin experts in Chicago.  I would suggest taking it in for an opinion.  Here are a couple of recommendations, although you may have a violin dealer that you have a relationship with.

1.  Jim Warren at Kenneth Warren and Son 312- 427-7475 or

2. John Becker at Bein & Fushi 312-663-0150

Both shops are within walking distance of Orchestra Hall, Chicago.

If the violin is truly a Lorenzo or Tomaso Carcassi it is worth quite a bit of money.  Based on the opinion of an expert it would be worth it to have an appraisal and a certificate done.  Generally appraisals and certificates are based on the value of the instrument and will cost quite a bit but would be worth doing because they will document the value and authenticity of the instrument.  If the violin has had an outer coat of lacquer the value can be greatly effected.  A good luthier should be able to let you know if this can safely be removed, whilst preserving the original varnish.

  Please keep in mind that sound is subjective and an appraiser typically bases the value of an instrument on authenticity, provenance and condition.  I hope that you find out this is a real Carcassi!  If so, then you have made quite a purchase.  In my opinion, if it is a genuine Carcassi, you might want to look for a lesser instrument for outdoor use at Ravinia.  Please let me know what you find out.  Best wishes!

Stradivari Label

Antonio Stradivari

Your Question:

Hi Sheila.

Just read your very interesting information on the Stradivarius.  Have you ever seen a REAL lable from a Stradivarius, the ones that are on the net to me are all fake could not find a match after enlarging them.  Thanks Paul.

 My Answer:

Great question Paul.  Yes, I have 

seen several real Stradivari labels.

The photo on the right is a 1698 Stradivari.  I gave a lecture on this 

1698 Stradivari

instrument for a conference of the Suzuki Association of the Americas. 

In addition I've had the opportunity to examine and play several 

Stradivari violins. 

Many of the labels on the net can be fake, however, they were made to 

imitate originals.  Stradivari used several different labels over the course 

of his violin making career, which spanned seven decades.  Stradivari 

lived to the ripe age of 93 - passing in 1737.  93 years was nearly unheard 

of in his era - due to plagues, famines and lack of medical care, most 

were lucky to live to be 50!

Most authentic Stradivari instruments are labeled but some are not. 

The label is the last thing an appraiser looks at because it is easy to insert 

a fake label and it should not be relied upon to guarantee authenticity.

If you have a violin with a Stradivari label your best bet is to take it to a 

violin dealer for an opinion. 

Authentic Stradivari Label

The Thrills of being a Violin Dealer

I have one of the best jobs there is.  Being CEO of Simply Violin and being Sales Manager at House of Note (Minneapolis).  We are blessed here in the Twin Cities as being one of the best cultural centers in the US.  

I get the opportunity to meet and work with so many students and their teachers and to be honest it's not always easy - teachers can be very picky and quirky but I love the challenge. 

I have the pleasure of working with two astounding young ladies, Sarah and Sadie Hamrin of Bemidji, Minnesota.  Here are a few videos of these remarkable girls that I'd like to share.  

I must admit that their instruments sound great - but really it's Sarah and Sadie that sound fantastic!  It was a thrill for me to help them find their instruments and I am looking forward to helping them as they grow out of these and move on to larger instruments.

I hope you enjoy these videos:  

Sarah and Sadie play fiddle duets.  Sarah, at age 11, plays Tambourin by Hervelois and Sadie, at age 10, performs Symphonie Espagnole by Lalo with the Duluth Superior Symphony. 

Sarah Hamrin

Sadie Hamrin

Viola 101 - Famous Violists that everyone should know!

William Primrose
b. 8.23.1904  d. 5.1.1982

William Primrose

William Primrose studied with Eugene Ysaye and played in the London String Quartet and NBC Symphony Orchestra.  He commissioned the Bartok Viola Concerto, which was unfinished at Bartok's death.  Benjamin Britten composed Lachrymae for him.  During his life he brought the viola repertoire into the public spotlight.

Lionel Tertis

Lionel Tertis

b. 12.29.1876  d. 2.22.1975 

For several years Lionel Tertis played a 17 1/8" Montagnana viola until he worked with British violin maker Arthur Richardson to create a more manageable 16 3/4" viola.  The "Tertis" pattern viola was inspired by the wide pattern used by early Brescian makers.  The result was a rather pear shaped viola with a wide lower bout which produces the tonal advantages of a large instrument. 

Tertis Pattern Viola

Walter Trampler

b. 8.25.1915  d. 9.27.1997

Walter Trampler

 
Walter Trampler performed extensively in the United States and Europe.  He taught at Juilliard, New England Conservatory, Yale School of Music and Boston University.

Milton Katims

Milton Katims

b. 6.24.1909  d. 2.27.2006

Milton Katims joined the NBC Symphony Orchestra to replace William Primrose.  He was also a conductor who conducted the Seattle Symphony for 22 years.  In addition he conducted the New York Philharmonic, Philadelphia Orchestra, Boston Symphony, London Philharmonic, Cleveland Orchestra and Montreal Symphony.  

Here we see Katims conduct the Seattle Symphony and perform the finale of the Mozart Symphonia Concertante with violinist Heinrich Szeryng. 

Lillian Fuchs
b. 11.18.1901 d. 10.5.1995

Lillian Fuchs

Lillian Fuchs taught at the Manhattan School of Music, Juilliard, Aspen Music Festival and founded the Blue Hill Music School.  She was a noteworthy composer.  Her compositions include Twelve Caprices, Fifteen Characteristic Studies, Sixteen Fantasy Etudes and Sonata Pastorale - all for viola.


She owned violas made by Matteo Gofriller and Gaspar DaSalo and played a lovely bow made by John Dodd.  Lillian used a gut A string as she considered it sacrilege to use a steel A string on an old Italian instrument.  


Karen Tuttle
b. 3.28.1920  d. 12.16.2010

Karen Tuttle

Karen Tuttle was a student of William Primrose at the Curtis Institute of Music,where she would later become a faculty member.  In addition she taught at the Peabody Conservatory of Music and Juilliard.

In the early 1950's She was a member of the NBC Symphony Orchestra, which was highly unusual for a woman back then.  

Karen was a frequent participant at the Marlboro and Casals Festivals.  She had an extensive discography.

In 1994 she received the Artist Teacher Award presented by the American String Teacher's Association.

Pinchas Zukerman

b. 7.16.1948

Pinchas Zukerman

Pinchas Zukerman studied at Juilliard under Ivan Galamian.  He made his New York debut in 1963.  


Zukerman's discography includes over 100 recordings.  He has been nominated for a Grammy 21 times.  


In addition to teaching he is also an accomplished conductor.  He has conducted the English Chamber and St. Paul Chamber Orchestras.





 


Michael Tree

b. 1934

Michael Tree

Michael Tree studied at the Curtis Institute for music.  He is a founding member of the Guarneri String Quartet. 

Tree has been a soloist with the Philadelphia, Los Angeles, New Jersey and Baltimore Orchestras. 

Paul Neubauer

Paul Neubauer

b. 1963

Paul Neubauer joined the New York Philharmonic in 1984 at the age of 21.


He has recorded with labels including Sony Classical, RCA, New World, Red Seal, Delos and Decca.  Neubaurer has performed as a sololist with orchestras all over the world.


Nobuko Imai
b. 3.18.1943

Nobuko Imai

Nobuko Imai was born in Tokyo and studied at Juilliard and Yale University.  She has soloed with nearly every major orchestra including:  the Berlin Philharmonic, Vienna Symphony, BBC Symphony, London Symphony, Royal Concertgebouw Orchestra, Boston Symphony and the Chicago Symphony Orchestra.  She is a former member of the Vermeer Quartet.
In addition to being a soloist she is a very active chamber musician.


Geraldine Walther
b. 1951

Geraldine Walther

Geraldine Walther is the former violist of the Takács Quartet.  She studied at the Curtis Institute with Michael Tree and at the Manhattan School of Music with Lillian Fuchs.  Walther won first prize at the 1979 William Primrose International Competition.  (Any names sound familiar?)

She was principal violist with the San Francisco Symphony for 29 years and previously was the assistant principal violist with the Pittsburgh, Miami and Baltimore Symphonies.  Currently she is teaching at the University of Colorado at Boulder.