Ask a Violin Dealer

Wound Tonica Violin E String

2011-08-17T05:32:00.000-07:00

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

2011-07-24T11:25:00.000-07:00

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?

2011-07-03T07:17:00.000-07:00

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

2011-03-27T07:29:00.000-07:00

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

2011-03-04T05:33:00.000-08:00

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!

2011-02-22T06:37:00.000-08:00

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.

Inquiry about a violin

2011-02-21T04:45:00.000-08:00

Your Question:

I purchased a violin over 20 years ago from the Weaver Violin Shop in Maryland. I am now considering whether to donate or sell it. None of the dealers whom I have spoken to have been able to tell me anything about my violin. I have attached photos of it in the hope that maybe you have more information.

Any information that you could offer would be greatly appreciated.

Label

My Answer:

My first thought is to ask you if you have contacted The Violin House of Weaver. The folks at Weaver, including Bill Weaver, are very nice, friendly and helpful people. They may be familiar with this instrument or have records of your purchase. In addition they may be able to give you the current market value of this instrument.

I can't make out the first name of the maker from the photo of the label and in reality this may be a "trade name" rather than an actual maker.

Scroll

The violin appears to be a good quality student grade instrument. The reason that I am saying student grade is because it looks like it has Caspari pegs, which are a mechanical peg. They are great when they work properly but in time the bushings tend to come unglued and in many cases the outer shaft of the peg can crack thus causing tuning problems. The disadvantage to these pegs is that they add quite a bit of weight to the scroll and if you have traditional (friction) pegs fit to the instrument the peg holes will have to be bushed (filled in with new wood and re-drilled and shaped to accommodate new pegs with a smaller shaft). Depending on the violin shop that does the work this can be rather expensive in relation to the quality of the violin.

Front

The Wittner tailpiece with built in fine tuners and the plastic chinrest also give the appearance of a student quality instrument.

Back

Overall impression: The violin appears to be a well made instrument in good condition. I don't see any obvious cracks or damage, although the photos don't allow enough detail. I don't doubt that it is German.

This violin would make an excellent donation to a school or teaching studio and would be quite serviceable for an advancing student. Without better detail it is hard to put a value on this instrument but I would place it around $1,000.00. Again, it would make sense to check with the shop that you purchased it from. Good luck with your decision.

Manta Member

2011-02-17T05:44:00.001-08:00

Viola Hero: Emanuel Vardi dies at age 95

2011-02-13T07:11:00.000-08:00

Emanuel Vardi

Manny

Emanuel Vardi

passed away on January 29, 2011 at the age of 95. Known by many a a champion of the viola during a time when there were few famous violists.

Manny entered the Institute of Musical Art which later became Juilliard. He was a member of the NBC Symphony Orchestra under the direction of Arturo Toscanini.

Paganini 24 Caprices

His viola career spanned over 50 years. Manny had several recordings including his 1965 recording of the Paganini 24 Caprices. The Caprices are incredibly difficult on the violin and even more so on the viola. Only one other violist has recorded the Caprices.

I had the honor of playing for Manny at a masterclass and again when he performed the Walter May Viola Concerto with the South Dakota Symphony. He played a viola built for him by Hiroshi Iizuka. It is a stunning instrument with power and a cellistic sound. The viola was made for Manny and he could get every bit of color and sound out of the instrument.

An Iizuka Viola

Emanuel Vardi was born in Jerusalem on April 21, 1915. His father was a violinist and painter and his mother was a pianist.


Schubert Trout Quintet - Emanuel Vardi

In 1993 he retired from playing after a broken wrist and torn rotator cuff. He then turned to painting.

Manny's paintings of musicians and cityscapes have been exhibited in galleries in New York and around the country. Critics have praised his control of color and tone.

Emanuel Vardi will be missed by violists and friends all over the world.

"I love painting my musicians, and it is my hope that through the use of color and design, I can allow the viewer a glimpse and a greater understanding of the world of the musician." - Emanuel Vardi

Violin - Copy of Antonio Stradivari Made in West Germany

2011-02-12T05:36:00.000-08:00

Your Question:
I am caring for a violin of a dear friend of mine while she's away. She has had it for 30 years, and the inside has a sticker that says "Copy of Antonio Stradivari, Made in West Germany". Then a smaller sticker says "Otto Stein v-933". I was wondering if you had any information regarding the maker. Also, should I have it reconditioned in some way for her or would that devalue the instrument?

Scroll

My Answer:
After extensive research I was unable to find any information on Otto Stein. My guess is that is either a trade name (a name of a fictitious maker used usually used to distinguish a particular model of student instrument) or perhaps a dealer who added a shop label to this instrument.

Copy of Antonio Stradivari West Germany

In examining the wood selection used for the top and particularly used for the back, neck and scroll in addition to the quality of varnish and overall workmanship, my conclusion is that this is a student grade instrument made circa 1950-1970. The West Germany label helps to date this violin as Germany was divided between East and West starting July 1st, 1945 and the Reunification started in 1990. Thus providing an age span for instruments bearing labels from East and West Germany. To my eye the scroll looks like factory work and the varnish appears to be spirit, or alcohol based as observed by chips in the varnish.

Back

You will not do any harm to this instrument if you have it reconditioned by an experienced luthier. In fact it would be a good idea to have it checked for open seams, cracks and proper fit of the bridge and sound post. When you ask about reconditioning I hope that you don't mean revarnishing. It is rare for an instrument to be revarnished unless there is a good reason for it, such as most of the varnish is either missing or severely damaged. It looks as though the violin will need to have the pegs lubricated and adjusted so that they turn evenly and fit well. There appears to be significant wear on the fingerboard so it should be planed or "dressed" to removed grooves, bumps and ridges. Your luthier will probably want to fit a new soundpost, bridge and strings. From the photo the end button appears to fit well but if the luthier determines that it does not fit well he or she may recommend replacement. The violin should have a good cleaning, some varnish retouch and a fresh set of strings.

End Button

A suggestion would be to replace the tailpiece with a Wittner tailpiece with built-in fine tuners. The Wittner tailpiece is lighter weight than the ebony tailpiece on this instrument and the fine tuners are curved on the underside which runs less risk of damage to the top of the violin if the fine tuners are turned all the way down. I hope that you are able to get this violin into good playing condition so that it can make music once again.

1912 Ludwig Koschat Violin and Otto Adler Violin Bow

2011-01-23T05:32:00.000-08:00

Your Question:
Hello, I have an old violin bow stamped Otto Adler. would you happen to have any info on the value of this bow and its history? I also have an old violin from 1912 by Ludwig Koschat with a serial number 2018.It has mechanical pegs as well.ps.is it possible for luthiers to switch the soundpost from a violin for their benefit? I took in an old violin and i just noticed it has a newer soundpost. this was done with out my permission. the sound isn't as bright anymore either.

My Answer:
Thank you for your inquiry. I would need more information and photos to give you an opinion. What I can tell you is that Otto Adler, bow maker, was born in Markneukirchen, Germany in 1910 and worked in Mittenwald. His silver mounted, ebony bows, in good condition sell for around $1,000. Condition, mountings and weight effect the value of a bow, so without knowing these things I can't give an opinion on the value of your bow. After seeing the photo of your bow it appears to be a nickel mounted pernambuco bow in need of some restoration. I would place the value of the bow in it's present state at $200-$400.

Regarding the Koschat violin, again, because condition and authenticity effect the value I am unable to give an opinion without more information. Can you send photos of the violin and bow?

About the soundpost, it is possible to change or replace a soundpost. Many luthiers will replace the soundpost whenever they carve a new bridge. It is not uncommon to replace an ill-fitting, cracked or split soundpost, or a soundpost that is the wrong diameter. You should talk with your luthier about this. If the soundpost was changed there might have been a good reason for it. A good luthier is willing and able to justify the work that was performed on an instrument. Most luthiers are willing to work with you on the adjustment of the instrument to get the sound to your liking. It is usually best to make an appointment with your luthier for this.

Your Question:
Hi I was wondering if you had any info on a violin made by Ludwig Koschat? and the value of this violin? It was made it 1912.

My Answer:
Ludwig Koschat violins were "trade" instruments made circa 1900. The quality of the photos don't allow enough detail for an accurate assessment of this violin. Based on my research the Koschat violins were manufactured in three models: Amati, Stradiavari and Guraneri. Your violin appears to be built on a Stradivari pattern. This model sold for $15-$25 circa 1910. The varnish looks to be spirit (or alcohol) based. You might want to have traditional pegs installed as the mechanical pegs add quite a bit of weight to the instrument which not only makes it heavy but can impair the sound. You have the violin set up with very good strings. Depending on your market I would place the value of this violin at $500-$1,000.

Hans Nebel 1924 Violin

2010-12-25T05:47:00.000-08:00

Your Question:
I am trying to decide whether to sell my violin and give the money to a children's charity or donate it to a school so that children who cannot afford a violin can learn how to play one I have owned this violin since 1966 and it is in a good case, good condition, and the inside label says: Hans Nebel, Violinmaker, Philadelphia 1924. Is this likely a violin that I should donate to a school or sell? Also, is there a range that I should expect? Thank you for any input. Donna

My Answer:
Donna, Thank you for your inquiry. I can tell you that Hans Nebel (Sr.) was born in Mittenwald, Germany in 1892. He worked in Vienna, Stuttgart and for the famed Wurlitzer shop in New York, until he returned to Mittenwald in 1945. His son Hans Nebel (Jr.), whom I have studied violin repair with (shown above), is working in New Jersey. I have done a little research on value and this violin, assuming good condition and authenticity, is in the $5,000-$10,000 range, possibly more depending upon the market.

It would, in deed, be a very generous donation to a school. You might want to explore the possibility of selling the violin. Keep in mind that if you sell it to a dealer or at auction you probably won't get top dollar for it. Another option would be to consign the violin through a reputable violin shop. Many shops will take a 20-25% commission and will charge for any work that is needed to put the violin into sellable condition. If you consign the violin it may take a while for the instrument to sell, but ultimately may net you more money. If you want to sell it quickly then selling directly to a dealer or at auction would be a faster option.

It sounds like a lovely instrument and I wish you the best with your decision.

Whistling E String

2010-12-19T09:09:00.000-08:00

Your Question:
I have a student who continues to occasionally "whistle" on her E string when playing double stops. We have changed the string with no improvement. I have watched her to be sure the bow is perpendicular to the string and not too close to either the bridge or the fingerboard, and yet it will still whistle on occasion. It doesn't happen every time, which is even more frustrating. Please help me diagnose this problem so I can help my student!

My Answer:
There is nothing more annoying than a whistling E string. My violin has a terrible whistle and playing fiddle tunes I play the open E string a lot. If you have determined that the problem is caused by bowing technique then it probably is the E string that you've chosen. What kind of E string is your student using? In addition, it is important to make sure that the violin is in good adjustment and that the notch for the E string at the nut and bridge are not too deep, and that the E string has proper fingerboard clearance.

I have two suggestions for clearing up this problem. You can try the Kaplan Solutions E string manufactured by D'Addario. It is a wound E string and specifically designed to get rid of the whistling E string problem. I've also had tremendous success with the Pirastro No. 1 -"The First Universal E String." It is a steel string wound with a tiny chrome steel wire, so thin that one cannot see that this string is a wound E string; the diameter of this string is almost as thin as a plain E string. This is the string that I use on my violin and it's hard to tell that this is a wound E string. To my ear it sounds as good as a plain steel E, which is my preferred E string. Please let me know if one of these solutions works for you.

Can I put a 3/4 Size E-string on a 1/2 size violin?

2010-12-18T20:47:00.000-08:00

Question:
Can I put an E string meant for a 3/4 size on a 1/2 size violin? Will it work o.k.? Thanks for the form and the help.

My answer:
It is not a problem to put a 3/4 E string on a 1/2 size violin. It is done all the time.

Reply:
Thanks for answering , It's near amazing !..! The excitement one little string seem to cause.. . . . From kids freaking out to hair pulling to the point of to funny for type. Thanks again , from North of the Continental Divide.

Wittner tailpiece with built in fine tuners

2010-12-18T20:42:00.000-08:00

Question:
We have a question regarding tailpieces. You have suggested getting a Wittner tailpiece for the little viola. My friend had the full size I showed taken in to his friend's repair shop and they suggested the same kind-explaining that it works better with the new strings people use now. The old one may break with the new string tension etc. We looked at it's construction and get the concept of how it is better and that these fine tuners used for accuracy are better because the potential for getting loose is gone. Obviously use of fine tuners would create less wear and tear on pegs, bridges, etc. However, when I look at pictures of professional violinists' violins I see many different tailpieces, but only one fine tuner. Are they resistant to change for the "better" or is there another reason for staying with the traditional set up?

My answer:
With the modern strings fine tuners aren't necessary (except for the E string). Most professional violinist/violists use only one fine tuner. Although some are using two for the upper two strings. Four fine tuners are recommended for students, who are learning to tune their own instruments, in addition to helping to save time for teachers in lessons. The advantage to a Wittner tailpiece with the built in fine tuners is that they are light weight (lighter than adding four fine tuners to a wood tailpiece) and the tuners are curved on the bottom, which minimizes the possibility of damage to the top of the instrument when the tuners are turned all the way down. I have recently put a Wittner tailpiece on my fiddle and I love it!

Quality of Sound

2010-11-22T10:06:00.000-08:00

Your Question: I have a 1928 Bert Goodwin 4/4 violin that has a good resonance ,reasonable volume,and I should be honest and say that I am a backyard 78 year old low end country fiddler so my knowledge of violin operation is limited. I can play reasonably ok with the radio or computer fiddle or at the fiddle club but as a solo I fail badly. Regardless it's my way of loving to play fiddle I use Daddario Hellicore heavy strings with pirastro gold E. Is that a good choice for resonance and quality sound? Or do you suggest I get live advice by a local luthier. A.J

My Answer: Dear A.J.,
There is no perfect string for all instruments. The combination that you are using is rather unusual. If you are happy with the sound then I'd suggest staying with the string combination that you are using.

My experience with the Helicore strings is that they do wear out quickly and if you don't have four fine tuners they can be difficult to tune. In general I'm not a big fan of gold plated E strings unless the violin has a harsh sounding E that you want to tone down. My experience has been that the gold plated E strings are expensive and the gold plating wears off quickly. I've also noticed that they seem more prone to "whistling" than plain steel E strings.

If you want to try other strings I'd suggest Thomastik Dominant with the #129 (plain steel) E string or the Thomastik Vision strings. The Dominant strings are the standard string used by most violin shops. In our shop we usually set up an instrument with Dominants and if we want to change the sound we then use something different depending on the sound we are trying to achieve. The Vision strings are a good alternative to the Dominant because they are less expensive and settle in much quicker than Dominants. Lots of fiddle players use Thomastik strings. Pirastro also makes very good strings as well.

I hope this helps.

Sincerely,
Sheila Graves, Violin Dealer and CEO
Simply Violin

The CodaBow Joule Viola Bow: Energy and Control

2010-11-04T02:45:00.000-07:00

Review of CodaBow Joule Viola Bow

The CodaBow Joule Viola bow is an amazing bow for the price. The suggested list price is $735.00. The bow has a sleek carbon fiber design with a Kevlar acoustic core and a graphite diamond weave. The frog is the “turbo” design manufactured specifically for CodaBow by the Walter Paulus Gmbh of Germany. It is made of Xebony, which is engineered ebony. The frog is nickel mounted with a sterling silver coda sign inlaid on each side. This bow is very attractive visually. The bow also boasts a 10 year warranty.

The Joule gets its name from the Joule unit for measuring energy. The bow adheres well to the string in when playing detaché strokes. It pulls an even sound from frog to tip and back from tip to frog. The Joule is easily controlled in martelé strokes and has a fast and even spiccato. The ricochet and sautillé strokes are easy to control.

The Joule is marketed as a bow designed for extended range instruments but plays great on a standard four string instrument. This bow weighs 70.2 grams and the balance point is 9 3/4 inches. The bow is very stable on the string in legato passages and is extremely responsive. The Joule with the turbo frog makes long slow bows feel like they can be sustained for a longer period of time than a bow with a traditional frog. The sound produced by a carbon fiber bow tends to have more clarity than a wood bow although some warmth of sound is lost. Because this bow is so responsive hair tension and hair length greatly effect the way the bow plays. Upon finding the appropriate hair tension the bow reacts to every nuance. This bow rivals a fine pernambuco bow. It is an excellent choice for viola because it allows good grip on the C string and a fluid and silky sound on the A string. This bow drives like a finely tuned Lamborghini but is priced like a Toyota. The Joule viola bow makes a wonderful bow for an advancing student or an excellent addition to a professional violist's arsenal of bows.

Sheila Graves
Violist, Violin Dealer, Minneapolis, Minnesota, Simply Violin, House of Note

Simply Violin Appraisal -- a Montagnana Copy

2010-10-02T11:26:00.000-07:00

Message: I found your web site more informative than any other I have gone to. The violin I have, has a sticker inside. It says Dommicus Montagnana Sub Signo Cremonae Venetia 17 made in Germany. Is it worth restoring? It is in very good shape. Needs stings and bows need it too.

The Violin Dealer: When I try to enlarge the photos to see better detail they get too pixelated to see very well. From what I can tell it looks like the violin has two rather large top cracks. One of the cracks looks to be a bass bar (inside the violin) crack. Those are difficult to fix and the repair usually involves removing the top of the violin to do the repair. If I am correct about the top cracks then I would say that the repairs would exceed the value of the instrument. In addition, I'm not convinced that the fingerboard is ebony. If a violin has an ebony fingerboard that gives a good indication of quality. The violin also needs a new set of pegs in addition to set up work, bridge, sound post, strings, etc. This violin appears to be a Germany made copy of a Montagnana (pre-World War II) made circa 1900 - 1920. When this violin was new it probably sold for $10-$15. In today's market (in the midwest, USA) in excellent condition it would be worth $300-$700. Depending on the shop that did the restoration for you, the repairs could run $1,000 to $3,000 or more.

I can't see enough detail on the bows but I'd guess that the bow in the bottom bow holder is an inexpensive brazilwood bow with a half-mounted frog. It might be worth doing a rehair on it if there is no or minimal warping in the stick. This bow could have a a value of $100-$150 in good condition. The bow in the top bow holder could either be a pernambuco (type of wood) bow or an inexpensive Japanese cherrywood bow. If it is a pernambuco bow, depending upon condition it might be worthwhile to put into playing condition and could be worth $200-$300. If it is stamped Japan and is cherrywood, then generally those bows have little value today, and I would not recommend having a rehair or any other work done on it.

Q and A: Why does my bow bounce?

2010-02-06T12:21:00.000-08:00

Question: Hi, I've played violin for about 15 years. When doing long bow strokes, especially on open E, I get a little bounce in the middle of the stroke/bow. Normally don't notice it in the middle of a passage, especially with vibrato "hiding" it. I try to keep my arm and wrist totally relaxed, but I still get a little bounce that breaks up a smooth phrase. Any advice? Thanks

Answer: This could be caused by your bow. Every bow does this to some extent, the problem is when you can actually hear it. When a bow is tightened too much it can become bouncy and hard to control. Check the stick of the bow to see if it is warping in one direction or another. If it is warped, have the stick straightened by a qualified luthier. A good luthier can also adjust the camber on your bow to minimize the bounciness. If you find that nothing works to control this problem it might be time to look for a different bow.

Is it a Stradivarius? An Appraisal

2010-02-05T20:09:00.000-08:00

As a violin dealer, I often am asked whether an old violin owned by a customer might be a Stradivarius. The following is an appraisal of an instrument of the kind typically brought to me labeled inside as a Stradivarius. Is it a real Strad? Read on and find out!

Appraisal dated January 31, 2010

Dear Jeff,

Thank you for your inquiry about your violin. I have examined the photos and will offer you my opinion on your instrument. Disclaimer: It is always difficult to do a complete assessment of an instrument through photos.

General Remarks: Your violin appears to be a copy of a Stradivari made circa 1900. My guess is that it was made in Germany although it could have been made in Czechoslovakia. The borders were not as defined during that era as they are today. From the photos, the violin appears to be in reasonably good shape although I did note a few top cracks. There did not appear to be any soundpost cracks in the top or back, which is good. The other cracks can be repaired should you choose to do so. In addition the violin is in need of standard set-up work, which would include new pegs, nut, plane fingerboard, bridge, soundpost, tailpiece, tail wire, fine tuner(s), end button and strings. The violin appears to need a few corner grafts and some cosmetic work such as cleaning and retouch. From what I can tell both bows would be more cost effective to replace than to fix.

Specifics:

1. It is hard to see in this photo but there is a crack ascending from the saddle on the right side. Also there is a crack that originates from under the chinrest. Because of the angle this photo was taken the ff holes appear to be elongated and resemble Guarneri ff holes rather than Stradivari, but I think if the photo were taken straight on they would resemble Stradivari ff holes. Also the fingerboard appears to be ebony (rather than maple dyed black) and the purfling (the alternating black and white strips around the edge) is inlaid. This gives an indication of the quality of the instrument. Strad copies circa 1900 were made by the thousands and of varying degrees of quality. The very cheap copies did not have ebony fingerboards, or pegs and did not have inlaid purfling.

2. This ff hole resembles a Stradivari ff hole and it is easy to see that the purfling is inlaid. To restore this violin to pristine condition both corners in this photo should have a corner graft, which is where new wood is added and varnished to bring the corners back to the original condition. There is also a bit of denting in the C bout. This could be steamed to bring out the crushed wood and then retouched with varnish to make it look great. This would be for cosmetic purposes.

3. This photo shows the neck joint and the ebony fingerboard. This is shot helps to date the violin because the original varnish is unbroken where the neck joins the ribs and the back button. If the violin were made prior to 1850 the neck and fingerboard would be short (ie baroque) or the original neck would have been replaced to bring the violin to modern standards which would include a higher neck projection and a longer neck and fingerboard.

4. I cannot make out the stamp on this bow but I suspect that it says Japan. It appears to be a cherrywood stick. This was a very inexpensive bow in it’s day and the repairs needed would greatly exceed the value of this bow. To most dealers this bow has no “salvage” value.

5. This photo does not show much detail but an educated guess would be that this is a brazilwood bow of German origin. If you look carefully on the stick behind the frog you may see the word “GERMANY” stamped into the stick. It appears that the hair has been left tight for many years and there is significant warping in the stick of the bow, both under the winding and I suspect further down on the stick. The ebony frog appears to be nickel mounted. Better bows generally have silver mountings. As with the other bow, the repairs required to get this bow into playing condition would greatly exceed the value of the bow.

Summary: In my opinion this is a classic “Strad Copy” violin that most violin dealers see on a daily basis. This type of violin was manufactured by the thousands from 1875 to 1940. These instruments were widely distributed by mail-order venues such as Sears Roebuck and Montgomery Ward. There were various grades of these violins made. A dealer typically looks at overall workmanship and other quality indicators such as inlaid purfling and if the fingerboard is ebony, also if the varnish is spirit (alcohol) or oil based. I will not offer a repair estimate on this violin because that can vary from shop to shop and from region to region. In perfect condition this violin could sell for anywhere from $200.00 to $2,000.00 and again that depends upon the region, the dealer and the market. Keep in mind that an object is worth whatever someone is willing to pay for it. In the mid-west (USA) this violin, in good playable condition, should sell for $600.00 - $1,000.00.

Respectfully submitted,
Sheila Graves
Violin Dealer, Simply Violin

How to Choose an E String for the Violin

2010-01-09T09:56:00.000-08:00

Deciding which E string to use on the violin is a very individual choice. There are numerous E strings on the market and opinions will vary from player to player. This article will look at several popular brands and their characteristics.

There are many different types of E strings. They include plain steel, wound, gold plated, silvery steel, multilayer tin plated steel, chrome steel and plain gut.

Plain steel E strings are by far the most popular and preferred strings. They tend to give the truest sound with the most brilliant and clear overtones. A popular string currently is the Pirastro Wondertone Gold. It gives a clean and clear sound with even projection. The light or weich gauge Wondertone can also minimize wolf tones on the E string. If you are looking for a string with a little more color, the Jargar is an excellent choice. It adds more warmth to the sound and is popular amongst many violinists. Another great choices is the Westminster. The 27 1/2 gauge E is a high tension string and, on some instruments, it will open up the sound on all four strings. The Lenzner Goldbrokat has been used by violinists for many years. It is comparable to the Wondertone Gold E string and gives a clean and clear sound. However, Lenzners do not tend to last as long as Wondertones. Other good choices for a steel E include Corelli, Thomastik Dominant #129, Kaplan Golden Spiral, Prim, D'addario, Larsen and Hill, in addition to the many plain steel E strings by Pirastro.

The new generation steel E strings are plated with various alloys including silver, tin and chrome. Silvery steel strings are comparable to plain steel and can give a little more focus to the sound -- but at the cost of warmth. Pirastro manufactures these strings and they are sold as Evah Pirazzi, Wondertone Solo, and Passione. The tin plated E strings tend to have a more strident sound. Thomastik Vision uses tin plating. An excellent choice is the Pirastro No. 1 Universal E, which is chrome plated. This is a fantastic alternative to plain steel E strings, which can whistle. It retains the brilliance and clarity of plain steel -- with an easy response -- while eliminating the annoying whistle. This string is very good for violinists who suffer from hand perspiration.

Wound strings have been around for years. The two most popular wound strings are the Pirastro Eudoxa and the Thomastik Dominant #130. Both of these have a warm and rich sound, but lack the brilliance and clarity on harmonics and overtones. They tend to wear faster as the outer winding breaks down with use and perspiration -- thus leading to more frequent string changing. Hence, they are a poor choice for violinists with sweaty hands. Another popular wound E is the Kaplan Solutions, which is designed for violins that suffer from a whistling E. On many violins, they seem to make the sound seem somewhat dull.

Plain gut E strings are primarily used by baroque violin players. Since they lack an outer protective wrapping, they wear very quickly. They have a thin sound and generally sound nicer when the violin is tuned below A440. The Pirastro Chorda is the most popular of these. Gut strings are affected by temperature and humidity and require frequent tuning. As an organic product, they have a shelf life and require frequent changing.

Of the four strings on a violin, the E string is the least expensive. Thus, it is often possible to experiment with several options to find the one that best suits both your tastes and your instrument.

Embrace and Extend Suzuki - Simply Violin - The Sing, Play, Learn Songbook

2010-01-05T14:51:00.000-08:00

Simply Violin: Sing. Play. Learn. Favorite Songs for Violin in First Position is a new book for beginning violin students. I have been teaching violin and viola for nearly 30 years and am always looking for new ways to inspire and teach my students. It can be difficult to keep today's children interested in learning violin -- especially when they are assigned unfamiliar songs and exercises. Although Suzuki has been considered the Gold Standard almost since Book One for violin first came out in 1978, I have always found the songs to be rather dull. I also think the level of difficulty rises far too quickly. In contrast, Sing. Play. Learn's songs are all intended to be played in first position, and every song can be played with or without using the fourth finger of the left hand.

After using the book for about 6 months, I have had good luck with it. I appreciate that there are 80 songs, more than contained in any other violin book that I can think of. And, yet, the children know most of the tunes and enjoy playing music that they recognize. The parents also are happy to hear recognizable tunes and are more able to help their children to learn them. Plus, the musical editing is very clear, the bowings and articulations well thought out, and there are no page turns within songs.

Another aspect of the book that I like is that it is divided logically into sections that feature fingerings such as first finger low, second finger high, etc., introduced separately. The book also has lyrics for each song. I have found that if a student is having trouble with pitch or rhythm, it can be helpful to sing the song first along with the student, so that he or she can make the connection to the notes and rhythms on the page. Because of its logical division of songs, fingerboard and note reading charts that Suzuki does not have, and arrangement in order of increasing difficulty, I do consider this to be a method book as well as a song book, and, thus, a possible competitor or at least supplement to Suzuki Book One. As an accompaniment book is also available, all of the songs can potentially be used in recitals, another strength.

I have found this to be a very well thought out book and am glad to have it in my teaching studio. However, to name just the few quibbles I do have with the book, I would like to see a page introducing beginning rhythms and possibly also some pictures showing correct bow hold, position for holding the violin, and proper positioning of the feet, as well as other instructional images, as are incorporated in the latest release of Suzuki Book One. However, because the book is unique in the market for beginning violin books, I think it is worth considering despite lacking these items.

I hope this book also comes out for viola, as there are even fewer good song books for viola than for violin.

Carl Flesch "Cliff Notes" - Simply Violin - Violin Scales & Arpeggios in One, Two, and Three Octaves

2010-01-05T14:46:00.000-08:00

Many of us who have taught from the violin scale book by Carl Flesch have wished for a "Cliff Notes" version -- one that includes the familiar fingerings but without all the extra material, such as octaves, tenths, and parallel thirds. Of course, these have their place. But most students could benefit from a more simple (and portable) version.

Most violin scale books other than Flesch are lacking in several areas. First, they do not use the Flesch fingerings, which are widely considered to be standard in America as well as abroad. Most also lack arpeggios. Finally, they are often hard to read and/or densely spaced on the page. For these reasons, many (if not most) advanced students continue to study from the Flesch book, even though they may never use the majority of its pages.

I have also wished that a "progressive" book would come available -- one that included scales in one and two octaves rather than just three octaves. Even better would be a book including arpeggios with fingerings that are consistent not only within octaves, but between them as well.

Simply Violin: Violin Scales and Arpeggios in One, Two, and Octaves (based on Flesch) solves many of these problems. This book employs consistent fingerings. Plus, the notes are well spaced and there is ample room for the teacher to change fingerings if desired.

The two octave scales in this book are particularly nice for students who are auditioning for an intermediate youth orchestra. Further, all of them use the same fingering pattern, which allows the student to memorize them easily.

In this new book, I believe that I have found a viable alternative to Flesch that I can recommend in my shop to violin teachers who are looking for a more user-friendly version of Flesch. And, the book contains scales in one and two octaves, allowing for students of any level to begin scales and progress to Flesch fingerings in a logical and progressive way.

How to Care for Your Violin Bow

2009-12-30T06:20:00.001-08:00

It is important to develop good habits when caring for your violin bow. A good and responsive bow makes a huge difference in the sound of your instrument. There are several key points to remember to properly maintain your bow. Most importantly, always loosen the hair when you are finished playing. This is done by turning the bow screw counter-clockwise. You should feel the stick relax back into it's original arch (camber). If the bow is left tightened for extended periods, the stick can lose its camber and can even warp. Furthermore, the hair can stretch out. If the hair stretches too much, you will not be able to tighten the bow to playing tension. It is vital to remember never to force a bow to tighten because it is possible to break the butt end of the stick by forcing it. If you can't tighten the hair, you should take it to your violin shop for a possible rehair. Bows should be rehaired depending upon use and the condition of the hair. There isn't one rule about how frequently to have a bow rehaired.
An additional key to caring for your bow is to remember never to touch the horsehair with your fingers, as dirt and oils can get on the hair that will cause it to lose its ability to accept rosin. In general, it is always a good idea to wash your hands before you play your instrument. Some peoples' hands tend to perspire profusely. Not only can the sweat remove the varnish from the stick, iit can also soil the hair at the frog. For those with sweaty hands, frequent hand washing is more than a recommendation -- it is a must. When perspiration builds up around the frog of the bow, it can attract grime that can cause the frog to get stuck in position on the stick. When this happens, the frog will not move -- even when the bow screw is turned to loosen the hair. If this happens, the frog should be taken off of the stick, using care not to allow the hair to become twisted. Then, the stick should be cleaned. If you find that your hand is "eating away" at the stick or the varnish, you can have your luthier apply a long leather to the handle of the stick to protect it. This is frequently done on fine bows to preserve the makers' stamp from wear and tear.
The frog glides back and forth on the stick by a simple mechanism of a bow screw and an eyelet. The bow screw is usually made of steel and the eyelet is usually made of brass. The brass eyelet is a much softer metal than the bow screw and can strip. If you find that you cannot tighten or loosen your bow, chances are good that they eyelet has become stripped. On occasion, it is possible to carefully remove the frog from the stick and turn the eyelet one-half of a turn, in order to locate some remaining thread left that has not yet become stripped. Then, it is possible to reset the frog back on the stick and reset the bow screw. This doesn't always work, but it is worth a try.
On the stick near the frog is the thumb leather and winding. The thumb leather is there to protect the stick from the thumb and thumb nail. Over time, your thumb nail can wear through the leather and start carving into the stick. If your thumb leather is warn, you should have it replaced at your next rehair. This will help preserve the stick and value of your bow.
The head of the bow is very fragile and under a lot of tension. At the head, you will find a tip plate. The tip plate can be made of metal, plastic, ivory or mammoth and is there to protect the head of the bow. If your tip plate is not made of metal, it can break when bumped or can crack if the hair isn't carefully inserted during a rehair. If it should crack or break, you should have it replaced immediately.
Using too much rosin is a common mistake made by many players. Rosin should be applied sparingly and only when needed. You should not see a white cloud of rosin come off the bow when you play. Once there is too much rosin in the hair, it is nearly impossible to get out. When you use too much rosin, it will build up on the strings and your sound can become very scratchy -- since you are essentially playing with rosin on rosin. Also, rosin can build up on your instrument and damage the varnish over time. To avoid this, it is important to wipe off your instrument, strings and bow shaft with a clean soft cloth each time you finish playing. Microfiber cloths work great for this.
Tightening the bow too much when you play is another common mistake. There is no rule for how tight a bow should be as it depends on the strength and camber of the stick and is different for every bow. If your bow is too tight, you will have trouble controlling your bow and it can become too bouncy when an even sound is desired. You can test how tight to make your bow by playing long and even strokes. The hair should just barely clear the stick at the middle of the bow. If you see a big gap between the hair and the stick, then your bow is too tight. You can keep experimenting with hair tension until you find that you have good control over the bow.
When you have develop good habits you will find it very easy to maintain your bow. Eventually, you should be able to do this without even thinking about it.

Have You Found a Stradivarius

2009-12-23T09:38:00.000-08:00

So, you've found or inherited an old violin. You look inside and the first thing that you see is the label, which is affixed to the back of the instrument and can be viewed through the "ff" holes. What does the label say? Odds are quite good that it says "Antonius Stradivarius Cremonenfis Faciebat Anno 17XX". So, have you just won the lottery? Do you have an instrument worth millions of dollars? Unfortunately chances are good that what you have is a copy of a Stradivari, which was likely made in Germany or Czechoslovakia during the period of 1875 to 1940. These copies, made by the thousands, were manufactured primarily for export, with many of them coming to the United States. They were widely distributed by companies such as Sears Roebuck and Montgomery Ward in a mail order fashion. Most of them were sold as "outfits" or "kits," meaning they came with a case, bow, rosin, pitchpipe and a beginning violin book. If your violin doesn't say Stradivarius, it could say Nicolo Amati, Joseph Guarneri, Carlo Bergonzi, J.B. Vuillaume, Steiner, or any number of other well known violin makers. These labels were inserted in the instruments for two reasons: first, to sell the instrument; and, second, to acknowledge that this instrument is (roughly) patterned after one of these great masters of violin making.

How can you tell if you have the real thing? It is fairly easy to identify copies. The first thing an appraiser will do is to look at the quality of workmanship and the varnish. The copies usually do not have the same quality of workmanship or varnish as an original. The appraiser will look at the "ff" holes, the "purfling," and the overall pattern of the instrument. They check to see if the scroll and instrument are symmetrical, if the purfling is inlaid, and how well that has been executed. The next thing to check is the neck and scroll. A violin made prior to 1850 will still have the original short or baroque neck and short fingerboard or will have had a neck graft, which is where the original scroll is carefully removed and a longer neck and fingerboard are installed and the original scroll is reattached. When an appraiser looks at a violin, generally the last thing they look at is the label. Over the years many fake labels have been put into instruments with deception being the number one reason.

If your label says "Germany" or "Czechoslovakia" or some other country, that helps to date the instrument. In 1891, the McKinley Tariff Act required that all items imported by the U.S. state the country of origin. In 1914, the Act was revised and also required the words "Made in." In 1921, the Act was revised again to state that all countries of origin be written in English. There are also other clues which can help further date the instrument such as "Made in Occupied Japan", which would have been 1945 to 1951, or "West Germany" and "East Germany" when Germany was divided. This occurred in 1945 and lasted until the reunification, which started in the summer of 1989.

The burning question remains. Does this violin have any value? There were various grades of copies made. Some of them were made quite crudely, while others have beautiful workmanship. This is where you need the opinion of an expert. The quality of workmanship and varnish in addition to the condition of an instrument greatly affect its value. Your appraiser will assess these things and generally come up with a value based on what the instrument is worth in its current state and what it could be worth if it were put into pristine playing condition. When in doubt, take your treasure to your trusted violin shop for an opinion. You may have to pay for this opinion but if you do have a real Stradivari the information you receive could be priceless.