Ohvuthi.
In B3 flat.
.
The wood slightly worn
Varnish not faded
Clean and whispers gently
Performance ever, and don’t pale away
Still the voice, voice of an angle
Listen and then you could compare.
.
Paul Jombar (1868-1936) was a luthier. After serving his apprenticeship and working for Nestor D. Audinot and others, in 1892 he setup his own studio. He also produced bows that are highly prized.
Animato Strings.
.
Reflections from the Mediterranean
Lycmme.
In C major.
.
Genuine and sound structure
Pernambuco wood no more
Yet, en pointe in hand
A bow with finesse, to peak.
.
William Charles Retford (1875- 1970) was a Hampshire man whose first calling was bow-making. The first sixteen years were with Ashley and Burley, then joined the firm of W.E. Hill and Sons in 1892. His contribution was to fulfil the requirements of the 20th century. To do so, required him to overcome the fine challenges that bow-making and expanding in music repertoire bring.
The Cooper Collection.
.
Reflections from the Mediterranean.
Aoxiomie.
In D major.
.
The bow is light and steady
With an arc of midpoint extremes
Drawn across the poising strings
As a sabrage in the need.
.
Andrew Alexander Hume (1864-1941) was a British musician and a violin-maker. Travel to Saxony and Bohemia. His reproduction of stellar copies of Stradivarius, Amati, Guarnerius, Guadagnini and Maggini was second to none. On his own pure creation was 1907pure gum varnish and as a theorist of violin-making a series of undersized violins that had more responsive tone than a larger model of the highest calibre. His bows are of octagonal quality.
Stringers London.
.
Reflections from the Mediterranean.
Inimishia.
In B-flat major.
.
A thousand horizons
Clear as a morning-bell
Reads, of music notation
In the key of the day.
.
J. Emil Züst (1864-1946) worked in Zurich, Switzerland. Züst progressed from a pupil in Munich of Marks to being the Head of the Swiss Violin Makers’ Society, in 1927. Using Guarnerius as the archetype and employing a modular methodology system of violin-making, violas and cellos and bows which still are adopted to this day.
Lot-art. Art Market Analytics
.
Reflections from the Mediterranean.
Tluishin.
In C major.
.
The irony of high value.
Of old-sounding wooden carcass
With rich tone and colourful histories
Locked up in a frozen vitrine.
.
Franz Albert Nürnberg (1854-1931) was an exceptional German-born bow-maker. He centred his craft creations on the French maker, François Xavier Tourte. As a result, at Nürnberger workshop became acclaimed as one of the leading workshops of the 20th century.
Carriage House Violins.
.
Reflections from the Mediterranean.
Swennce.
In C major.
.
The golden varnishes.
Underneath the bridge
Inside with the soundpost ‘
Echoed the Beau Idéal.
.
Nicola Gaglian (1740-1780) was the second son of Alessandro his other son was Gennaro (1740-1780) a family of well-known luthiers. Alessandro has worked with both Stradivarius and Guarnerius del Gesu. Nicolo was a very prolific violin-maker from 1740-1780.
.
The Violin Shop.
.
Reflections from the Mediterranean.
Foinalria.
In D major.
.
Tippy-toeing on the keyboard
Flirting in so many ways
Settling on D, the chord of the.
.
Reflections from the Mediterranean.