Sionunda.
In A3-flat major.
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A new melody came to me
We sat down and we sang like bees.
Emotional it was, even though the translation was offbeat.
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Reflection from the Mediterranean.
Sionunda
Tag Archives: Tlishin
Floerbeley
Floerbeley.
In D major.
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The tone is as clean as the blue summer sky
It leans to be heard not to be disguised
Years have gone since the old song passed away
No love could be given or returned
Till that day, a find, who knew how to read it well.
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Nicolas Duchene (1783-1790) was part of a French family that moved from producing baroque bows to modern bows.
Ateliér d’ Archeterie.
Reflection from the Mediterranean.
Ohvuthi
Ohvuthi.
In B3 flat.
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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.
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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.
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Reflections from the Mediterranean
Lycmme
Lycmme.
In C major.
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Genuine and sound structure
Pernambuco wood no more
Yet, en pointe in hand
A bow with finesse, to peak.
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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.
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Reflections from the Mediterranean.
Aoxiomie
Aoxiomie.
In D major.
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The bow is light and steady
With an arc of midpoint extremes
Drawn across the poising strings
As a sabrage in the need.
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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.
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Reflections from the Mediterranean.
Inimishia
Inimishia.
In B-flat major.
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A thousand horizons
Clear as a morning-bell
Reads, of music notation
In the key of the day.
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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
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Reflections from the Mediterranean.