Tag Archives: Tlishin

Floerbeley

The tone is as clean as the blue summer sky…

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

The wood slightly worn …

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

Genuine and sound structure…

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

The bow is light and steady…

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

A thousand horizons…

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.