NEWS
Concerts with Uilderks' instruments, among other things
11.05.2010, 8 PM Main Church (Hauptkirche) St. Katharinen
Katharinenkirchhof 1 20457 Hamburg
Program:
Mozart Clarinet quintet, KV 581
Brahms Clarinet quintet, Op. 115
Sharon Kam (Clarinet)
Isabelle van Keulen, Ulrike-Anima Mathé (Violine)
Volker Jacobsen (Viola)
Gustav Rivinius (Violoncello)
Mathias Johansen Cello
DO 04.03.2010 20:00
"Cello Total" with Yoko Yamada A.Schnittke-Gesellschaft, Hamburg
Max -Brauer-Allee 24
Alfred Schnittke
(1934-1998)
Cellosonate nr.1 (1978)
Edward Elgar
(1857-1934)
Cellokonzert in e-moll op. 85 (1918/19)
20.01.2010
The newest CD Celloproject Eckart Runge, Cello and Jacques Ammon, piano
The Celloproject goes east.....
Russian soul by Nikolai Kapustin and Sergei Rachmaninoff.
You can order the fantastic CD here
9.11.2009
Diplomexamination Viola mit Yulia Smirnova
u.a.Brahmssonate
Kammermusiksaal 20.00 Uhr
8.11.2009
Mathias Johansen
Elgar Celloconzert Laeiszhalle, Hamburg
11.00 Uhr
1.11.2009
Artemis Quartet play Beethoven Kolloseum in Lübeck
19.30
14.06.2009 9.15 - 10°° Uhr
Artemis Quartett Schwetzinger Festspielen 2004
Ludwig van Beethoven: Streichquartett f-moll op. 95
György Ligeti: Streichquartett Nr. 1 „Métamorphoses nocturnes“
The UK´s Doric String Quartet has been awarded the Nordmetall Prize for best ensemble at the Festspiele Mecklenburg-Vorpommern worth €10.000.
5.12.2008: Die neue Cellotango CD Celloproject Eckart Runge und Jacques Ammon, eine Tango CD voller Emotionen.
Eine erstklassige Einspielung, der Geheimtipp für Kenner. Hier gibt es sie schon!
19.11.2008: neue Tonica Saite von Pirastro 
In unserem Geigenbau Blog mehr darüber. Und bei uns sensationell der Preis: für einen Satz nur 18,47 Euro! einschl. Mwst.zzgl.Versandkosten
08.11.2008 17.30 Schwerin Schloßkonzerte Ahnengalerie anl. des 70. Jahrestages der Reichsprogromnacht) "Zeitzeugen hören - Brücken bauen" Rosenbusch-Quartett & Thomas Gärtner Schlagzeug: A.von Zemlinsky Streichquartett Nr. 1 A-Dur P.Haas Streichquartett op.7 "von den Affenbergen"
31.10.2008 20°° Uhr Theater Combinale Lübeck Amaryllis Quartett mit Jens-Peter Mainz, Cello Frid: Quartett "Fugues" Schubert Streichquartett Es-Dur D87 und Streichquintett C-Dur D956
16.10.2008 20°° Uhr Kammermusiksaal der Musikhochschule Lübeck mit Studierenden der Klasse Prof. Barbara Westphal
Wir drücken den Teilnehmern, die auf ihren Uilderks-Instrumenten den diesjährigem ARD-Wettbewerb im Bereich Streichquartett und Viola bestreiten, die Daumen.
In meinem Blog (Geigenbau-Blog) gibt es interessante Neuigkeiten. Produkte, Tipps aus der Geigenbau Werkstatt. Neueste Themen: Stege für Geigen, Cellodiebstahl,Provisionen im Geigenbau,GPS Signal zum Auffinden von gestohlenden Instrumenten und vieles mehr vom Geigenbau.
Neu: es gibt jetzt den ersten Geigenbau-Blog. Interessante Meinungen, Neuigkeiten aus dem Geigenbau und der Streicherszene sowie Produktneuigkeiten. Ihre Meinungen sind im Blog gefragt.
John Myerscough hat mit seinem Doric String Quartet den 1.Preis vom 6th Osaka International Chamber Music Competition 2008 gewonnen und den 2.Preis im internationalen Streichquartett-Wettbewerb Premio Paolo Borciani 2008 und das Amaryllis Quartett gewinnt auf diesem Wettbewerb einen Sonderpreis
Artemis-Quartett in ARTE am 24.06.2008 08:00 - 08:45 und in Hessen 3 am 06.07.2008 07:45 - 08:30 mit Ludwig van Beethoven: Streichquartett f-Moll op. 95; György Ligeti: Streichquartett Nr. 1, "Métamorphoses nocturnes"
Die neue CD des Amaryllis-Quartetts Fantasia Tropica
mit Streichquartetten von Géza Frid mehr dazu in unserem Shop und auf dieser Seite
Sonntag 18.5. 2008 Lübeck
Amaryllis-Quartett
19.30 Uhr Großer Saal Musikhochschule
Veranstaltung Verein Freunde der Kammermusik VFK
Béla Bartók: Streichquartett Nr. 5 (komp. 1934)
Johannes Brahms: Streichquartett a-Moll, op. 51/2
M u s i k h o c h s c h u l e L ü b e c k
Mo 21.4.08 | 21 Uhr | Kammermusiksaal
Mu s i k f ü r V i o l a
im Rahmen der Diplomprüfung
Jan Grüning Viola, Klasse Prof. Barbra Westphal
Christian Ruvolo Klavier
Rebecca Clarke (1886-1979)
Sonate für Viola und Klavier
Impetuoso – Poco agitato | Vivace | Adagio – Allegro
Krzysztof Penderecki (*1933)
Cadenza per viola sola (1984)
Astor Piazzolla (1921-1992)
Le Grand Tango (arr. für Viola und Klavier)
Tempo di Tango | Meno mosso | Piu mosso
Eintritt frei
Hier geht es zu unserem News-Archiv!
July 28. 2010 10:52:45
Tips and Tricks in Violin Building
Which string is recommended for my instrument?
How did Stradivari build his intruments?
My bow is losing hair and no longer grips properly
Peg problems can get you out of tune
My instrument doesn't shine anymore
Help, my violin rattles
My fingerboard has fallen off
Inexplicable varnish damage
I can't tighten my bow anymore
Winter Problems
Cold winters and the dry air from indoor heating present a huge challenge to an instrument and in the winter months, our workshop is often besieged by customers whose instruments are cracked or have openings between ribs and belly or back. Of course this problem goes hand in hand with changes, sometimes big ones, of the instruments sound.
Please follow the following tips for the care of your instrument:
Regularly tap the rim of your instrument with your knuckles and, should a hole exist, it will become noticeable by the cracking noise made.
I recommend the purchase of a Dampit 
a plastic tube that is hung damp into the instrument (approx. 9 Euro 10), visit Stradivarishop.
Before use, the tubes excess water should be squeezed into a towel. Water drops cannot be allowed to enter the instrument. The Dampit dries surprisingly quickly in very dry air.
One differentiates between four types of strings:
- Pure gut strings are still used today in instruments that are played at historical performances. Popular brands include the Pirazzi and Kuerschner companies
- Gut-core strings are covered in metal (usually silver or aluminum). The highest gut-core string is the a-string. The e-string is always a steel string. For exception see 1). The Pirazzi company manufactures the popular brands Eudoxa and Oliv, please see our online shop at Eudoxa and Oliv
- Steel-core strings are covered in metal. The Thomastik Company makes the Spirocore or the Superflexible strings, both Jargar and Larsen produce strings for the cello
- Synthetic-core strings, strings where the synthetic core is covered with silver or aluminum (Thomastik manufactures the Dominant string, Pirazzi manufactures the Tonica/Obligato and Evah strings). Have a look at Dominant string and Tonica/Obligato and Evah.
Which string is recommended for which instrument?
It is not possible to make a general statement regarding the make-up of strings. For each instrument the right strings must be found and tuned in a trial and error process. Each of the above-mentioned strings has its advantages and disadvantages.
Ever kind of strings has its advantages and disadvantages:
- The gut-core string (Eudoxa and Oliv for example) produce a noble and powerful sound but they become out-of-tune in temperature swings, even with adequate humidity. In violins, the d-strings and g-strings are played most and steel as well as synthetic core strings are frequently combined here
- Of the lower strings, the steel string is the beginner string. It is sturdy and has good pitch stability. A disadvantage is the metallic quality of the sound produced.
- For cellists and contra-bass players, the steel-core string is the first choice. A voluminous sound and good durability characterize these strings. Good cellists often use the following strings; c and g strings are steel-cored with wolfram, a und d Saite Larsen strings are Larsen or Jargar. strings. Larsen and Pirastro have become a good alternative over the past few years to the once unchallenged Spirocore strings. Larsens Wirecore g and c strings and Pirastros Evah-Pirazzi strings are especially popular.
- The synthetic-core string is a compromise between the gut-core string and the steel string. Its sound is more akin to the gut-core string and it is very pitch sturdy.
Please come by and see us for a free consultation. We often have test strings at our workshop you can try out as you like.
Peg problems and tuning
It happens all the time that a peg is so tight that it can hardly be turned or they loosen and the tuning is ruined. A well-functioning peg must fulfill several criteria:
- It must fit properly. The holes of the peg box must be evenly formed and provide a perfect fit for the peg
- A peg must remain adjustable. As the peg soap is hygroscopic (it attracts moisture), the peg reacts to differences in humidity with different operating characteristics
- A peg needs care
Here are a few tips:
- A good idea is to purchase some pure curd soap and also some normal writing chalk
- Remove the string and carefully clean the peg with some alcohol but be sure to avoid any contact with the instrument's varnish. Rub the peg with the soap
- Turn the peg several times in the peg hole. The thread of the peg box should be clearly visible on the peg. If this is not the case, the peg does not fit properly and should be re-fitted by your violin builder. Repeat the soap rubbing and turning so often that the peg works smoothly and with ease
- Now apply the chalk to the contact surface of the peg and turn it repeatedly. Do this until the peg turns firmly but without bucking
-
Replace the string while paying attention to the incline of the bridge and proceed with the next peg in the same manner
-
NEW: Now we have an intruction book with photos !!
My bow is losing hair and no longer grips properly!
If you sense that you require ever more rosin to get the strings to vibrate, it is probably time to re-hair the bow.
Under a microscope one can recognize little scales on the hairs which, in connection with the rosin, allow the string to vibrate. The intensity and duration of the playing cause these scales, over time, to wear down. Even when all hairs are still intact, a bow must eventually be re-haired.
The hairs have stretched to the point where the frog nut reaches the limits of the slot and a further tightening could result in the stripping of the relatively soft brass tension screw. You can determine whether the hair length in fine by completely unscrewing the tension screw, removing the frog and pulling the hairs to their complete length. Now it can be seen if there is sufficient room in the slot for an additional tightening.
If the tension screw keeps loosening so that it is not possible to tighten the bow properly, the bow manufacturer did improper work. The hole in the stick and the screw must have the same length. Otherwise the screw cannot fasten as it doesnt touch the bottom of the hole. A violin builder can choke the hole so that the screw can no longer loosen.
My violin doesn't shine anymore
Tips for the treatment of varnish on violin and bow
Clean your instrument after every use with a soft, lint-free cloth. Dont forget to also clean the bow stick. This helps you to preserve the varnish and to go without regular professional cleanings. Where rosin has combined with the varnish the area will feel rough and have a matt finish.
Attention new: Violin cleaning instruction book with photos!
This will require a professional cleaning to remedy. Commercially available cleaners serve only to polish varnish and not to restore tacky and rough varnish. The Miracle cloth, which is new on the market, is indeed helpful even against stubborn grime without damaging the varnish. A critical area is the upper discant rib where the hand rests. Frequent contact to the skin can damage the varnish and sweat can penetrate the belly, back and rib connections and cause a swelling of that area. The wood, too, is compromised by the invasion of acidic moisture. After a professional cleaning a new layer of polish will be required and, depending on the circumstances, special foil must be applied.
Help, my violin rattles!
Frequently clients come to us when their instrument makes unwanted noises such as grating, rasping and rattling sounds
Try these methods first to try to get to the bottom of such unwanted noise:
Localize the noise:
- A metallic buzzing could be the result of a broken winding. This might result for example, from the shrinking of the string core
- Check the groove on the saddle:
If the string does not lie completely in the groove, vibration may result in this area. Push the string tightly into the groove and if the noise disappears you have found the problem.
- Should the noise persist, have a look at the tuner screws:
Are they tightly fastened or is it possible to further tighten the knurled nuts which connect to the tailpiece?
- My violin is breaking open in places:
Is it possible the instrument has a hole? We suggest you tap the rim of your instrument with your knuckles to try to locate, based on the sounds made, holes. Should you locate a hole, take the instrument to an expert who will be able to glue it shut without much trouble.
Open cracks in the belly, back or frame might also be the cause of unwanted noises and constitute a much more serious problem. Carefully tapping the instrument with your knuckles and looking over the instrument will provide further clues.
Should the latter case apply, repair will be a more involved process and therefore quite costly.
- Remove things which could damage the violin
If the noises occur only when you personally are playing the instrument, please check what you are wearing as your buttons, zippers etc. might be the source of the noise.
My fingerboard has come off, what can I und do here?
First you must loosen the strings and remove the bridge. Otherwise this could bend the neck, because it can not endure the strings' pressure alone.
Whatever you do, don't succumb to the idea of getting some glue from your workshop and trying to glue the neck back on yourself. Hot glue is used in violin building, this allowing for re-heating and easy detachment and repair later. Also, the exact alignment of the fingerboard is of such great importance for playing and sound that trying to align it yourself will almost always result in immense repair costs later.
Inexplicable varnish damage has appeared on the bottom half of my violin's belly.
Check to see if the frog's head of your bow makes contact with the belly when you place the violin in the case and close the cover. The bow holders within the case can often be defective, too.
If the damage is near or under the tailpiece, check to see if tuners have been turned down too low and damage the belly. You should let someone shorten the tuner threading, to see that even when turned to the maximum it cannot make contact with the belly.
The Bridge
NEW:
Here you can witness the cutting open of the bridge with a detailed description. The bridge is the first component that transfers the vibrations of the strings to the instrument body. It is extraordinarily important for the sound of the instrument. For the bridge, mature maple wood with a well-defined grain is used (see picture). Using a careful selection of hard and softer woods, the violin builder can improve the sound of the instrument.
Softer wood with its greater muting characteristics is more suitable for a sharp sounding instrument.
Extremely important is the perfect fit of the feet of the bridge on the belly. If this is not the case, the vibrations cannot be transferred properly.
The form of the cut and the thickness of the wood at various places along the bridge allow professional violin builders many posibilities for further tone enhancement. Always check the position of the bridge yourself. It should stand in the middle between the f-hole groves and upright as seen from the side (the side facing the tailpiece) in relation to the wooden tune ring. Through the continual tuning, the bridge tends to move a bit, that's why you should check its position about once a week and correct it if necessary (the violin master builder can show you how).
Differences between today's and Stradivari's working techniques
The workmanship of the wood in violin making does not differ in the slightest and in fact the interior of todays instruments are comparable to that of a Stradivarius. Almost all of the instruments made up to 1820 are not in their original condition. Most older violins were subjected to various alterations and modernization measures over the years and, without a doubt, they do not sound as they did during Stradivarius time. Stradivarius violins had a shorter neck that was not embedded in the upper block, but rather attached to it. To secure it further, it was fastened to the inside of the body with nails. Due to this situation one can deduce a further difference: As the neck was secured from the inside of the body, the neck therefore had to have been attached before the belly was glued on. Stradivarius and his contemporaries made the bass bar much more delicate than now. The bridge was lower and its height was determined alone by a wedge-formed fingerboard. The fingerboard and tailpiece were varnished, or in reality, a thin layer of hardwood was glued to a piece of true wood. An important difference was also that pure gut strings were the only type of string used. One can therefore say that in some areas, the order of the operational procedure has changed. These changes however are also found in the Stradivarus instruments used in modern concert halls today. A Stradivarius differs from a modern instrument mainly in that it is older and more expensive.