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
Putting on a New Edge
It happens often: A blow from the bow or the instrument hits a hard object and there you have it, a dent on the edge.
The belly edge is especially sensitive. In violin building one uses mountain spruce to construct the belly. This wood distinguishes itself through its excellent acoustic properties, but brings with it the disadvantage of being sensitive to contact and the tendency to splinter along its growth rings.
So that is why we will now show you how a damaged belly edge (from a cello in this example) can be professionally retrofitted. Retrofitting a belly edge is work that should only be placed in the hands of an experienced violin maker.
Depending upon the depth and the location of the damage, there are several ways in which an edge can be restored.
The goal is always to replace an edge in such a way as to make the once damaged area practically invisible und indistinguishable from the original. Next to the careful choice of wood, paying close attention to the growth ring width and radial cut, the violin maker must also use sharp tools as exemplified in the following picture:
As you can see here: The draw blade is above, below from the left is a chisel, a carver, a crossing file and a gouge.
Using our cello example, a Maurice Bourguignon instrument built in 1940, first the belly edge is marked, and this parallel to the respective growth rings during insertion, as described above.
The serious damage above to the left is clear to see, as well as the damage seen in the right of the photo.
When the damage is more on the outside, only the belly edge is adjusted parallel to the growth rings and retrofitted correspondingly. If, however, a straight cut is no longer possible, the repair must be carried out as described here.
The white markings represent the two incisions to which point the belly edge will be removed.
Now the damaged edge section will be removed.
On this photo one can recognize the primed edge. Decisive here is that all areas are adjusted exactly. This is reappraised with a high-precision ruler.
In order to adjust the wood, the peeling off of the belly edge must first take place.
The selected wood should have the structure, grain, growth rings and symmetry that come closest to the original. The violin builder normally has a treasure chest of aged woods at his disposal so that the appropriate wood can be found for every type of older instrument. Being that our workshop has been in existence since 1932, you can imagine that we have a wonderful selection of repair woods of all variations at our disposal.
After the wood has been saw it does not fit precisely, of course, and as with every task in violin making must be subjected to intensive handwork.
The wood will now be cut correspondingly and fit within the recess. This is done with the help of a woodworking knife and some chalk and various files which enable a better fit. The two areas running parallel to the growth rings are finished using a finger plane. The chalk serves as a means to treat the points of contact between the retrofitted and original until the chalk stands out over the entire wood area, thus guaranteeing a 100% fit.
Glued edge piece
The wood will now be cut to fit the contour correspondingly, then planed and filed. The fluting will now be touched up and the belly edges will be rounded up and down. Important here is that the retrofitted layout of the line matches the original wood exactly.
To prevent the penetration of the varnishs color pigment, it will be necessary to place a primer coat on the rough wood surface. But here, too, a light coloration must take place in order that the new wood color matches the old.
The last step is varnishing of the edge:
Now it the ribside fits again:
