NEWS
Concerts with Uilderks' instruments, among other things
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!
February 03. 2010 13:28:46
The Bridge
Fitting the bridge is for the sound of an instrument very important. After all, this small piece of wood is the point at which the strings' vibrations are carried to the instruments body. Normally maple is the material used, as it exhibits pronounced medullary rays.
Various raw castings for bridges are available in violin building. Several firms in Europe have a very long tradition when it comes to this craft. Two important companies worth mentioning are the French bridge manufacturers Aubert in Mirecourt and Despieau, the first manufacturer to use laser cutting techniques. I would also like to mention the German companies Stamm, Schuster and Teller, although when it comes to high-quality instruments, we prefer the Deluxe bridge model from Aubert in France. When it comes to historical or particularly "delicate" cases, we build our own bridges with raw castings in our own workshop. In this case the bridge is designed exactly for that instrument only.
What is important to consider about the bridge?
First of all, one should consider what the reason for needing a new bridge could be.
Do the reasons behind changing a bridge have to do more with tonal questions or with playing technique? If it is the latter, and the instruments sound with the old bridge is very good, then one should use wood which exhibits similar sound distinction and stability qualities to that of the old bridge.
If a new bridge is to improve the sound quality of an instrument, these tonal changes can be achieved by using a harder or softer type of wood. But also the arrangement of the bridge cuttings can later have a great affect upon the sound of the instrument.
First some general information:
- The width of the bridge should not exceed the width of the upper f balls.
- The bridge should be in the acoustic center, on the imagined line between both f-hole notches.
- The bridge should lie exactly aligned to the fingerboard in order that both the highest and lowest strings have the same distance to the fingerboard's edge.
- The violin's bass bridge foot should protrude about 1 to 2mm over the bassbar.
(With violas it should be about 2 to 3mm, with cellos about 3 to 5mm, depending upon the instrument's size in each case.) - The bridge should sit exactly between the f-hole notches
When cutting out the bridge in violin making, the following tools are needed:
- 2 woodcarving knives. Normally we make the handles ourselves so that they are in the hand perfectly. For the bridge we take a wide one to adjust the belly's feet und a narrow one to deepen the openings.
- A small plane to increase the bridge's strength,
- a flat file and smaller round files,
- a sandpaper file for final smothing and
- a pattern for rounding the bridge are used.
The first task is planing the bridge feet for strength.
For a violin bridge this represents approximately 4.5mm.
The next task is adjusting the bridge feet to the belly curvature. This demands extremely precise skill as the accuracy of the fit is decisive when it comes to optimal vibration propagation.
Somewhat more has to be cut away here. This is down with the "big" woodcarving knife as seen in the tool photo.
This type of cutting requires sharp tools and a calm and able hand.
The feet must be adjusted in such a way that the reverse side of the bridge (the part that shows to the tailpiece) stands at a right angle to mathematical base area. Being that the front of the bridge is arched, it appears is if the bridge is slightly inclined toward the tailpiece.
The cut-outs, the feet and their connecting bow (also referred to as bridge in violin making) are trimmed with the narrow woodcarving knife. The size and the form of these cut-outs, as well as the forming of the feet, have a significant effect upon the acoustic properties of the bridge and, therefore, the instrument.
One the bridge fits perfectly within the belly curvature, the bridge rounding and height can be determined.
The bridge rounding must be formed in such a way that lets every string be easily and individually bowed without making fast changes to other strings difficult.
The height of the bridge is individually adjusted to match the playing qualities and string selection of the given musician. Playing solo demands just as high a lateral position as do using gut strings, for instance, which display a higher vibration amplitude as synthetic or steel core strings.
The thickness of the bridge also brings variation to the tone of the instrument. One only needs to think of the tonal effect muting has, which represents nothing other than a complete raising of the upper part of the bridge.
The arching at the front of the bridge, the part that faces the fingerboard, is taken care of with the finger plane.
Traces of the planing are removed with a precision file and then the bridge is aligned.
Should the bridge move during tuning or incline in one direction or the other when new strings are wound, place it carefully back in the proper position.
Do you have questions about this subject?
You have two ways of stilling your curiosity:
You can place your question in our forum, then others who interested in the question might get something out of it, or you ask us directly using our contact form.