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
The Sound Post
The sound post is a small cylindrical spruce stick wedged between the belly and back of the instrument. In violin making one also calls this little piece of wood the soul (anima in Italian). The reason for this is that the sound post plays a considerable role in producing the sound that the violin maker can get out of the instrument. My own experience has been that there is no "normal" or standard position when it comes to where the sound post is placed. It is much more a question of locating the ideal position for the individual instrument. This works optimally only in cooperation with the musician and can often be quite a tedious process.
Here you can see the tool needed in violin building to adjust the sound post.
For fitting the sound post the same woodcarving knife is used which you saw under the Bridge category.
On this photo we have let a sound post "shine through" in order to make clear how the sound post feelers are inserted. Some sturdy cardboard will work fine for this. This can be important once the right position on your instrument has been found and you want to mark it to keep this in mind.
One of the fundamental rules of sound post positioning:
- The sound post should never lie beyond the bridge foot pointing toward the f-hole discant
- It should never be closer than half the length of a bridge foot to the bridge
Attention before undertaking any action with the sound post:
- Always(!!) tune down the strings considerably. The top two completely, if possible. Otherwise this could damage the belly's interior which could lead to extensive repairs
- In addition, look first closely through the f-holes with a dentist's mirror to check the exact positioning of the sound post
On the photo you can see the various ways in which the sound post can be adjusted. Diagonal movements are also possible, of course. Both can be carried out on the sides of the belly and back. The arrows on the photo are only here in this size to clarify. Normally, the slightest alterations, sometimes unobservable to the naked eye, are enough to generate distinct tonal changes. Adjusting the sound post is done with the tuning setter. The point of the tool serves to carefully transfix the sound post and then advance it through the f-holes. Even if the sound post drops through, it can be retrieved from the instrument through the f-holes again.
The changes represented in the photo are very approximate conclusions. The actual tonal changes will be more clearly differentiated. But the conclusions reached here are basically true, although there will also be exceptions as instruments sometimes react in varying ways.
In so doing, the sound post should stand as upright as possible in both directions. Looking through the f-hole, one can use the wooden tune ring or the corner fastening for optical orientation.
The mirror can also give one a good picture as to the sound posts correct upright position. The button hole in the lower block offers an even better way to check this (all strings must be removed from the tailpiece first, however).
Unfortunately, then such scenes can then be witnessed:
If you recollect what was written at the beginning: Before the sound post adjustment process begins, make sure to see that the sound post will fit properly. As seen on the photo, this one only fits on the inside. During adjustment, its sharp edge will destroy the bellys sensitive fine fibers. Therefore be warned: Handle the sound post of your instrument with great care. If sound posts are poorly fit and remain that way too long it can come to the damage seen in the photo above or even lead to so-called sound post cracks. These are the worst belly cracks in violin building, they run above the sound post itself and can only be repaired in a very laborious manner. And a crack like this always leads to a depreciation in instrument value.
Would you like to know more? Place your questions in our forum where you will get quick and competent answers.