Failing Memories by Charles Spencelayh
Who Was Andrea Amati, the First Violin Maker?
Andrea Amati was a violin maker who lived in the 16th century (1505-1577). He is credited with being the first known maker of the violin. Little is known about Amati's background or personal life. He was born in the town of Cremona, Italy, which was a center of lute making at the time. Amati was a member of a family of instrument makers and is believed to have learned the craft from his father.
Little is known about Amati's background, but it is believed that he was a member of a family of instrument makers who had been working in Cremona for several generations. He was probably trained in the art of instrument making by his father or grandfather.
Amati is believed to have invented the violin sometime in the early 16th century. The exact date is not known, but the oldest surviving violin made by Amati dates from around 1555.
Amati's inspiration for making the violin is not known for certain, but it is believed that he was trying to improve upon earlier bowed instruments, such as the lira and the vielle. He may have been trying to create an instrument that was louder, more agile, and more capable of playing a wider range of music than these earlier instruments.
Amati began his career as a maker of lutes, which were popular stringed instruments in the Renaissance. He is believed to have been inspired to create the violin after observing the popularity of other bowed instruments, such as the vielle, which was widely played in Europe at the time.
Amati is credited with creating the first violin in the early 16th century, though the exact date is not known. It is believed that he was inspired to create the instrument in response to the increasing popularity of bowed instruments in Italy at the time. Amati's violins were known for their exceptional craftsmanship and beautiful design, and they became highly sought after by musicians and collectors. He is also credited with developing the modern design of the violin, which has remained largely unchanged since his time. Amati is considered one of the most important figures in the history of violin making.
Amati's violins were highly prized for their excellent craftsmanship and beautiful sound, and his workshop became a center of violin making in Cremona. His instruments were sought after by musicians and collectors throughout Europe, and his legacy as a violin maker continues to this day.
There are many excellent and important violin makers throughout history who have made significant contributions to the art of violin making. Some examples of highly respected violin makers include:
- Antonio Stradivari: Stradivari was an Italian violin maker who lived in the 17th and 18th centuries. He is widely considered the greatest violin maker of all time and is credited with creating some of the finest violins ever made. His violins are known for their superior craftsmanship, tonal quality, and beautiful design.
- Giuseppe Guarneri: Guarneri was an Italian violin maker who lived in the 17th and 18th centuries. He was a contemporary of Stradivari and is considered one of the greatest violin makers of all time. His violins are known for their strong, powerful sound and exceptional craftsmanship.
- Antonio Guarneri: Antonio Guarneri was the son of Giuseppe Guarneri and was also an accomplished violin maker. His violins are known for their beautiful sound and exceptional craftsmanship.
- Jacob Stainer: Stainer was an Austrian violin maker who lived in the 17th century. He is considered one of the greatest violin makers of all time and his violins are known for their exceptional tonal quality and beautiful design.
These are just a few examples of excellent and important violin makers. There are many other highly skilled and respected violin makers throughout history who have made significant contributions to the art of violin making.
Who Was Andrea Amati, the First Violin Maker?
Andrea Amati was a violin maker who lived in the 16th century (1505-1577). He is credited with being the first known maker of the violin. Little is known about Amati's background or personal life. He was born in the town of Cremona, Italy, which was a center of lute making at the time. Amati was a member of a family of instrument makers and is believed to have learned the craft from his father.
Little is known about Amati's background, but it is believed that he was a member of a family of instrument makers who had been working in Cremona for several generations. He was probably trained in the art of instrument making by his father or grandfather.
Amati is believed to have invented the violin sometime in the early 16th century. The exact date is not known, but the oldest surviving violin made by Amati dates from around 1555.
Amati's inspiration for making the violin is not known for certain, but it is believed that he was trying to improve upon earlier bowed instruments, such as the lira and the vielle. He may have been trying to create an instrument that was louder, more agile, and more capable of playing a wider range of music than these earlier instruments.
Amati began his career as a maker of lutes, which were popular stringed instruments in the Renaissance. He is believed to have been inspired to create the violin after observing the popularity of other bowed instruments, such as the vielle, which was widely played in Europe at the time.
Amati is credited with creating the first violin in the early 16th century, though the exact date is not known. It is believed that he was inspired to create the instrument in response to the increasing popularity of bowed instruments in Italy at the time. Amati's violins were known for their exceptional craftsmanship and beautiful design, and they became highly sought after by musicians and collectors. He is also credited with developing the modern design of the violin, which has remained largely unchanged since his time. Amati is considered one of the most important figures in the history of violin making.
Amati's violins were highly prized for their excellent craftsmanship and beautiful sound, and his workshop became a center of violin making in Cremona. His instruments were sought after by musicians and collectors throughout Europe, and his legacy as a violin maker continues to this day.
There are many excellent and important violin makers throughout history who have made significant contributions to the art of violin making. Some examples of highly respected violin makers include:
- Antonio Stradivari: Stradivari was an Italian violin maker who lived in the 17th and 18th centuries. He is widely considered the greatest violin maker of all time and is credited with creating some of the finest violins ever made. His violins are known for their superior craftsmanship, tonal quality, and beautiful design.
- Giuseppe Guarneri: Guarneri was an Italian violin maker who lived in the 17th and 18th centuries. He was a contemporary of Stradivari and is considered one of the greatest violin makers of all time. His violins are known for their strong, powerful sound and exceptional craftsmanship.
- Antonio Guarneri: Antonio Guarneri was the son of Giuseppe Guarneri and was also an accomplished violin maker. His violins are known for their beautiful sound and exceptional craftsmanship.
- Jacob Stainer: Stainer was an Austrian violin maker who lived in the 17th century. He is considered one of the greatest violin makers of all time and his violins are known for their exceptional tonal quality and beautiful design.
These are just a few examples of excellent and important violin makers. There are many other highly skilled and respected violin makers throughout history who have made significant contributions to the art of violin making.
The Parts of the Fiddle (violin) and Bow
A violin is a bowed string instrument with four strings tuned in perfect fifths. It is played with a bow and is held under the chin. The violin is a popular and versatile instrument that is used in a wide variety of music genres, including classical, jazz, folk, and pop.
The violin was invented in the early 16th century in Italy. It is believed that the violin was developed from earlier bowed instruments, such as the viol, lira and the vielle. The first known violin maker was Andrea Amati, who lived in the 16th century.
The difference between a violin and a fiddle is largely one of terminology. In general, the term "violin" is used to refer to a classical instrument that is played with a bow and is used in classical music, while the term "fiddle" is used to refer to a folk instrument that is played with a bow and is used in folk music. However, the terms are often used interchangeably, and many musicians who play classical music also refer to their instruments as fiddles.
The parts of the violin include the following:
- Head: This is the top of the violin, where the scroll (a decorative spiral at the end of the neck) is located.
- Neck: This is the long, thin part of the violin that extends from the body and supports the fingerboard.
- Fingerboard: This is the long, thin piece of wood that is attached to the neck and over which the strings pass. It is used to press the strings down to change their pitch.
- Body: This is the main part of the violin, which is made up of the ribs, back, and belly. The ribs and back are made of maple wood, while the belly is made of spruce.
- F-holes: These are two small, curved openings in the belly of the violin that allow sound to escape from the instrument. They are shaped like the letter "F" and are important because they help to amplify the sound of the violin.
- Bridge: This is a small, wooden arch that is located between the f-holes on the belly of the violin. It is used to support the strings and transmit their vibrations to the belly of the instrument.
- Tailpiece: This is a small piece of wood or metal that is attached to the end of the violin body and holds the end of the strings in place.
- Endpin: This is a thin, pointed rod that is attached to the tailpiece and extends down to the ground. It is used to support the violin while it is being played.
The violin is shaped like it is because its design has evolved over time to produce the best possible sound. The maple wood used for the back and sides of the violin is chosen because it is strong, durable, and has a rich, warm tone. The violin bridge is important because it helps to transmit the vibrations of the strings to the body of the instrument, which helps to produce a good sound. There is no metal used in the construction of a violin because metal does not vibrate in the same way as wood and would not produce a good sound.
The bow is used to play the violin by drawing it across the strings, causing them to vibrate and produce sound. The player can vary the pitch, volume, and tone of the sound by using different techniques, such as bowing closer to the bridge or using more or less pressure on the strings.
Horsehair is used for the bow because it is strong, flexible, and produces a smooth, even sound when drawn across the strings. It is important to use good quality horsehair for the bow because low quality hair can break or become brittle over time.
A good violin bow is one that is well-balanced, has a good amount of flex, and produces a clear, even sound. Factors that can affect the quality of a bow include the type of wood used, the quality of the horsehair, and the craftsmanship of the bow maker.
To pick the right violin bow for yourself, it is important to try out different bows and see which one feels and sounds the best to you. You should consider factors such as the weight and balance of the bow, the amount of flex, and the overall feel and playability of the bow. You may also want to consider your playing style and the type of music you will be playing when selecting a bow.
There are many excellent violin bow makers throughout history and today. Some examples of highly respected bow makers include:
- François Tourte: Tourte is considered the "father of the modern bow" and is credited with inventing the modern violin bow in the late 18th century. His bows are known for their perfect balance, flexibility, and playability.
- James Tubbs: Tubbs was a British bow maker who was known for his exceptional craftsmanship and attention to detail. His bows are highly sought after by collectors and players alike.
- Pajeot: Pajeot was a French bow maker who was active in the early 20th century. His bows are known for their elegant design and superb playing characteristics.
- Paul Siefried: Siefried was a German bow maker who was active in the late 19th and early 20th centuries. His bows are known for their excellent balance and playability.
- Eugene Sartory: Sartory was a French bow maker who was active in the early 20th century. His bows are highly prized for their craftsmanship and beautiful design.
These are just a few examples of excellent violin bow makers. There are many other highly skilled and respected bow makers working today who are creating exceptional bows for players around the world.
The Parts of the Fiddle (violin) and Bow
A violin is a bowed string instrument with four strings tuned in perfect fifths. It is played with a bow and is held under the chin. The violin is a popular and versatile instrument that is used in a wide variety of music genres, including classical, jazz, folk, and pop.
The violin was invented in the early 16th century in Italy. It is believed that the violin was developed from earlier bowed instruments, such as the viol, lira and the vielle. The first known violin maker was Andrea Amati, who lived in the 16th century.
The difference between a violin and a fiddle is largely one of terminology. In general, the term "violin" is used to refer to a classical instrument that is played with a bow and is used in classical music, while the term "fiddle" is used to refer to a folk instrument that is played with a bow and is used in folk music. However, the terms are often used interchangeably, and many musicians who play classical music also refer to their instruments as fiddles.
The parts of the violin include the following:
- Head: This is the top of the violin, where the scroll (a decorative spiral at the end of the neck) is located.
- Neck: This is the long, thin part of the violin that extends from the body and supports the fingerboard.
- Fingerboard: This is the long, thin piece of wood that is attached to the neck and over which the strings pass. It is used to press the strings down to change their pitch.
- Body: This is the main part of the violin, which is made up of the ribs, back, and belly. The ribs and back are made of maple wood, while the belly is made of spruce.
- F-holes: These are two small, curved openings in the belly of the violin that allow sound to escape from the instrument. They are shaped like the letter "F" and are important because they help to amplify the sound of the violin.
- Bridge: This is a small, wooden arch that is located between the f-holes on the belly of the violin. It is used to support the strings and transmit their vibrations to the belly of the instrument.
- Tailpiece: This is a small piece of wood or metal that is attached to the end of the violin body and holds the end of the strings in place.
- Endpin: This is a thin, pointed rod that is attached to the tailpiece and extends down to the ground. It is used to support the violin while it is being played.
The violin is shaped like it is because its design has evolved over time to produce the best possible sound. The maple wood used for the back and sides of the violin is chosen because it is strong, durable, and has a rich, warm tone. The violin bridge is important because it helps to transmit the vibrations of the strings to the body of the instrument, which helps to produce a good sound. There is no metal used in the construction of a violin because metal does not vibrate in the same way as wood and would not produce a good sound.
The bow is used to play the violin by drawing it across the strings, causing them to vibrate and produce sound. The player can vary the pitch, volume, and tone of the sound by using different techniques, such as bowing closer to the bridge or using more or less pressure on the strings.
Horsehair is used for the bow because it is strong, flexible, and produces a smooth, even sound when drawn across the strings. It is important to use good quality horsehair for the bow because low quality hair can break or become brittle over time.
A good violin bow is one that is well-balanced, has a good amount of flex, and produces a clear, even sound. Factors that can affect the quality of a bow include the type of wood used, the quality of the horsehair, and the craftsmanship of the bow maker.
To pick the right violin bow for yourself, it is important to try out different bows and see which one feels and sounds the best to you. You should consider factors such as the weight and balance of the bow, the amount of flex, and the overall feel and playability of the bow. You may also want to consider your playing style and the type of music you will be playing when selecting a bow.
There are many excellent violin bow makers throughout history and today. Some examples of highly respected bow makers include:
- François Tourte: Tourte is considered the "father of the modern bow" and is credited with inventing the modern violin bow in the late 18th century. His bows are known for their perfect balance, flexibility, and playability.
- James Tubbs: Tubbs was a British bow maker who was known for his exceptional craftsmanship and attention to detail. His bows are highly sought after by collectors and players alike.
- Pajeot: Pajeot was a French bow maker who was active in the early 20th century. His bows are known for their elegant design and superb playing characteristics.
- Paul Siefried: Siefried was a German bow maker who was active in the late 19th and early 20th centuries. His bows are known for their excellent balance and playability.
- Eugene Sartory: Sartory was a French bow maker who was active in the early 20th century. His bows are highly prized for their craftsmanship and beautiful design.
These are just a few examples of excellent violin bow makers. There are many other highly skilled and respected bow makers working today who are creating exceptional bows for players around the world.
Where does bow hair come from? How is it made?
Here's a bundle of horsetail hair. The hair is from an animal, or animals, that lived and worked in #Siberia. They don't have many tractors there, but they do have a lot of horses. The animals were sold to a slaughterhouse in Harbin, China, where they were disassembled, the component parts cleaned and prepared for transport to different parts of the country.
Every part of the animal is used in some way. Belly hair, for example, is used in paint brushes! The tails are dried on a cobblestone lot, then loaded in burlap bags labeled by weight, length and color. The pallets are loaded onto freight trains to an auction facility outside #Anping, #China. There they are bid on by various companies.
The people I do business with bid according to color and length. They mostly supply black hair for car and furniture companies, but they are the oldest facility in the city that still processes #bow #hair in the original manner. If you want to read more about that, I wrote an article about it here.
#violinbow #fiddlebow #cellobow #bowhair #horsetailhair #violin #China #Siberia #Harbin #Anping
To order your own horsetail hair for bows
Where does bow hair come from? How is it made?
Here's a bundle of horsetail hair. The hair is from an animal, or animals, that lived and worked in #Siberia. They don't have many tractors there, but they do have a lot of horses. The animals were sold to a slaughterhouse in Harbin, China, where they were disassembled, the component parts cleaned and prepared for transport to different parts of the country.
Every part of the animal is used in some way. Belly hair, for example, is used in paint brushes! The tails are dried on a cobblestone lot, then loaded in burlap bags labeled by weight, length and color. The pallets are loaded onto freight trains to an auction facility outside #Anping, #China. There they are bid on by various companies.
The people I do business with bid according to color and length. They mostly supply black hair for car and furniture companies, but they are the oldest facility in the city that still processes #bow #hair in the original manner. If you want to read more about that, I wrote an article about it here.
#violinbow #fiddlebow #cellobow #bowhair #horsetailhair #violin #China #Siberia #Harbin #Anping
To order your own horsetail hair for bows
Are All Violin Players Classically Trained?
You don't need to be classically trained to play the violin. This beautiful instrument is not impossible to play.
Practice it 30 minutes a day for six months! Follow our Facebook page for more:
Are All Violin Players Classically Trained?
You don't need to be classically trained to play the violin. This beautiful instrument is not impossible to play.
Practice it 30 minutes a day for six months! Follow our Facebook page for more:
Quora Question: What is the best musical instrument to learn first as a child if you intend to master multiple instruments?
Here’s what I advised my sister (3 kids) and my brother (2 kids): start them out on piano with the Suzuki method. That method teaches ear training, and learning to play music by ear before reading it. After a couple years of that, depending on what kind of music is supported by the school system (orchestra is very rare - only the top towns in MA have orchestras), band is most common, clarinet. If you are lucky to have an orchestra in the school system, then violin. Find a reputable teacher in your area who is actively engaged in the community. Check the local community orchestra for one. They don’t pay very well, so these people teach as a sideline.
I used to be more active on Quora. I started a profile there soon after it was first publicized, in 2011. It was a lot of fun, much like Yahoo Questions, which is now defunct. Then they changed the format making it harder to engage, and I just stopped. Now I go on there if I have something specific to share.
#children #musicalinstrument #band #orchestra #piano #clarinet #violin
Quora Question: What is the best musical instrument to learn first as a child if you intend to master multiple instruments?
Here’s what I advised my sister (3 kids) and my brother (2 kids): start them out on piano with the Suzuki method. That method teaches ear training, and learning to play music by ear before reading it. After a couple years of that, depending on what kind of music is supported by the school system (orchestra is very rare - only the top towns in MA have orchestras), band is most common, clarinet. If you are lucky to have an orchestra in the school system, then violin. Find a reputable teacher in your area who is actively engaged in the community. Check the local community orchestra for one. They don’t pay very well, so these people teach as a sideline.
I used to be more active on Quora. I started a profile there soon after it was first publicized, in 2011. It was a lot of fun, much like Yahoo Questions, which is now defunct. Then they changed the format making it harder to engage, and I just stopped. Now I go on there if I have something specific to share.
#children #musicalinstrument #band #orchestra #piano #clarinet #violin
Violin & Fiddle Lessons
I like to get the introductions/interview part over in emails before the first lesson, so we can dive right into it when you get here. The things I need to know about you are
- what is your musical background (if any)
- can you read music
- do you understand key signatures, time signatures, scales, arpeggios, chords, basic music theory
- what instrument you want to learn
- what style or styles of music you want to concentrate on
- do you own an instrument or will you want to buy one or rent one from me
The 7 Church Modes |
What is Klezmer Music, and What's The Roma Connection?
Klezmer can trace its origins back to the 9th century in the Rhine valley, where the Yiddish language also developed. As Jews moved to Eastern Europe their celebratory music wedding/festival music found influence in that of the local cultures, specifically in present day Romania (including a definite cross-pollination with Roma music) and Moldova (once Bessarabia, where klezmer musicians started using Turkish scales already familiar from synagogue observances), Belarus, Lithuania, Russia, Ukraine and Poland, where 19th century, Polish-Russian klezmorim (esteemed klezmer musicians) who had been in Czarist military bands brought brass and woodwind instruments into what had primarily been string-based ensembles. Judaism’s ultra-orthodox Chasidic movement of the 18th and 19th centuries emphasized passionate singing and dancing while in the act of worship and bound klezmer music inextricably to Jewish festivals and joyous observances. Klezmer music draws on centuries-old Jewish traditions and incorporates various sounds of music from European and international traditions, including Roma (gypsy) music, Eastern European folk music (particularly Russian music), French Cafe music and early jazz. In different regions of Eastern and Central Europe, klezmer developed slightly differently, leading to an exciting range of subgenres.
Like the Jews, the Roma are an ancient ethnicity that did not originate in Europe; who are believed to have migrated to Persia from northern India from around 420 BC when 10,000 Luri (a caste of musicians and dancers) were brought at the request of the King. On the move with the Turkish army who used them as professional musicians, the Roma dispersed throughout Europe from the 15th century, living on the fringes of society as tinkers, craftsmen and horsetraders, as well as entertainers. Whether dancing with trained bears or playing for a village wedding, Gypsies in the Austro-Hungarian empire made themselves indispensable as performers to villages of various ethnicities (Saxons, Vlachs, Magyar and Moldavians, etc., to name just the groups of Transylvania).
Also like the Jews, the Roma were a separate minority group generally living on the margins of the societies of the countries in which they lived. Both groups maintained distinct cultural identities despite being widely scattered, possessed no country or homeland of their own, and were frequent targets of expulsions, discrimination, and persecution. Like klezmer, Roma music is likely traditional religious songs combined with the music of host countries, and influenced by Roma status as a wandering and often marginalized minority. Despite of all this, the music of both groups is often joyful and exemplifies the energy and fire of life and of living.
Klezmer music is intended to replicate the human voice including sounds of crying, wailing and laughing. Generally, the violin is responsible for the imitation which is mean to sound like the cantor in a synagogue. Often, a klezmer band will include a fiddle, a bass or cello, a clarinet and a drum. Secondary instruments include hammered dulcimers and an accordion.
Klezmer music is made for dancing. Most dances which are intended to go along with klezmer music are set dances (much like the Anglo square or contra dances). Klezmer music also has many traditional waltzes and polkas, and in later years, musicians picked up some tangos and polkas which remain in the repertoire.
These klezmer pieces are meant for dancing, including fast and slow tempos:
- Freylekhs are the most popular klezmer dances and they are done in a circle while the piano, accordion or bass plays an "oom-pah" beat. "Freylekh" is the Yiddish word for "festive."
- Skotshne, meaning hopping, is like a more complex freylekh.
- Tango is a famous dance that came out of Argentina; Jews originally composed quite a few Eastern European tangos.
- Sher: This is a set dance, one of the most common, done in 2/4 tempo. The name is derived from the straight-legged, quick movements of the legs, reminiscent of the shears used by tailors.
- Halaka is a traditional Israeli dance the originated in Safed in Galilee; its tune has been handed down through generations.
- Khosidl, or khusidl, is named after the Hasidic Jews who performed the dance which can be done in a circle or in a line.
- Sirba is comprised of hopping and short bursts of running.
- Hora or zhok is a Romanian-style dance; the Israeli hora is derived from the Romanian hora. "Zhok" in Yiddish comes from the Romanian word "joc" which means dance.
- Csárdás is popular among Jews from Hungary, Slovakia and the Carpathians. It begins slowly
- Padespan is a kind of Russian/Spanish waltz.and then the speed quickens.
- Kolomeike is a quick and catchy dance which comes from Ukraine where it is the most common folk music.
- Mazurka and polka are from Poland and Czechoslovakia. Both Jew and non-Jews engaged in the dance.
- Terkish is like the habanera.
Other Articles
- Klezmer For Beginners Online Group Class
- What is Klezmer: Traditional Balkan Music Influenced Mostly By Roma (Gypsies) Originally For Jewish Celebrations In Eastern Europe
- What is Gypsy Music? It should be noted that the word ‘gypsy' often has a negative connotation, and the Romani people would never use this term to refer to themselves. Therefore it is preferable to refer to them as they refer to themselves, as ‘Roma'.
- Romani Culture and Music
- Musician Profile: Nicolae Feraru, Gypsy / Roma Traditional Music
- Musician Profile: Hankus Netsky
- Musican Profile: Ilya Magalnyk
- Top Klezmer Recordings
- Which Came First Klezmer or Canonical "Church" Modes?
Electric / Silent Violins
Anyway, I'm back in the Electric / Silent Violin market because I'm advising some students on what instruments to buy and why.
My favorite is the Cecilio Electric / Silent Violin. You can get one on Amazon.com for about $119 plus shipping (unless you have Prime, then shipping is free), or you can get it from me for $99, and pick it up in Granby if you like. I take PayPal. I ship anywhere in the world via DHL Express and FedEx Ground here in the US. Simply send the amount to sweetmusic@protonmail.com plus $25 for shipping/handling and I will pack and ship it promptly.
Here's what I like about it:
- Size 4/4, style 2 electric / silent violin in black metallic varnish (full size)
- Hand-carved solid maple wood body with ebony fingerboard, pegs, chin rest and tailpiece with mother of pearl inlay
- Powered by a 9V Alkaline battery (included)
- Includes: lightweight hard case, Brazil wood bow with unbleached genuine Mongolian horsehair, quality rosin cake, a bridge, aux cable, and headphones
- 1 Year Warranty Against Manufacturer's Defects
Origins of the Violin Part 2
The “Greffuhle” violin is one of only 11 decorated Stradivarius instruments still around. (Smithsonian) |
Famous Players
Water-stained violin proven to be the one that played Nearer my God to Thee by Wallace Hartley as the Titanic sank is found
It is the instrument that he played as the ship went down in the Atlantic, and that he later used as a buoyancy aid once Titanic went down.
The violin was discovered only by chance when the son of an amateur musician found it in his attic. It was given to his mother by her violin teacher and was left gathering dust.
The discovery was almost too good to be true, prompting experts to have the relic forensically examined by some of the most revered scientific bodies in Britain.
Now, after seven years of testing at a cost of tens of thousands of pounds, the water-stained violin has been proven to be the one played by Hartley on the night of the tragedy.
These pictures show how incredibly well-preserved the rose wood violin is despite its age and it being exposed to the sea for 10 days after the sinking.
There are two long cracks on its body that are said to have been opened up by moisture damage.
The photos also show the corroded engraved silver plate screwed onto the base of the fiddle that provided scientists with they key proof of its authenticity.
The historic violin, said to be worth a six figure sum, will go on public display at the Belfast City Hall, where Titanic was built, at the end of March.
Negotiations are also under way to exhibit it in museums around the world including America. It is likely to be auctioned off in the future.
Titanic experts have described it as the most important artefact associated with the infamous liner to have come to light.
Zen and the Violin: Ten Tips for the Journey
by Terez Rose
So, I’m a meditator, and that’s a good thing to be in today’s world. I’m pretty lame at setting time aside to meditate on a daily basis, however, which is why I head out a few times a year to go on private, silent retreats. Last May’s retreat was particularly effective, for whatever reason, and I returned with greater clarity that has served me well since. I recently compiled an article for the dance community, comparing Zen precepts and my meditation practice to my ballet practice. There are a surprising number of similarities: staying focused on what’s unfolding right there and then; not being distracted by nagging thoughts; remaining wholly present physically and mentally. Then there are the not-so-Zen facets of ballet. It’s all about beauty, grace, the illusion of perfection. It’s competitive. There is an image in your mind you’re doggedly striving for, that you can’t seem to ever reach. Ego, desire, dissatisfaction all have a field day in the ballet studio.
Violinists are not ballet dancers, but they are both still part of the performing arts world. I wondered if some of the same precepts could apply to the violin world. Taking my little list, I revised it for a violin-based readership. Tell me if you agree with any of these.
Gentle tips to help you on your the journey
1) Wherever you are in life, at this very moment, and in your violin practice, is precisely where you’re supposed to be. Even if, at this moment, something feels like a mistake, a mess, a problem that needs to be fixed.
2) Don’t be afraid to fail. You learn far more through failing than you do through succeeding.
3) Strive to remain in the present daily, hourly, in your lesson, your practice time, your life. Try to observe, without judgment, the way your attachments and aversions often dictate your moods, your choices, and consequently limit you.
4) It’s good to improve on a regular basis, set goals for yourself, but don’t withhold satisfaction with the way things are right now. Don’t live your life waiting for the day things will be easier, or better. The reality is, that day in the future when things are “better,” you will find a new “better” dangled before you like a carrot. It’s all an illusion to pull you from your life in the present.
5) It’s all about the journey, the process of learning. Once we stop the learning, we stop living. The destination, believe it or not, is largely irrelevant.
6) Practicing and/or playing the violin is hard, and can be oh, so discouraging. Same goes for life. But it's the hard stuff, these forays outside your comfort zone, the scary (to you) risk taken, that make it so rich and worth living.
7) Observe everything and everyone, including those against whom you compete, with gentle compassion. We are all on this journey, on parallel roads. Each has its bumps and smooth spells. We all made choices in life that put us where we are now. We deserve to be cherished, and respected. Particularly by ourselves.
8) Some days it all comes together. You’ll have moments of startling insight, power, clarity, perfect intonation and musicality. You’ll play like Heifetz/Oistrakh/Milstein/insert-your-favorite-violin-master-here, and it will feel like You Have Arrived.
9) The next day, poof, it’s all gone. “From God to clod,” as my teacher wryly puts it. You decide you haven’t sounded this pedestrian and amateurish in years. Worse, you stay in this less refined space for days, even weeks. None of this should not be construed as failure. It is simply another facet of the learning process.
10) Pain hurts, both the physical and emotional kind. Don’t judge your own pain, even if it stems from competitiveness or disappointment. If it is there, burning, whether or not it is noble, have compassion. Compassion of the self is where it all begins, and is the greatest gift you can give yourself. Harsh self-judgment is nothing more than pain on top of pain.
Most of all, make sure you enjoy the journey. Make it full of music, inside your heart and out.
© 2013 Terez Rose
How To Protect Your Instruments At Music Festivals, While Camping, or Traveling
- Find a shady spot in the tent/car/camper - seems simple enough, but the darker the better.
- Keep the instrument or case wrapped in a space blanket - you can get them from any good camping store, or on Amazon.com
- If backpacking or camping with your instrument, make sure you keep it in its case, then cover that in a space blanket and/or poncho. Most cases are almost air-tight these days. If yours is not, you might want to upgrade to one that is. It will keep moisture out and protect the instrument from extreme heat and humidity.
- When traveling, make sure your case is down on the floor behind your seat, not on the seat and NEVER in the space behind the window! That area is the hottest in the car, a sure way of killing your instrument! The reason for keeping it on the floor is so that it doesn't fall off the seat if you have to stop quickly. Immobilize it by packing other items around it, or by putting pillows or blankets around it.