George Stoppani and I will have a "Real Guts" string stall at the Early Music Exhibition in Greenwich next weekend, Friday 10th to Sunday 12th November. As well as strings for sale, there will be instruments to try, advice and help with stringing and set-up, CDs for sale, and copies of my latest publication "Rethinking Gut Strings". On Friday 10th at 3pm, the Monteverdi String Band will present a programme of string ensemble music from Castello to Handel, using instruments strung entirely with equal tension stringing. If you're interested in historical stringing and curious about how it sounds, do come if you can; and we'll be delighted to welcome you for a chat at our stall any time over the weekend.
I had a question about a couple of paintings by Baschenis that I had seen. I noticed that the strings sprung from the peg box of the violin in one painting, and the cello, in the other. The strings were doubled over and then wrapped in the center. I find it curiously fascinating. I want to know what was the application of this practice. How did they advance the string when they wanted to replace the used section where the bow had worn down the gut. I can't see the tail piece in either painting so it's unclear as to how the string is fixed to the instrument at that end. I did a little poking around, but I haven't been able to find any mention of Italian stringing practices of the Baroque.
3 comments:
John Wall of NewOlde congratulates Olly Webber and George Stoppani on their splendid stuff, at the
Handel-L list.
Olly Webber says:
George Stoppani and I will have a "Real Guts" string stall at the Early Music Exhibition in Greenwich next weekend, Friday 10th to Sunday 12th November. As well as strings for sale, there will be instruments to try, advice and help with stringing and set-up, CDs for sale, and copies of my latest publication "Rethinking Gut Strings".
On Friday 10th at 3pm, the Monteverdi String Band will present a programme of string ensemble music from Castello to Handel, using instruments strung entirely with equal tension stringing.
If you're interested in historical stringing and curious about how it sounds, do come if you can; and we'll be delighted to welcome you for a chat at our stall any time over the weekend.
I had a question about a couple of paintings by Baschenis that I had seen. I noticed that the strings sprung from the peg box of the violin in one painting, and the cello, in the other. The strings were doubled over and then wrapped in the center. I find it curiously fascinating. I want to know what was the application of this practice. How did they advance the string when they wanted to replace the used section where the bow had worn down the gut. I can't see the tail piece in either painting so it's unclear as to how the string is fixed to the instrument at that end. I did a little poking around, but I haven't been able to find any mention of Italian stringing practices of the Baroque.
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