SOUNDPOST

Letters, emails, online comments

LETTER of the MONTH

SET IT STRAIGHT

The online article ‘Looking after your instrument: the secret to bridge placement’ (bit.ly/3AqVZ0p) is a good start to correcting faulty bridge placement on stringed instruments, and it is helpful to know this general rule when a knock moves the bridge out of place. But for players who want their instrument to be set up to produce its best sound in all registers, one needs to understand that the geometrically correct placement for both bridge and soundpost needs further adjustment for acoustic reasons, as influenced by conditions of seasonal temperature and humidity.

The best bridge placement will tune the front plate, while the best soundpost placement will tune the back plate, as well as improve the evenness of the entire tonal range. Luthiers do this by listening to tap tones: on the front plate for moving the bridge, and on the back plate for moving the soundpost. When tap tones above and below the bridge on the front are even, the instrument is set up for its best capabilities (for how long will depend on the instrument).

GETTY IMAGES

I myself have learnt to do small tuning adjustments with my bridge, but when I need soundpost adjustment, I will go to the wonderful luthiers who have been trained in the art of sound adjustment as described.

CSABA ERDÉLYI

Bowling Green, OH, US

A RESTRICTED RELIC

It was incredible that Stradivari’s ‘Hellier’ violin of c.1679 failed to sell at Christie’s London auction house on 7 July (bit.ly/3AFunoh). Owing to its flawless and magnificent craftsmanship, it would have set a sales record – if it had no ivory inlay. Christie’s issued a notice and caution for Lot 40 to ensure that buyers complied with export restrictions concerning ivory content in artwork. No one wants to take the chance that their very expensive purchase would get locked up or confiscated because of ivory restriction violations. Based on trends in Stradivari auction prices, this violin could have had upwards of $20m–$25m equivalent. Three centuries ago, Antonio Stradivari had no idea that ivory would be subject to such legal issues.

In general, we are in need of international trade law, particularly for customs, to acknowledge exemptions for historical items (made before 1975) containing ivory. Sellers of any ivory-ornamented item should be able to obtain a certificate of exemption to cover the existence of ivory, good for the life of the item, valid for any country. The certificate would reference the appropriate clauses of international ivory exemption law, and it would be fair to grant them to all vintage instruments made before the ivory export laws took effect.

RICHARD YOUNG

Port Clinton, OH, US

FOREVER USEFUL

I have enjoyed The Strad website’s recent shifting-related articles, in particular ‘Six ways to improve shifting for string players’(bit.ly/3cHARJD). In it, short tips on shifting, dating right back to 1894, give an overview of the technique. Not only did I find the tips helpful, but it was also interesting to see how advice almost 130 years old is still relevant today. The advice focusing on the musicality of shifting (and advising readers to ignore the mechanical aspects to it) was of particular interest to me, as it has been helpful in my own shifting practice throughout my years of playing viola.

KAJA STAUFFER

Frankfurt, Germany

INSTRUMENT PHOTOS COURTESY ARVEDI LABORATORY, CISRIC, UNIVERSITY OF PAVIA. HADELICH PHOTO SUXIAO YANG

SAME DIFFERENCE

The article ‘Three of a Kind’ (August 2022) gave us an essential summation of the scientific analyses of three violins from the Guarneri ‘del Gesù’ shop made in 1734 (above). I have long pointed out the confusion generated by research projects mixing instruments from various Cremonese shops and times. Well, Giacomo Fiocco and the research groups of the Arvedi Laboratory and the Musical Acoustics Laboratory, both associated with the Museo del Violino in Cremona, have shown the similarities and, more importantly, the differences between the three coeval siblings by ‘del Gesù’.

The analysis shows how similar the dimensions and shapes are except for the distortion by a warped bass-bar in one violin. This supports a prevalent theory that ‘del Gesù’ used one form to construct the rib garland. As for varnish, there is some variation with the ground system material, but a similar oil-based varnish is found on all three. Also importantly, they show how different restoration methods can mask or confuse details about the original varnish systems. My only recommendation would be a succinct table listing significant similarities and differences.

MICHAEL R. MOLNAR

Warren, NJ, US

ONLINE COMMENT

In July, Scottish violin maker and repairer, Brian Rattray, died aged 83 (see page 14). Clients and friends from the previous decades shared their personal memories bit.ly/3RYPgBe KATE BURNS He was a lovely and generous man. After my first visit to him as a teenager, when he heard I was about to do music college auditions, he insisted I borrow a very expensive violin from him for the audition.

DOUG BADGER Brian did numerous repairs for me over the years and was an utterly charming and kind soul as well. I’m sure he will be fondly remembered by all who knew him.

BRYAN MCALISTER Brian was a great help to myself and my father-in-law in the 1980s when we were exploring building lutes. He also did some violin repairs for me and I still have a bow I bought from him. I still remember long and interesting chats in his workshop.

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