Violin’s inner mold, an essential factor in developing the idea of violin

1 June 2019 – 11:20 pm Posted in Instrument & Playing, Uncategorized

Violin inner mould, an essential factor in developing the idea of violin
RZW

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.
Golden age luthiers, such as Amati, Stradivari & Guarneri, each had their own gold standard method to develop the geometric pattern of their instruments.

Today, especially in the case of the remaining golden age instruments, we are faced with the fact that extracting the correct pattern from the standpoint of science, geometry and aesthetics is more difficult than ever due to aging, certain inaccuracies in craftsmanship of instruments, and the distortions which deliberately or inadvertently affected the available resources.

Then again this ‘piece de resistance’ can also be made since the creator artist applies his/her scientific and empirical potencies to analyze these brilliant instances of artistry, together with practice and diligence to gain the real and authentic knowledge, far from hidden prejudices and dogmatism.
An important question is that: Which factors had purified the intuition of Golden age masters, and allowed them to create such eternal pieces of art? What kept them safe from aberration, and what gave them the power to follow up on their efforts tirelessly?
Due to the specific circumstances of our era, now any attempt to answer such questions by referring to available resources will lead to serious contradictions. The fact which regrettably represents the incapacitation and imperfection of our modern approaches…
Considering the main characteristic principles of the phenomenon called violin, we realize that aesthetics along with knowledge and experience have provided the foundations for creating a magnificent work of art. As the cornerstone of this action, referring to reliable resources for extracting the correct pattern is always necessary. In Reza Ziaei Workshop, we have collected and evaluated many Golden age patterns due to the scientific and empirical potentials that are available, and extracted the optimal geometric design off each, due to the principles of physics and mathematics. Henceforth, an exact geometric output can be extracted using high-tech computer-aided design tools (CAD), which itself requires another field of technical ability. This special service is appropriate for professional violin makers and other makers who would like to apply their artistic skills on an exact and correct pattern.
But when it comes to applying the pattern on a new instrument, then the artist’s abilities to implement his/her idea becomes particularly important. For the maker who has chosen the correct pattern, the prior step must be taken by providing a mediate tool, called mould.
An ideal mould, particularly “Inner Mould”, makes it possible to attain the compliance of circumferential forms and proportion of different parts of the structure, based on the applied pattern, and also to assemble the various components of the ribs’ structure with high accuracy.
In the meantime, for making an inner mould based on a particular pattern, both empirical knowledge and proficient skill, and also well-understanding of the concept of mould is required to create a delicate and accurate piece. The mould actually defines the primary quiddity of the instrument and also, it is the substantial element on which the geometric qualities of the instrument depend directly. So, it must be done with a masterful precision, together with high technical level and great understanding of the process to attain a final product which can properly guide the further steps ahead.

Main properties of an ideal mould are as follows:
1- Correct circumferential form, based on the geometric design, with a maximum acceptable error of 0.1(mm).
2- Symmetry in circumferential form of the mould, exclusively for moulds which are based on symmetric patterns.
3- Exact reliable symmetry line to refer in the steps ahead.
4- Accurate thickness of the mould to refer in the steps ahead, with a maximum acceptable error of 0.1(mm)
5- Correct right angles of the circumferential span for complete compliance with the ribs’ surface.
6- High quality of material, due to the aesthetic characteristics and also the least amount of deformation over time.
7- Exact devising of the various components, including the placement of blocks, etc.

This entry was written by HarmonyTalk
Tagged: .

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (5)

The late 18th century was marked by profound societal changes across Europe, characterized by the rise of the bourgeoisie and the reshaping of musical patronage. Composers like Mozart responded to these shifts by adapting their compositional styles to align with the tastes and sensibilities of the emerging middle class. This article seeks to explore this phenomenon through an analysis of Mozart’s K. 499 quartet, also known as the “Hoffmeister” quartet, and his Prussian quartets, alongside the works of his contemporaries. By examining the evolution of the string quartet genre within the context of changing social structures and aesthetic preferences, this study aims to shed light on the dynamic relationship between music and society.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Latest posts

From Past Days…

Iranian Fallacies: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

Behzad Abdi’s opera Rumi was physically released by Naxos

Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

Ali Rahbari & Recording Iranian Symphonic Compositions

In the few days prior to the New Iranian year (March 2015), the news of the revival of Tehran Symphony Orchestra under Ali (Alexander) Rahbari’s conductorship was announced. Ali Rahbari, who served as assistant to Herbert von Karajan in Berlin Philharmonic Orchestra at a very young age, was also invited to conduct Tehran Symphony Orchestra in 2005; however, the election of Mahmoud Ahmadinejad’s government put an end to his collaboration with this Orchestra. Recently, it was announced that Rahbari is invited to conduct an orchestra in the U.S.

Homayoun Rahimian & Iran’s National Orchestra

The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein Dehlavi.

Gholam Reza Khan Minbashian: a pioneer in Iranian music (II)

Gholamreza Khan Minbashian taught courses such as organology, orchestration of military music and harmony based on the books which were translated from French into Persian with the help of Aliakbar Mozayyan-o-Dolleh (1846-1932).

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

A note on “Illusion or Ingenuity” article

The author of the “Illusion or Ingenuity” article, who is apprehensive of the future of the Music in Iran, enumerates some symptoms of the music weakening in the country for example decreasing in the quality of the music as well as lack of the innovation in creating them, a gradual decline in the music public taste and the drop in the application of layered sound and polyphony in music. He explains that one reason for this gradual weakening might be our unawareness of the fact that we are not so intelligent nation. He believes that we, Iranians, have a comprehensive “Illusion of the high national intelligence “that make us ignorant of the unfavorable realities of our music and consequently no searching for the remedy is taking place. His point of view brings to the mind a patient who thinks he is healthy, therefore delays the treatment and finally is killed by the disease. The author also refers to the national difficulties which gradually will lower the national intelligence score such as the increased rate of the immigration and brain drain, low quality of the nutrition, incompetence of the education system and etc and predicts that the condition of the music of Iran might deteriorate in the future because of the mentioned illusion of its great status.