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: .

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

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.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

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.

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

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.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)

Wolfgang Amadeus Mozart, a musical prodigy of the Classical era, was deeply influenced by the intellectual currents of the Enlightenment. His exposure to Enlightenment ideas was multifaceted, shaped not only by the cultural milieu of his time but also by the relationships within his family and his own interactions with prominent figures of the Enlightenment. This exploration will delve into Mozart’s acquaintance with Enlightenment ideas through his father’s relationships and his own encounters with influential personalities of the era, including Christian Fürchtegott Gellert, Baron Melchior Grimm, Madame d’Epinay, and Joseph von Sonnenfels. Additionally, the essay will examine the impact of Joseph II’s reforms on Mozart’s life and artistic endeavors.

Layla Ramezan, Iranian Pianist

Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.

Music education in third-world countries

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.

A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.

Prominent Iranian Musicologist Passes Away in Vienna

Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.

Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.