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The tidy workmanship and presentation strongly indicate that the
instrument was made in Mittenwald, Germany.
The instrument has characteristics and a quality typical of a
huge number of instruments that were produced in the years that
followed the end of the Second World War.
Yes - all the following features are quite typical:
a) The plumb-red spirit varnish over a yellow ground.
b) The smallish "three-quarter" size and viol-shape.
d) The slightly heavy style of making - including the plate thicknesses
and bass bar.
c) The use of outside linings - so as to provide added strength
and support to the edges.
e) The quality of timber used - of a moderate quality but nothing
more.
f) The set of chrome half-plates fitted to the peg-box - of "functional" quality
but nothing more.
Mittenwald is located at the foot of the Bavarian Alps in the
very south of Germany. Between the end of the 15th and the 17th
century Mittenwald prospered as it lay directly on the lower trade
route between Augsberg and Venice.
Yes it is. Mathias Klotz (1653-1743) returned to Mittenwald in
ca. 1685 and can be considered the founder of violin making in
Mittenwald. He ran a large workshop in which he trained his three
sons as well as many other violin makers from the area. Today the
town still has a violin making school and there is a museum devoted
to the evolution of stringed instruments and to old Mittenwald.
There is nothing present on the back in the
normal position. On the inside middle-rib - bass-side - there
is however the remnants of a printed label. The letters "ZE" in
capitals can clearly be read. Unfortunately it is not possible
to deduce anything from these letters.
Well - because we purchased it from a retired player called B.S.
Baker and he told us that he had purchased it from a shop in Mittenwald
in that year.
Mr Baker is so sure - because he was based in Dortmund, Germany
for five months from May 2nd 1971 as a member of the Royal Artillery
Band. Mr Baker's military number - G1994 - is etched into the rear
of the peg-box.
No - hardly anything. The instrument is pretty much in the same
condition that Mr Baker purchased it in all those years ago.
Yes. It was only necessary to "shoot" the
fingerboard and fit a new soundpost. We have also fitted some
aluminium bridge adjusters, a new tailpiece, a new endpin unit
and a new set of strings.
Yes - the instrument is in very-near mint condition.
Yes - the instrument still retains its original neck. Like many
instruments made on the Continent the neck is what we call an E-flat
neck. This means that your first finger will produce an E-flat
when you rest your thumb at the bass of the neck. Some players
will be quite happy with this. For others it might take them a
little bit of getting use to.
At 105.0cm the string length is particularly advantageous.
The sound is sweet. The volume - although not massive is very
well balanced and even.
Yes - it would be an excellent choice for any touring jazz player.
Yes - indeed. The instrument should be able to get you right the
way through music college.
Although the sound is somewhat limited - this is a very honest
instrument in near-mint condition. What is more - it is backed
up by exactly the right amount of history and a price that is very,
very fair.
LOB (length of back) - 107.8cm (42.45in)
Width across upper bouts - 50.0cm (19.70in)
Width across middle bouts - 37.3cm (14.70in)
Width across lower bouts - 65.4cm (25.75in)
Depth of lower ribs inc both plates - 21.6cm (8.50in)
Body Stop - 59.4cm (23.40in)
String length - 105.0cm (41.35in)
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