I just received a little unexpected present -
At the end of a very late Tartini recording, when the last two hours around midnight had disappeared in a tired blur of nearly unconscious sound delivery, we finally decided we'd had enough. But then, just before I packed the fiddle away, having played F major the whole evening, something was missing! So I said to Andreas, let's play some g-minor Bach: So at the end of my forces not really able to stand up, hold the fiddle or find my tone I played a Bach in a manner that is at the same time stumbling round muddy corners, nearly falling but wonderfully attentive to the inner tension.

A low wound music enfolds, less the Prelude to a great fugue, but rather a farewell to a findish task. I am almost proud about the new path I found in this well known piece, the Adagio of the g minor Sonata by Johann Sebastian Bach.

As soon as I have sussed out how to upload sound on this site I will share it with you.

As I am blessed with a truly wonderful fiddle by 1702 Peter Guarneri of Mantova, i might seem spoiled.
But imagine my happy surprise when stumbling upon a Nicolo Gagliano 1758 with an

ORIGINAL

neck/scroll
bassbar
thickness

I had to spell it out, since it might not make sense to all of us: An original bass bar is truly seldom, but possible.
An original neck (you can see it easily when the scroll is still part of the neck, not severed) is a bit more rare, but original thickness in the top and bottom actually means it is unchanged, which is commonly considered too thick -
The usual solution as practiced by Vuillaume in many Strads was to scratch them out, and make them thus acceptable for todays frequencies.

The real surprise therefore is this fiddle, wholly untampered with, sounding unlike any "baroque" fiddle I have encountered - them usually reflecting what we think a baroque fiddle has to be.
As this fiddle has no idea what a baroque fiddle has to sound like - it is just a great fiddle somwhere between baroque and modern sound fashion - simply a wonderful fiddle: It reminds me of a good Amati; the less you do, the more it comes along.

It was a great honour to record with a Gagliano, made 1758 in Naples a revolutionary piece by Tartini, published 1758 in - Naples!

Just finished the Tartini recording last friday - what a sound! Recording with Andreas Werner is such a treat, he just lets you go on, and suddenly when you are in danger of being tired he carries you through!!
And he knows his church - after recording the Ysaÿe Hindemith story i thought i had a good sound, but this beats it a long way, might be the mics and his knowledge of my sound, but i rather think it is also the room he can catch.

So be in for a treat, and please keep all fingers crossed for a perfectly adequate publication! This is great stuff, and I guess you can say NEVER HEARD BEFORE :-)

The fabulous "Arte dell'Arco".
Just when I thought I was finished with practicing Etudes for a while (as if!) I received a truly exciting proposition to record the amazing Tartini variations on Corelli's Gavotte. In November I can tell you more, but let me tell you, I live mostly in the year 1758 for a month!

Hindemith Übungen for violinists - Anybody knows them?
Well, they have been my daily violinistic bread. I had so much fun with them until I decided to record them. Then things began to get difficult. I actually think, I should now make a playable edition, since you need rather an unusual time to organise yourself round this task. I love them, just watch out for HINDEMITH ÜBUNGEN FÜR GEIGER!