|
 |
Liebenzeller metal rosin enhances the quality of the tone, giving greater warmth, flexibility and radiance. It increases the capacity for modulation, volume and carrying power in large halls, it gives a good and even response and even reduces surface noise. It is scarcely affected by variations of temperature or humidity and leaves a minimum of residual dust.
Such remarkable results have been obtained by the addition, in a special process, of minute quantities of gold and other metals. This method of production has been developed in Central Europe since 1922 after careful study of the work of Rudolf Steiner and is now practised in Bad Liebenzell, Germany.
|
Types of rosin
Choice of the appropriate type of Liebenzeller rosin will enhance the typical sound of the instrument and counterbalance existing deficiencies. There are rosins with seven different metal additives available and six grades of hardness.
Gold rosin is the most versatile, having especially well-balanced properties. The tome produced is full, round and warm, yet also has clarity, brilliance and transparence. It is flexible and best suited to obtain a variety of tonal colours from the instrument. The softer grade can help to refine and soften a hard rasping sound, while the harder grade – often preferred for solo playing – can add clarity and definition. Six grades, two for each register. Suitable for all instruments.
Pyrite rosin helps to give a strong and open tone and is flexible. For all-round use: vigorous and with an inner meditative quality. For cello.
Meteoric iron rosin is strong, metallic and direct in tone. It has substance, is powerful and penetrating, yet warm.
Tin rosin gives a still fuller and more radiant sound than meteoric iron rosin, vigorous yet pliable up to the highest positions. Recommended for solo playing and for use in large halls; it helps the instrument to come through well. There are four grades. Its recommended use is for violin, viola and cello.
Copper rosin is quite different from the other types. The effect is of velvety softness and charm. It makes playing easier for the beginner and is particularly suited for half and three-quarter size violins, lending these instruments more volume, brilliance and roundness of tone. It has proved excellent for the viola da gamba. There are two grades and it is recommended for violin, viola, treble and alto viol.
Silver rosin gives a bright, slender and concentrated tone, that still sounds and carries well in the highest positions. The bow stroke is smooth and supple, even in pianissimo. Many violinists prefer this type to all others. There are two grades, for violin and viola.
Lead rosin, developed primarily for the chrotta, is frequently used with enthusiasm by viola players. It gives a warm, velvety and sonorous tone. One grade, for viola and chrotta.
Silver-lead rosin, also produced initially for the chrotta, brings out the typical quality of this instrument, as does the lead rosin, but is appreciated by viola and violin players as well. Here too the tone is full, strong and warm, but also clearer, fresher and more flexible. In other grades of hardness it is suited to the double bass, where it adds colour, clarity and substance to the tone. Bass players often mention how well it grips without stickiness or excessive dust. Correctly used – sparingly applied, but with some pressure – it is long lasting and economical. Sometimes a mixture of both grades of hardness has proved advantageous.Four grades. For violin, viola da gamba, chrotta, double bass.
Table of available types
| Grade |
Instrument |
Metal additives |
I |
Violin |
Gold, meteoric iron, silver (tin) |
II |
Violin, viola, treble viol |
Gold, meteoric iron, copper, silver, silver-lead, tin |
III |
Viola, alto viol, cello |
Gold, meteoric iron, Gold E, tin, copper (lead) |
IV |
Cello, viola da gamba, bass viol |
Gold, meteoric iron, silver lead, tin, gold E, pyrit |
V |
Double bass, violine |
Gold H |
VI |
Double bass |
Gold H |
Which type the player chooses depends not only on the instrument, but on the quality of tone desired and the manner of playing. Many players use several sorts, alternating them according to the style and period of the works to be played as well as the size of the hall and its acoustics.
Maintenance
Liebenzeller metal rosin should be used more sparingly than other rosins. Clean bow hairs and strings more frequently and thoroughly than usual especially before using Liebenzeller for the first time to avoid stickiness, as this can possibly cause a rough tone. Cleaning, after first shaking the loose dust out of the bow, is best done with a cloth and a little alcohol. There is no mailing of rosins during hot weather.
References:
“It is certainly the best rosin that has ever been available to me, (we travel worldwide).” J.Sch., Mozarteum, Salzburg
“All the players are saying how they never realized how much the rosin influences the tone …Everyone who tries it wants some. There is no other rosin that compares. We have demonstrated it to some players in big symphonies and they also agree. We think you are making an important contribution to music.” (D.Sp., USA)
“After some 1 ½ years, during which time I used your rosin daily, I would like to say that this material is the best bass rosin in existence… We can no longer do without it”. Prof W.St., Freiburg
|
|
|
|
|
