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I would like to give my warmest recommendation to Leopold. It is an exceptionally excellent bow that has many brilliant qualities.
The bow is light and lies very well on the strings. It has elasticity that can fulfil all the demands you could make on a good violin bow.
Moreover I appreciate very much its sturdiness caused by virtue of the material it is made of.
The bow is light and lies very well on the strings. It has elasticity that can fulfil all the demands you could make on a good violin bow.
Moreover I appreciate very much its sturdiness caused by virtue of the material it is made of.
Several people from the orchestra have tried the bow. Generally they like it very much, but they all say the bow is too light. I also think the viola bow is light, but my own bow is pretty heavy, so I think it is good, after all. It is also very easy to play with it. Very stable and gives a good uniform volume.
I think it is psychological that some people do not accept it right away. As soon as they hear it is made from carbon fibre, they immediately have some reservations. I can imagine it is very typical.
I think it is psychological that some people do not accept it right away. As soon as they hear it is made from carbon fibre, they immediately have some reservations. I can imagine it is very typical.
I thought it did not exist - so fine a bow that is light and responsive, but at the same time accepts that I press hard. Leopold has without doubt all these qualities.
Testimonials
I have been playing with the bow continually for the second year to my full satisfaction.
It has an optimal weight and springiness for the tied spiccato. I own three celli that I play alternatively as needed. On one of them the colour of the sound is identical to the wooden bows, however two others have, I feel, both clearer colour in treble and give more interesting sound on the bass strings, when played with Leopold.
It is not necessary to apply pressure to the bow and it naturally keeps contact with the strings in the whole length of the bow from the frog to the tip. The level of the differences I am referring to can indeed be recognized by an educated hand of an experienced violoncellist.
It has an optimal weight and springiness for the tied spiccato. I own three celli that I play alternatively as needed. On one of them the colour of the sound is identical to the wooden bows, however two others have, I feel, both clearer colour in treble and give more interesting sound on the bass strings, when played with Leopold.
It is not necessary to apply pressure to the bow and it naturally keeps contact with the strings in the whole length of the bow from the frog to the tip. The level of the differences I am referring to can indeed be recognized by an educated hand of an experienced violoncellist.
Miroslav Petras
violoncellist
Czech Trio
Professor at the
Academy of Performing Arts
in Prague, Czech Republic
violoncellist
Czech Trio
Professor at the
Academy of Performing Arts
in Prague, Czech Republic
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Ellinor Fribo
2nd leader
Danish Radio Sinfonietta
Denmark
2nd leader
Danish Radio Sinfonietta
Denmark
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Copyright Leopold 2007