Monday, April 21, 2025

amphibians feel the heat

From the apocryphal story of frogs being boiled alive in gradually warming water to the construction of frog saunas against chytrid disease, everything you always wanted to know about amphibians and climate change is in my latest feature which is out now:

Amphibians feel the heat

Current Biology Volume 35, Issue 8, 21 April 2025, Pages R273-R275

Restricted access to full text and PDF download
(will become open access one year after publication)

Magic link for free access
(first seven weeks only)

See also my new Mastodon thread where I will highlight all this year's CB features.

My mastodon posts are also mirrored on Bluesky (starting 22.2.2025), but for this purpose I have to post them again, outside of the thread. (I think threads only transfer if the first post was transferred, so once I start a new thread it should work.)

Last year's thread is here .

The pickerel frog (Lithobates palustris) is not endangered yet but appears in recent research as one of the species that may suffer from further climate warming. (Photo: Oak Ridge National Laboratory/Flickr (CC BY 2.0).)

Sunday, April 20, 2025

eight women

Some thoughts on

Sounds and sweet airs: the forgotten women of classical music
Anna Beer
One World 2017

In recent years I have been learning about some amazing composers who had fallen into oblivion because they happened to be women and didn't fit the composer cliche modelled on the male genius. In my orchestral adventures, I've enjoyed playing Louise Farrenc's third symphony and Emilie Mayer's overture, as well as Amy Beach's Maria Stuart. I'm hoping to learn chamber music pieces by Rebecca Clarke and by Rita Strohl one day. And have read about the life of Clara Schumann (Dieter Kühn's slightly novelised biography), as well as about those of Rebeccs Clarke, Ethel Smyth, Dorothy Howell, Doreen Carwithen in Leah Broad's recent book Quartet. Come to think of it, I even have a youtube playlist with works by some of these.

Adding to that, I now learned about a few composers I wasn't aware of from Anna Beer's book, namely
Francesca Caccini (born 1587),
Barbara Strozzi (1619-1677),
Élisabeth Jacquet de la Guerre (1665-1729),
Marianna Martines (1744-1812),
Elizabeth Maconchy (1907-1994)
who are featured along with the more widely known (at least to me)
Fanny Hensel (Mendelssohn) (1805-1847),
Clara Schumann (1819-1896) and
Lili Boulanger (1893-1918).

The book is a chronological array of the eight short biographies, each around 40 pages long. I love the way these eight lives cover the four centuries from 1587 to 1994 almost seamlessly - there is only a small gap between 1729 and 1744. (A graphic timeline would be a helpful addition to the book, which doesn't even list the birth and death years, I had to look them up and have now scribbled them into the table of contents with a pencil.) It is fascinating how the challenges that female composers faced over the centuries mutated and evolved over the centuries. Notably, in the early parts of the book, things seem to be getting worse for women from the Renaissance to the Classical period, as 19th century notions of gender roles came up with additional barriers that didn't exist before.

In most cases, the chapters are based on existing full-length biographies, so people who have read those may not learn anything new except perhaps the chance to find out about contradicting claims from competing biographers, which exist in the cases of some of the more colourful lives, where a fair number of unresolved paternity cases are up for debate.

While I appreciate the book for the considerable additions to my musical knowledge I have gained, I would advise readers to mistrust all quotes translated from German or French - they often appear to be subtly wrong. The consistent misspelling of the name of Friedrich Wieck (Clara Schumann's father) is a further warning that some things may have been lost in translation here.

Looking up the book online I see it has been stickered as a "companion to the Classic FM series" which makes sense in terms of the format of the eight chapters - I expect they must each have been made into a one hour or so radio piece.

I've now added some of my new discoveries to my youtube playlist:

PS Shoutout also to the tumblr blog Lesser Known Composers, which features quite a few women as well (I'm no longer on tumblr, but the blog appears to be freely visible without a login.) Just yesterday, it presented the works of Vitezslava Kapralova (1915-1940) such as the Piano Concerto in D Minor, Op. 7.

Update 29.5.2025: From the always interesting Zeitzeichen podcast of the German radio station WDR, I discovered Pauline Viardot. She wrote no symphonies or quartets, sadly, but quite a few operas.

Friday, April 18, 2025

a neck re-attached

Pirate luthier adventures continued:

After nearly a year I gathered up enough courage to try repairing the broken neck of violin 10, which sports a whole crime scene with traces of multiple repair attempts. I had cleaned out the place where it needs gluing early on, but then hesitated to proceed because I was afraid the connection wouldn't hold the tension of the strings. So it stayed on the back burner for many months, while I kept picking the lower hanging fruit.

Two weeks ago, however, I just cooked up some hide glue and fitted the two parts together again, and they hold like a charm. I first tested the connection with a mock setup using random old strings, and when that held together I ordered some really cheap strings from ebay (ten times cheaper than what I normally buy) and put those on, together with an upcycled old bridge. With that setup, the violin is now playable, stays in tune, and still hasn't fallen apart. It doesn't sound very nice, so if somebody wanted to play it I'd recommend a more expensive set of strings and maybe a new bridge. It is a 3/4 sized violin so I have no use for it myself. (And I also don't have a 3/4 bow to go with it, nor a case that offers reasonable protection.) It came with a label suggesting that it may date from the 1920s.

Here are a few photos in its post-repair state. First the re-attached neck.

Then the front

and back (with another repair patch unrelated to the neck crisis):


List of violins in the pirate luthier series:

violin 1) is the one my late aunt had since the 1930s, which got me started. After restoring it in November 2022, I played it almost every day for 14 months, until number 5) showed up.

violin 2) is a Stentor student 1 (a very widely used brand of cheap fiddles available everywhere and still being produced). I bought it very cheap on gumtree, mainly because I needed a case for number 1). It has a fault that is probably not worth repairing, see the blog entry on number 3) below. After stripping it of some accessories and spares, I am now inclined to keep it in a semi-functional state to try out experimental repairs, i.e. use it as a wooden guinea pig of sorts.

violin 3) came from a folkie friend who moved away. I put the soundpost back in its place and it has now found a new home.

violin 4) is a modern Chinese one which I bought from one musical friend and sold to another, no work needed.

violin 5) (donated by a friendly freegler) was my second favourite and the one I played in folk sessions for roughly a year until number 22) showed up.

violin 6) is the half-sized Lark which was one of the six violins I gave away on freegle in the first week of June.

violin 7) is a skylark from 1991 which I bought on gumtree for £ 10 and fitted with a new bridge. Good enough for folk I would say. It was one of the six violins I gave away on freegle in the first week of June.

violin 8) is the "ladies violin", a 7/8 skylark. It was one of the six violins I gave away on freegle in the first week of June.

violin 9) is the one which needed a new bridge and a tailgut and turned out to sound quite lovely on the E string. It was one of the six violins I gave away on freegle in the first week of June.

violin 10) is the broken one with traces of multiple repair attempts, which I've now repaired, as reported above.

violin 11) is the 3/4 sold by JP Guivier & Co Ltd. in the 1950s but may actually be older than that. It was one of the six violins I gave away on freegle in the first week of June.

violin 12) is a full-size Lark which a freegle user kindly donated and delivered after seeing my offer. It was one of the six violins I gave away on freegle in the first week of June.

violins 13) through to 15) I bought locally through gumtree or facebook, nothing special to report.

violin 16) is the Sebastian Klotz branded one, sadly not made by the Mittenwald luthier, but by Yamaha Malaysia, who appear to have trademarked his name.

violin 17) is the supersized violin with a very strong sound.

violin 18) is the slightly drunken but nice sounding violin from Poland, which I restored and returned to its family.

violin 19) is a Stentor student 1 violin which only needed a little TLC, and within less than a week I had it brushed up and ready to move to our local school. The most intriguing problem it had was that somebody had put in the bridge the wrong way round, with the lower slope under the G string.

violin 20) is a Stentor student 1 violin I bought via GumTree. It sounds really nice for what it is, thanks in part to a good set-up with Dominant strings. My current plan is to make this one an official Cowley Orchestra instrument.

violin 21) is a nameless student violin I bought via facebook, not quite sure what to think of it. The fingerboard is horizontal, which is all wrong and may mean there is not enough pressure on the bridge to produce a good sound.

violin 22) is the 19th century Guarneri copy, still my favourite (although I'll have to fix that crack at some point).

violin 23) is a nameless student violin I bought from a charity shop. It looks unused but had no strings, so I set it up with a set of spare strings that came with another violin. It turned out to be no trouble at all and sounds ok for an instrument that looks really cheap (with the purfling painted on).

violin 24) is the densely cratered one I found lying on a chair at Oxfam. I'm now playing this one at sessions, and number 22 at home.

Balance 18.4.2025: Of the 24 violins listed above, 7 received via freegle, 3 from friends and family, 13 bought (gumtree, facebook, charity shops, cost ranging £ 10 to £45), 1 taken in for repair only and returned to its family.
Of the 23 acquired, 6 given away via freegle, 2 given to a local school, 2 sold to musical friends, 1 moved to Germany for holiday practice, 9 currently in house and ready to play, 3 in house and still broken.

List of non-violins in the pirate luthier series:

An old Irish banjo

guitar 1) is the 100 year-old one from Valencia which I set up with frets and strings and handed back to its owner.

and finally a shout-out to our family-built hammered dulcimer, which dates from 2016, long before I got any ideas about violins.

Thursday, April 10, 2025

a robber's family

A recent research paper reported the identification of the skeleton of the infamous robber Johannes Bückler (1778?-1803), aka Schinderhannes, who committed dozens of crimes in the Hunsrück area where 3/16 of my ancestry is from. In a nutshell, his skeleton had been involved in a mix-up and has now been correctly identified based on a known bone fracture, and confirmed by comparing a DNA sample with one donated by a descendant of his sister. (See this news story in Archaeology News for more details.)

Which reminded me that there is quite a bit known about the family links around the young outlaw, and that I really should check again for possible connections. Note that there were quite a few vicars and teachers among my Hunsrück ancestors (the Kauer and Imig clans), who would have been horrified to see their names associated with a criminal - even one whose life has been romanticised extensively. But you never know - maybe there once was a connection that was swept under the rug?

A family portrait dated 1803

So I need to find out. Here is the ancestry of the robber as a Kekule list (which is the only way I understand these things), data from GedBas, and I marked any places that also occur in my family tree as bold (no overlap with family names, apart from Schmidt which is so common as to be meaningless):

1. Johann Wilhelm BÜCKLER, aka Schinderhannes

2. Johann BÜCKLER born 1758-02-28 Merzweiler
3. Anna Maria SCHMIDT born 1755-03-18 Miehlen

4. Otto Philipp BICKLER born 1709-04-29 Hilscheid
5. Maria Margarethe RIEMENSCHNEIDER born 1713 Merzweiler
6. Johann Dietrich SCHMIDT born 1706-04-11 Hamm-Sieg died 1781-04 Miehlen
7. unknown

8. Johann Nicolaus BICKLER born 1673 Wallenbrück Death: 1757
9. Maria Barbara ROTH born 1675 Kastellaun
10. Johann Lorenz RIEMENSCHNEIDER born 1690-04-16 Herren-Sulzbach Death: 1750 Merzweiler
11.Anna Margaretha SCHIELER born Merxheim
12. Johann Christoffel SCHMIDT born estimated 1674 Miehlen bei Nastätten Death: 1740-01-27 Miehlen bei Nastätten
13. Anna Thimothea SCHMIDT born calculated 1687 Daaden

16. Hans Adam BICKLER born 1649 Wallenbrück Death: 1720-06-27 Wallenbrück
17. Margaretha KOLLER born 1648-09-03 Bernkastel Death: before 1694
18. Johannes ROTH born about 1640 Death: 1719-12-28 Kastellaun
19. Barbara RACH born about 1652 Oberwesel Death: before 1683 Kastellaun
20. Johann Wilhelm RIEMENSCHNEIDER born 1665-11-07 Meisenheim
21. Juliana Catharina HESSLER born about 1665 Diez
22. Philipp SCHIELER born Merxheim
23. NN
24. Johann Conrad SCHMIDT born 1645 aus Miehlen bei Nastätten
25. Anna Margaretha XX Death: 1713-01-10 Miehlen
26. Weiland Johannes SCHMIDT

32.Sebastian BICKLER born 1624 Kirchberg Death: 1668 Wallenbrück
33. Elisabeth CLAUSS born 1625 Uhler Death: before 1672
34. Philipps KOLLER born 1620 Bernkastel Death: 1694-01-09 Bernkastel
35. Anna HEIL born 1622-10-10 Bernkastel Death: 1696-06-14 Bernkastel
38.Nicolaus RACH
39. Anna Elisabeth XX Death: 1776-03-17 Oberwesel
48. Jacob SCHMIDT born 1610 Limburg
49. Carita Liebmuth WENTZEN born 1615 Limburg

64. (Bickler)
66. Johann CLAUSS born 1585 Trarbach, Mosel Death: 1636-08-30 Trarbach, Mosel
67 Catharina HAUSMANN born 1589-10-22 Trarbach, Mosel Death: 1670-11-10 Trarbach

There is also some information on Schinderhannes's girlfriend,

1. Maria Juliana (Julchen) Blasius, born in Weierbach 22. March 1781, whose occupation is given as Bänkelspielerin, ie a musician and street performer. Her parents are:

2. Johann Nicolaus BLASIUS born 1751-03-11 Weierbach
3. Maria Catharina Louisa CATHARIUS born 1754 Becherbach

While Schinderhannes was executed, Julchen only went to jail for a couple of years.

Their descendants are:

1. Johanna BÜCKLER 1801-1801

2. Franz Wilhelm BÜCKLER 1802-1834
2.1.Johann Friedrich Wilhelm BÜCKLER 1831-1874
2.2. Philipp Wilhelm BÜCKLER 1831-1886
2.3. Eduard BÜCKLER 1834-1838

Julchen later married a cousin also called Blasius, settled in Weierbach, and produced lots of children by that name.

Weierbach is on the river Nahe, downstream from Idar-Oberstein and just next to Fischbach, where my migrating miners passed through and where I revisited the ancient copper mine ten years ago.

The Wikipedia entry notes that Schinderhannes often visited the village of Hahnenbach, but that was a generation before my family showed up there. My many-times great aunt Maria Margaretha Weiss (1809-1885) married the innkeeper Johann Peter Schmidt in 1842. Her daughter married Ferdinand Weirich, whose name appears on the inn in this old photo.

Further reading:

  • A google search for led me to the book Unter dem Freiheitsbaum by Clara Viebig (full text at Projekt Gutenberg). I hadn't heard of her before, but apparently she was famous in the early 20th century, and this book has been praised for elevating the Schinderhannes sujet to the literary level.
  • Monday, April 07, 2025

    culturally connected oases

    After 333 features in the format started in 2011, it is getting harder to find an issue / field that I haven't covered yet, but oases in the desert were one, until now. (I think I did something on the island biogeography of sea floor "oases" at one point.) A new paper attempting to compile a global atlas of oases provided the inspiration to plug this gap.

    My own experience of desert oases is limited to a visit to Algeria back in the last century, including a stay at El Oued, an oasis town in the Sahara. Thus I learned a lot about the amazing cultural history of oases around the globe, which have supported all kinds of travel routes including the Silk Road.

    So here comes my very first feature on desert oases:

    Islands of life

    Current Biology Volume 35, Issue 7, 7 April 2025, Pages R237-R239

    Restricted access to full text and PDF download
    (will become open access one year after publication)

    Magic link for free access
    (first seven weeks only) (NB I noticed that the magic link doesn't seem to work on my chromebook right now, although it does work on a windows pc using firefox. I seem to be the only person having that problem so far, but do let me know if anybody else has difficulty accessing it.)

    See also my new Mastodon thread where I will highlight all this year's CB features.

    My mastodon posts are also mirrored on Bluesky (starting 22.2.2025), but for this purpose I have to post them again, outside of the thread. (I think threads only transfer if the first post was transferred, so once I start a new thread it should work.)

    Last year's thread is here .

    There are more than 1300 oases scattered across the world’s arid regions. The photo shows the oasis of Huacachina, in Peru. Image Source: Wikimedia Commons.

    Sunday, April 06, 2025

    the evolution of early music

    I visited the Bate Collection on the last day before they closed for the move from St. Aldates to the new building in Jericho (named after one of the billionaires who co-funded the ongoing trumpocalypse, so I won't name it here). As they were desperate to clear out stuff from their shop, I helped by taking on the last 20 issues they had of the journal Early Music, which look like this:

    The random issues span the years 1974 (the journal started in 1973) to 2004. The journal published four issues per year until recently - I am a bit worried that the most recent issue online dates from May 2024, so they may either be in trouble or just running late with their publication schedule?

    I browsed through all 20 issue going backwards in time and it is amazing to observe how the field has moved in those three decades - starting with "what is a hurdy-gurdy?" and ending up discussing really subtle differences between medieval bows, or details of Renaissance notation on ten pages.

    A few things I learned or noticed:

    Small violins were a thing long before they were inflicted on children. As Margaret Downie Banks explained in November 1990 (vol 18, pp 588-596), violino piccolo is specified in early baroque compositions (including some by Bach even) in ways that suggest the violins were used like recorder consorts, with smaller instruments to reach the higher notes. This was useful because at the time the normal technique used by violinists didn't include higher positions. The chin rest hadn't been invented yet, and the ways of holding the instrument were all over the place, meaning that when you move up to higher positions you would have trouble coming back down (moving the hand away from the chin) without dropping the instrument. So people played first position only, plus a few extra notes that can be reached by stretching while the thumb stays in place. Like today's folk fiddlers. There isn't much explicit info on this from the time, because people who only knew this way of playing didn't know what they were missing. A key source is the violin instruction book published by Leopold Mozart (father of Wolfgang Amadeus), who noted in 1756 (just after what we now regard as the official end of the Baroque period) that small violins are no longer necessary, because players can now play higher notes by shifting their hand. He also mentions that the small instruments no longer needed by grown-ups could be useful in music education for children, although he doesn't whole-heartedly support this use.

    Another article in August 1984 addresses the issue of early violinists not using higher positions from the point of view of fingerings marked in the scores. This article notes that the chin rest was invented by the composer Louis Spohr (1784-1859).

    I am left wondering now if cellists / viola da gamba players discovered higher positions earlier than violinists, because they can move their left hand freely anyways. Will have to investigate.

    An ad that appeared in October 1980 notes that "In 1522 the Croydon Waits were beheaded for performing crumhorn consorts on comb and paper while waiting for their instruments to be delivered." The ad goes on to reassure readers that in the 20th century this couldn't happen any more, as the waiting time for their crumhorns "has been reduced to a reasonable length."

    I noticed that across the whole 20 issues with all the luscious illustrations, there isn't a single picture of a nyckelharpa (keyed fiddle) even though these instruments are present in medieval iconography. Doing a word search on the online archive, there appears to be only one mention of the word nyckelharpa in the entire corpus of the journal, and that was in the review of a recording where the instrument was used. Given the popularity of the instrument in Scandinavian folk today, I am puzzled as to why the Early Music crowd chose to completely ignore it. By contrast, hurdy-gurdies are well represented. Obviously, it is difficult to do stats based on the issues I have, as they are a negative selection, left behind by earlier visitors to the collection. Somebody may have picked all issues that had a viola da gamba on the cover. But the absence of nyckelharpas is a real thing.

    In November 2003, we find the late Jeremy Montagu (1927-2020) reminding us that "trump" is another name for the Jew's harp. He wrote "it is a term of historical usage ... and today safe from any potentially offensive connotation, which many of us have adopted as a result." Those were the days.

    In the same issue, there is an interesting article on Quantz's flute quartets which had been rediscovered recently.

    Oh and I also learned that the early music festival Tage Alter Musik Herne is still going strong and happening each year in November. Back in the last century when we were spoilt rotten by the Tage Alter Musik Regensburg (held in magnificent historic venues matching the age of the music) we were a bit snobbish about the competition from the less lovely city of Herne, but now that I have a base in Dusseldorf, I could easily attend some of the concerts at Herne.

    May add further discoveries as they turn up ...