The rebirth of "Renaissance rosin" started by coincidence. In the summer of 1978, Andrea was staying in Cremona, Italy to carry out more research on string instruments.
He received a phone call from a dealer in Parma, telling him that the dealer had acquired a violin case belonging to Paganini.
Obviously Andrea was both excited and interested, and he quickly went to Parma. He saw the case bearing the date of manufacture as "Anno 1699" but sadly without any actual evidence of Paganini's ownership.
What really grabbed his attention though was a lump of unidentified old rosin he found in the case. It looked like the original rosin from the Renaissance era.
Knowing that Renaissance rosin had to be of high quality to draw best sound out of the often difficult to play gut strings, Andrea Bang quickly brought it back to his lab and tried the rosin after first melting and reforming it. The music he played with it was "Tartini's Sonata in G-minor (Devils's trill). Amazingly, the rosin produced a resilient, clear and solemn tone which is not easy to achieve using rosins made today.
From that moment on, reviving the Renaissance rosin became a passionate mission for him. Four years of painstaking research was needed for him to discover the ingredients of the original rosin. Thousands of field tests finally brought him the precise recipe. The completed rosin was named Tartini as the first piece he played with the old rosin was one by Tartini.
Andrea Bang didn't stop there, and his continued efforts produced Andrea rosin, a major upgrade from Tartini. Andrea rosin changes the concept of rosin, taking it from a simple but essential item to an absolutely indispensable piece of equipment.Andrea rosin gives you the grip and sound that makes your performance better.
All we can say is try it. You won't be disappointed.
Please note that Andrea rosin has replaced Tartini rosin which was also made by Andrea Bang. The rosin available as New Tartini is made by a different maker and is not the original Tartini recipe. The orginal Tartini formula is only found in the upgraded version called Andrea.
What musicians are saying about Andrea rosin...
A remarkable achievement! Your rosins are fantastic. They wonderfully bite. Have no harshness or dullness in the tonal ring and make beautiful quality of sound! They make my celli sing out more than I ever thought "just" rosin could do. A major breakthrough in sound of string instruments! - Lynn Harrell, Cellist, Rice University, USA
I tried the rosin on Friday and over the weekend, and although some of the sticky rosin is still on the bow,
I am amazed at the new rosin which is superb. The clarity of tone for every note is excellent, as is the bright
and open sound of the harmonics. I didn't realise how 'cloudy' the sticky rosin made the bass sound and this new one seems to have really opened up the sound and made it brighter. Please tell the maker that he has done a superb job.
- David Heyes, Double Bass (September 2006)
I have tried the cello rosin just now and after only five minutes I have noticed a remarkable difference. My attacks are about 15% easier to achieve and the volume is equally louder. It also came off the cake much easier than I am used to enabling me to rosin the bow in a quarter of the time. I play on a Vuillaume c. 1854 with a Nurnberger bow. - John Reed, Cellist of The Hampton String Quartet, USA, (2nd of Mar, 2006)
Thank you for your wonderful rosin. Selected members of all the string sections used it at rehearsal last night and all were extremely happy and very inpressed with the results.
I have a French violin a Barzoni which does not respond immediately to the bow. With the addition of your rosin I have a beautiful tone and immediate responce. - Christine Clarkson, Manager for Salford Symphony Orchestra, UK, (28th of Feb, 2006)
We are convinced by your premium quality. In fact, we have good feedback from members of Singapore Symphonies Orchestra when they tested your sample. – President of Gramercy Music (s) Pte Ltd, Singapore (24th of Feb, 2006)
We thank you for your kind gesture of sending the samples of rosins of Cremona in Seoul to our orchestra. Some of our orchestra members have tested it (solo violin and cello) and they have told me that they were very satisfied with the result. The rosins have proved to be positive to the sound the musicians are seeking for.
- Karin van Wouw, Assistant to the executive director, ROYAL CONCERTGEBOUW ORCHESTRA, the Netherlands (30th of March, 2006)
The rosin I am absolutely delighted with is the Vivaldi; it gives great clarity and warmth of tone. Best of all, unlike some rosins I have tried that give a good impression at first but seem to clog the hair with repeated use, this rosin seems to be getting better and better. - Philip Heyman, Principal Violist, Welsh National Opera Orchestra, UK (18th of May, 2006)
I play on a German Ch. G. Liebig viola (c. 1780) with Zyex D'Addario strings and must say, that your David rosin has made remarkable change in the sound quality, as well as in its loudness. Also, what I found very comfortable for viola player who is playing in several chamber groups, I noticed that the initiation of the sound is far more easier and smoother comparing to other rosins – and thus allowing the player using all spectrum of dynamics without concerning about correct sound quality. - Dr. Marcin Murawski, Assistant Professor of Viola, Academy of Music Poznan, Poland (10th of July 2006)
