Carl-Victor

Thanks for the ideas. I don't have anything particular job-wise right now along these lines, but have seen a couple of want-ad postings for strolling violinists during the past couple of years and might try to develop some repertoire just in case such ads appear again. Besides, it is always good to have a variety of pieces memorized, if only to impress the the folks who show up at instrument shows, parties, wherever one can play informally ... that often leads to job offers for one-time events, etc.

Does anyone have any ideas on what strolling violinists actually play as part of their repertoire? I assume it varies with the type of restaurant. Should it consist of semi-classical, jazz standards, French love songs, a few Gypsy tunes? Is one expected to know a whole gamut of song requests? Can one throw in classical pieces like the Meditation from Thais? Also, is it best to have an accompanist (accordion, guitar, another violin) or is solo best? I really have no clue. I have only actually seen one in action in my whole life, and he mainly knew Italian opera airs. Thanks.

It's interesting that you are posting this since I spent part of the morning practicing Kreutzer's Concerto in D major (no. 13) and was thinking to myself how I might possibly be the only one practicing such an obscure work, since his concertos aren't played much in comparison with the etudes. Your point about the feel of the music is well taken, as well as the point about fingerings since my 1913 edition is scarcely fingered at all and I must work out my own. In general I would rate the technical aspects of the two works as equal.

I am curious as to the career of Mikhail Fikhtengolts, who was featured on an old Melodiya record from the Soviet era. He was a contemporary of Oistrakh, I think.

I like what I've heard of Hugh Bean ... any info on his current activities? Recordings?

Thanks for the replies. I seem to remember that Spivakovsky was concertmaster with the Berlin Philharmonic under Furtwangler (?), so I suppose one is actually hearing him on those recordings as well.

In reading this topic again, I noticed that Spivakovsky was mentioned. I heard a fine Sibelius Concerto recording of his many years ago and am wondering if it is still available somehwhere?

Thanks to all for some very thoughtful responses : this brings to mind a more general question ... that is, is it ever appropriate to ban any type of music from any particular event? I am thinking of the banning of Mendelssohn and serial or modern music under Hitler, the banning of certain "anti-progressives" under Stalin, and the current debate over where and when to ban rap music containing "insensitive" lyrics, or banning skinhead (white-power) music in racially tense areas. I tend to come down on the side of letting the audience decide by alerting the musicians of its displeasure either by walking away or even booing, rather than letting a governmental group do the deciding. Obviously, there are many highly charged public events which may invite trouble if certain types of music are played. [This message has been edited by Carl-Victor (edited 07-23-2001).]

This Wagner in Israel/Barenboim incident has me wondering about something : did Wagner write anything for violin and orchestra and would any violinist dare play such a piece in Israel? I know that there are strong opinions on both sides of this issue and would like to hear some rational discussion from anyone with some real knowledge of the musical current musical environment in Israel regarding Wagner. Thank you.

I've been listening to Perlman's CD "Live in the Fiddler's House" and greatly enjoying his duet work with this violinist (with the Klezmatics). Anyone have a biography about her? And has she done any solo work?

This discussion about Zimbalist is fascinating. Does anyone have information about his early biography, and how it may have paralleled those of Heifetz, Elman, and other Russians. What region of Russia did he come from, and when did he move to Europe or America? Was it for similar reasons to the other Jewish violinists of that era? Political motives, or mainly musical? Thanks

Great website : thanks.

NEW YORK (AP) - Cellist Lynn Harrell is singing praises for New York after he got back the $4 million Stradivarius he had left in the trunk of a taxi. "I love this town," Lynn Harrell, 57, told the Daily News after being reunited with his 1673 Stradivarius on Tuesday. "There's so much talk about the city being ... impolite and full of thieves," said Harrell. "But New York has heart, and always in times of stress you feel that, whether it's a blackout or you lose your cello." Harrell left his cello in Mohamed Ibrahim's cab on Monday night after he was dropped off at his apartment. A short time later, Ibrahim returned to Harrell's building with the instrument but was unable to reach him. Harrell called Taxi and Limousine Commission spokesman Allan Fromberg, who arranged a pickup at Ibrahim's garage. Harrell, who sold his home in the Hamptons 10 years ago to buy his prized cello, plans to give Ibrahim tickets to his next performance and an undisclosed cash reward. Fromberg will get some "very nice" wine for his efforts, Harrell said. Does this story sound familiar? In 1999, cellist Yo-Yo Ma forgot his $2.5 million, 266-year-old cello in the trunk of a taxi but police tracked it down at a garage in time for his evening concert. AP-ES-05-16-01 0830EDT

I am seeking any basic biographical information about the following violinists who were the precursors of Sevcik and Kubelik, namely: Bennewitz, Wirth, Laub, Barcewiy, Skalitzky, Petschnikoff, Press. Thanks

I don't know why in particular but the Cavatina by Raff always strikes me as a sad piece, or at least it gets me into a mood of loss. Does it have that effect on anyone else?

Todd; Thanks for the reply. Do you know of any modern luthiers making such instruments?

What is the best way to create the sound of the violino piccolo? Can a 1/4 or 1/2 size violin be used and strung an octave above the viola C-G-D-A? I believe this was the original tuning for the violino piccolo part in the Brandenburg concertos. Or are there modern reproductions available?

Does anyone know where recordings of Joachim's violin concertos can be obtained, principally the "Hungarian" but others as well?

Svecenski was a member (2nd violin) of the Kneisel Quartet from 1890 to 1917. He was born in Croatia in 1862. He edited an edition of Kayser's studies which I have from 1915. [This message has been edited by Carl-Victor (edited 03-30-2001).]

Just a few questions to throw out after listening to an Accardo recording of a Paganini Sonata: Did Paganini only use a gut E-string? If so, were the typical artificial harmonics (particularly the double-stop harmonics) easier to play on gut than metal? Did Paganini use a flatter bridge than we use today, so that rapid multiple stops could have been played as chords? How polished were the orchestras who played behind him : I notice a lack of brass in his orchestrations ... is this because P. avoided the brass sound or simply couldn't find good players on his tours? And finally, I have read that he greatly enjoyed playing the Beethoven quartets (particularly the late quartets) : is this verifiable?

I understand that Vieuxtemps wrote at least 7 violin concertos. Besides the 5th, of which I have the classic recording by Heifetz, does anyone recommend listening to any of the others. Are there any good recordings of these works? Any information would be appreciated.

I have an observation concerning this piece. In the first entrance of the violin my score is marked piano and "doux avec suavite" : it isn't until several bars later that we see a "poco a poco appassionato" written. I wonder if the problem with some of the interpretations is a tendency to exaggerate the entrance. It is so strikingly sweet a melody that it practically plays itself as written and needn't be forced. I have been guilty of this myself and have to watch that my entrance isn't too strong vis-a-vis the piano. Any thoughts?

I have a question which has bothered me for years, and came up recently during a rehearsal session of the Haydn "London" Symphony among some of the violinists. There are some very rapid ascending passages in thirds during the piece, and the principal said we should all avoid the open strings. Well, I remarked that it didn't seem to me that it mattered since: 1) I doubted that this was the practice during Haydn's time, and 2) it would sound much "brighter" with the open string sound. Of course, he answered with the standard "you never play open strings unless marked as such". Of course, it is his call, and we should all perform the same fingering but what about my points? Am I right or wrong? Any comments? Thanks in advance

Thanks for the suggestion Mark. In looking at the plates, they seem quite old and the inscription inside the violin says "repaired in 1899" so I am guessing that is how old they are. I know a local luthier who should be able to do the work at a reasonable price. Carl-Victor

I have just acquired a violin fitted with machine tuning pegs, like on a bass viol, and am considering removing them for a more traditional look. The only problem I see is that I would have 4 holes in the pegbox. The machines work well. Should I just leave it alone. The violin plays well, but I just feel odd about the "look" of it. Anyone have experience with such a hybrid? Carl-Victor