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Emma Lily

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  1. Hello, I have some very basic questions about insuring my new violin. My parents are nagging me to have it put on their homeowner's insurance: however, the insurance agent is not particularly experienced in insuring musical instruments, and I'm confused about what kind of documentation I should provide. I'm going to recieve some sort of papers from the previous owner in a few weeks when I see her, but I'm wondering what those papers need to provide, if anything. Do I need some sort of monetary value in print? Do the papers need to be in English? Is there such a thing with violins as registering the instrument in the new owner's name, like a real estate title? Thanks for your help, Emma
  2. I have a professional '98 violin. I have written about it here before. I put a new bridge on this summer, had the soundpost adjusted, and then a few days ago I finally had the nut filed down (it was quite high). Every time I put new strings on, adjust it, play it more, it gets better. I like it a whole lot; of course it doesn't compare to my professor's, but he likes my violin as well; all my teachers have given me compliments on its sound. I have found that Gligas actually have a more soprano voice, and are fairly bright. I really like that, and I am in love with my instrument. It's a very red one; every time I take it out in a shop full of violins, it is a shock to see how vivid the color is, but it is really a work of art. But I think you will miss out a lot if you choose a violin based on internet advice and dealers. I really believe you need to play an instrument before you buy it.
  3. Actually, it's the Infeld Red that has a gold E. . . .I swear by this string. I recently put just a new E on, and all the strings (all Reds, 4 mos. old) sound better. Certainly, crystal, maximize the sound others hear, but it is SO IMPORTANT that you like the sound and are inspired by it, even more important than small details in what others hear.
  4. Also, the difficulty with college for me was discovering that I could write papers at the last minute and be in the top 5 students in tough Honors classes (although I suspect most of the other people also wrote their papers hastily), whereas, I could practice for days and still have bad lessons. But what my best friend (another violinist here) and I have found is, college pressure forces you to form effective practice habits---or die.
  5. By the way, the main problem with the first year of college, I find, is the sheer lack of sleep. Part of the problem is time management, but I can quickly reach the point, depending on how much reading I want to do, where every minute spent in one activity is sacrificing time for another. In order to minimize the sacrifice, I go to bed at 2 am. I managed to get straight A's my first semester, but I did not have many good performances.
  6. Take a look at Butler in Indianapolis; I've heard that they have strong liberal arts with their music program (Jordan College of Fine Arts in the university), and have good academic scholarships, maybe, as well as music scholarships. It's a very good-looking school, if you want status, and Indy is nice. I have two friends there (one a violin major, one a piano major); the violin major says that the music school is quite stressful (the pianist loves it), but I haven't talked to him recently to see what it's actually like (busy freshman problem).
  7. My question would be: how is the tuning stability on the Dugolecki strings? My teacher was telling me and another student about gut strings, and he said the Dugolecki sound terrific. I bet HKV and my teacher would get along pretty well, actually. . . . .
  8. MAJOR congratulations, lwl! every time I hear this piece it blows my socks off, and I'm sure it did this time as well.
  9. Last night, a rather hasty bowstroke caused an impact of the frog with the instrument at the (technical terms fail me) edge of the lower bout just below the top of the violin---at the corner, so to speak, where the curves of the violin meet, but not touching the top-of-the-violin corner extending outwards. There is a small but significant chip there. (maybe 1/8 inch deep) First, I want to know, would this be structurally compromising in any way? Can I continue playing normally without fear of weakening leading to worse developments? Second, will I be able to have this repaired in a cosmetically satisfying way? Should I expect any permanent scarring of the instrument at this point?
  10. I wish, wish, WISH I could be there Saturday night, D_A - I'll be sure to get a tape off the radio. I was listening to my copy of the orchestra's Strauss/Tchaikovsky CD yesterday (actually showing it off to a friend), and I realized how much I want to be back there for the concerts. My thoughts will be with you all tonight. I think I might have played that Gorecki the first year I was in Youth Symphony. As I was in the extremely subdivded seconds, most of my attention was going to keeping alive through the piece, but I thinnk I know what you're talking about. I'll have to see if they have it in the library here. . .
  11. Music is an important part of the process of coming to terms with our emotions. My thoughts keep returning to these pieces at this time of tragedy: Verdi: Agnus Dei from Requiem Beethoven: 3rd movement of Symphony No. 9 Barber: Violin Concerto 2nd movement; Adagio for Strings Would you like to share what pieces help you deal with this time of remembering those we have lost and the tragedy that has affected us all?
  12. HKV, when you say, do the Kreutzer in reverse, do you mean in reverse order, or actually each piece backwards?
  13. Rainyann, I was in the nearest city youth symphony, had to audition and all that, but, even though I was in the last chair of firsts, I could do about as well as the people ahead of me in the repertoire (the "hard pieces" were the Franck symphony 1st movement, and Brahms Tragic Overture, which we were given in advance to work on. We also played Adagietto from Mahler 5, which was a landmark for our orchestra level). In fact, I was a sort of back-of-the-section leader. I also assistant-concertmastered a college orchestra in the same city (the college had no string performance majors, though, mostly adult community amateurs at the struggle-level). Being homeschooled, I had no "school orchestra". Here, everyone ahead of me in the orchestra WAS doing better than I in sight reading Wagner, and the first violins and first desks seemed to be taking it in stride, where I actually got lost.
  14. Yesterday I found out I was placed 6th in the second violins. We sight-read the Rienzi and the Meistersinger overtures, and I discovered I was completely unprepared for this level of playing in high school. It's nice though, to be with a bunch of people who actually can and do play better than me . 3 out of 4 the principal string players in this orchestra are Romanian, I believe. The other one is Armenian.
  15. No, mine weren't behind a screen. . .my college doesn't do it that way, apparently. We're all getting to know each other quite well, and it wasn't so high-level as yours seemed to be. I don't know if my friend went to Canada; I'll ask. She studied at Aria, I think, wherever that is.
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