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Andres Sender

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Everything posted by Andres Sender

  1. Although she has borrowed a Strad once or twice (was it for some of the Mozart recordings?), her instrument has been the Pesarini since the Bach recordings. Before that she used an instrument by a modern maker whose name escapes me. There was a recording long ago. It did not flatter the arrangement.
  2. This is perhaps another option. It's been mentioned here before, price seems in the ballpark, and you may find reviews of it here. https://www.dictum.com/en/bending-irons-jbp/bending-iron-with-digital-temperature-control-violin-703921
  3. Self-selected for doubt. Therefore not even remotely representative.
  4. This thread confuses multiple issues into a big mishmash. I suggest Rue narrow the specifics. Are we talking about all instances of labels that do not reflect the maker of an instrument? If not, which subset are we talking about? If any of the latter, recognize that labeling is a completely separate issue from seller representations as to who made an instrument. Which issue do you want to discuss? If you want to talk about seller dishonesty, be sure to notice that similar misrepresentations occur in any field in which it is possible. Then we can get down to addressing this widespread fact of life. We will have to discuss laws, law enforcement, law enforcement budgets, lawsuits (yes you got there quickly, well done) and the accessibility of expertise.
  5. I doubt there are any. You can figure out a fair amount from the portfolio on the birdseye 1740 (?) violin which I think used to be for sale at Cremonabooks (?) (There's a 3/4 view of the top.) I used to be fascinated by this maker a million years ago. You would not go far wrong basing your arching off the 1666 (?) Nicolo Amati drawing from The Strad.
  6. None are as dangerous as a mind that has not learned how to think.
  7. The article is not an outlier. It reflects an influential broader cultural movement which is growing quickly. It can't be dismissed with simple appeals to common sense--because it is an evolution from ideas about morality and knowledge that have been woven into our culture for a long time. If 'the underdog' is your standard of value in ethics; or you believe that objectivity is a false idol, then you are part of the historical current of which this article is just one symptom. To that extent you won't be able to fight the underlying movement because your arguments will be self-contradictory. Such arguments are easy for a cultural movement to topple on its path to change. They are just part of the process, they are cobblestones rather than barricades. If you want to oppose this movement, then you'll want to educate yourself about its foundations, and carefully consider the various arguments and fundamental ideas of the public intellectuals who are attempting to challenge it.
  8. I expect it has it, but since it's not specified it probably reflects "recommended drinking temperature" which some sources have at 130-160 Fahrenheit, and my guess would be this thing hovers widely at the low end of the scale.
  9. Thanks for the correction. Blues instruction is also found in a lot of books. Improvisation is not a dirty word here. Hmm, something else must be going on.
  10. Gently, without pain or tension, without forcing, as slowly at first as necessary, perform movements with your fingers (on a table, perhaps) that are as close as you can get to the way you would like them to behave on the violin. Just focus on what your fingers can do, how much independence they actually have, and what you can do in a very relaxed way. This is about learning fine motor control of your fingers, and getting used to the feeling of relaxation. Then transfer this feeling to the violin. You won't be able to be that relaxed all the time on the violin, but try to find ways to stay in orbit around that feeling, and return to it when possible. Watch out for instances in which you are introducing tension unnecessarily on the violin, i.e. when it is not buying you anything. Tension is like an important nutrient that is also a poison in large doses. Use it to make musical things happen, but don't waste it on things that don't matter. Sympathetic movement of the fingers is indeed normal and fine, but your description is a little vague and sounds a bit like you might have a lot of tension going on. Strength is great too, as it increases the range of what you can do in a relaxed way.
  11. Funny how someone with an axe to grind just happens not to think of the fact that jazz and second language education are both overflowing with textbooks and reference books.
  12. Current divisions in music teaching strike many people as artificial. I think there's something in that, but it is also true that cultural traditional arts and skills tend to develop specialized knowledge relevant to their value set which does not exist in other traditions. While it would be fantastic to approach teaching music in such a fundamental and general way that one had a compatible and flexible base point from which to fully comprehend any musical tradition, that sort of phenomenon (a Grand Unified Theory of music?) isn't going to spring into existence by order. It may come into being through the efforts of one or more great minds. In the meantime, different musical traditions currently can't contend fully with each other. In other words, you need really good jazz training to be in a position to do jazz at a high level. You need really good classical training to be in a position to do classical music at a high level. I would hate to see the fine points of great music get lost in the rush to 'egalitarianize' music. In the short run, musical training can become stagnant (one of many possible effects) due to forces which distort the market for education. In the long run, musical training will come to reflect the culture it is happening in, for better and for worse.
  13. Of course. That depends entirely on the compatibility of the specific structure with the specific hand and situation. Wrong structure recommendations are destructive of good execution. Right ones can be magic. What standards dictate whether a structure is right or wrong? One of them has to be the avoidance of levels of tension that interfere with execution. Thanks for your recommendation. I have found Borivoj Martinić-Jerčić's recent book "Freedom and Flexibility of the Violinist’s Left Hand: Technical Studies for Violin" to be very interesting on the topic of structure. Regina3000 --
  14. The idea that speed and accuracy comes from having all your fingers exactly in position above where they are to land isn't as important as avoiding tension. Take this with a grain of salt, since I am neither a teacher nor much of a player, but I think the fingers come at their final in-tune positions in so many different ways that playing in tune is often less about the hand being a machine and more about the hand being a monkey that has played Twister for so long it can do it in the dark, if I may be forgiven the wild metaphor.
  15. It is very easy for common misconceptions about correct technique to interfere with learning the right left hand technique for your hand characteristics. Then if you are convinced that the elephant in your room is your age, you might be very distracted by that and fail to find the real problem. Teachers who really understand finger mechanics and the implications of hand shape differences are fairly rare. I was lucky enough a few years ago to find a violin teacher who had also trained as a physical therapist and she made a huge difference in my left hand relaxation. This involved less of developing greater flexibility than it did of learning greater sensitivity to what my fingers could do, and arranging my hand position to take advantage of that. This was also aided by a framework of advice from a Delay-trained symphony player who pointed out that some common ideas taught to beginners can be detrimental if elevated too high as priorities of "good" technique. Violin pedagogy is pretty well developed in the sense that diligent searching can find many resources, often with creative and effective approaches to teaching and technique, but taken as a whole the violin world still suffers from a "sink or swim" dynamic in which students often progress due more to their own trial and error than to any widespread systematic understanding of how to build good technique. As to hand flexibility, if there is some astounding special level of it that professional players have, it should be very easy to name some simple metrics proving this out. I have yet to see this anywhere. Anyway there's a set of hand calisthenics floating around the internet that develop astounding feats of hand dexterity which all ages of people have learned. Look into that if you really think that's your issue. Given what older people are doing with muscle building and flexibility these days, not to mention the new information coming out all the time about triggering neuroplasticity in older adults, I think more and more the real issue is identifying the ACTUAL roadblock. The solutions are out there.
  16. Yes it matters. Not to say you can't apply historical performance precepts to modern equipment, but the full effect only comes with the full equipment. How far down that road you want to go, or what aspects are important to you, is of course a personal decision.
  17. George, without waiting to go to a festival as Baroquecello suggests, or being lucky enough to be near a seller that stocks bows made to historical designs, your best bet for getting a historical bow is to choose a maker by reputation, someone who has researched original bows, and order a suitable model from them. There are CF 'baroque' bows. One is/was being made by Nelly Poidevin, who also makes historical bows. I know nothing about her bows however. There are also CF neo-baroque bows from China which can be found on Ebay, along with all the other pseudo-baroque bows, the like of which have been recommended by Rachel Barton Pine. On her solo Bach recordings Rachel Podger used a baroque bow after a French model* made by the Groppes, and 10+ years ago she was still pleased with the new ones from the same makers which her students were buying. Old unmaintained list of period bow makers: https://www.vanzandtviolins.com/early-bowmakers.htm Of course it is possible that a truly historical bow may not work well with your particular instrument, so perhaps you can tell us what you plan to use the bow on and what your budget is? *Come to think of it, that French model is more or less like the late baroque bows attributed to Nicolas Pierre Tourte père, which I know David Hawthorne's assistant Mariia Gorkun makes, so you might look into that, they are in Cambridge, MA.
  18. Has this system got all the bugs worked out in terms of distortion? In the olden days with some opaque projectors it was hardly worth using them for anything of any precision, there was so much distortion. This could be very handy in a lot of applications if that's not an issue.
  19. In each quadrant, the green lines are all the same length. The bulk of the effect seems due to a greater distance from the edge of the c-bout purfling channels, but there is some drift even beyond that.
  20. F. Rugeri ca 1680, just the top. Stuck in my memory because it was so odd. Perhaps Michael's scenario could occur in an original workshop. "Channel looks good. Now at the corners don't forget to push the point to the side, you know?" "Oh yeah, right, will do." https://tarisio.com/cozio-archive/property/?ID=21655
  21. Gowan - yes, one will find commonalities among the HIP performers, and probably 85 percent of that reflects things found in period sources--agitated pointing at gaps in the fossil record notwithstanding.
  22. The more historical the equipment, the easier it is to explore subtleties of historical performance practice. You can play idiomatically on the right violin in modern setup, but you will end up with a different kind of sound and a different range of articulation. These videos may help give an idea, although you'll have to read past the different recording environments. Pine is of course playing on a really good instrument in modern setup and modern strings, she's using a very heavy 'baroque' bow. Sato is using a much more historical setup and beyond the fact that their conceptions of the piece are different you can hear that they are each working with a different palette of tone and articulation.
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