gowan

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About gowan

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  1. Yeah, I get it. But there is a lot of free information, too.
  2. My post above recommending Noa Kageyama's Bulletproof Musician website is not a quick fix but rather a program to train to overcome performance anxiety. This approach is widely taught at conservatories for musicians and in competitive sports programs. As Kageyama says, to become able to cope with anxiety you have to work at it and practice for it, just as you have to work and practice to learn your instrumental technique. There is no magic pill.
  3. There has been a lot study of serious study of performance anxiety by psychologists. Noa Kageyama, a faculty member of the Juilliard School, has a website: https://bulletproofmusician. He offers free information on techniques to combat performance anxiety through the web site. Highly recommended.
  4. I guess there is no dilemma in the case of an instrument with catastrophic damage, e.g. caught in a flood or, say, dropped onto a concrete floor and having the neck detached and major damage to the plates or sides.
  5. Metal core strings, e.g. Helicore, last longer than most gut or composite core strings. Whether they sound better is a subjective judgment but most classical music players seem not to like them.
  6. As for the art vs. tool issue, are we talking about the "art" of crafting the object or are we discussing the appearance of the object?
  7. In his book Violin Dreams Arnold Steinhardt wrote about his journey finding his (current) violin. One of the violins he bought, played on in concerts, and recorded with it, was a genuine Guarneri del Gesu which had been stripped and revarnished. I no longer remember who did the revarnishing or why except that it was done in the USA at one of the major shops in New York, I think.
  8. As Davide Sora said, the real antique instruments have been antiqued through use over many years, not usually through deliberate construction. However, the real antique instruments have been antiqued, in a way, through the history of use. In the end a highly skilled contemporary luthier could achieve the same appearance as the historic process does. Consider the work of the Voller brothers, for example. Now a question might be do you personally think that, for example, the Vieuxtemps del Gesu or the Soil Stradivari instruments look more beautiful than a freshly new straight varnished instrument? If you prefer a newly straight varnished instrument then fine, that's the end of the discussion. But if you prefer the look of the great old instruments, what is it about the antique appearance that appeals to you? I'm just talking about the appearance, not the sound, the name of the maker, or the history embodied in the instrument. I, myself, have two contemporary instruments which have shaded varnishes which differs from beating them with chains and wearing away wood by sanding, etc. I wonder whether the more radical treatment might make the instrument more vulnerable to future deterioration due to edge damage, removal of varnish, etc. And I have seen beautiful instruments with straight varnish and beautiful instruments with deliberate antiquing. Isn't it finally mostly a matter of personal preference?
  9. I cry easily. Here are some sure fire things that bring me to tears: Bach Chaconne, the andante movement of Elgar's string quartet in e-minor, the Elgar serenade for strings, the "Nimrod" variation of Elgar's Enigma Variations, Beethoven's 9th symphony choral movement, Brahms's Requiem, etc.
  10. I suppose you are thinking that since the model is contemporary it shouldn't look "old". But some buyers (maybe most?) want their instruments to look old. Since the issue is appearance, why not antique a personal model if that's what the buyer wants? The general shape of most personal model instruments, excepting such as David Rivinus's and the like, very much resemble old instruments even though they don't follow any design of old makers.
  11. You can keep using molds and templates forever if they aren't ruined during construction. How many molds kept? Depends how many different models you make. Some makers make the one or two models (e.g. a Strad and a GdG) over and over, developing their skills that way. Some makers make many models, improving their understanding of what works that way.
  12. If it is a Hill, good playing stick, then it would have some value as a "player's" bow, much less value than if the frog were in original condition. Of course the tortoise shell frog, no matter what condition it is in, would be a CITES list item.
  13. Obviously, play the things in which the Tepho seemed unsatisfactory. I would suspect that you would find that each bow has its special characteristics that might be missing from others. Then you might be in the position of needing to have two bows, one for one type of playing, the other for things the first one isn't quite as good at. I know that people have different bows for chamber music, for orchestra, etc.
  14. I read that you can spend around $150K. So I guess Nick Allen was suggesting that for that money you could buy a really good instrument that would not need repair. Were you wanting to try to make money on it by buying low (damaged) and fixing it and selling high? Tarisio regularly has T2 auctions where damaged instruments are sold. They are nominally for the trade but anyone can bid. I don't know whether they sell damaged important instruments in those auctions.