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gowan's Achievements


Enthusiast (5/5)

  1. I'm a classical violinist and I was advised by a teacher that my bowing hand was too stiff and I should use my fingers actively in bowing. I worked on that and it solved my problem of the bow bouncing when I didn't want it to.
  2. What the shop owner says no doubt includes cost for labor and materials needed when the instrument in question was acquired. In some cases that would mean there might be little room to move. If an instrument has been in inventory for a long time there might be more opportunity for a price reduction. Why would one assume any price reduction would normally be possible?
  3. I don't know whether this is what you are looking for but there is an envelope-shaped icon/button on the top line headed Maestronet Forums, just below the Maestronet logo. When I click on the button I see messages sent to me.
  4. I've never seen the "superchat" in action with twoset violin. Are you talking about Patreon, which is a subsidiary of Youtube which facilitates raising money? I don't oppose making it possible to raise money via Youtube as long as it doesn't interrupt the show.
  5. Something nice for encouraging the younger, and some adults, wanting to play violin is the way they emphasize the importance of practice. I think it helps them promoting learning playing violin is the way they have very successful concert violinists, such as Hillary Hahn and Ray Chen, participating in their shows. As for their show set-up, a recent episode introduced their new background, an actual room with furniture rather than a blank wall.
  6. I thought of the word stimulating as a synonym for exciting. In that sense a performance that is way off the norm could be exciting because it stimulates thinking about what the listener would prefer and why it was performed that unusual way. Performers who do radical things could include Glenn Gould, e.g. the well-known Brahms concerto performance that Bernstein felt obliged to disavow. Some might say Patricia Kopatchinskaja fits that mold, too. Myself I enjoy a performance that stimulates by showing me something I did not expect. In this age of recordings I want a live performance to somehow be unique. I don't enjoy a performance, even if it is "letter perfect", if it doesn't show me something new for me.
  7. Years ago there was a well regarded British luthier, David Rubio, who was well known for making red lake varnish. Could Rubio soup somehow be connected to that maker?
  8. I think Brahms's chamber music without piano is somewhat troublesome. Without the texture provided by the piano I think Brahms struggles and the more players the better the pieces. That makes the two sextets the best, just my opinion, of course.
  9. The community orchestra I play in uses ringers for percussion and occasionally other instruments. We get these players from the local university where music students often are glad of opportunities to play. We have to pay these ringers but, since usually they come for only two rehearsals plus the concert, a small contribution by all the orchestra members takes care of that. The regular players find it interesting enough to rehearse without, say, percussion for most of the rehearsals.
  10. So much music that brings tears. Actually, anything beautiful can bring on tears. Here are three examples: Elgar's Nimrod from Enigma Variations Bach's Chaconne from the Partita for solo violin in D minor. The tears come with the central section in major. The Finale section of Stravinsky's Firebird, when the Phoenix rises from the ashes.
  11. It doesn't surprise me that a violin that is more difficult to play could sound better than one that was easier to play. I have heard excellent soloists say that their concert instrument made by a great maker was hard to play but they use it because they can get more out of it. I attended a demonstration of seven contemporary violins by the same excellent player, in the same room, playing the same piece to demonstrate. All the instruments were excellent and sounded good but one stood out. After the demonstration I spoke to the maker and player and she said the one I liked best was the hardest to play for her. I tried that violin and my technique was too weak to make it sound good
  12. Beautiful performance. Did you notice that the performance took place 15 years ago so maybe it's prior to the health issues mentioned.
  13. I enjoyed watching the video. Watching is the word because, of course, the instrument-less parts wouldn't be appreciated without watching. I see artistic value in the work. In part it is a meta-commentary on the quartet genre. I expect that repeat watching would make the interactions of the silent players more understood. I have played all of the Beethoven quartets, one or two Bartok quartets, several Schubert quartets, several Shostakovich quartets and more, and I certainly would find this music more difficult to perform. I particularly appreciate the coordination with the silent performers since the silent players can't see the other players.
  14. If I did buy a Strad or GdG I wouldn't boast about it. I heard recently that people are reluctant to wear a Rolex watch on the street in London out of concern for being mugged, apparently street thieves know about Rolexes. We hear a lot about Strads and the like being stolen. I think I'd buy a good Vuillaume del Gesu model. High enough quality, young and healthy enough not to need a restorer on a retainer.
  15. As an amateur violinist I started out mostly looking at the Fingerboard but got sucked into reading the Pegbox. I learned a great deal about materials, construction, repair and retoration, and at this point I find that I know more about instruments than most of the other amateur players I hang around and play with. Thanks to everyone ! Peace, Joy and Love for the New Year and beyond. ❤
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