Karl Peterson

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About Karl Peterson

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    Chicago Area, USA

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  1. Please accept my apology Jacob and Manfio, I failed to properly set up my account so that I was alerted to your postings: Yes, US Bankruptcy Courts filings are digitized. I was not finding anything referencing the shop in question, hence the reason I asked Manfio whether he was sure a bankruptcy proceeding was filed. This is a very odd response. I am speculating, but my guess is the court filing fee and lawyer's fee were never delivered to the attorney, and that is the reason a bankruptcy proceeding was never initiated. As a result, it does seem you could possibly have state court action(s) against the shop in fraud and / or conversion. As mentioned previously, I am not licensed in Illinois so please do not take my comments as legal advice regarding IL law; rather, please seek out Illinois counsel if you decide to initiate legal action against the shop.
  2. It doesn't add up that Dixon would send you an email advising of a bankruptcy. The court where the bankruptcy is filed (not the person or business going through the bankruptcy) sends Notice of Proceeding and an Order to Stay to listed creditors. (In turn you need permission of the court to "lift" the stay and proceed against the debtor(s). ) Actually, ILCS 320/1 provides that a work of fine art on consignment remains the property of its creator. Zak Moen alluded to this in one of his previous posts (I can't remember if here or at violinist.com). Further, the statute appears to specifically include wood creations. Strongly recommend against pressing criminal charges with an "agreement to dismiss". Most courts I am familiar with in the US would consider this behavior akin to extortion. The previous said, I agree with Bill that you probably should contact a lawyer in Chicago that is licensed in both Illinois and federal courts to assist you (since it appears you may have some state law as well as federal law issues in your case). Finally Manfio, have you considered reaching out direct to Liz Stein (one of the previous owners of Dixon Stein)? My sense is she might be open to talking with you and perhaps providing some information since she is still active in the music scene in Chicago and has a reputation to protect. Anyway, she is selling string instruments for a company called PianoForte Chicago. Her email address is liz@pianofortechicago.com and the shop telephone number is 001.312.291.0000
  3. Manfio, are you sure a bankruptcy was ever filed? In another thread that you took part in, someone mentioned they had received notification of "future filing" from an attorney, but it was never established that a petition had been filed. Also, if a petition was filed can you direct us to the court file number, etc? The type of petition filed ("Chapter 7" vs "Chapter 11") may provide some clue about the status of your instruments and what recourse might be available. Manfio, please note that despite my being an attorney my statements should not be construed as legal advice given my extremely limited knowledge of the particulars involved in your situation.
  4. I studied with Mr. Brodsky about a decade before Ms. Hahn and the only Sevcik he had me do was left-hand stuff in Opus 1. I hardly ever play anymore, but still use those exercises when I need to quickly "find my left-hand balance" in a short amount of time. I'll be interested to find out what you are able to learn from Ms. Hahn. I wouldn't be surprised if he gave her a half-dozen a week and she blasted right through them. I guess that is what happens when one has Super Powers! :-)
  5. Stephen, sounds like we share a few things in common: I moved to the Chicago area in June 2016, and like you have gone from "practicing law"" to being somewhat of a "retiree in training". While you've received great info from the other Maestronet members, if you feel I can assist you and your SO in any way, please feel free to PM me. Welcome to the Windy City!
  6. I didn't realize a Gemunder fiddles commanded that kind of $$. Great to learn she has her violin back as it is no doubt priceless to her!
  7. Carl, didn't Brahms dedicate his Vln Concerto it to Joseph Joachim? My understanding is Sarasate refused to play it? You mention Bruch. His 2nd concerto (d minor) is one I can't get my head head wrapped around, but I find his Serenade and 3rd concerto enjoyable and wonder why they are not played more often. Perhaps I should go back and listen to the 2nd though, given I haven't listened to it for a few years.
  8. Rue, agree there is so much 'out there'! I guess I am going to show my age (or at least what I liked growing up), but here are my humble recommendations: Philharmonia Orch / Milstein / Fistoulari Cleveland Orch / Oistrakh / Szell London Symphony Orch / Szeryng / Monteux (won a Grand Prix du Disque, but not sure if still available)
  9. Just heard the final results. Now I will probably never be able to afford one of your violins, Don. Seriously, congratulations to both you and Ms. Gregory!
  10. Don, hope you won't mind a question from someone that knows only what I've had the good fortune of learning here: I noticed your violin has rosewood fittings. Is there a particular reason you used? Specific tonal properties of this particular violin or is there another reason?
  11. Thanks for letting us know about this, Don. Nice fiddle -- Congratulations!
  12. Rue, maybe try Fred Oster Violins in Philadelphia, US? Here is a link to books from website: http://osterviolins.com/navigate/catidxg.htm (hint, seems most relevant to you to look in the #130s area) Last time I visited the shop (about 8 years ago), he also said to drop him a note if something in particular was desired, as not all books are listed on website. Hope this helps!
  13. You make great points. My personal opinion FWIW is that great soloist instruments are different than great quartet instruments. The "solo" fiddles I've been fortunate enough to play had a lot of "sizzle" or "grit" under my ear, which ironically, I don't like now as much as I did in my younger years. That raises interesting questions: Is the issue of playability/feeling primarily "workmanship" related, "tone" related, or some unknown (except to the player) combination of both? Is it incongruent to state that something sounds good but it didn't "feel" all that great?
  14. Jacob, I assume these statements apply only to living makers? If not, I don't understand the qualifier on every certificate of authenticity I have ever viewed stating "in our opinion".... The wonky f-holes don't bother me FWIW. One of my favorite fiddles to look at is the Ole Bull del Gesu!