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About sonnichs

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  1. GoPractice- Sorry for the late response-the "follow" option of this forum is apparently not working. Regarding "instruments are awesome-or not--depends on what you are looking for. The one I use in my present music area--which is electronically connected via Jam Kazam--is one of my own building. I deliberately voiced it stronger than usual since most of my friends play on modern instruments. I also build the last 2 with french style keyboards because the stand up well to the great humidity swings here. I always thought those were a bit heavier than the Flemish "tail pin" style.
  2. Thanks. Your understanding is correct. Of course the word "realized" can be quite arbitrary (baroque players have bar fights over this!) but I think most "realizations" where the harpsichord is largely doubling the solo instruments in the right hand is a good hint that this is an orchestration--or at least a very poor realization that basically copies the score. I had looked over the Brietkopf and it is quite close to my keyboard orchestration version for piano. There are some pretty full chords in that edition that I assume (without looking) are just lifted from the score. In addition to bein
  3. I am looking for a realized harpsichord part for this work. Up until now I am playing from the commonly seen "piano" orchestration, leaving out notes where appropriate etc but I would like to have a professionally realized part (far better than I could do!) I have looked on IMSLP, Sheetmusic Plus and a few other places but cannot fine one. Maybe someone here has a catalog number or similar for a currently in-print part. cheers Fritz
  4. Thanks Alex - I have tried it in both 1st and 4th positions, bowed as written. If I bow in groups of 4 I can stay closer to the frog and reduce arm motion. I am forgoing tone color with a view to just playing the passage cleanly. Arbos-I have fooled with just "ticking" the lowest note in the crossings much like a stop. Mozart indeed wrote passages that just don't seem to regard the difficulties of string playing. (Maybe he was "tweaking" his father with these passages!) Go Practice - HA HA--our conductor just balled out the firsts for playing too loud last night. I have a few low co
  5. Thank you for your well thought out and extensive analysis. I really appreciated it. You are spot on regarding Mozart's second violin parts and we often joke about it in orchestra. I got nailed with more than a few challenging parts in his symphonies, and thinking back on it, I believe they were these Alberti type passages, usually at around 132MM I certainly can appreciate the role of setting the start tempo mvt4 in K387. The irony is that the first violinist in this quartet is my wife! So careful there. While I have large hands, I also have arthritis so I am still pondering exec
  6. The last movement of the Mozart K387 string quartet is a delight to both play and listen to. I note that most of the major quartets perform at at around MM144. Our (amateur) group is taking it a little over MM120. I am on 2nd violin. All goes well until that Alberti passage in the 2nd half of the movement, duplicated here. I can usually handle the first such passage in the first half, but the second one is diabolical. Anyone want to tell me how they finger it at these speeds? There does not seem to be a lot of options-- I've tried it in 3rd position but that is one heck of a stretch. Che
  7. Sorry-I meant to spell that 'Henle"---either a "spell checker" error or too many beers last night--take your pick! For the record I see it by Henle as HL.51480139. Now regarding your spelling ......... thanks Fritz
  8. I would like to buy a copy of the Beethoven Sting quartet H34 (his transcription in 1801 of his Op.14-1 piano sonata). Rather nice quartet seldom heard. I see that Helene has it if you buy the whole opus 18 with it. Already have that and would prefer to just pay for the H34 only. Anyone know a source other than Henele? thanks Fritz
  9. Anyone know a source of the piano and viola, separate parts, for the 3 sonatas for viola by Julius Rontgen? They are a delight to listen to. (An ugly copy of the Cm piano part exists on IMSLP and the usual vendors don't seem to sell it.) Thanks, Fritz
  10. We preformed this over the weekend and I am back online --wanted to say thanks again for the additional posts. More great information here than I could have asked for. I wish this type of discussion was more often presented in practice books which are too often devoid of any text. For the performance I used 2nd position and per Andrew's comment I started on a down bow--much easier. I still want to look at reversing bows later. I indeed generally use some of the practice methods that Bill and Doug recommended. Will and Dr. S make and interesting point that I never thought of--there are few
  11. Back at it again. Thanks for all the comments--everyone had good points. I will put Will's comment above all regarding how it might be played in Mozart's day. Reading Leopold's book gives us insights and I have oft read that in the days before the chinrest a profusion of shifting was avoided. You all emphasized the difficulty presented of hitting the A string at just the right time and I guess that is indeed the crux of the matter for me. Playing with increasing MM rates when it just begins to get ragged for me (around 130) i often don't hear the A string ring before the first finger comes dow
  12. Measure 35 of the Mozart K465 string quartet has been giving me some trouble. (see attached) If you look at the broken thirds there if I play them "normally" in 1st position, I have a struggle with the transfer from the D to the A string. This is being played at 132MM. (At slower speeds less than 120MM anything works for me) To be fair age has made pulling my 1st finger back in such passages difficult and surely contributes but the passage always comes out rough or with a missed B note. I show two other fingerings which could work. The 2nd one has some "fluence" problems moving to the op
  13. For the violin, we did a trial run (Shar) of all three coda bows (SX,NX, GX) and found them to be quite different. I originally thought that the only difference was in the fittings but now feel as though there is more to it. We held on to the Diamond GX and did an additional trial run against it of 4 wooden bows in the same price range. Our feeling (among 2 well trained violinists and myself) was that the GX lended much better articulation and clarity to playing fast passages such as in Corelli. It "gripped the string" and kept the notes well separated playing past 132MM on 16th note passages
  14. OK and thanks. Worked it over last night - The 2nd position as mentioned works. I find that executing the last cluster of 16ths in 3rd is smoother also. cheers Fritz
  15. I am struggling with the last movement of the Mozart Horn Quintet. The viola I part has one of those annoying "Mozartisms" that never seems to fit any fingering known to me. I would be curious how others might approach it. The movement is generally performed at a fast clip--around MM120. First position always stumbles for me in the last measure due to the A-flat. I've tried a few other positions but before a practice it to death with a bad choice I would like to hear form others. Any advice appreciated thanks Fritz