zefir68

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About zefir68

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  1. Not sure if this is the right place for this topic.... Planning on visiting Phoenix in early March (9-14) and going to the MIM. Any tips, suggestions in meeting some of the people there, trying some instruments (if appropriate)?
  2. Fun With Solos, by Evelyn Avsharian
  3. I actually was a student and later a faculty member at Peabody where Barrueco was and is on the faculty. My teacher's studio (Sylvia Rosenberg) was two doors away from his studio, with Stephen Kates in between. Barrueco was very inquisitive of both of them and their views and opinions on the solo Bach works for violin and cello. They had many discussions prior to his recording of them and he was very leery of actually recording them, but it was in his contract at the time. He did a lot of research and he was a mainstay at a lot of the violin recitals by the students when solo Bach was on the program, as well as some of Ms. Rosenberg's master classes. He put in a lot of work researching the sonatas and partitas. Having said that, I can not stand listening to them on the guitar. It drove everyone crazy hearing the guitar students practicing these works before their lessons in the hallway. They were asked to stop many times, by Ms. Rosenberg, Kates and Barrueco, only to continue a few days later, arguing that the instrument is so soft in volume, it doesn't bother anyone.... But, Ms. Rosenberg had a great suggestion when she would teach the Chaconne. She told us to ask any instrument practicing in the room next to us to play a certain line in the piece and try to copy that timbre or keep it in mind when playing it on the violin. It was very helpful to have a french horn or trombone play the bass line, or a flute or piccolo the top line and then try to give that impression when playing it only on the violin. One could always tell if a player has that sound in their ear or not.
  4. Wow! What a wet blanket response from our moderator!
  5. Hmmm. What are all the important parts of a violin?
  6. This is an even more excellent example of a fine looking and excellent sounding violin - http://www.ebay.com/itm/111401496228?_trksid=p2060778.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT
  7. Is anyone else thinking this might just be a 'Saturday Night Live' style parody? One can only hope....
  8. Soon it will be "do I have a real Juzek"? I wonder if the current makers are using any of the advanced technology available now, to identify their instruments. To guard against label forgery? I am wracking my brain thinking of what method would be fool proof and I can't come up with one that can't be forged or manipulated.
  9. Tell them to tell Putin not to start WWIII.
  10. zefir68

    Anthony Wrona

    Hello, Anyone heard of this maker? A new student has one, dated from 1961. The sound is a little boomy and harsh.
  11. I would also put in the woodworkers of the Maramures region of Romania. They built whole structures out of wood, without nails, that are recognized as cultural treasures of Europe, in the churches they built. Less publicized are the common houses they built and are still building and using, made from only wood. They are amzing woodworkers. If they ever get discovered, their tools and knowledge will rival any in the world. http://en.wikipedia.org/wiki/Wooden_churches_of_Maramure%C8%99
  12. Up bows are for women, down bows for men ;-)
  13. What I DO know is it starts up-bow! Now THEM'S fighting words! ;-)
  14. I think it's an interesting topic. It's fraught with minefields regarding what makes a great performance, a great instrument or a great leader. Regarding great violinists today, I think there is a golden age of relatively young violinists of either sex. Besides the ones you mentioned, I have loved Janine Jansen, Lisa Batiashvili, Julia Fischer in person. I have seen Hilary Hahn grow up from my time, and hers, at the Peabody Prep in the late '80's and early '90's. I have loved the new ones in the male field as well, Leonidas Kavakos, Repin and Vengerov as well. When it comes to outdated policies (Vienna) and crass comments by the old guard, they will pass with time. I grew up in Romania in the '70's and one of the only good things about communism was its treatment of the female sex. At least in my country back then, salaries were equal, opportunities were merit based within the system. My mom was a member of the national chorus, my dad was assistant principal bass of the national philharmonic. They earned about the same and were able to take time off as the family needed, equally. Chores around the house were not gender based. These days, I think a big question is female conductors. That will take a while to equalize. Female musicians, in my opinion, are not any less equipped to interpret any music than their male counterparts. Listen to Uchida and Argerich, and they are not held back by their gender. Their interpretations of the biggest repertoire, such as Brahms, Beethoven, Bach and the rest are not considered by cognescenti to be inferior to Brendel, Goode, Rubinstein, at least as far as I know. If Argerich had decided to apply her energies to conducting, I think she would have been an equal to Carlos Kleiber, my top director of all time. I would have not batted an eye or looked at her as a 'female' specimen if I saw her conduct. The current crop of female conductors, are not a good test case for orchestra directors. I have played with at least two of them, and they are not worthy of, to borrow from baseball, Jackie Robinson status. (For those on this forum from foreign lands, a history lesson: baseball, the American past time, the most popular sport from the late 1800's to about the 1980's, was segregated. Non-whites could not play in the most popular and most lucrative leagues or divisions. In the '50's, The integration movement gained momentum and they were looking for a great player who was not white to integrate the major leagues. Jackie Robinson turned out to be the perfect candidate of ability and temperament to allow the further inclusion of non white players) I don't think the current crop of female conductors, at least the ones I have seen and played with, meet that standard. If a musician of Argerich's or Uchida's caliber, being female, decides to conduct, that will be a better test case. To get to that change, I am not sure what the ground work needs.