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  1. Geez, that is an unreal performance as well Carl. She is definitely worth any Strad. From her write up for her upcoming Carnegie Hall March 30 2017 performance...."Violin sonatas by two 20th-century masters are performed by Dutch violinistSimone Lamsma, who “plays with the kind of artistry and maturity that makes one wonder if she started playing the violin before she was born” (Cincinnati Enquirer). She performs Prokofiev’s Violin Sonata No. 1, noteworthy for its first movement’s muted scales that were likened by the composer to “wind in a graveyard,” and Strauss’s Violin Sonata, a youthful work with heartfelt melodies that point to the lyric splendor of his mature music. There’s also the world premiere of a James MacMillan work commissioned by Carnegie Hall as part of its 125 Commissions Project".
  2. After seeing Simone perform the Violin Concerto in D major live, and after watching her performance in the above clip that Carl posted, does altering an instrument of such caliber even become an issue of authenticity when it's played by such talent. She is a very impressive player indeed. Wow.
  3. I wondering about the Mlynarski Strad she plays, since it was altered at one time, I would be curious if the Luthier that did the work added a repair label and if so, if the value was impacted. Apparently from what I'm reading, a Strad is a Strad, as long as the body is left intact. This one sure had beautiful tone.
  4. I heard the 1718 Minarsky Strad last night. Dutch Violinist Simone Lamsa performed the 48 minute Beethoven Violin Concerto in D major with the Illinois Symphony Orchestra. What a stunning performance! It was said at one time this Strad was altered for a person who played it left handed but then was restored back. Does altering an instrument of such historical significance ever cause it to loose its originality?
  5. Will, It's not original to me, but this how I came across it--about 20 years ago, I met an old gentleman who was 92 years old then, selling some of his fiddles, for reasons that were obvious. A real nice man to talk to. Full of wisdom and I will always remember his character. I asked this same question to him. That was his reply to me and I have never forgot his answer. Don
  6. Hello Barry, Congratulations on the nice endorsement from Fiddler magazine. I always look forward to reading the articles and playing the tunes from the latest issue. Don
  7. Hello, I own a Ernst Heinrich Roth Amati violin, with the burnt stamp Markneukirchen, A637. The color and grain pattern are very similiar to #811 caspace has posted. Curious why mine is stamped A637 and the above is stamped #811-I'll leave that to you experts. For what it's worth the A637 has a very nice tone. Don
  8. Hello, I appreciate all your responses, including the humor. However, the reason I'm so concerned about this scratch is it's one that didn't have to happen and it did. Upon leaving rehearsal the other night, I had just put my violin away in a BAM oblong case and I forgot to zip up the Mooradian case bag and the BAM case with the violin fell to the floor. The BAM case remained closed and all I said was "thank god for good cases"...so I'm thankful for having a good case but when I opened the case two days ago, I noticed the e string was off the bridge and laying on the top plate. I'm assuming the shock of the fall knocked the e string off. Thus the 2 inch string mark. The sound post seemed to have remain intact, because I played thru several scales and the tone/range was there. The "scratch" is not very deep, but annoying to me since this is one that was totally uneccessary. It's basically a string "mark" on the wood. The violin is an old Italian A. Cumoni, 1821 so you can see why I'm searching for any advice, and I certainly appreciate the input.....the best thing I guess, is to live with it, or to take it a luthier as some have mentioned. Thanks, Don
  9. Hello, Does anyone know how to cover up a small minor scratch that's not very deep, on the top plate of a violin. The e string came off the bridge and left a small line, on the top plate. The line is about 2 inches. Thanks, Don
  10. Hello, Can anyone offer advice on cleaning and polishing an older violin. Is the best practice not to put any polish on and just gently wipe the finish after each play; I'm sure frequent hand rubbing more than likely does more harm than good, especially on a century old finish. It's confusing why there are so many brands and types of polish and cleaners advertised. Any thoughts on proper care for string instruments? Thanks, Don
  11. Hello, Welcome; I'm curious about your Passione's. I purchased a set of Passione's and they have sat in the tube all summer. After reading many reviews, I had concerns about constant stretching. I have been playing the new infeld "pi" strings and for me, they are fantastic strings for orchestra and just fiddling around for solo purposes. I'm curious about the Passione's though, how long did it take for them to break in, have you ever had any issues of tuning them more often during ensemble and with the experience you have had with them, would you attempt to play them in orchestra? Thanks, Don
  12. Hello, Has anyone had any experience with the Passione strings; if so, have you discovered they still need constant tuning after a normal break in period. Or once settled and properly stretched, will they stay in tune during play? I have been playing the pi titaniums and they work great. However, the reason I'm asking is I have a set of Passione's still in the tube and want to try them, but became skeptical after reading so many reviews, yet in the January 2011 issue of Strings, the writer suggests they settle quickly and require minimum tuning after they settle. For any of you that have played Passione and since you guys are makers, any thoughts on Passione break in and will they settle pitchwise? Thanks, Don
  13. Hello, I have a heavier bow and it is marked W. Seiffert*. Is it common to change the frog, winding and screw to lighten up the bow...or is the weight pretty much determined by the density of the stick and these other items insignificant when bow weight/feel is calculated? I'm not a luthier, just a player. Thanks, Don
  14. Hello again, Thank you all for the great viewpoints, having a smaller bridge height when playing fiddle music (that requires fast finger response) better allows quicker stopping of the strings-this is the reason a bridge is cut...? The fingers do impact the tonal features of the instrument, or in some sense, the left hand can be learned and fine tuned...is the bow arm more important for bluegrass fiddle? Thanks again, Don
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