crazy jane

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  1. I agree. I think it is unfortunate that he wrote that post for Slipped Disc in 2015 and thereby let Stern's ghost define him once again, so late in his life But he should be remembered not only for his for his art but also for dedicated and generous support of his students and the Curtis Institute
  2. I, as well. Armin Schlieps was my go-to luthier from graduate school onward (30 years or so)--a brilliant restorer and extraordinarily knowledgeable man who worked for Wurlitzer before he and his father set up shop in Carnegie Hall, ultimately to settle in Seattle where he was an avid sailor. I believe he knew Sibelius. He returned to bow making in his later years, and we bought three from him. We brought one in for rehair, and when I attempted to reclaim it, he looked quite innocently at me and said, "No, no, I do not think this is your bow." We were horrified. His wife explained things (so sadly) and rectified the problem. He was still doing immaculate restorations but had completely lost his memory. (It is interesting to me that these two capacities are apparently separable.) Likewise, I watched my father--a professor of biochemistry and college president--slip away into a netherworld. He did not know my name, but called me "the leader" in recognition of the only one of his four children who had raised a family. He referred to my dog as "the good kitty."
  3. What exercise or piece calls for slow sautille at the frog? This video explains sautille starting slow. He specifically references Seitz Concerto 2, 3rd. movement. His second video on sautille is here.
  4. There are a lot of fallacies being put forward on this thread. Beta blockers are *not* “relaxants”— they merely block the effect of the adrenaline being produced. They are not addictive and they do not alter the brain or one’s musicality. I doubt audiences have a clue as to which players may or may not use them. But they will certainly know the victims of panic attacks or “shake bow.” Nor does preparation or increased exposure to performance situations necessarily decrease the adrenaline production. You would be surprised at how many truly accomplished, top-flight players (AND conductors) suffer from debilitating stage fright. It has led to aborted careers and unhealthy self-destructive forms of self-medication. And I do mean TOP flight. Adrenaline has profound physiological effects. Extreme nerves or anxiety is not "just energy"--it is change. One of its changes is actually relaxation of the airways to direct more oxygen to the muscles, in some cases causing shallow breathing.
  5. We liked the small (like most Budapest music sites) Museum of Music History up on Castle Hill, which includes a reconstruction of the Pilat-Sáránszky workshop. (My mother-in-law had a very lovely Paulus Pilat from his NY period.) Pilat had a nice bow collection, on display. Also in Buda is the Bartok House while Pest is home to the Liszt Museum, which also has several violins on display. Of course you should try to hear some actual music, and we enjoyed a nice restaurant called Rézkakas for food and Tokaji, as well as the trio, led by violinist Robert Kuti (and featuring a red-hot cimbalom player, when they cut him loose). Enjoy!
  6. On Lummi Island You might also try Vancouver Craigslist or contact Good luck with everything.
  7. Matisse has many violins, violinists, and violin cases.
  8. Philip, Having been both teacher and student, I admire your wish to ensure your student’s future success. However, I think you need to pass the baton. His new teacher will know what is best for his future musical success at Yale and will likely know more than anyone here about what instrument (shop or maker) in the area will best serve his musical aspirations. Clearly you have served him well. Kudos.
  9. I contacted a respected maker, we talked about my preferences, and he said he would call me when he had a good sampling of bows (viola). After some time my husband (a good violinist) and I journeyed to his studio. First I played and my husband listened (blind), noting preferences. Then we mixed up the order and he played while I listened. We agreed on the top two. Today, 20 years later, I am completely happy with my bow. I think it is very important to strive for a more objective perspective and not be overly swayed by the materials and appearances. When it later came time for my husband to shop for a bow (different maker), we used the same process but ended up buying two: the ivory one he fell in love with and the ebony that sounded /played better to me. Guess which one which one he loves most now, fifteen years later? The ebony.
  10. We have identical pegs on an early 20th century Italian, fwiw.
  11. The only S&M bow I'm familiar with has a Parisian eye, for what that's worth.
  12. I have been looking for the Schlieps book fore years. Add me to the list. I knew him from 1978 until his death. We own three of the bows he made in his late period.
  13. That's how violas are. Mine's big and fugly (a Tertis), but like yours, she has a slender neck and does what I want. People always comment on her sound ("like Devonshire clotted cream")--of course, that's me--and wonder why, when they play on it, the instrument doesn't seem remarkable. I've had her for 26 years. I knew the maker, and we played a quartet of his instruments in the ICU as he lay dying on a respirtator. I could afford something fancy, and occasionally covet another player's instrument. I keep thinking about smaller instruments and own one that I practice on. But when it comes concert time, there is no substitute. She is my voice.
  14. I would presume.