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Alyosha

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  1. I haven't been posting for quite a while...but here I am I was wondering if any of you have the viola part for Mozart's Sinfonia Concertante. I have to back order the parts but I have to start looking over the music RIGHT NOW...(hopefully the order will arrive by the time of the performance) I've looked all over the net for downloads but I can't find any. Does anyone know where I can download this or can anyone please please please scan&send it to me??? Please PM me if you can send me a scan...Thank you so much! Alyosha
  2. i used to play with Mach One. best shoulder rest i've used! fits to shoulder very well, and it doesn't slip off too easily like Kuns! Lyosha
  3. hmmm i was just wondering cuz the letter i got from peabody sounded like pam frank was teaching there full-time, tho i doubt it.
  4. so does this mean pam frank is teaching part-time at both peabody and curtis?
  5. I know there is a same thread about Kathleen Winkler from a couple years ago, but I want some new info What's people's opinion on her? Has anyone studied with her, and if so, did you like her? What's her teaching style like? Or...what have you heard about her from your friends? Thanks! Alyosha
  6. I dunno if this will help...but here's my thought on the bow as extension of our arm. National Symphony Orhcestra's concertmistress, Nurit Bar-Josef, plays as if the bow was just an extension of her arm! so I tried to figure out how she does that unique (?) bow stroke that produces the most gorgeous sound...and I still haven't figured out how but while experimenting with it, i made my own little discovery. this is different from the Russian bow stroke you were writing about...but here's what i did: (i have tension problem in my bow arm, so i always think "let go of the bow") i tried to hang the bow from my fingers so i don't really "press" when i play. and then i just let the arm control the bow, producing sound kind of in a floaty way. but when i put my natural arm weight from my shoulder and elbow, the floaty sound became the incredible deep "ring-ring" sound! i'm sorry i can't quite describe this right, but with this bow stroke (quite close to Nurit's), there's not much wrist movement, and as said before, bow is just an extension of the arm, controlled by the whole arm. hope this makes sense... Alyosha
  7. oooo, i've seen one of the violists in my orch use the libero one....i would post comments about it if only i could remember who was usin it!
  8. ooo...i know they may not be the fave in the classical world...but i like 'em lots of figure skaters have been successful skating to Bond. jus look at yagudin's winter! awesome. Alyosha
  9. i think all youth orchs claim to be the best in the country... (well, at least SOME of them do) Lyosha
  10. i had mine recently...it was just like a regular old audition two very nice judges grinning, saying thank you, and i just play my stuff i advice you to get to the city the day before the audition, so you can get plenty of rest the night before! don't get too nervous, cuz you know you've worked hard for it! good luck! Alyosha
  11. i use "mach one", the wooden one. it's expensive, but i LOVE it!!! my violin sounds better with Mach. Wolf rests really muted my instrument!
  12. you get "oooooo"s in aspen if you're studying with Kang/Kawasaki i also hear Paul Kantor's VERY good. his students are just amazing.
  13. you should memorize how 5th pos. feels (and looks). where your wrist touches violin, etc...and to double check, you should put your finger down very hard, like Mu0n said. it always helps to know where some basic positions are:)
  14. hmmm...i personally LOVE the Emerson Quartet. IMO, the Shostakovich recordings are wonderful. recorded live in Aspen...and most importantly, they played the 8th (my fave) just the way i like it yup, the violins rotate...they also play standing up, don't they...?
  15. I use obligatos, but i heard that obligato strings change the tension of the instrument over a period of time. of course it doesn't happend to all violins but obligatos tend to do that. it takes as long as a year to recover from those instrument tension problems.
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