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erich

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  1. It seems like all of the virtuosos start at a young age. David Aaron Carpenter started the violin at age six and the viola at age 12. Mr. Carpenter is a recent graduate of the Juilliard Pre-College Division where he obtained a double degree in violin and viola. He has performed as a soloist at the Kennedy Center, Carnegie Hall, and Lincoln Center's Alice Tully Hall, and is one of five violists chosen to participate in the 2005 International Music Academy in Blonay, Switzerland, under the direction of Seiji Ozawa. Mr. Carpenter is currently a freshman at Princeton University, and studies with Philadelphia Orchestra Principal Viola Roberto Díaz. He is from Great Neck, New York on Long Island.
  2. Seems like he was pretty serious about music. Maybe after he got to Princeton he decided to focus on Basketball and acedemics. http://www.nfaa.org/news_pr/2004PressRelea...05MusicGold.htm David Aaron Carpenter David Aaron Carpenter is a recent graduate of the Juilliard Pre-College where he obtained a double-degree in violin and viola performance and studied with Lewis Kaplan and Toby Appel. David has won numerous awards and competitions including the 2004 Level 1 Arts Award in Music/Instrumental/Viola and the Honorable Mention Arts Award in Violin from the National Foundation for Advancement in the Arts. This past March David made his Carnegie Hall Violin Debut as Soloist with the Great Neck Symphony Orchestra under the baton of Joseph Rutkowski. He also won First Place in the Juilliard Pre-College Open Competition and performed with the Juilliard Symphony Orchestra in May of 2004. David was a member of a winning quartet of the 18th, 19th, and 21st Chamber Music Society of Lincoln Center Annual Young Musicians Competition which culminated in solo performances at Carnegie Hall and Alice Tully Hall. Last season David performed on the Bob Sherman Young Artist Showcase on WQXR, 96.3 FM as the featured soloist and as part of a duo along with his sister Lauren. David has also been the recipient of the Children's Foundation for the Arts Grant since 1999. In the summer of 2002 David was soloist in the International Festival of Music at the Accademia Chigiana in Siena, Italy and was selected for master classes given by renowned violist Yuri Bashmet and violinist Boris Belkin. This past summer, David was one of seven international participants studying with Nobuko Imai and Yuri Gandelsman at the 2003 Verbier Festival and Academy in Switzerland. He was also selected as the 2003 First Place Winner and Soloist in the Academy Concert held at the festival. David was Concertmaster and Principal violist in the Juilliard Pre-College Orchestra. This summer he will appear as guest artist at the Barge and will perform in concerts together with his sister Lauren and his brother Sean in New York, Verbier, and Siena. David is an A.P. Scholar with Distinction at the John L. Miller Great Neck North High School in New York. He will attend Princeton University in the fall of 2004. 2004 ARTS Week Music Adjudication 2004 ARTS Week Chamber Music Concert
  3. I agree you need the parents and teacher to provide a good learning environment. I just think parents, teaching, and practice alone is not enough to be a virtuoso. You need innate talent. I know the brain changes based on how an adult or child uses it, but I think a virtuoso's brain is wired differently from birth. Just like you can't study really hard in Physics and math and become another Albert Einstein. You either have it or you don't, unfortunately. I think with practice and patience you can become really good. At least I hope, I know I continue to struggle as an adult student, but this discussion is about the highest level of playing. By the way, I started at seven, after deciding to play violin after seeing a school assembly. But in the end I didn't want to practice and I quit after five years. I was not driven. Now I wish I didn't quit.
  4. I think it is a coincidence that all virtuoso have started at 7 or less and their early start is not necessarily the reason for their level of talent. I think you have to look at their natural obsession for music making. A virtuso-to-be is naturally obsessed with music and will probably complain incessantly to their parents to let them have an outlet. They don’t need a teacher or parent to convince them of their desire. If your first childhood memory isn’t music then you won’t become a virtuoso. If your parents don’t have weird stories of you being mesmerized by music as a toddler then I don’t think you will become a virtuoso. I think talented at the absolute highest highest level is innate. I think if somebody forced Heifetz to not touch any instrument until he was 13 he would still be great. My girlfriend sings professionally and all of her serious professional musician friends share the same story, music is their first memory and it’s pretty much all they thought about as children. They start to have doubts and anger later in life when they realize how hard it is to make a living.
  5. The strings aren't any closer to the fingerboard. The FBP is 31 mm and the overall bridge height is higher to accommodate all of this; around 36 mm. The angle is still 158º because the neck overstand is taller than normal, I guess, it is around 6.75 mm. So I was wondering if things should be adjusted, maybe the overstand and neck angle both, so that the FBP is 27 mm, while keeping the string angle at 158º. Or does it not matter so much because the angle is okay. I have my community orchestra rehearsal tonight, so I'll check back tomorrow. Thanks, Eric
  6. Yes, I like the sound. But, I'm thinking about optimizing things. I read that too sharp of an angle can effect response and I wouldn't mind a little extra response in the G & D.
  7. I have a newer violin. My neck was set higher than standard and it never settled lower. The fingerboard projection at the bridge is 31 mm as opposed to 27 mm, but my overstand, bridge, and saddle are set so that the string angle over the bridge is the standard 158º. Since the angle is okay, would there be any reason to have the neck reset so that the FBP is 27 mm? I've read here that too acute of an angle is detrimental, but since my angle is okay does it matter that the fingerboard projection is high?
  8. Bois D'Harmonie has two lengths. I bought a short one for my 354 mm violin.
  9. Are these strings available in thin gauge yet?
  10. Common Logarithm log xy = log x + log y log x/y = log x - log y log x^y = y(logx)
  11. On the online shopping homepage look under "What's new".
  12. Maybe 2 years ago I went to a free viola concert in NYC. There were maybe 6 players playing sonatas with piano or solo viola stuff. Anyway, I went to the concert not knowing who the players were or what viola they play on. I don't know much about the instrument or the repertoire. After hearing 2 or 3 players I had my head down reading the program and then a person started his piece which made me immediately snap to attention because the sound of his instrument was so good. I really can't remember how to describe it but it was just so much better than anyone else's that it grabbed my attention. It turns out the viola player was a guy named Shmuel Katz playing a Hiroshi Iizuka viola. It had a different shape being modeled after a viola D'Amore. Anyway, it really struck me how much better the sound from this oddly shaped instrument was, and I didn't notice the odd shape until after I heard it, so I had no bias.
  13. Liana, There's nothing wrong with that song. Actually, the idea seems like fun.
  14. Wow! I should feel lucky then about my proximity to New York and good violin shops.
  15. Manfio, That is the important thing. Like I said my bridge was bumped over a full mm. I was told that my fingerboard is "slightly" off towards the treble side. So if you try and center the bridge using the fingerboard as a guide it ends up being not right. The bridge now looks as if it is too far over on the bass side but now it is actually positioned right in regard to the sound post and bass bar. I think my original luthier hesitated in moving it so far over because it didn't seem right relative to the fingerboard (just a guess). Anyway, these are small changes. I'm only talking about 1 mm, but again, it's amazing how much difference it makes to the openness and response.
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