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Everything posted by Yojimbo

  1. Well, as I said, cello strings last longer - I don't have experience with violin. Not to mention the ears
  2. Roughly once a year - but I'm a cellist, and the strings seem to last better. Last set was Pirastro Obligato's which sound great, but may not make it past 7-8 months. I wonder about those who change very often (like every few days) - it seems like more of an affectation than a necessity. But then, maybe my ears aren't so good...
  3. I'm looking for an intermediate to advanced level violist in the Seattle area (preferably the north side) who would be interested in playing chamber music. This would be essentially recreational, with the occasional pay gig. If you're interested, or know someone who would be, please send me a PM. Thanks much.
  4. Sad to say, not available until at least fall of 2004 However, it sems the Library of Congress may have them. Still checking.
  5. That's great Jane - thanks! Even if its a future release they may be able to say when they expect to do it - and I don't mind producing parts from a score.
  6. ... searching for an obscurity. Josepf Boulogne, Chevalier de Saint-Georges, wrote a set of six string quartets as his Op. 1. Does anyone have any idea where the sheet music might be found?
  7. Hi Claire - I have the Ives #1. I'd be glad to help out, if you'll PM me a snail mail address to send it to. I've never run across the Villa-Lobos #1 - in fact, the only one I can find in print is the #4 from 1917, so that one might be a real problem.
  8. The Borodin's recording is my favorite 8th. However, after living with my box set of the FitzWilliam Quartet for a while, the 8th has been eclipsed as my favorite. In terms of power and depth, I think the 8th is the finest quartet of the 20th century. But these days the one I want to hear most is the 5th quartet - I just love the odd angles
  9. Yeah - for many composers there is some added poignancy to hearing the celli performing high over a chasm without a net. Though its true that anything played well on a cello sounds better than on any other string, still its dangerous country. That is a marvelous theme though
  10. One of our community orchestras is doing Prokoffiev 3 soon too. Brave, but they are quite a good group, so I'm sure they'll be okay. I was fortunate to see Solzenitsen play Shostakovich 1 a couple months ago. Its still one of my favorite concerti - Shostakovich having way too much fun
  11. Hmmmm! I thought the Soapbox was supposed to have been closed. I guess they decided to include it in the Fingerboard instead. <Yawn!>
  12. I'm assuming you mean the Op. 34 set of preludes (not the Op. 87 set of 24 Preludes and Fugues - which is wonderful and somewhat better known. See the Naxos recording by Konstantin Scherbakov, among others). If so, you might want to check out the recording by Anna Malikova on the Real Sound label. I agree they are not performed as often as they should be, but there are quite a few good recorded performances. There is even a vinyl recording of Shostakovich playing four or five of them.
  13. Hey Rainy My Lee also was set up high. I think that might be shop policy, enabling you to have it adjusted to fit. I had my bridge lowered, as well as the nut. In addition, the soundpost was somewhat misplaced, and I had another one put in. Now its fine to play and sounds great. So, if you have not had the setup checked, you definitely need to. Lee's shop builds very nice instruments, but they do not set them up well - common among luthiers.
  14. Does anyone out there know how to pronounce the name of the Danish composer VAGN HOLMBOE? I have some ideas, but no idea if they're correct.
  15. Hi Xan I agree with Shennie - for some reason, the lower pitched (and larger) the instrument, the shorter the bow. Probably for balance, since the bow must carry a greater width of hair on a larger stick. Bass bows are even shorter than cello bows. In any case, there is very little difference in length among cello bows. I own five and they are all within an 3/4 inch of the same length. What varies is the weight and the balance. I had a coach last summer who was a very small woman, and I'm sure the bow she used was essentially the same length as Lynn Harrell's (and he is a BIG fella). So, don't worry about the bow length
  16. Saw her do the Meyer last week. First time I have seen her (5th row center - great seats). Except for an overlong slow section in the middle its a fun piece, and she plays it very well. I liked her playing and her presence very much. I must say, though that I was surprised that Maestronetters rate her so much above the other good young players. She is very good, but I did not think her significantly better than, say, Repin, or Ehnes (who I have also seen lately). Of course, she's prettier
  17. As much as I like the Rite of Spring, I don't think it is Stravinsky's greatest work - though, no doubt it is his most notorious. I think the Symphonies (all three) are better compositions. As for its importance in 20th century music, it is definitely up there, in that it showed how far one could still go using the techniques of Rimsky-Korsakov. Other important pieces - Schoenberg's Pierrot Lunaire, Debussy's La Mer, Prokofiev's 3rd piano concerto, Shostakovich 4th symphony, Bartok's Miraculous Mandarin and String Quartet #4, Gorecki's Symphony #3, and a handful of others. Not necessarily my favorites, but all had a lot to do with shaping music in the century.
  18. Agreed. If its not a solo, and its not in a group with a conductor, its chamber music. Even solos count, strictly speaking, but I think they are trying to find out if you have had experience with the interactions with other people needed in chamber playing. Duets certainly count.
  19. "Gun Battle" from Copeland's "Billy the Kid" "Gypsy Eyes" - Jimmi Hendrix Beethoven's "Grosse Fugue" First movement of Shostakovich's String Quartet #5 Last movement of Britten's String Quartet #2 Ives "Putnam's Camp" "Rene and Georgette Magritte With Their Dog After the War" - Paul Simon "Round Midnight" - T. Sphere Monk
  20. Since he offered to consider an alternative proposal, why not make one? Offer to sign a document stating you were taking posession of the instrument for x days, and that you promised to pay its value if it was not returned on time - or whatever the standard method is for these transactions. If he's legit he should be willing to follow a standard process, even if he didn't suggest it. If he refuses, you would have more reason to doubt his honesty.
  21. Barshai, Kogan, Rostropovitch. Not a question of "better", just quite wonderful. They were my introduction into chamber music. And they dispense with that nasty piano thing
  22. Yojimbo


    Oh yeah! They are great for soloists in particular. We're actually a bit left of center, so the soloist is usually right there, and you're placed to watch a pianist's hands. Must have been fantastic for Repin.
  23. A most cogent argument indeed. Well, its nice to know someone knows "good" from "bad".
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