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reedman

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    Oklahoma
  • Interests
    bassoon, violin/viola, retired from professional orchestra management

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  1. May I suggest you make a small investment in something like Daniels' Orchestral Music. They just released the 7th edition. It lists music by composer and the instrumentation, who publishes the work, timings, and one of the appendices even lists works by instrumentation. It would be very valuable to you. Jim
  2. The tape is a good option. But let a luthier put it on. They will use a tape that doesn't damage the varnish. OR, use Renaissance Wax on that section of wood.
  3. Thank you, David. I had started with a AFVBM search, and one of them is on the Idaho/Washington border, which is quite a drive for them. Contact has been made with Mark.
  4. Any suggestions for a violin repair person/luthier in the SW/Central Western part of Montana?
  5. Since the passing of Kenway Lee, perhaps the next best person to talk with regarding a Knopf bow is Yung Chin in NYC.
  6. Most large orchestras own some very good instruments for use by their players. LA also owns the "General Kyd" Strad Cello that made the news back in the early 2000's.
  7. I seem to remember that the Benny Strad belongs to the LA Phil now.
  8. The oboe player doesn't think he has been heard well enough lately, so he has been making his reeds gradually shorter and shorter so that he can be sharp to everyone and "project" his artistry over everyone else's playing. The violinist is smiling because the oboe players reed got broken, and he doesn't have to keep cranking up his pegs. ;-)
  9. See my reply today on the original Lilit Gampel thread.
  10. Damon--See my posting on 2/27/2003. That is still the case with Lilit Gampel. Last I heard, Mr. Kim was at Seoul National University.
  11. We have a couple of the Bam carbon fiber cases in the family (vln and vla). Good protection, and light for schlepping around to rehearsals. But the players always revert to their Musafia cases when solid protection is required (ie on tour, or long drive). They all have instruments worthy of GOOD protection. My wife has tried a carbon fiber, but the temperature protection isn't there, even using a silk bag. We have more extreme cold here than TX, and summers get HOT. She has had a Musafia dart for her violin for for about 19 years (bought it as a demo case) that she uses all the time--she plays violin in 2 orchestras and viola in another. We just had the violin case refurbished at the first of the year. The only issue was wear on the outside case cover and trim--the inside of the case held up VERY well. Very reasonable cost, and the case is better than it was new (with the better cover material, improved bow spinners, improved latch, etc), so I expect she will get another 20+ years out of it. I know I have seen a double-case on the demo/refurbished list in the past for Musafia, but it isn't often, and there is always the issue of viola fit. If weight ISN'T an issue, and protection IS, I think Musafia would fit the bill. You'd probably need to custom order a double, and you could order a nice, unique lining (maybe find some appropriate silk there in TX). One of our daughters has a silk snake-skin lining (it was a demo case too). I can't imagine there are many like this, she loves it, and I am sure it would be popular in TX! :-) Ultimately for us, the need boiled down to protection, and the desire to have a case that holds up over time. Musafia provides both for us.
  12. While I have played a Heckel since 1975, I played Schreibers from 7th grade-9th grade. Played a Polisi until I ordered my Heckel. And while I don't play strings, I have 5 string players in the immediate family--7 counting 2 son-in-laws, and we have bought lots of violins/violas over the years.
  13. Hi Rue--looks like a Schreiber body lock (?).
  14. "I think it depend on how fast you can learn." As a teacher, I have to add especially how much you practice. :-)
  15. We carried Adventures in Good Music on the commercial classical station in Tulsa, KCMA. The show was syndicated not by NPR, but rather another commercial classical station (of which there were about 56 in the 80's), WCLV in Cleveland--Robert Conrad was the GM. You would need to get the performance rights from the artists/labels to everything played on the program. Probably nothing Karl played was under an actual music copyright.
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