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grendel

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  1. this isn't a cultural sensitivity issue, it's an intellectual property issue. if IMSLP's free downloads causes lost revenue to universal edition in the countries in which they hold the copyright, then they are certainly within their rights to act. if someone starts a website in a country with lax copyright laws and offers free downloads of my CDs to everyone, would you think that's okay?
  2. "Universal Edition is trying to assert rights it doesn't possess in Canada, where IMSLP is located" it is somewhat irrelevant where the server is located, because the content is instantly accessible around the world. courts in countries such as brazil and france have ruled against youtube because of copyright infringements in their respective countries, even though youtube is an american-based company. if youtube's content wasn't readily available to users in those countries, then it wouldn't be a problem. likewise, if IMSLP was only accessible to users in canada, then universal edition wouldn't have much of a complaint. however, IMSLP's content is accessible to users in countries where universal owns the copyright. seems to me that universal is on pretty sound legal footing.
  3. Hi Jon, I was wondering when this news would come out, as my good friend John Marcus gave me a call when he was in Toronto recording the de Beriot duets. Do you have an email address I could contact you at? I would like to properly introduce myself and inquire about this recording project further. Sincerely, Timothy Peters, violinist
  4. sorry, but i have to disagree with most of the opinions on this thread. universal edition is a company, and a company's first priority is to generate revenue. and websites, unfortunately, are responsible for their content. universal edition has no obligation to assist IMSLP with pre-screening....they have enough to do as it is. additionally, who benefits from this proposed boycott of universal editions? publishers are vital to the classical music industry. any music publishing firm would take the same actions that universal would if their editions were found to be illegally available for download. i would also like to try to dispel this notion that publishers and classical record executives are making exorbitant amounts of money....profit margins in the classical world are generally pretty thin. i am a professional violinist, and ticket prices may seem high for some of my concerts, until you realize how much money my violin cost! this is not an example of 'music industry greed', but rather a reality of the music business of which i am a member. i do try to perform as many free outreach concerts as i can, but the reality is that if i offer too many free concerts, people will stop coming to my ticketed concerts. it's a delicate balancing act between "thinking of humanity" and staying afloat.
  5. yes, alex is zach's brother. there are two other depue violinist brothers as well.
  6. there is no arco in the pizzicato variation. it's a mistake in all editions that have it. the manuscript is quite clear that it's all pizzicato....the 'arco' notes are actually right-hand pizzicati. that being said, those that do use the bow usually do it as it comes...starting down bow, and alternating after that.
  7. this shoulder rest issue does get tiring... i do not use a shoulder rest myself, but have never understood the vitriol with which this issue is discussed. austen, i hate to admit, but in the 'violin community', we're in the minority. the vast majority of violinists nowadays use shoulder rests, and this notion that players who use one lose respect in their colleagues' eyes is pure fiction. and now, some unsolicited advice: for all i know, austen, you may be a very talented player. however, the music profession is extremely humbling (in many respects), and while confidence is an absolute necessity, arrogance will hurt you in the long run.
  8. "If there is a Barenreiter edition that will be an urtext and will be exactly what Brahms wrote. You can count on Barenreiter for that." not necessarily. most barenreiter editions are great, but some are not. if anyone wants to see what brahms wrote, go look at the manuscript. it's out there for everybody to see. it's true that joachim made a lot of revisions....most are for the better, i admit. however, i like some of the passages that brahms wrote without joachim's revisions, and have started playing them.
  9. " But, to me, the ultimate test is whether it sounds good and sounds right." i could not disagree with you more, thom. -grendel
  10. szeryng was generally a genius on the violin, but unfortunately was somewhat of a fool when it came to baroque music... and how on earth is a period performance 'unconventional'? it is the exact opposite...it goes according to the 'conventions' of the time period! it is the romanticists who are 'unconventional'. like it or not, period performances are becoming much more popular with leading artists nowadays...vengerov, mullova, to name a few. this whole debate has always baffled me...
  11. i haven't sifted through all the responses, lymond...but has anyone mentioned luca's recording? it's wonderful...so unashamedly BAROQUE. there's a recent article in the new york times about tetzlaff's performances of the sonatas and partitas...it extols the fact that tetzlaff has the facility to play bach's chords solidly rather than arpeggiated, but of course fails to mention the vast amount of information we have at our disposal that indicates that chords were never played this way in the baroque or classical periods....
  12. toscha- you are correct about the octave trills in paganini caprices being fingered....i used the term "fingered octaves" in the context of quick passages, as in #17. a former professor of mine performed and studied with milstein. he assured me that milstein always used 1-4 in passages such as the end of the 1st mvt. of sibelius, the 1st mvt. of wieniawski #2, and paganini #17. i admit it is possible that at some time, in some performance, he may have used fingered octaves for one or more of those passages. i have not heard every performance of milstein's. however, let's not quibble about semantics. i believe his view on fingered octaves is apparent. my personal view is that if one can build the facility to play 1-4 quickly, the result is cleaner than if one uses fingered octaves.
  13. jimmy smith is right. paganini did not use fingered octaves. milstein never used fingered octaves, either. #17 can certainly be played 1-4.
  14. what's the deal with all the deleted posts by you and steve? who's deleting them and why?
  15. "The reason he plays so horribly out of tune is because he has a poor left hand position (its bent at the wrist at about a 45 degree angle, this is completely unacceptable for classical violin playing...very few can get away with it--and Stephen is no exception)." not to split hairs, jimmy, but there is nothing wrong with playing with a concave wrist, especially if one does not use a shoulder rest.
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