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Everything posted by liana

  1. In reply to: Face it - you're evil incarnate this is exactly why we'll win! muahahahahahahahaha
  2. this poll is pointless as we all know that lefties are better anyway and will eventually take over the world. unbiasedly yours -li
  3. is svendsen really for full orch? i played it with a string orchestra just a few years ago... maybe they arranged it, i have no idea now, and i'm going to have to go look it up -li
  4. something short but absolutely gorgeous is the svendsen romance. -li
  5. In reply to: It was really amazing what a difference the strings make. i totally know what you mean here, tc! when i first tried the cuypers violin that i eventually bought this winter, it was nice but not absolutely unbelievable as the people in the shop had changed the strings when it was brought up from the states. although with the other string combination the instrument was nice enough that it was a serious contender anyway, when dominants were put on it sounded like a completely different (and incredible!) instrument. -li
  6. a few years ago i was doing some solo work at the nova scotia international tattoo... big gig, audience of about 10,000 people a night. i wasn't doing anything terribly strenuous, and it wound up such that the only night that i was nervous before/during performance was the one night i decided to have a can of iced tea before going on the floor. never again! -li
  7. for memorization with RCM exams, in order to get full memory marks you have to have everything except your sonata (list memorized. at the same time, though, if you think that playing something with the music will give you a more confident performance that will make up for the lost marks in the memory category, go for it! when i played my ARCT performer's, i learned my concerto (prokofiev 2) on the fly. anyone who has learned that concerto can tell you how wretched it is to memorize, i had it close but in a pressure situation it was likely to screw up. i played with the music in my exam, lost maybe 2 marks or something, but in the long run got an 89 on the exam, so i think it was worth it. i think it depends a bit on the examiner, but if you only take one piece with the music and your sonata (etudes and orchestral excerpts don't have to be memorized either) you won't have too much of a penalty. -li
  8. it's probably the weather changing that caused your peg to pop -- i know that mine have been popping randomly for at least the last month. stupid dry weather. what you should do is loosen the fine tuner a long ways, and then bring it up to it's relatively close to in tune with the peg, and bring it fully in tune with the fine tuner. make sure that as you turn the peg you also push it in, so the peg will be less likely to slip. as well, when i tune my e with the peg i turn the violin away from myself (so i'm looking at the back when i'm tuning) so that if the string breaks it's less likely to wind up in my eye -li
  9. regarding auditioning with mozart 3, i have a friend who's studying at U of T with scott right now and she's in the middle of learning mozart 3 in her second year. i think any mozart concerto is valid to play for an audition, particularly the U of T audition, as long as you play it well. -li
  10. i'm personally partial to #22... i think it's a little harder but i found it much more musically rewarding. -li
  11. this happens to me regularly... the first time i ever saw perlman play, i was probably about 5 or 6 years old, and he was playing the sibelius violin concerto. it left very little impression on my little brain and when my parents gave me a tape that christmas of perlman playing the tchaikovsky and the sibelius. i fell in love with the tchaik but never gave the sibelius another listen. about ten years later i was at camp attending a masterclass, and someone played the first movement of the sibelius... i couldn't believe my ears! i was shocked that i had been ignoring such a gorgeous work for so long. now the sibelius is one of my favourite concertos i tend to have the mind-changing experience a lot in orchestra, too... at the same camp as mentioned above, even the same year possibly? we played the bernstein serenade with martin chalifour. noone knew the piece before we played it, so they had a big listening session for all of us to follow our music while listening to a recording. of course, we all got lost, and were utterly confused by the music, and thus dubbed it the "$h!t piece" for the remainder of the three weeks.. of course it grew on us and we loved it by the end. my latest project is actually trying to convince my teacher to let me play it, fat chance. however, i think i can say honestly that vieuxtemps 5 is one piece i will never fall in love with. at least, i hope i never do. especially since i'm trudging through the ends of working on it right now. uggggh. -li
  12. hey! i'm actually in the middle of completing my bachelor of music degree in university. i think whether you find it difficult or not depends on how dedicated you are to the instrument and to music in general. realize that in most programs in north america, pretty much all of your classes (sometimes you have to take a non-music elective) are music based. i'm in my second (sophomore, i think?) year, and i'm taking orchestra, chamber music (2 groups), lessons, theory, music history, performance class (masterclasses), and then german as my elective. it does get very hectic (i have 31 hours of class a week, a normal arts student in history or philosophy or something like that has usually below 15) but if you really love it, and are truly dedicated to music, most of the time class doesn't feel like class at all. so basically what it comes down to, is that if you aren't sold on music or the violin, then you likely will find music at university pretty hard. at the same time though, if you're talented and enjoy what you're doing then it will be more fun than work. -li
  13. black angels is a freaking awesome piece... although i think perhaps for the less stout of heart seeing it live first might make it a little bit less of a shock. i listened to parts of it before hearing/seeing it live, and i have to admit i would have been extraordinarily confused by it had we not been listening to it in music history class with the prof explaining the background. just listening to it off the bat would be a little daunting i think. all that said and done, though, you should check out a live performance of it if you can find one! it's fascinating not only to listen to but also to watch -- electric instruments played in all sorts of weird ways. very cool. i saw scott st. john, stephan hersh, geraldine walther, and bion tsang perform it this summer and it was definitely not an experience to miss. truly disturbing, but very, very cool. i want to play it -li
  14. i'm a 2nd year music performance student, and with 31 hours of classes per week i am extraordinarily busy. i aim to do four hours a day every day, varying of course with the quantity of music i have to work on and the amount of time i have. sometimes when your only available practice time comes after five hours of orchestra and chamber music, though, it's a little difficult to kick the poor brain into doing it. -li
  15. the symphonic dances are sooo amazing... and amazingly tough to play definitely worth the effort, though. i recommend if you are playing this one for the first time, try to avoid the joy of old, rented parts -- the accidentals, bowings, and fingerings that people scratch into the pages all over the place get really, really confusing, especially when you try to scratch your own overtop of the erased markings that won't actually go away because they're indented into the page. not that i've had this experience or anything, i'm speaking purely hypothetically of course... i have a recording that i like of the Concertgebouw Orchestra under Vladimir Ashkenazy on the Decca/London label that's quite good. it's a set of 3 cd's that includes the symphonies, the isle of the dead, the bells, and the symphonic dances. tons o' fun. -li
  16. for the longest time as a little kid, every time i heard the first movement of Mozart 40 i only knew it as the music for part of this one particular episode of the Smurfs, i think it may have been a christmas special. weird. what's even weirder is the association is still there every time i hear it. -li
  17. my cat actually sits and watches me, and then when i have a rest, meows long and loud. if this doesn't work to make me stop, she'll jump up and "hug" my leg, and proceed to nip at my hamstrings, which usually does work. -li
  18. in order of playing ability, i do violin, viola, piano, and a veeeeery distant last would be bassoon (think: dying cow noises!) -li
  19. i use minidisc when i need to do anything recording-oriented... it's not nice enough for professional level stuff but it does a pretty good job for anything you're not going to be selling. -li
  20. " A neighbor of mine teaches guitar. One night he came over and said "I really did something bad today. A student came in and played his piece so badly that I burst out laughing." hehe... i had a teacher who did this as a "that's not the ideal musical gesture" comment. somewhat takes the wind out of your sails. at the same time he was an inspiration in a lot of other ways to study with and i have really nothing to complain about. -liana
  21. olivs can sound great, but i had a few issues with them when i was using them... i found they took forever to stretch out, and by the time they had actually finally decided to stay in tune, they had gone false. yet i still used them for probably three or four years. go figure. -li
  22. if it's something where you're in to get a fairly expensive instrument that will take a lot of shopping around, i would say it's probably best just to sit down with whoever is helping you finance your venture, and explain why your current instrument or bow is not up to the level that you require to play at your best. or you could always get your teacher to call them, it worked for me. -li
  23. i'm not exactly an expert on this, perhaps some of the luthiers online here could help you out more accurately, but i believe that many bowmakers have different stamps for different qualities of bows produced... i think i heard this actually directly referring to Hill bows. if you're still nervous about the authenticity of your bow and if you feel it's necessary, you could take it in to a shop and have it authenticated. -li
  24. my baby is an 1804 Johannes T. Cuypers violin made in the Hague... my viola is a POS not worth mentioning. for both i use Roy Quade bows from Calgary, Alberta, Canada. -li
  25. liana


    hey all! i'm new to the board, thought i'd say hi and ask a little question that's been bugging me for a long time but noone really seems to know the answer to, or either knows the answer and just laughs at me for asking. what is the difference between a dark and a light resin? i'm also curious to hear people's opinions about favourite resins. i'm currently using milant-deroux, i switched to salchow briefly but my teacher had a fit when he saw it, so i switched back. so i'm sorely uneducated in this field and i would love to hear what people have to say! thanks! -liana
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