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Everything posted by HoosierGirl

  1. Quote: isn't "concertmaster" in this case referring to the first clarinet or flute or whoever leads a wind band? Doh! I saw band but thought "orchestra" and had a funny mental picture of the concertmaster trying to dictate fingerings to the wind section.
  2. Am I reading this right? Your concertmaster determines fingerings for the clarinet section?
  3. Quote: Does anyone remember an Eastern European film (Czech?) about a cellist who relies on odd jobs to survive and who takes in a small boy during a time of political upheaval? Kolya. I love that movie.
  4. Here's an article that summarizes some of the recent problems: Airlines' carry-on rules anger musicians
  5. You're really at the mercy of security and the gate attendant. The biggest issue seems to be the dimensions of the violin case, and everyone has their own interpretation of what's ok. My husband has flown plenty of places with no problems, but he did get stranded once when the airline refused to allow his case in the cabin because it did not meet the stated dimensions. Fortunately, he was close enough where he could rent a car and drive in overnight for rehearsal, but I don't know what would have happened if it'd been a cross-country or overseas flight. The AFM letter does not address the size problem, so it won't help much in this circumstance. What does seem to help is carrying a smaller shaped case (my husband has a dart-shaped case he uses for flying)... it's still officially too long, but attendants seem to question it less than the full-size models. I'd also recommend taking out extra strings and other accessories and packing them in the checked luggage. I know of a few people who've had spare strings confiscated and another person who had a soundpost adjuster confiscated.
  6. Thank you. We decided to go ahead, get a new case, and ship this one back to Musafia for repair.
  7. I think theories have changed since this article originally came out, leaning more toward a genetic explanation. The University of California is doing a study to try to identify the genes responsible for absolute pitch: http://perfectpitch.ucsf.edu/ppstudy.html The practice numbers sound reasonable to me.
  8. Janet Horvath's book Playing (Less) Hurt is a good resource for musician injuries. She also does seminars around the country from time to time. Playing (Less) Hurt Web site
  9. Quote: For the money spent, one of the most spectacular,superb, best -in -the world vintage movie houses left neglected downtown on Broadway could have been redone to the nines. I don't know; those have a way of turning into a headache. Indianapolis did that -- bought and restored a historic movie house as a concert venue -- and it's taken years of acoustical renovations to get it in good shape. (To give you an idea, the original multi-million renovation was in 1982 and the most recent $3 million renovation was in 2002.) The historic status of the building makes renovation quite challenging -- a lot of promising ideas simply can't be done because they would violate building codes. It's difficult to retro-fit state-of-the-art acoustics around the historic architecture. Downtown parking was originally something of a hassle, too, although recently the symphony has managed to obtain use of a connected garage. I certainly can't blame L.A. for choosing to build from the ground up... hopefully this will be a great venue for the orchestra.
  10. My strong hubby (he made me type that) pulled out one of the velcro tie straps that secures the fiddle neck in his Musafia dart case. We'd like to avoid shipping it back to Italy for repair, if possible. We've thought of using superglue to re-secure the strap. It's the typical base velour fabric interior. Will this work? Would another glue be better? If this is a bad idea, do you know of anyone in the States who does repair work of this type? It looks like the tie strap was originally secured with a small nail going through the strap and into either the suspension cushion or case structure, but we can't get the nail back in (and we're not sure which way it should go anyway). Help!
  11. Quote: The price range for a student violin depends on perspective. This is so true. I'm used to hearing "professional violin" applied to instruments you could use for, say, an audition with the Chicago Symphony. Everything below that is considered either a "student instrument" or a "beater."
  12. Quote: ...one needs to know how to listen to what the player wants and be ble to figure out "what works well for this player on this fiddle" This is the key, I believe. What is a turn-off (for a professional player, anyway) is a setup person who gives you the sound adjustment he/she thinks you should have, not the sound adjustment you're asking for.
  13. Quote: I would dare say that it is the person sitting at the bench, some bench, either making, adjusting or repairing, and listening (actually, underline that) that transforms an instrument from a commodity into a real musical entity, a work of musical integrity, a musical bonanza in the hands of a player. Are we worth every penny we charge? You betcha. Brava. I could not agree more. Personally, I'm willing to spend a few bucks more for strings, cases, rosin, whatever if it means keeping my local luthier in business. It'll cost me a lot more in the long run if he goes under and we have to drive to another city for every rehair or minor adjustment.
  14. Just fyi, in case anyone is interested. ______ USAToday.com will feature an online chat with Josh on Tuesday, October 7 from 1:00-1:30PM EST. You can submit your questions in advance today and tomorrow at Talk Today at http://www.usatoday.com/community/chat/chatsked.htm.. Click the link for Tuesday and follow the instructions. For information on viewing the chat live, go to http://www.usatoday.com/community/chat/faq.htm..
  15. If it's a concern for you, why not take it to another luthier (not the person selling you the fiddle) and get an independent evaluation of the health of the instrument. If it's just a cosmetic blemish and the instrument itself is sound, then no big deal. If the mark really bothers you, I would imagine it could be restored at some point anyway. (?) My husband had a cosmetic ding taken care of on one of his fiddles and now you'd never know it was there.
  16. Quote: Her CD contract is, I believe, with Cedille Records. Cedille's a good label. They do a lot of promotion of Chicago-area artists.
  17. My experience has been that it's difficult to sell a student instrument yourself. What I'd probably do is try to sell on commission through a strings shop; that's worked for me in the past, anyway. Are you close to a major city? (Cleveland, Pittsburgh? Sorry, my PA geography knowledge is not so good.) The bigger the city, the better as far as the market goes. The only drawback is that you'd need to pay a 20-30% commission, so depending on what the shop thinks they can sell it for you might be better off just taking the trade-in value on a cello.
  18. Quote: What on earth is the local orchestra doing listing series of popular music? Do they accompany the likes of Linda Ronstadt? You bet they do. A good pops show guarantees a sell-out crowd. I don't think an orchestra could stay financially afloat these days without a solid pops series. Don't like it? Buy classical subscription tickets, and lots of them. Please. (Although personally, I enjoy both pops and classical and see no reason why they need to be mutually exclusive. Pops is a long-standing tradition, going back to the 30s and 40s when every radio network had an in-house studio orchestra.)Anyway, back to the original post... my advice is to write a letter to the marketing department and list your concerns. They want to hear feedback, they really do. Although like Reedman said, I appreciate why single tickets are not mentioned. Most orchestras send an initial mailing to try to sell subscription packages and don't make single tickets available until later in the year. I suspect the single-ticket specials mentioned are for non-series performances. For example, the orchestra here did a special one-night-only show with Bernadette Peters that was marketed separately from the regular pops series.
  19. I suppose it depends on your hands and flexibility. I'm 5' tall with small hands (wedding ring size 3.75) and play cello myself. If the reach is a problem for you, I'd first try to find a full-size violin with smaller dimensions or a narrower neck before going ahead with a 3/4. Also keep in mind that your hands and reach will become more flexible over time.
  20. Quote: I love the "Vavoom!" qualtiy that you spoke of, but have yet encounter one like that. I tried a Magini violin at the Beare shop a couple of years ago... The violin itself of a subwoofer!!! What other modern and contemproary instruments does your husband own? Currently, he has the two '87 Matsudas, a 1705 Grancino, and a Jennifer Becker. (Plus a 1903 Hemmig [German] fiddle -- the "if I have to play outdoors in 99.99% humidity" fiddle.) He used to have a third Matsuda but sold it a while back. He's kind of a Chicago boy when it comes to the fiddles.
  21. My husband has two Guarneri model Matsudas that he uses for everything from solo appearances to chamber music to orchestral playing. Of his modern instruments, I'd say the Matsudas are closest in sound quality to his Grancino (the Matsudas are a bit more refined, but the Grancino has more "vavoom!" and more complexity). They're exceptional instruments, definitely worth trying out.
  22. On Bell: If you don't like Bell's playing, you're certainly entitled to your opinion. If you haven't heard him recently, however, I'd recommend hearing him again the next time he's in the area. His playing has evolved quite a bit over the years; he's not the same player he was at 17. He's one of the few players I always make time to hear when he's in town. He's also a tremendously nice, down-to-earth person. On homogenous sound: I just don't hear it. I do think certain stylist details go in and out of popularity, but that doesn't make players indistinguishable. You see similar trends in fine art -- you might have a movement toward impressionism or realism or cubism, but just because artists share certain characteristics doesn't mean you can't distinguish Monet from another impressionist painter. On Miss DeLay: I've heard several people say that DeLay students sound alike. I don't quite hear that either. My husband was in DeLay's studio along with Lin, Salerno-Sonnenberg, and McDuffie, and I don't think any of them sound remotely alike. Besides, few (if any) students studied exclusively with DeLay. She was more of a finishing teacher -- someone you went to after years of study with other teachers. It puzzles me that three or four years in her studio is somehow supposed to negate the influence of all of someone's other teachers. As always, your mileage may vary.
  23. My experience has been that if you actively listen (as opposed to passively hearing someone play), you will find that each violinist has his or her own unique voice. Perhaps I'm in the minority, though.
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