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kapellmeister

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Everything posted by kapellmeister

  1. Ever had a problem with sound adjustments being thrown off, Lymond?
  2. SF- yeah, I thought it might be so...but you never want to presume sarcasm, in case the person is actually serious...boy, have I made mistake in the past doing that! :-D
  3. HS, perhaps I am confused- do you mean to place one of those big ebony practice mutes ON the bridge when putting it in the case? It seems like that would only increase the height, making for MORE contact with the top of the violin case, and with that, more pressure on the bridge/violin top. I'm probably misreading something somewhere...could you clarify what you meant? Thanks!
  4. Skiingfiddler, thanks for your response. I'm hunting for a Superleggero, but they seemed to have all disappeared! Anyway, I'm glad to know that that strip of padding does not reach the bridge. Knowing that, when I look at the picture, that extra two inches (or so) of padding that extends beyond the big square pad seem pointless now. I originally thought it might be there to serve as padding for the bridge, but since I now know that it doesn't, it seems like a rather odd detail. Oh well...maybe the padding on the other Musafia cases is squishy enough to avoid any real problems with the bridge. Anybody know anything about the other Musafia dart-shaped cases? I posted this topic in the Fingerboard Forum as well (sorry for double posting, admins- just wanted to get some opinions from the player-side, as well as the luthier-side). It seems like most people aren't TOO concerned, although I have to agree with one of the poster's concerns about the padding affecting sound-adjustments. Just watching the minute bridge adjustments that my luthier performs makes me antsy about breathing on the bridge, much less pressing it with a violin case top, padded or not. Well, I suppose any good knock on the case is enough to knock the bridge out of that oh-so-perfect alignment, too. Thanks for all the replies...and for any future ones!
  5. Skiingfiddler, if I may ask, where and when did you get your Musafia Superleggeros cases? Also, does your case look like this: http://www.musafia.com/S2012RbeigeB.jpg ? I notice that there is a piece of padding extending a few inches beyond the big square pad that touches the chinrest and hold the violin in place. I'm wondering if this piece of padding is not in your two cases, or if they are, if they just don't extend far enough to reach the bridge. From the picture, it seems like it would, but maybe not so...
  6. Having looked at many Musafia cases recently, I can't help but notice that every (used) case that I have seen always has a "bridge line" on the top padding, where the bridge has rubbed against the top half of the case. Now, from what I understand about "suspension" cases (the Musafia cases included), the point of the "suspension system" is to avoid impact directly on the back of the violin, if the bottom of the case is hit. The suspension system has padding (roughly) around the upper block and lower block of the violin, in an effort to keep the majority of violin back "suspended" above the actual case back. Getting to the million-dollar question: These suspension systems are designed to have the major contact points be around what I consider to be the "strong" parts of the violin. Now, suppose the violin case back is struck- theoretically, the suspension padding will transmit almost all of the impact to the two blocks and the areas where the padding touches the back of the violin. However, since the crucial, delicate areas (eg. the soundpost area) are not directly touching the back of the case, the impact should not be felt greatly in these areas (once again, theoretically-speaking). Now, since I have always noticed these "bridge lines" on the padding on the top half of the case (to be specific, the strip of padding that runs length-wise over the violin and carries the brass Musafia label), I assume that means that the top of the case directly touches the bridge. Quite firmly, too, if the bridge rubs hard enough through the blanket to create the "bridge line" impression on the padding. The million dollar question: The bridge, and where it touches on the violin top, are obviously very delicate parts of the violin. Now, since the bridge touches the top of the case, if the top of the case is struck, won't the bridge (and therefore, the soundpost/bass bar areas of the violn top) absorb the impact directly? I have been told that it is good to have the padding around the bridge, in order to protect it. But, given how the suspension system works to protect the back, it seems rather counterintuitive to have the top of the case be DIRECTLY touching the bridge for protection purposes. Am I being paranoid? Fellow violinists, have you ever had a problem with your bridges/soundposts area/etc being damaged in Musafia cases?
  7. Having looked at many Musafia cases recently, I can't help but notice that every (used) case that I have seen always has a "bridge line" on the top padding, where the bridge has rubbed against the top half of the case. Now, from what I understand about "suspension" cases (the Musafia cases included), the point of the "suspension system" is to avoid impact directly on the back of the violin, if the bottom of the case is hit. The suspension system has padding (roughly) around the upper block and lower block of the violin, in an effort to keep the majority of violin back "suspended" above the actual case back. Getting to the million-dollar question: These suspension systems are designed to have the major contact points be around what I consider to be the "strong" parts of the violin. Now, suppose the violin case back is struck- theoretically, the suspension padding will transmit almost all of the impact to the two blocks and the areas where the padding touches the back of the violin. However, since the crucial, delicate areas (eg. the soundpost area) are not directly touching the back of the case, the impact should not be felt greatly in these areas (once again, theoretically-speaking). Now, since I have always noticed these "bridge lines" on the padding on the top half of the case (to be specific, the strip of padding that runs length-wise over the violin and carries the brass Musafia label), I assume that means that the top of the case directly touches the bridge. Quite firmly, too, if the bridge rubs hard enough through the blanket to create the "bridge line" impression on the padding. The million dollar question: The bridge, and where it touches on the violin top, are obviously very delicate parts of the violin. Now, since the bridge touches the top of the case, if the top of the case is struck, won't the bridge (and therefore, the soundpost/bass bar areas of the violn top) absorb the impact directly? I have been told that it is good to have the padding around the bridge, in order to protect it. But, given how the suspension system works to protect the back, it seems rather counterintuitive to have the top of the case be DIRECTLY touching the bridge for protection purposes. Am I being paranoid? Luthiers, is the bridge touching the top of the case a big concern for Musafia cases?
  8. Anybody out there study with (or have any experiences with) this teacher/violin soloist? I know he's a pretty big thing at New England Conservatory, and I'm thinking about studying him this summer or next year. I'm hoping that somebody on this board will be able to offer a few comments or general advice about him-particularly about his nature as a teacher. Thanks-KM
  9. Just wondering-anybody out there have any experience with this string? Does it actually prevent whistling? Or is it a cop-out answer for poor bow control ? Please post if you've tried it out/know anything about it. Thanks- KM
  10. Pablo Casals made some lovely noises on his own recordings, actually. I've heard his Schumann where he basically moans in the introduction...must have been quite exciting for him.
  11. With regards to deStaunton's comments: Yes, a violin by Michael Darnton, or any priced violin, for that matter, could be adequate for a professional. However, I tend to agree with Roman on his statement that a "professional violin is more than 10K". Perhaps a better way to phrase this, would be to say that a great number of professionals play instruments greater than 10K. I'm not bashing modern violins, or violins under 10K, by no means, but I think it wouldn't be a stretch to say that the majority of professionals play >10K violins. With regards to Maxtheviolinist's original dilemma: I would recommend recording yourself playing, and listening afterwards. Perhaps what you would consider "airy" or even "scratchy" is a better tone than you though, at a distance. Or, you could find out by listening what aspect really suffers, be it scratchy bow changes, or just over-pressure, in general. My 2 cents! Thanks- KM
  12. I believe that the ex-Kubelik Strad was never owned by Stern...someone correct me if I am wrong, please! At least, the Kubelik Strad presented by Tarisio is not part of Stern's estate. It is being sold on behalf of "a North American university", to quote Tarisio's website. To my best knowledge, Stern was one of those "Guarneri" soloists...hence his Zyg copies of the Vicomte de Panette and Ysaye, both of which he owned (and presently are being presented by Tarisio). My two cents! Thanks- KM
  13. A couple ideas: for the fingers, have him play with a octagonal pencil. He should practice just holding it with the tips of his fingers (fingers fully extended), and then lifting it up vertically, bending the knuckles and finger joints only, without moving his wrist. It's hard to explain well, but if you would like further clarification, I can try to explain it better. On the subject of listening, perhaps you should ask him to record himself while practicing, and listen later. I know that it's not the same as listening while playing, but it's a start on the right path. My 2 cents, thanks! - KM
  14. The fifth section of the Lalo may be more difficult technically than the Mendelssohn, but I personally think the Mendelssohn is harder in general. Certainly musically, but also technically speaking. It's harder to play the Mendelssohn cleanly than many people believe. My suggestion is the Conus concerto, or maybe Wieniawski 2. Wieniawski 2 might be a stretch, but it's definitely a romantic concerto, and it has many plusses. My 2 cents! Thanks- KM
  15. Just wondering...How did the Storioni and Gagliano sound? -KM
  16. While I am not a huge fan of the Kabalevsky, I think it's definitely another one of those "standard" concerti that every student should play at some point. I personally want to know more about keithloke's level before I make a strong statement. However, with what I conclude (perhaps wrongly) from the fact that keithloke is playing the Kabalevsky, I would say that the Elgar and Mendelssohn are pretty big steps. I hear so many students play the Mendelssohn poorly, and while I don't want to imply that keithloke would play the Mendelsohn poorly, I want to warn him that the music is much harder than it looks, both technically and musically. I also agree with whoever it was that said that there isn't much middle ground between the Bruch and the Kabalevsky. What I would recommend is the following: keithloke, if you are so intent upon playing the elgar, maybe you should ask your teacher what etudes you should master before tackling such a piece. For instance, if the piece was Sarasate's Carmen Fantasy, I would recommend that a student be able to play the Carl Flesch thirds/sixths/octaves with ease, and have some (if not double stop etudes from Kreutzer, Fiorillo, Dont, Gavinies, Ecole Moderne, under his/her belt. Basically, perhaps you can ask your teacher for the "prerequisites" for the Elgar. Only my 2 cents...Thanks! -KM
  17. Alas! My virgin ears (well, I guess my eyes actually)! What happened to the "family" rating around here? -KM
  18. One can only imagine Isaac Stern's mortified face when he sees me pick up his Tourte and Vuillaume to play some "Bazzini" . In all reality, about the arm vibrato- I find it beneficial often to practice the follow exercise: Play a sustained note for as long as possible in one bow, and begin with a slower arm vibrato. In other words, pick say C or whatever finger you want in first positon, and make sure you can play a comfortable forte note for as long as pratical in one bow. While playing this note, vibrate the C slowly. And then, when you get to, say, the 1/3 point of the bow, do a quick "pulse" of intense, faster vibrato. Repeat this process when you get to the 2/3 point of the bow. Basically, the point is to maintain a slow arm vibrato, and then have two times when you do a fast, more precise, and intense vibrato. Those two times should each last for about one second so. As you are more comfortable, you can do more "pulses" per bow, say, like three or maybe more. The point is that you constantly have a vibrato going, but are not tight trying to always play a fast vibrato. You can isolate that fast vibrato into shorter instances, and then when you get more comfortable, the fast arm vibrato should develop nicely. My two cents! Thanks!- KM
  19. I've been to a couple previous Tarisio showings, and from what I've heard, rumor or not, all the violins that are in playable condition are supposed to have gone through an inspection and possible re-setup from a luthier under Reuning. Perhaps that wasn't true for this showing, but then again, it IS the first of only two showings, right? My two cents...Thanks- KM
  20. Just wondering about HKV's pinned Sartory..to those with repaired bows- do you think you get that "organic liveliness" (HKV's words) out of a repaired bow? I've played some very nice examles while searching for a new bow (Tourtes, Maire, Maline, Eury, Sartory, Simon, Persois, Fetique etc.), and although they still performed quite nicely, the repaired ones among those "big-name" makers never quite had the same level of response or performance as a "cheaper", yet intact, old French, German, or English bow (Hill, Nurnburger, Bazin, Vigneron,Dodd, Ouchard etc.). It was quite an opportunity to play all those fine bows...although I wouldn't trust myself with one of them on a long term basis, it's great to experience playing a true masterpiece. Thanks! -KM
  21. "Yes again. A violinist should never sacrifice tone for any reason. Why bother to play at all if you don't care enough to undergo a little discomfort to sound good? " Ouch...I personally find that a little extreme, One Tree Hill. There should NEVER be any discomfort when playing the violin correctly. Note the world "correctly". That I stand by fully, and am willing to debate with anybody. I don't think anybody should trade comfort for tone. Of course, there's a certain amount of common sense necessary when accompanying this caveat, but what I mean is that if you have discomfort without a shoulder rest, don't do it just because your tone is better. If you have pain, your pain will only increase, and your tone will only suffer, negating the possible tonal benefits sans-shoulder rest. If your tone isn't as great with a shoulder rest, you can always learn to improve your tone with practice. Whereas if you have pain, you might not even be able to play the violin at all in the future, considering the potential neck/back muscle problems. Thanks! -KM
  22. Although I personally think Kogan was an excellent player, I found him to be rather stoic in a few performances. One particular performance, off the top of my head, is his clip in the PBS special..."Art of the Violin", or whatever the title is. Regardless, he is definitely a master...I'm just wondering if anybody shares this viewpoint with me. Thanks! -KM
  23. Regarding Xania's post- I disagree about taking off the pinkie and third finger. Actually, let me modify that; taking off the pinkie can be okay, but taking off both fingers is a bit too extreme for my taste. The pinkie serves as "counter-balance", I personally think, and this allows for the proper "lightness" that is necessary for sautille. However, some people are able to maintain that perfect balance without the pinkie (eg. Ysaye), but with the third finger on. I think it's safe to say that most people would hesistate to take off the third finger. The third finger provides (along with the middle finger) the proper counter-force to the thumb, and without it, you risk getting into almost a sloppy ricochet-like stroke, instead of a clean sautille. My two cents...Thanks! -KM
  24. I'm not saying that I particularly agree with piano_stud, yet I can see some merit in what he says. For those who don't (e.g. grendel, carlo_jsb), would you mind explaining your reasons why you disagree, instead of commenting on piano-stud's intelligence? Thanks! -KM
  25. "Hello, you have reached the telemarketers answering service. Please leave your sales pitch at the sound of the dial tone. <Click>." -old classic...although I must say that I feel bad for those poor guys who actually have to make the calls . -KM
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