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Kat Dunham

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About Kat Dunham

  • Rank
    Member
  • Birthday May 23

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  • Gender
    Female
  • Location
    Ann Arbor, MI USA
  1. When I was a freshman at the Cleveland Institute of Music, many years ago, Szymon Goldberg came and played for the students, among other things he played the Schoenberg Phantasie for violin and piano. It was an amazing performance, exquisitely beautiful and moving.
  2. T2 seems only to attest to the viola being labeled Margaret Shipman, maybe it's not by her.
  3. Augustin Hadelich, Alina Ibragimova, Janine Jansen, and, though she's not so well known, Bella Hristova
  4. In my experience dealers are only too happy to put instruments or bows into the hands of players, whether they are seriously looking or not, and indeed I am the owner today of a nice Nürnberger bow that was presented to me in that way. Playing on equipment better that what one owns can awaken an interest in upgrading, I think dealers know this.
  5. I wouldn't recommend this to anyone else, but in my last two purchases, a bow and a violin, I threw caution to the wind and didn't set out to something that was exactly what I wanted or thought was what I wanted, but bought (for very reasonable prices) things that were not currently playable, in need of restoration, but which I had excellent reason to believe were very fine. I've played and taught professionally since I left conservatory (40 years ago) and I was confident that given a first-rate instrument and bow I could figure out how to play them to best advantage and learn some things in the process. And so it has proved, it took time for me to learn the ways of both the bow and the violin, but it's been great fun and very educational and I like them each very much. The bow was an antique, but my bowmaker vouched for its authenticity and restorability and the violin was by a well known living maker, aside from a soundpost crack it was in very good condition when I bought it, and even considering the cost of the repair I paid much less for it than I would have had to do if I'd bought it in the usual way.
  6. Jacob Saunders has commented on the use of these pins in 18th century instruments... they keep the A string from rubbing on the E peg (or for that matter, the D peg). I've wished for one on at least one fiddle I've owned.
  7. I get a quite reasonable approximation of the acoustic sound of my 5-string viola by using the Headway Band... which is a piezo pickup that is in contact with the top of the instrument rather than the bridge. Since it's a pickup, there aren't issues with feedback.
  8. Years ago I broke a G-string on my viola and borrowed a used one from a violinist colleague.... the silk winding extended a little beyond the nut, but it worked fine and I used it for many weeks before getting a new string.
  9. No great amount of pressure on the fingerboard is needed.... pressing down hard will only make your difficulties worse. I have had several adult students with similar issues. Careful work over time can increase the flexibility in the left wrist and forearm so that you'll be able to play more easily. Patience is key though.
  10. This is the composer I met in the early 90's... looking at the Wikipedia article, at least the one in German, it notes that he published two collections of etudes for viola.
  11. I'm astonished someone knows about Alfred Uhl... my quartet in Vienna played his "Jubiläumsquartett" in 1990 or 1991, working with him was interesting. What did he write that you'd take with you?
  12. does the hole behind the pegbox suggest that it was played da Spalla?
  13. Second beat up bow. It took some getting used to... i had basically only ever heard it with the second beat stronger than the first.
  14. I think she's a great violinist. I was basically just responding to Connie's comment on the upbow start....
  15. In the orchestral parts the first quarter note of the first theme is marked forte and the second quarter is marked piano. There are no specific dynamics to that effect in the solo entrance, but there's no reason to suspect that Mozart wanted something different there. Leopold Mozart devotes an entire, very pedantic, chapter to avoiding accents on weak beats. I think the upbow beginning defeats Mozart's intent, I used to play it that way, but changed my mind.