Violadamore

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About Violadamore

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    Spiv Siren, Attractive Nuisance, Rubbish Dealer & Violinista

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  • Gender
    Female
  • Location
    In a double-wide castle with gators in the moat
  • Interests
    Luthiery, fine woodworking, music, weaving, photography, astronomy. history, geosciences, intelligent discussion, iaijutsu and kenjutsu, nihonto (authentic Japanese swords)

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  1. Rossini was brilliant! He came up with this theme music, even before radio.
  2. Ummm.......sorry, Phillip, not the POV I was speaking from. Thank you for your view from the pit.
  3. A Roger Hargrave GDG pattern violin.
  4. Why, of course not! Just because it's bracketed by Mozart and Rossini, followed by a string of Verdi............but probably more from realism than sarcasm.
  5. The Met radio program is regurgitating a 2011 recording of Philip Glass’s Satyagraha on January 2nd. I wonder if they figure everyone will be too hung over to care. I'm planning to be busy with something else that Saturday afternoon.
  6. Haydn is getting performed and recorded a lot, and more to the point, broadcast. He also became vastly respected in his own day, and is interesting as one of the pioneers of composing becoming a "shingle-hanging" profession, rather than a trade. He also, of course, conducted, which brings us back full circle. When we see a performance like the OP, wouldn't it follow that the orchestra's music director (and therefore the Board, which holds the purse strings), must have been hip deep in facilitating it?
  7. A perhaps extreme example of attention to conveying the composer's intentions is found in Andre Previn's memoir, No Minor Chords: Shortly afterwards I formed a trio, together with violinist Israel Baler and cellist Edgar Lustgarten. We called ourselves the Pacific Art Trio and played concerts up and down the West Coast, for anybody who wanted us. We were all involved in film studio work, and this endeavour was a sort of life raft for the three of us. It was far from unusual for us to work throughout the day on a Tom and Jerry cartoon and then meet after supper to prepare the Ravel Trio. One time we were planning a performance of the Shostakovich Trio, fairly new at the time. We had the typical chamber music discussion (otherwise know as a screaming argument) about the tempo of the first movement. The printed metronome markings in the score seemed arbitrary to us, and none of us believed them. I had an idea. "Let's call Shostakovich," I offered. My two colleagues laughed. "Where?" asked Eddie. "Do you happen to have his phone number?" A few more scathing remarks back and forth, and I got on the phone in Eddie's split-level Van Nuys living room and asked for Moscow Information. It took endless time and some surreal dialogue, but I was finally put through to an English-speaking member of the League of Composers in Russia. I explained who we were and what our problem was, and by God, we were given an appointed time twenty-four hours later to put through the call, at which time an interpreter would be on an extension. So there I was the next day, with a flushed face, inquiring about metronome markings and being answered by Shostakovich, by way of an interpreter. My conversation to Moscow went something like this: "At seventeen after A, does a quarter equal 132?" Answer: "No no, that's wrong, read eighth not quarter, and eleven later, just before B, it should change to half equals 60." My two trio companions were listening to all this and excitedly taking notes, when suddenly Iz Baker began to laugh uncontrollably. I waved at him in a fury, but he finally had to leave the room. When my monumental phone call came to an end, I asked him, in icy tones, just what he found so amusing. "Think about it," he gasped. "The whole town is seething with the activities of the House Un-American Activities Committee , everybody's afraid to give any kind of opinion, obviously a phone call to Moscow is monitored by the FBI or somebody, and they will almost certainly think you were talking some kind of code." I had happy visions of Senator McCarthy being given the new metronome markings of the Shostakovich Trio and trying to manufacture a sinister plot to overthrow Van Nuys out of it, but at the time nothing official ensued.
  8. [Whacks @JoeDeF over the head with a pound sack of 315 gws Bjorn High Clarity,] One thing that you're going to definitely have to get handy with is working with hot hide glue. http://www.frets.com/FretsPages/Luthier/Data/Materials/hideglue.html
  9. OK, quickly confirmed with photos, thanks much.
  10. I'd always wanted one of these..........until I read this thread and watched the video. Thanks for a wonderful, informative thread, Jacob.
  11. One point not yet raised here, I have noticed that when the plate locating pins are being used functionally by a maker, they are of some wood resembling that of the rest of the violin. When they are ebony, it seems to be purely for appearance. Did any school or influential maker ever actually use ebony pins functionally?
  12. That's why they labored to put all those funny little symbols and numbers (like telling me which finger to use) in the score, right? Glad to know that I can now ignore all that crap.
  13. Actually, some have. Having the music up for reference isn't a big issue to me. Nobody attacks pianists for it. The unwritten requirement for violin soloists to perform entirely from memory impresses me as being one of the "paying to see a circus act" aspects of the violin business. When you eventually buy the CD, for all you know, they were playing off a Teleprompter............
  14. IMHO, part of what's she's doing (especially visually) isn't unique, or unknown in classical, you just don't see most "A-List" performers do such things during an orchestral concert solo gig. Consider Hilary Hahn and the hula hoop, or Nicola Benedetti's Greene Space appearances.