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Lydia Leong

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Everything posted by Lydia Leong

  1. Berger1867, Where are you getting the information that theme from E.T. came from Dvorak's "Dumky" Trio? (Parts of the score do bear certain resemblances to Howard Hanson's 2nd Symphony, but I believe E.T. is all-original work.)
  2. Can anyone cite an instance of the sound of an instrument (whether cheap or expensive) improving *dramatically* in sound quality after being "played in"? My general impression is that the tone of the instrument is the tone of the instrument, and as it "plays in", the tone can open up somewhat and it'll sound better -- but not spectacularly better.
  3. Nice to see you back online, Acacio. You should update your profile.
  4. Also note that the entries in Maestronet's price database don't always say if the item is "by", "attributed to", "labelled as", etc. A genuine X is obviously likely to be worth a lot more than some random instrument with the label of X. Same thing goes for condition, which also affects the price.
  5. That's wonderful, Pety. Care to share some stories/experiences/comments on what makes these particular two teachers great?
  6. I used to use a chinrest that was exclusively on the left side of the violin. I recently switched to one that goes slightly over the tailpiece, and I'm finding this more comfortable. It's not really changing the way that I hold the instrument, but my jaw is broad and a wider chinrest turns out to be more comfortable.
  7. By the way. Of those of you who complain that you don't like music composed post-1900... How much modern music have you actually LISTENED to? (And listened to more than once, since as the complexity of music increases, so too does the effort needed to decode it.) There's an enormous wealth of music that's been composed in the last century, much of it extremely accessible: composers like Gershwin, Barber, Copland, Elgar, Britten, Walton, Prokofiev, Shostakovich, Khachaturian... Korngold, Rozsa, Rota, Waxman... and many, many more, including plenty of contemporary film composers, like John Williams, Michael Kamen, Basil Poledouris, and Jerry Goldsmith.
  8. Sorry, of the List C composers I'm only really familiar with Stravinsky and Debussy, and peripherally familiar with Lutoslawski. But the former, and quite likely the latter, have more than earned their place among the Great Composers... as have a large number of other "modern" composers, such as Copland, Prokofiev, Shostakovich, etc. (Along the lines of my comments in the thread about individually-addressed posts: I suspect it's thread commentary like that which appears in this thread, that discourages the more musically-knowledgeable folks who read the Fingerboard from posting.)
  9. The comfortable position is going to depend on the size of your hands. This is one of those areas where it's helpful to have a teacher look at what you're doing. With my small hands, the thumb contact point in third position is a little further down the thumb than it is in the first position, but still near the top of the thumb.
  10. K545, I have never seen Repin play, and I've only heard a minimal amount of him on record, so I can't comment on it. However, I don't think you can deny that both Vengerov and Markov (and Barachovsky as well, I believe, from what I've read) are very aggressive players. Vengerov has broken bows -- that's no small amount of force he's using. The number of bow hairs he breaks in performance is testament to this, as well. When I mentioned Soviet-trained violinists, I was speaking of more than just the famous soloists. This has been my observation of many (but not all) of the Soviet-trained violinists I've met in the past, including a group of students from Soviet conservatories that I encountered in a youth orchestra exchange program. I have nothing against Vengerov, by the way; he's among my favorite young players.
  11. I don't normally let individually-addressed subject lines prevent me from posting in a thread, though I'll normally avoid doing so until the person to whom the question was addressed has posted. However, I agree: If you want an answer from an individual, use email. (Most of the members who tend to get individual questions have email addresses in their profile. HKV doesn't, but he's posted his email address in the past and it can be found with a search through the archives.) As for sm's comment: Unless experts comment, including contradicting bad or debatable advice, the quality of discussion will not improve. The ignorant will not realize that advice is dubious unless they are told that it is, and the purveyors of such advice thus gain credibility, unchallenged. Furthermore, in the absence of true expert commentary, amateurs like myself leap into the fray with best-effort assistance. [This message has been edited by Lydia Leong (edited 11-11-2000).]
  12. Another, probably more familiar example: The "Lone Ranger" theme from Rossini's Overture to William Tell. ta-ta TA ta-ta TA ta-ta ta-ta-ta (two sixteenths plus an eight pattern; the sixteenth notes are dropped)
  13. That's "Dominants", not "Dominates", Yankee Fiddler.
  14. I personally find Perlman's tone to be gorgeous.
  15. There's no rule in the universe that says you have to use an etude for the same purpose that the composer intended it for. Certain etudes, particularly with some slight variations, are enormously useful for practicing things that aren't the "main" purpose of the etude.
  16. Go to a couple of shops and try as many instruments as you can. Don't worry about "brand".
  17. Vengerov, Markov, and the other students of Zakhar Bron -- and indeed, a lot of Soviet-trained violinists post-Oistrakh -- have an extraordinarily aggressive playing style that sets them apart from their contemporaries. HKV has postulated in another thread that this comes from a childhood spent trying to force sound out of inferior student instruments, which might very well be true. A recent article in Strings (or was it the Strad?) has a Vengerov quote that implies that because of his recent attempts to play Baroque music using a period set-up, he's acquired more refined control of his bow arm, so clearly Vengerov sees some of this as a deficiency. Are the other modern players significantly more aggressive than their counterparts from earlier in the last century? I'm not convinced of this.
  18. My experience is the opposite of yours: I've found Obligatos to be vastly more powerful than the Dominants, on several instruments.
  19. What's wrong with your current violin, crystal? I thought you liked it a great deal.
  20. There are definitely crooked teachers out there, though. As a kid, I was cheated by one into paying twice what a violin was worth. I didn't buy it through a dealer -- my teacher had a "friend" selling it, claimed it was a very good deal, and pressured my parents into buying it, even though I didn't like it very much. The check was written to her, and to my knowledge, she pocketed the difference between the violin's actual worth and what we paid for it. It took some time to learn this -- eventually my parents got suspicious, and we took it to a dealer for an appraisal. On the other hand, dealers have to deal with you and everyone you know in the area for the next couple of decades. They've got a lot more to lose if they cheat you. On student instruments, I would think that the margins in the business would be sufficiently thin that a kickback would simply not be economically feasible.
  21. Is there tension in your shoulders when you play? Are you standing up straight but not too stiffly? Is your music stand positioned at a comfortable height? Do you also experience this when you sit to play, such as in orchestra rehearsals or when playing chamber music?
  22. Click on the Search link. Enter your username into the appropriate box. Do the search. It'll show you all the threads you've posted in. (One thing the UBB software really needs is a better date-based search, so you can pull up, say, everything you posted between Feb and April 2000, for instance.)
  23. I echo Andy and Toscha. If something falls apart slightly in a lesson, this is readily attributable to possible slight nervousness over having one "chance" to "get it right" in your lesson -- though it still means that you don't have it "down" enough to get it consistently right. If something falls apart totally in a lesson, but is completely fine at home, there's a problem. Do YOU hear it fall apart in your lesson, or does your TEACHER tell you it's bad? Are you listening as critically at home as you do during your lessons? Other things: Are you used to a lengthy warmup before playing, when you're at home? This could significantly affect how you play at your lessons. Are the acoustics in your practice room particularly good or bad (and are they significantly different from the place where you have your lessons)? Is there something particularly different about the environments -- is one room a lot warmer/colder, for instance?
  24. Which you find hardest will depend on your technical strengths and weaknesses. They all exercise different techniques. (I haven't played the Ernst polyphonic etudes, so I can't comment on those.)
  25. I would wager that wonderer's level of technique is not yet up to performing either of the Paganini works you suggested, HKV.
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