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kreisler13

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  1. I'm wondering if your vast knowledge of bows can either point me to a good bow or help steer me away from one I shouldn't buy. The two I'm looking at, after playing dozens of bows, are these. A really nice playing bow that sounds great with my instrument by Scott Cao - a James Tubbs copy with silver fittings, silver tip, plain frog, and $1500. It's brand new. The other is a circa 1930 Albert Nurnberger that sounds absolutely amazing. I love it. It also has a plain frog, silver fittings, and an ivory tip. It's $2000, but the ivory tip is cracked at the thin part by the end of the hair on both sides. There appear to be very very slight hairline cracks on either side of the tip. When I say slight, I mean really tiny. The right side's hairline crack is almost a continuation of the split from the ivory. The left side's tiny crack is more of a tiny cleave midway up the tip. I'd really love to buy the Nurnburger bow, but how much should the condition of the tip factor into my decision? I know that a cracked tip could be a deal killer, but to what degree of seriousness does the crack have to be before it matters? Conversely, does anyone have any experience with Scott Cao Tubbs copies? Thanks for your help.
  2. Update: I tried a bunch more today. Does anyone know anything about Durrschmidt violins (mid 20th century) and Sebastian Freymadl (late 20th century - current Italian). I thoroughly enjoyed both.
  3. Hi, it's been a very long time since I've posted here but I've got a question for everyone. I'm in the market for a new violin since my current instrument (c. 1900 Czech instrument, I love it) was damaged in a flood. My price range is flexible, anywhere from $2K to $10K. So far, I've played a bunch of instruments that have all sounded different under my ear, and while I've liked some more than others, nothing has grabbed me yet. This leads to my question: 1) Should I hold out until I find something I absolutely love, or will that not happen. 2) What's the difference between how a violin sounds under your ear and how it sounds to someone standing 20 feet, or a concert hall away? I had the opportunity to play a few Scott Cao violins at a wide price range and I didn't really like any of them. They sounded shallow under my ear - resonant and clear, but no depth. I also played a violin from the 1880s with a Storioni label that many people have previously liked, but it sounded incredibly nasal under my ear. I prefer instruments that are resonant and powerful under my ear, mostly because I'm usually the only one hearing myself play (I'm no soloist), but would want a violin that translates acceptably in all forums. So how closely does the sound under your ear mimic what a listener hears? What should be a disqualifier for an instrument and what should I overlook? For reference, the violins I've liked the best so far is a Collin-Mezin from 1900 and a 1792 Voigt, both for the sound and the resonance. Am I listening to the wrong things?
  4. The best now, who is the most famous - Gil Shaham, hands down. I don't think anyone matches his tone, expression, and refinement. Best now, who is not so famous - Leonidas Kavakos - He's got the chutzpah of Vengerov with the sound of Perlman. He's fantastic.
  5. Daisy, I heard Midori play this about three weeks ago with the Pittsburgh Symphony Orch, and she did quite well. It is a gorgeous piece, especially under the baton of Mariss Jansons. I do have a bone to pick with Midori though. She moves around WAY too much, and I don't think she put all she had into the first two movements. But yes you are right, it is gorgeous. (by the way, it was the A minor) Kreisler13
  6. I'm a 19 year old sophomore at Carnegie Mellon University. I've been playing for 16 years, but not majoring in it. I've been away from the board for a bit, it feels good to get back!
  7. It'll be 16 years this January. I wonder if I'll be able to get a violin driver's license then... Kreisler13
  8. I've been here for about 4 years, with the grand old days of the now retired board. I used to post a lot, but now I just read. I find it hard to keep my attention to a single post. Anyhow, I hope this wonderful source of info lasts a long time. Kreisler13
  9. Here's my question. What ever happened to returning something because it was the right thing to do? Granted, the cabbie did this, but who does he think he is, asking for 40K? If I were Harrell, I'd take back the $75 check and rip it up, for being so ungrateful. Respectfully, Kreisler13 [This message has been edited by kreisler13 (edited 05-27-2001).]
  10. Frankly, (and I know I'll catch **** for this), but I don't see the big deal about Heifetz. Sure, I admit he's great technically, but it's nothing that Gil Shaham, or Perlman, or Hillary Hahn, or Frank Peter Zimmerman can't do. I've listened to many many Heifetz recordings, and I find them terribly dry. I'm always wanting something more. His playing is just so incredibly boring. It's even boring to watch his stiff body play through everything. I feel no musical sensitivity from his recordings at all. OH well, just my thoughts. Adieu. Respectfully, Kreisler13
  11. I'm an 18 year old college freshman at Carnegie Mellon University, in Pittsburgh Pa. Right now, I'm really studying hard for finals. I've been playing the violin for 15 years, and I absolutely love it. My dream is to become a symphony orchestra conductor, but as of now, I have no major. I have no clue as what to study. Oh well, I'm enjoying floating in the wind. I'm working on Paganinni's Moto Perpetuo right now, and for all those wondering, I still don't care for Paganinni very much. I admire the pure emotion of Mariss Jansons, the PSO conductor; he is by far the best conductor I've ever seen or heard. On an unmusical note, I'm looking forward to going home for the summer on Saturday! Kreisler13
  12. Frank Peter Zimmerman's performance of the Elgar concerto was the single most perfect violinistic display I've seen in my entire life. Not only was it perfectly in tune, but the sensitivity with which he handled the work was breathtaking. I litereally sat at the edge of my third row seat(good thing for student rush!) with my mouth wide open then entire time. He communicated so clearly to the audience. His sound was so clean as well. His sound was lush when he wanted it to be, and more articulate when he wanted that as well. I definitely think we should include Mr. Zimmerman in our 'favorite violinist' posts. I've seen Perlman, Hahn, Spiviakov, and many other violists, but no one comes even close to Frank Peter Zimmerman. Iupviolinist, you missed the best soloist that the PSO has had this summer. I'm going again tomorrow, just for the Elgar! Respectfully, kreisler13 P.S. In all fairness, he did make a cut in the last movement. Well, I'm not sure if he didn't take a repeat or if he made a cut. It sounded like a cut though. [This message has been edited by kreisler13 (edited 05-05-2001).]
  13. Marty, Were you there tonight?? Please tell me you were. What did you think?? -kreisler13 (Paul)
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