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Everything posted by kreisler13

  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)
  14. I owe my whole violin upbringing to Itzhak Perlman. It was after I saw him on Sesame Street when I was three years old that I started to bug my mother for lessons. After consistent nagging, she saw that I was quite determined for a three year old, and she started me. I've been playing ever since, and I've always looked up to Itzhak Perlman. Admittedly, I've heard him on off days, but his playing always evokes emotion. He expresses himself so clearly through his instrument. He communicates to the audience exactly what he is feeling as he plays. Last summer, I heard him play the Tchaikovsky with the Philadelphia Orchestra. It was absolutely incredible, despite one or two slip-ups. The passion and excitement with which he played made his minor errors un-noticable. To say that Itzhak Perlman has done nothing for music is a gross misstatement. His work with young musicians, and musicians of Israel has been most generous. He is always willing to support a musical endeavour. Commissioning pieces shouldn't be the mark of musicians contribution to the art, especially now, because of the lack of depth to most modern music. A lot of it really is crap. Kreisler13 [This message has been edited by kreisler13 (edited 04-30-2001).] [This message has been edited by kreisler13 (edited 04-30-2001).]
  15. I also believed that it was the Elgar concerto. Which, by the way, I'll hear performed by Frank Peter Zimmerman and the Pittsburgh Symphony Orchestra in two weeks! Kreisler13
  16. In playing the Sibelius too fast and too hard, doesn't Heifetiz inherently stray from the score? There is a natural pulse in every composition that the composer writes. It is not explicity noted, but it is felt. It's almost as if every piece written has it's own heartbeat. For sure, one playing Moto Perpetuo would not play all those notes the exact same way. Despite it's speed, the piece has a very definite pulse. I think that defying this pulse, and playing things too fast and too hard (as Heifetz does MOST of the time) is not being faithful to the score at all. I would personally like to hear Hillary Hahn play the Sibelius. She seems to be very in touch with the inner flow of violin works. Regards, kreisler13 [This message has been edited by kreisler13 (edited 04-03-2001).]
  17. My favorite performance of the Sibelius concerto would have to be by Lelia Josefowicz. She plays with an extremely appropriate solemness, but she still has an inner excitement in the performmance. Her tone is rich and she's wonderfully in tune. It's definitely a youthful, yet mature performance. Kreisler13
  18. Iupviolin, I unfortunately have not played any of the caprices. My skills are nowhere near the level thats needed to attempt them. However I am working on moto perpetuo by Paganinni right now. I really do enjoy solo Bach, even though I've never studied it formally. My teacher right now is pretty much starting me over from scratch, with left and right hand posture. It seems to be benficial, my fingers are faster and I'm getting a much better sound. It's a lot easier to play. See you later. Kreisler13
  19. Iupviolinist, If you went to the Friday night performance, then you most certainly did see me there. I thought the pianist was absolutely wonderful. He had great technique and brilliance. However I thought something was lacking with the orchestral accomp, but it could have been because of my seat. The Sibelius was truly amazing. I was completely blown away by it. That performance was just another example of Janson's genius. What did you think? I'll see you at the next one! Kreisler13
  20. Iupviolin, you are indeed correct in your guess. I had a feeling you weren't Ty when you said you were in a metal band. I remember you talking about it in the summer. Are you going back? Vieuxtemps, I'm actually not a violin major at CMU. I'm an economics major, and hopefully a violin minor. I think even if I was a vioin major, I wouldn't have Mr. Cardenes. He usually teaches graduates. However, I have had the pleasure of meeting him, and he is an extraordinairily nice guy. I often hear him play as concertmaster with the PSO, and he's an incredible player. Later, Kreisler13 [This message has been edited by kreisler13 (edited 04-03-2001).]
  21. iupviolin, Ok, i think I've got you narrowed down to two people. Did you, or have you ever participated in Encore/PAI? The Jung-Hwa post totally gave it away. This will be very interesting. Kreisler13
  22. I have a recording of Itzhak Perlman playing it. It is just magnificent. The Elgar is among my favorite concertos for the instrument. Kreisler13
  23. Hello all, Not to bring back old topics or anything, but I still miss the old Maestronet. I mean the old one, the pre millenial Maestronet. It was so much easier to post, and to grasp 'mini-threads.' I personally found it to be much more informative. This one is good, I just miss the old one. Kreisler13
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