gypsyfiddler

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About gypsyfiddler

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  1. Kavakos took the silver in the Indeanapolis competition in '85. He was the youngest player, only 18, but was an astounding talent. He played the most hair-raising Ysaye sonata (#5 I think) I've ever heard.
  2. When the beans are evenly dispersed throughout the pad, it's about 1/2 of an inch thick, but when hung over the shoulder, it's about an inch. That's what makes this product great - it's malleability.
  3. It's made of suede, which has excellent 'gripping' abilities. The directions say that you can even pin it to your shirt to hold it in place. The one that I have measures about 7 or 8 inches long, by 3 or 4 inches wide. It sits comfortably on the shoulder and supports the violin beautifully. In fact I'd go so far as to say that it's by far one of the most comfortable shoulder pads I've ever used. Just don't bend over to stir the chili.
  4. I don't want to beat this thread to death but felt that I had to make a pitch for Shar's new 'Shoulder Pets' which is essentially a small bean-bag that lays on the shoulder. I got mine this morning and it works GREAT, even better than my Kun. If anyone wants to give this a try check out this link, unfortunately there's no picture or description of it. I found out about these pads in their new catalog, which I got 2 weeks ago. http://www.sharmusic.com/store1/ Apparantly this link won't take you directly to the page so you'll have to type in 'shoulder pet' in the search box.
  5. Some other brilliant musicians who died young include, Josef Hassid (at age 24), and Ginette Nevue (at age 30).
  6. Good idea GBP! I just hope this doesn't vanish like a mirage in the desert, or to modify what the Cowardly Lion said in 'The Wizard Of Oz', "I hope my luck holds out'.
  7. Our observations are almost identical Ray. Since I've started practicing this way I have far greater surety in fingering and shifting, not to mention a greater sense of freedom, stregnth, and flexibility. As a test I practiced the arpeggios from the opening theme of Ziguenerweisen, and sure enough I could almost zip up the fingerboard without too much of a problem, something I was unable to do before. I'm literally amazed at the difference. Once you find the right positioning of the shoulder and arm, it's just a matter of retraining yourself. Sometimes though, after I've been playing for awhile, my old habits creep back, at which time I stop, reposition myself, and start again. Since this is still new to me, I know it will take some time for me to feel completely comfortable with this new way of playing.
  8. The best of luck on your audition Carlo. Knock em dead!
  9. Ahh, a fellow giraffe. And I thought I was the only one. BREAKING NEWS: About 3 days ago after reading this thread, I took the Nestea plunge. I decided to give this business another try. The results? Through much shoulder/arm manipulation I've finally managed to feel rather comfortable playing without the need for a rest. However, I DO use a folded piece of cloth (in this case a hand towel) on my shoulder which gives me much greater support. I can play in this manner fairly long without feeling tired or sore. Perhaps it may be too early to tell, but unless it's my imagination, there HAS been an improvement in my sound, as well as surety of fingering. And dagnabbit, I can shift up into the higher positions without much trouble, something that was extremely difficult for me to do previously. As you can imagine, I'm excited by the prospects. Let's just hope I can speak with such enthusiasm 3 months from now.
  10. Your point is well taken Michael, it is sad indeed that this amazing artist is all but forgotten, except by a handful of aficionados. I'm glad to see another page devoted to this man. There can never be too many Michael Rabin webpages. From the moment I first heard Rabin as a teen of 16, he's been a major source of inspiration. His tone and technique never cease to send shivers down my spine. Though I know I'll never play anywhere near the level of his genius, he has done something perhaps just as important: given me something to aspire, or to be more honest - perspire - to. To this day he remains my favorite violinist of all time - bar none. Violinerrrz has pretty much summed up what you can find on the internet regarding Rabin, so there's not much I can add to what he's already said. There may be one or two people here who may be of help to you, such as Stephen Redrobe, who is a regular contributor on this BB. BTW, welcome to Maestronet!
  11. That sounds good in theory Pag, but what do you say to a giraffe?
  12. In reply to: I give up this dumb argument...people are too touchy... Yeah, my cat noticed too. BTW, with my long neck I definitely use a shoulder rest. I've tried playing without one several times over the years, but ultimately come back to it as shifting up into the higher positions becomes a major problem. Why couldn't I have been born with a neck like Mike Tyson?
  13. I know how you feel. If I had my way I'd buy just DVD's too, but unfortunately I don't think 'Interpretations' comes in DVD format yet, which makes me wonder how long we're going to have to wait before it finally IS made into a DVD. There might be some software you can buy that will allow you to transfer stuff from VHS to DVD. I get stuff in my mailbox all the time advertising this kind of thing.
  14. It's interesting to note that Henry Roth compared Kogan's technique (and tone?) to that of Rabin's, saying that his best recordings were made during the earlier part of his career (also like Rabin). Speaking very highly of Kogan, Roth mentions an incident where Kogan was backstage after a concert demonstrating violin technique to the orchestra violinists that left them all shaking their heads in disbelief.
  15. What a coincidence, I just ordered the video 'Leonid Kogan: Interpretations' from www.kultur.com I saw this video almost 10 years ago and was blown away by this guy's technique. It's ashamed he died prematurely.