Andrew Hall

  • Content Count

  • Joined

  • Last visited

About Andrew Hall

  • Rank
    Junior Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I have a Naxos 2 CD set of Christiane Edinger performing the Bach Sonatas and Partitas. The accompanying notes refer to Miss Edinger's "priceless 1632 Amati".
  2. Speaking of the internet violin - has it been finished yet? I have read on! - its getting a sun-tan. [This message has been edited by Andrew Hall (edited 04-07-2001).]
  3. I made a last minute decision to book a seat for the Ivry Gitlis/Australian Chamber Orchestra concert in Adelaide (South Australia) last night (24/10). I almost missed out! I'm very glad I did't. From where I sat (in the Gallery, Gitlis looked like many old farmers look - stocky, bandy legged and stooped from years of lumping bags of grain and superphosphate before the days of bulk handling. He wore a rather baggy "old farmer's" style suit. He did not use a shoulder rest but a large pad was strapped to the back of his Strad with what looked like strips of elastic. He played the Kreutze
  4. Duh, not everyone called "Andrew" is a rocket scientist. Is a "cookoff" the final round of a chef's competition? A V's contributions to this discussion board are impressive enough - as to the rest, I agree with Omobono. [This message has been edited by Andrew Hall (edited 10-17-2000).]
  5. Let us into the secret. What's the URL?
  6. I found a UK website some months ago that listed the top 100 violin recordings. Meditation was 9th on the list. (I think the list was based on the number records currently available, not on actual sales.) The comment was that it was a "palm court favourite" and that it featured on almost every violin compilation CD. Looking through CDs of that kind in shops seems to bear out that second comment. I have three versions in my small collection of CD's - Rabin, Alexander Markov and Milstein. The Rabin (with orchestra)is hard to go past. As far as playing goes, the notes aren't all that d
  7. Has there been any progress in this project?
  8. Having resumed in my (approaching) mid 50's after a lay-off of 30 or so years, I don't have any illusions about being a "professional" even to the slightest degree. My ambition is to produce an acceptable performance of the Bach E major Partita - its taking up a lot of time and effort! (As well as Kreutzer, "community" orchestra and, just recently, Sevcik)
  9. Yesterday I went into a "remaindered" book shop looking for something light to read on the omnibus. Bought a copy of Andre Previn's book "No Minor Chords" (1991). The book is subtitled "My days in Hollywood" and mainly consists of anecdotes about people in the Hollywood film industry between 1946 and 1964. For all that, it is quite amusing. There are some interesting anecdotes and personal observations about Heifetz. The highlight of the book so far (I haven't quite finished it)was Previn's story about Shostokovich. Encouraged by Szigeti to play chamber music, Previn became a member of a
  10. On the subject of the labelling of 19th century French violins, I have a violin which, according to the label was made by Joseph Germain. The label tallies with the illustrations of this maker's label I have seen and I have no reason to suspect that the instrument is not what it says it is - or any reason for certainty that it is, for that matter. I don't know of any expert in Australia (and in particular in the State in which I live) who could give an authoritative opinion as to its provenance. Germain worked for Gand senior from 1840 to 1845 (when Gand senior died) and then for J-B Vil
  11. Theresa - Thank you for your support - I enjoy reading your many, varied and thoughtful posts. Lydia, thank you for your assistance (not for the first time by any means - I regard you as the most sagacious of the sages). Thank you too, PaxAmata (your post wasn't up when I posted the original version of this reply). I have also experimented with the "brush strokes" as you suggested. The study is also "fun" to play as double stops taking serious liberties with the note values! The "suggestion for a progressive order" (in brackets following the study number) is: 1 (26), 2 (1), 3 (3), 4
  12. My last post seems to have been a kiss of death to this thread-it has been demoted to page 2 within about 24 hours. By the way, I noticed (after submitting my last post) that my (Peters) edition of Kreutzer has at the end a "suggestion for a progressive order". For example, #1 is listed at 26 (presumably in degree of difficulty). The "easiest" are #2 (1) and #5 (2). The most difficult is given as #41. I would love some response from the many sages out there to my query about #13.
  13. About time to bring the Kreutzers to the top again! I am now working on #13. Teacher tries to persuade me to practise it using only wrist and finger movements of the r.h with the bow right at the heel - ugh. A question, though - each group of eight semiquavers begins and ends with a pair of slurred notes but the four notes in between are dotted (in my Peters edition). This suggests a staccato rather than simple detache - is this right, and if it is, should the notes be played "off the string"?
  14. With 6 horses 3 dogs and one other human near Mount Barker, in the hills about 40 kilometres south east of Adelaide, the capital of South Australia. Note, Andrew Victor, Adelaide is not in New South Wales!
  15. AMEB = Australian Music Examinations Board - I did my AMEB grade 6 exam more years ago than I care to remember (but it was probably in the early 1960's). The exam included scales etc ("technical work"), a study and 3 or so pieces. Grade 7 (at least then)was at the standard of such things as the Bach A minor and E major concerti and the 1st movement of the Spring sonata. Again, my memory was that the AMEB series ended at Grade 7. I also did AMEB theory - as a separate subject and exam. Although I maintained my violin studies after Grade 6, I didn't bother (nor was I encouraged) to u