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About music32

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  • Location
    Berkeley CA
  • Interests
    piano and violin
    performing pianist, teacher and international skype instructor.
    Grad NYC HS of Performing Arts, Oberlin Conservatory, M.A. NYU
    write a piano blog, Journal of a Piano Teacher from NY to CA
  1. To Gowen, Of course, digital pianos are a FAR CRY from good acoustic pianos. NO argument there. My concern about QUALITY of Steinway pianos under Kohlberg is shared. Just the fact, that they are closing Steinway Hall, is in blatant disregard of an established landmark and its bountiful tradition. Sad that what followed Steinway's sale was shutdown of Beethoven pianos on piano row. Looks like all that's left is Klavierhaus and Faust Harrison. I played a $750,000 Steinway at Klavierhaus and sampled Fazioli..impressive instruments...
  2. I blogged about this turn of events:
  3. Since I've been away from the violin cosmos since investing my energy for decades in the piano, I wondered if getting a certificate of authenticity is a wise and practical route re: my Horensteiner, 1799, Mittenwald. Judging by dates of activity of various members of the Horensteiner family, it seems Joseph II would have been the maker, but how can one be sure. I read about lawsuits that have created a letigious cosmos re: the appraisal universe. How can an auction principle, for example, assess an instrument by photographs, etc. Isn't tone a primary focus, as it would be if I were selecting a piano? I made a video of my Horensteiner using Brahms violin concerto, third movement. The baby violin beside it was spotted at a flea market. PS My first violin teacher, Samuel Gardner, before I studied with Stuart Canin, picked this violin for me at a Paris auction house. (way back in the 60s) Who are the respected purveyers of Certificates? (California, perhaps)
  4. I'm a pianist but had a re-invigorated interest in the violin (which I studied with Stuart Canin at Oberlin) when I extracted my 1799 Horenstainer from a closet of keyboards.(I'd moved from the Central Valley to Berkeley) So I took the fiddle to Ifshin's in El Cerrito for a re-stringing and bow re-hairing, impressed with a cosmos of instrument making, repair, and restoration. When I returned to pick up my bow, I wandered into a No Enter zone (at least it was restricted the first time I set foot in Ifshin's) and serendipitously settled into an impromptu conversation with Haide Lin, violin-maker. (Canton, China) He had partnered with Jay for the signature Jay Haide violin. (and other members of the string family) Since I'm always blogging ad nausea about pianos, I decided this was a rare op to devote attention to the violin. The journey amassed lot of photos as well. There's a link at the bottom of the above blog, to my first Ifshin's visit before fetching my bow. Jay Ifshin is an inveterate violin theme Poster collector.. It's a museum over there. glad to be on this forum ..
  5. I can't find my original post about my Hornsteiner 1799, Mittenwald. In any event, how does one get certification when it seems this is a task few do. The latest I heard was that there is so much liability in these certifications, since the maker is not living. Yet the contour, grain, finish, etc of the instrument plus tone should give clues. I wish I could post pics of my Hornsteiner, but I don't know how, so instead I'm including a link to footage that showcases the violin