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About HeinrichIgnazFranzVBiber

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  1. I have a 19-year old viola with which I am very happy with for sound. But it has damaged varnish - cracked where the previous owner's shoulder pad touched, and areas of about 2 cm where there is not varnish at all (on the sides). The luthier who made it would like to revarnish the whole instrument. I'm afraid of any radical change since I really love the sound and don't want it to change at all (it is an ugly instrument though - pale yellow with patches damaged varnish !). Do you think re-varnishing the whole instrument might affect sound? Or is it better to just fix the damaged areas so that further deterioration whon't occur?
  2. Maybe it is "Ah, Holy Jesus" by John Ferguson. I was curious so I searched and found this publisher: http://www.morningstarmusic.com/chor_catbycomp_f.htm Ferguson, John Ah, Holy Jesus Choral Score, 50-3012—$1.50; Instrument Parts, 50-3012A —$5.00 — SATB (divisi) and Viola. MD
  3. quote: Originally posted by bleeviola: I have looked all over the internet and cannot find an American outlet for this one yet. Anyone know where I could get it? Here is one place you can get it: http://www.archambault.ca/store/product.as...00977104&type=1
  4. To Violinflu who is looking for a low rest. I use a Mach One (viola) rest and I also need a VERY low rest. I used to, like you, use a half inflated Playonair which I put on backwards (fatter side farther from my body). I also played for a long time without a rest, but I like a rest that just fills the gap between my chest and the outer side of the viola, but which doesn't actually suspend the instrument. My solution is the Mach One with the feet screwed almost to the lowest setting. Also I just changed my chinrest to a "Superthin" one which is about half the hight of the normal viola rests. This has all really made me very comfortable. Have you tried with no rest at all? Like I said, I can and did play with no rest, but I know that for rapid shifting and down-shifting I do a better job of it with a rest. It adds some support, and without it I started having pain in my thumb.
  5. I recently (3 months ago?) purchased a nice recording with the violist Hartmut Rohde and the Lithuanian Chamber Orchestra Vilnius. The same disc also includes Teleman, JC Bach and Trauermusik by Hindemith. All for 7.95 Canadian! It is on the Arte Nova label. I'm just listening it now actually, and it is quite nice.
  6. I play a 16.25 inch alto and have recently tried a 17 inch one. I don't agree that it is necessarily that much more uncofortable. Most luthiers make their instruments so that the length from the bridge to the end of the fingerboard is the same even though the body of the instrument varies. so really you're just playing with your hand 1/2 inch farther away. I am 5ft9 (176 cm). You are a bit taller? My theory, is that if you play with good posture, holding the viola quite horizontally, not slumped, and not cramping your neck you can be comfortable and move freely with a large viola. I took Alexander technique lessons, which helped me to use my body better, and I am now totally comfortable on viola. My only problem is when I have to play one of those screechy soprano viola cousins (v***in). both my arms now feel constricted with the smaller instrument. I fell the viola was just made for my body shape and I am not at all tall nor do I have long arms. So just try it and make sure you have a good posture.
  7. My opinion: I take with a grain of salt my own and most people's subjective impressions of strings. I don't trust our minds' ability to be very objective about such subtle differences. I doubt my (and most people's) ability to objectively compare one set of strings which we have had under our ear for several months with a new set. For one thing, human nature is such that we are always hankering for something "new" to grab our interest. If you have time to kill, read Marcel Proust's novels (À la recherche du temps perdu -- in English: Remembrance of Things Past) where the effects of "Habit" are a constant theme. I know there ARE differences between strings obviously, but in the better quality ones, the differences are slight. In the overall picture of what ingredients effect my sound to which extent, I would probably say something like: 1) my technique --------------- 80% 2) my instrument (and setup) -- 15% 3) strings -------------------- 2 % 4) other factors (weather, acoustics) 3% That being said I'm happy so far with Tonica, Zyex, and Obligato as well as Spirocore (C-string). When I have changed strings in the past my first reaction (favourable our not) has not stood the test of time. Also, I have the feeling some people are influenced by Marketing and the price of the strings. Many find Obligatos the best after having paid twice the price of Dominants or Zyex. I know if I pay that much money, part of me REALLY wants to believe I'm getting twice the sound quality :-) On the other hand, I can afford them quite easily, and so I do buy them!
  8. Funny, I have just been practicing that this evening. They are so beautiful. I'm working on no. 2. I have the Henle edition, and I think there are not many other better quality editions, because I bought it rather recently. there is an International, but it's a little cramped to read i think. the Henle is very fine. (They are expensive though).
  9. My opinion, is that there is a high correlation between training on a string instrument in classical music and belonging to the upper-middle class or the upper class. People from this same class also tend to have access and encouragement to education and thus "drift" to professions such as medicine, law, science and so on. I think it is cultural and environment induced - anything to do with a greater dose of "smartness". There are just as many "smart" people for instance in economically struggling countries or areas of America and inner-city ghettos, but they tend not to have easy access to training, nor the financial ressources to just "take upt the violin (or cello)". This isn't a value judgement, but to me a crystal clear fact that classical musicians are usually from upper-middle class families, often with this culture passed on from generation to generation.
  10. Here is a wonderful site on bows. it explains the general charactistics of bows and also the distinguishing characteristics of viola bows in relation to those of violin or other bows. http://www.xs4all.nl/~bowmaker/
  11. quote: Originally posted by ckrupsha: I don't know if you are up to it yet, but Kreutzer #4 is about one of the best etudes (in my experience) for practicing spiccato. Kreutzer #4 is a STACCATO bow stroke, not SPICATO. The term SPICATO is sometimes used with different meanings, but it always either means the faster "sautillé" bowing, or slower brushed stroke. In both instances, you are relying on the bounce of the bow to produce a separation between alternating up and down bows. But several separated notes on one bow are called stacatto. I know some people use the term martelé-stacatto for what most people call martelé. But in any case Kreutzer #4 is definitely staccato. You might look at Flesch, "The Art of violin playing" paragraph 180. It discusses Kreutzer #4 in detail as an example of staccato. But in later paragraphs, there are also a good description of various forms of spicato. Flesch distinguishes between the faster "sautillé" form and slower form.
  12. On the violin, I use a Playonair placed BACKWARDS and I've met several people who do the same. What I mean is that I place the fattest part of the think farther away from my body, whereas the picture on the package shows the fat part near your neck. For me the fat part, just nicely fills up the gap between the outer bout of my instrument and me chest. On the viola, I use nothing, since my big fat viola just fits nicely between my collar bone and jaw. Any shoulder rest has to be used for a while before you can really know if it works. The playonair is as close as you can get (in my opinion) to having no rest at all, since it does not hold the instrument in any one position, which means you have to remain active and adjust as you change positions and so on. Where as for me with a Kun type, I tend to let it do all the work, and I end up sort of slumped with my fiddle sort of "hooked into place" and i just move my arms around it. That's why I find I play better with no rest, or with a playonair.
  13. Here is a link to the article: http://jama.ama-assn.org/issues/current/ffull/jbk0124-1.html I don't have this book, but I have a book with a preface written by the same author. My book is in french and is called "Prévention des troubles fonctionnels chez les musiciens". I also have a book called "The athletic musician". Both of these books are good, and have helped me prevent a particular problem i had due in my hand. I don't have 175$ fot this new book unfortunately, because the subject interests me greatly since so many violists/violinists have discomfort and/or pain. And when I look around the orchestra, so many seem to me to have terrible posture and seating habits. I think this is an important field which people have only recently seriously studied.
  14. Any viola specific comments (especially with regards to adjustable size issues) are welcome in the new "best VIOLA case" thread which I just started. One question common to violin and viola: what constitues a "good" suspension system. Michael mentioned some are not very good. My case has some very soft foam which squishes down flat with the touch of a finger. I can't imagine that offering much protection.
  15. Having just read the "best violin case" thread, I would like suggestions about best viola cases. There are several different problems finding a viola case due to the viola's variable size. do you think "adjustable" cases protect the instrument as well as non adjustable ones that fit well? I prefer non-adjustable suspension case, but was unable to find one which fits my viola. My viola is only about 16.25 inches but has wider lower bouts than normal. So BAM cases, and almost every other model I tried did not fit width-wise. So the shops kept on trying to suggest I buy a case for 1 17 inch viola which obviously allowed the instrument to move quite a bit. I did end up finding a case that fit the contour of my viola, but it is made I believe out of some styro-foam type material (I would have to disect to find out exactly what). So I would like to upgrade but have yet to come across a great quality case that fits. Another problem related to the odd-ball sizes violas are produced in, is that one obviously can't shop on-line since you might receive the thing and find it don't fit. This happened with a case a store ordered for me, even thought they had supplied the exact measurements of my viola to the distributor. Last question: what constitutes a "good" suspension system?