HeinrichIgnazFranzVBiber

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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
  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
  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 A
  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" a
  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 t
  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
  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
  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
  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 v