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  1. Sorry all if I'm being redundant, as I know I've seen posts about a year ago on this topic, but perhaps I'm not wording the subject matter correctly, as I can not seem to access info on the archives. A fellow has joined my chamber orchestra and is playing in a quartet we're doing for a wedding, and HE has the bow-hair eaters in his case, apparently. Now, I do not remember much about the creatures....what are they exactly...mites? How does one go about getting rid of them? AND, most importantly, are these bow crabs contagious? I do not want my gorgeous instruments infested with this fellow's cooties. Can someone help me out with some information? Thanks so much in advance for your kindly replies!
  2. Yeah,Christopher, don't worry...I did that only once, based on the advice of some on the fingerboard, and then when the fingerboard began to intially come loose, I stopped. That is not what caused this recent failure at all. And you can keep your nasty cigars to yourself, please!
  3. Thank you all for your insightful replies! I do not of course exactly know what the luthier did...However, as Michael described, i did not see evidence of glue on the maple neck, only spots here and there of black ebony discoloration from the fingerboard. I did not turn the fingerboard over and look at the back of it, I guess I was too shocked at being put on the spot having to solo on another instrument not entirely to my liking, and worried I myself had caused the failure in some way. The failure came both times from the end nearest the bridge. The top at the nut tried valiently to hang on...but, alas, its defenses finally caved in. At any rate, the good news is, I guess, that inasmuch as now the board is completely off, it will have to be entirely reglued, and hopefully this time more along the lines of what you all have touted. Which means, Mark W, that you also should think about repairing your violin as Jeffrey, Christopher, and Michael have described. My concern was that perhaps i over-humidified my violin. The first time the board failed, we had been having very cold dry weather, and I actually would take it close to my steam bath and place it on towels and let it absorb some of the hot wet steam. I thought perhaps I had "melted" its glue, though the wood of the violin looked wonderful after a steam! Recently, we have had storm after storm, lots of wet humid weather, and I keep humidifiers as well in its case, so I thought perhaps I had once again over saturated the instrument. This same instrument I know for a fact never received any humidification for at least 20 or more years, as it had been stored in a very good case in a closet. It survived an earthquake, and the collapse of the closet down around and on it. It is in perfect condition, not one separation, not one crack. It is perhaps circa 1910. I surely appreciate it and do not wish to harm it or cause the rest of it to fall apart! Would too much moisture cause this?
  4. What is, or should be, the average longevity of a reglued fingerboard? And what affects its coming loose? The reason I ask is, in the 30 years I've owned my favorite violin, I have only had to have the fingerboard reglued once, and then it was just a little wiggly. But here the other day, in not more than 6 months since it was repaired, the entire thing fell off in my hand just as I stood to perform! i felt it in practice...one minute it was absolutely fine, then the next instant I felt it shift, looked at it and saw 3/4 of it had come undone! The rest shortly followed! I understand that changes in humidity, air pressure, etc. probably affect this, and the violin has been recently getting played a great amount, but still, shouldn't this repair have held for years rather than months? Am I possible doing something that caused it to loosen prematurely...perhaps keeping too much humidity in its environment? i do not wish for this to happen again, especially just when I stand to perform, and then I have to play on a lesser quality and unfamiliar instrument. Please enlighten!
  5. Can somebody please recommend some beautiful chamber music with parts for flute, violins I&II, cellos, and viola? We have a lot of very nice Mozart and Baroque...I'd like some Brahms, Mendlessohn, Faure? Does anyone have a suggestion? thanks in advance for your help!
  6. Bowing must be uniform. Fingering is up to the player. Order of command...first, conductor. Second, concertmaster.
  7. Beethoven's FUR ELISE....I love you, I want you, I love you, I want you...but I musn't--I musn't...it's impossible, its wrong, we musn't we shouldn't...but Oh my Oh my, I can't fight these feelings anymore! I love you I want you! who cares about anything else when the music or love muse strikes!
  8. Hey Jiggs, if you don't mind saying, what did you have to give for the Nurnberger? And which of these bows is your favorite?
  9. I think it has to do with both...it's a partnership after all. A great player, a great violin.........At any rate, it will be interesting to me to hear the CD. About Ricci, does anyone know if he published his thoughts? I can remember reading somewhere that there was one violin he preferred. Unfortunately I can't remember which, but it was not a Del Gesu or a Strad. I think it may have been a Bergonzi. Someone, please enlighten.
  10. Several have asked about the two CD's comparing old master violins...The Glory of Cremona and The Miracle Makers. They can be found by going to STRAD magazine London and looking under library. There are actually 9 different CD's there..all of them sound really interesting. There are a couple of volumes that offer recordings of past great artists, and there's another one that compares five master violins w/virtuoso Salvatore Accardo in 37 Kreisler pieces. At any rate, I myself have looked all over for some of these CD's and finally found them this morning. The STRAD has a secure online ordering form or you can copy your order and fax it in. However, it apparently takes 42 days to ship overseas! Also, there are great books in the library!
  11. I live where there's a lot of everything....all kinds and colors of people from all kinds of places. I personally judge someone by the way they behave/relate to me and to others. Everyone/thing is a blend of positive and negative. I, too HuangKai, have a rather strong personality, play violin, do martial arts...but I've somewhat learned at my age to tone aspects down if necessary for the social good of myself and those I'm with. It all depends on who you're relating to.And its of course always relative. One must always be flexible and adaptive, allowing the energy to intuit one's inner self.Unless one has an intense inner compunction or conviction to forge full steam ahead with some vision or goal, as a prophet or saint...butting heads and fighting currents....one should simply try to stay in balance internally and go with the flow of energy around. Don't push the river...at least not all the time if one wants to find satisfying relationships. And one should realize others have their own inner motivations and visions. One should cultivate some tolerance for the positions of others.
  12. My dogs LOVE the piano! they gather around the bench when I play it. But I believe the high vibrations on the E-string hurt the dogs sensitive ears. They stay with me when I practice, but not too close. They don't mind the lower sounds, but those high piercing notes are too much. Dogs' senses, esp. of smell and hearing are way more intense and acute than ours.
  13. So, since I never got a satisfactory answer on why the Bass player in the orchestra for Die Zauberflote, who played a "German Bass Bow" with a weird "sideways" grip, ALSO used unusual pitch black hair in his "German" bow which he gripped strangely in a knobby peculiarly fisted style (sorry, I'm in another mood)...can someone please tell me? What's with the BLACK Bow hair? what are it's +s and -s? And don't you really feel kind of sorry for bass players? They have to stand through a three hour opera, they have to lug around a humungous elephantine beast of an instrument, they have to tolerate those incredibly vibratory LOW noises (which sound great in an orchestra...but can you imagine 2-3 hours of practice a day?) And everything for that instrument is so much more expensive! But, really, I posted on the stallion hair issue, asking about these BLACK hairs, and I really, really am curious! [This message has been edited by mirajewel (edited 01-08-2000).]
  14. You're right! Your descriptions are not much to go on! However, you must realize that whichever you choose to start with you will more than likely eventually abandon and move on from into a better instrument, if you stay with your studies and progress. I can only speak for myself when I assess my choices. I use a combination of mind and emotion...pure logic, and internal intuition. You should list all the positives and negatives of each instrument separately, ponder the list a while, then let your internal feelings flow and be the tie-breaker in swaying you into a decision. Realize the sheer physical, ie..this one's prettier, isn't the entire story at all. there's so much more to consider. If you can get ease of playability, some measure of tonal satisfaction, integrity of stucture and workmanship, AND the thing is "pretty," too...then there you go! Hope this helps!
  15. My teacher, who I highly respect, never sits. and she's a stickler for posture and position and technique. But personally, I do some of each when I practice, but whatever I do, I try to keep my position and posture correct.
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