Andrew Victor

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  2. In my experience I find two kinds of slurs, let's call them "physical" and "musical." To those who play "portable" instruments, like bowed strings and winds, the physical slurs may indicate bowing changes or inhalation points. Piano music has slurs that are purely "musical" or "expressive. One often finds slurs within slurs in printed music and players can interpret them as they wish or as tradition indicates. To me a slur within a slur indicates separate bows with a silent bow change, in other words, a combination of "musical" and "physical" slurs. It takes an incredible player with an incredible instrument to perform all the written slurs in a violin concerto as "physical" slurs -- and be heard as the composer intended.
  3. I always check places like SHAR and Southwest Strings and several others, but always compare them with Concord Music and then choose by price. I have bought most of my strings from Concord.
  4. I play cello and the "chin instruments." I have never played a 5-string cello but I did own a 5-string violin for a few years and found it very disorienting. It is one thing to spend your life bowing 2 outside strings and 2 inside strings; 2 outside and 3 inside strings completely changes your universe. I suggest asking at the PEGBOX forum about how the makers and other luthiers set up the bridge, fingerboard and neck for 5-string cellos and how that relates to their customers who order them. Also, you could check at the Internet Cello society: tps://
  5. A combination of adjusting your wrist as "Violin Beautiful" suggests and changing the direction the scroll is pointing might also be helpful, but might be problematic if you use a rigid shoulder rest.
  6. MANFIO, I purchased the "Glory of Cremona" LP (new) over 40 years ago while my ears were still young-ish and was able to listen to it on my ("big-box) JBL speaker system with Fischer (tube, push-pull) amplifier (before a house fire took out its tubes and I could never get a good tube match and switched to a solid-state amp that could never match it) and and concluded the Bergonzi was the best and most interesting sounding violin in that collection (as played by Ricci). What is your opinion?
  7. Much of the sound of any instrument comes from the mind and hands of the player. Jack Benny played a Stradivarius! I never heard him live, but from what I heard on radio and later TV he could have saved the $25,000 (in those 1940-'60 year dollars, probably 100x more now) and done as well with $100 (today's dollars) - if he found a decent one.
  8. I believe there will be 4 of them: 1. Vivaldi 2. Bach 3. Scarlatti 4. Handel Definitely worth the time. They also announced they are available on Amazon Prime.
  9. It will cost more for a decent rehair than it will to by a new SHAR fusion bow. Take all your stuff with you when you go to the luthier and get his recommendation. Try different bows on the fiddle. A CF or fusion (or other composite) bow should be adequate. Use decent rosin - best to be one that is somewhat protected from childhood accidental bumps and drops.
  10. Different people seem to have different capacities for memorization and different approaches. I have a lousy memory. That's why I gave up chemistry and became a physicist. I've played the violin for 80 years and the only things I ever memorized were the two pieces I played in front of an orchestra 30 or 40 years ago. I only memorized them because I practiced them so much and had loved them so long. Even so I performed them with the music in front of me - I just didn't look at it very much during the performance. I have known musicians who could look at two pages of music and then play them from memory (photographic memory). They had such a leg up when it comes to becoming professional musicians (which they were). It is also a way music teachers can cull their flocks. I know there is value in committing music to memory but I think the value depends on your goals and how much you have to work at memorizing vs. spending the time and effort on music making. It is a choice one makes and one I made a long time ago and that has allowed me to play so very much music - my music shelves are overloaded and my mind is empty (which it would likely be at my age anyway).
  11. "Tuning a string quartet" is a practical step for string players learning to appreciate the problems of temperament and intonation. A dozen years ago I played in a amateur string quartet that hired a professional to coach us for 4 rehearsal sessions preparing for a performance. The ACMP offered financial assistance to hire coaches for ensembles with members that belonged to the ACMP - so all 4 of us joined. There are excellent books about temperament and intonation. To appreciate the need to understand the problems to some degree all one needs to do is listen to any average amateur string quartet play Mozart. You can tell usually something is wrong. Now to find out what and why!
  12. OK - back with more review of DEJA "Soloist" rosin. I now conclude this stuff is quite unique in my experience. I have long felt that an ideal rosin would have static friction (that pulls (and pushes) the string and thus creates the vibration and sound - the bigger the displacement the louder the sound) in proportion to the pressure applied to the string by downward force as well as by the speed of the bow and sliding friction (that damps the string vibration during the slip phase) of zero. I feel this rosin comes closer to that than any I have tried in the past 20 years (maybe 70) - it's not something I am equipped to actually measure. So I upgrade it in my estimation from 4 to 5 stars. I think it will bring out overtones from any instrument very well and this should promote "projection," but I have not tried it in a large hall. On my cellos (and with the 3 bows I tried) it brings out the upper octaves of the C string like no other rosin I have tried.
  13. Minkey, I think it is common practice (by some) when a bow is rehaired and then prerosined by the rehairer, powdered rosin made as you described is applied - often unless the customer specifically requests it not be done. at least that seemed to be the case many years ago when I first had to pay for my own bows to be rehaired. I have always preferred not to have that done, but instead to always do my own initial rosining and know what rosins are on my bows.
  14. I would expect any bow stamped "GERMANY" to have been produced specifically for the US or UK market. My W. Seifert viola bow has no other stamped identification than "W SEIFERT"
  15. I thought some more about my trial of DEJA Rosin the other day and checked the surface of the cake and realized that not much rosin had been removed from the cake when I rosined my bows. So I "scored" the surface of the cake by gently cutting a "square grid" pattern in the surface and tried it again with the same violin and viola bows. The result was a very nice and very rich tone on both instruments. (Scoring the surface of a new rosin cake is not something I usually (if ever) do. Probably should have tried it with that old Liebenzeller-I cake 50 years ago. I might try that if it's still around.) I have not tested the DEJA playing qualities for a typical "set" duration of say 2 hours, but based on the short-term result the DEJA ROSIN seems to be a good deal, especially for the price and size of the cake. I will keep playing with it on the bows to see how well it holds up and report more at a later time. EDIT: I've kept DEJA rosin on the bows the last couple of days and it seems to keep its character very well. I give it 4 stars (out of 5 maximum). It has gotten very hot here in CA the past few days (~100°F) so it's had a pretty good test/