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About matesic

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  1. For me search doesn't work at all from the home page. From the Message Boards page it just finds words occurring in forums
  2. Prince Albert was a jolly good chap and Queen Victoria worshipped him but I'm pretty sure he was never canonized. Or was Shaw being sarcastic?
  3. I do wonder how much the difference is due to the initial impression and whether their E's sound equally unsatisfactory after playing in? But I wouldn't discount variation in human hearing capabilities either. Maybe people like me who can't perceive any important difference are also those who can't distinguish between mp3's and CD's? I'm sure it isn't down to anything as simple as a person's pure-tone audiogram, but there's a great deal about human hearing that isn't revealed by the standard tests
  4. When you say "quality of their grief" do you mean Shostakovich does "grief" better than Tchaikovsky, or do you mean Tchaik's "grief" is qualitatively different which I'd come closer to agreeing with. The term just isn't adequate to describe either of them and I don't think it's fair to rank them in respect of their "depth" either. For me Tchaik 6 conjures up feelings like panic, despair, terror. He can also conjure up feelings of unalloyed joy which I never get from Shostakovich. And I'm afraid to call him a "spoiled baby" is just a gratuitous jibe.
  5. After a few days I've discovered something about my tiny "viola" that may prove that it's really a violin. The neck width of 22mm at the nut (as compared with 24mm on a WHLee) makes it harder to play doublestops cleanly when slurring between CG and GD strings in first position. It appears the C-string needs that little bit more wiggle room.
  6. Puzzles me too. Apparently after 50 years Tomastik still can't produce a decent E string. I guess some players with cat-ears hear things we don't
  7. I agree 100% Philip, I confess I'm shocked. We are only able to guess from very incomplete information "what was motivating a composer at the time" and for anyone to dictate that as if it were established fact is highly presumptuous. We should all be humble enough to realise that our reaction to music is entirely personal and subjective, neither "right" nor "wrong". For a teacher to encourage a pupil to see the merits of a composer or a piece is fine and desirable in reasonable doses, to denigrate either is simply poisonous
  8. I'm also surprised to learn they were introduced as recently as 1970. I must have made the switch from Eudoxas soon after, at whose suggestion I have no idea but I haven't felt the need to switch again.
  9. What a wonderful accent for a man born in Bradford Yorkshire - I could listen to it for hours. He was the first violinist I ever heard live in a concerto (actually I think it was Bruch's Scottish Fantasy) with the Bournemouth SO in about 1967
  10. I'd keep my big mouth shut. I'll remember Martin's criteria, but since mine looks to me like a scaled down viola and quacks like a viola elgar chant de nuit czech viola.mp3I intend to play it as a viola!
  11. Correct me if I'm wrong but I thought it had been pretty well established there are no features that absolutely distinguish a viola from a violin, size being whatever you choose to make it. Of course in most violas the model has been adapted in various ways to make them easier to handle and/or hopefully improve the sound in compensation for the size/pitch anomaly, but physics is physics and the magic formula remains elusive. I'm all in favour of experimentation (for violins too, why not?), but I thought it a bit ironic the other day when I spotted online (can't remember where) a fractional viola on the Tertis model, when I thought the broad lower bout was simply intended to compensate for shortness of length. How broad can you make it..?
  12. The estimate was surely unrealistic or I'd have been outbid. £200 plus commission seems a small price to pay for an old fiddle in good condition with a decent tone and some (maybe not much) historical interest. I think it shows that these boxes weren't just turned out mindlessly, to a standard template - somebody was trying to do something slightly different with this one. Maybe we're wrong to think of the violin and viola as separate species.
  13. To practise refurbishment, minor repairs and setting up, if that's OK with you? Hands up anyone here who only buys an auction violin when they need one. The estimate was £300-£500 so I don't think I did too badly - may even make a profit eventually