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About Ernee

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  1. Related question, but not too closely (I hope): how do you maintain a screw that is noticeably stiff, if nowhere near frozen? WD-40? Oil? Wax? Steel wool? First-rate bow, but could be a little more suave when tightened up before playing.
  2. Looks like a real violin! But anyone who can do that can probably do just as well without the damage. That bit on the back seems especially pointless-- and the varnish on the back shoulders is especially nice.
  3. Nice piece by Curtin. IMO, I don't care for his own antiquing, but saw one of his experimental pieces look fabulous with un-antiqued, un-polished varnish. (Not a bit orange, BTW.) I wish he'd consider doing that on his normal instruments.
  4. Normally, I prefer natural. In fact, when I was shopping for a "new" new instrument a while back, I wanted a mint-condition Strad model. And, of course, the best thing that came my way was an antiqued del Gesu model. That was an exception, though. Most antiqued instruments really don't look good to me. It's like antiqued Turkish rugs. They seem fine until you get them home, then they just look a little cheesy. One nice solution I saw was from a famous German maker. His finish is designed to look old to the audience, but not to the player. Ethically sound, and he has a good eye, so it isn't ugly. Still, I'd still like to see what his best un-distressed varnish looks like.
  5. That's also a function of airfare deregulation, no?
  6. You need to make Nike compete for each of your butts. The "Air Burgess" could have its own patented "Blazing Saddles" escape valve.
  7. You will have different sorts of price levels for factory instruments (which will, in turn, be influenced by where they were made) than fine antiques. On the antique side, fashions change, not only among makers, but between violins and other luxury goods. As a result, it is hard to get any reliable numbers. Even if you solve the problem of getting transparency on actual retail prices counting from the mid-60s will get a different sort of appreciation rate for Strads than if you are measuring from 1928.
  8. Perhaps. But we are a long way from David Burgess or Joseph Curtin getting paid millions to wear the logos of cushion makers.
  9. It's not like a butt-cushion company is endorsing an actual violin maker.
  10. I seem to remember that Curtis used to allow any one of 23 Caprices for their auditions-- 16 was forbidden. Presumably for being too easy. Now I see they are back to the full 24 for choice. Isabelle Faust once said that she learned them all in a year when she was a teenager, after spending 6 months on 17. Ornery.
  11. I suspect that trends in global economics have made a difference. First, you have ease of travel and communication, which piped a lot of people through the same teaching studios in New York and Philadelphia. Then, you have the recording industry, which succeeded mightily over a century. There was a time when you could pretty much be sure of having heard every Mendelssohn Concerto recording out there. Then decide on Heifetz, Menuhin, Szigeti, Stern, or some other favorite. I get the feeling that Perlman's Mendelssohn (not to pick on him) was sort of a summation of late-20c consensus, much the way Szell's Beethoven 5th served as a model for so many youth orchestras. That is breaking down a bit now, with the early-music movement having had legs, and now the collapse of hegemony in the recording business. You could search YouTube for months and have trouble finding out what you're expected to do with an old warhorse. Maybe a chance to get back to fundamentals and start over?
  12. It has morphed a bit from earlier days, but ACMP is still out there.
  13. Sorry to interrupt the topic. I once saw another experimental instrument in Curtin's shop. It also had un-antiqued varnish, which was really stunning. Sadly, he refused to consider using that finish on his conventional instruments. If he did, I'd be all over it.
  14. I was thinking of playing characteristics (independent of the obvious stuff about how the frog feels in the hand). Have you ever seen a perfectly OK bow go off the rails when the hair went a few mm too long?
  15. Reopening this, to keep content alive: What might be one of the drawbacks of having hair too long, assuming it isn't so long you can't tighten it? I ask because I am trying a nice old bow with a truly luminous sound, but also a bit of a shudder when you play long detache-- and less than ideally-controlled spiccato. Tightening it so the stick is much straighter covers some of that, but it is not perfect. When I undo the screw, I can see that the frog sits several mm further back on the stick than it needs to. Would getting rid of some hair length make the stick more stable without killing the tone?