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Cremonese verus the rest


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It's really interesting that people are 1) doubting a poster's existence and 2) regretting their response to the post if it turns out the poster "made it up."

Did LJ's point of view require evidence/experience to make it true? Weren't the sentiments ones to which a number of people responded with gratitude and enthusiasm?

Of course, I write fiction. So I believe authenticity is usually trumped by imagination.


Let me put it another way: I think the post reads as genuine. But should it prove a composition, the sentiments certainly didn't seem to anyone hard to believe or credit.

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Originally posted by:

It's really interesting that people are 1) doubting a poster's existence and 2) regretting their response to the post if it turns out the poster "made it up."

To be clear, it doesn't much matter to me if she's "real" or not, Guy. I just provided the information I had (which wasn't much) for those who wondered.

The post did contain a "warning" that might be considered abrasive by some, but I didn't read, or understand it, that it was really meant that way...

Really though, questions of credibility and motives have been asked and answered. If we can't seem to move on from this point (back toward the point of the thread) in a productive manner, let's just let the thread fall back and fade away.

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I didn't mean to be pointing at your comments specifically. I'm not sure what you mean by warning.

Also, I take your point about anonymous posters. I reside in a nether world in that regard, having posted as Falstaff, then under my own name, then, when I was surprised by an old old acquaintance contacting me based on a post made here (not stalking exactly, but surprising) I went back to Falstaff. At this point I'd change to my name if I could transfer my 6 years of history here to the new identity. But the software doesn't allow it.

Apologies if my post has taken the thread further off topic.


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This has been interesting, too many posts to read everything though!

I think both sides of the argument have their merits. I agree with those who think that the finest Cremonese instruments remain unsurpassed with regards to tonal beauty. But I also think that a good modern violin can sound better than many old Italian violins (that aren't examples of great Cremonese), and is often a good alternative, as anything old and Italian has a much heavier price tag. There are so many violins in the 50-200k price range that don't sound as nice (to my ears) as a good modern violin.

In the case of many old Italian violins, I don't think they're even differentiable as being "Italian" in sound or as sounding special, when compared to a good modern violin. I even wonder why someone spent so much money for it in the case of the crassest violins. Of course there are other great Italian instruments that aren't Cremonese that are at the top of the spectrum too.

Tetzlaff is a fabulous violinist and musician. In my opinion, it's not his beautiful sound so much as his sense of style and creativity that make his performances great. I heard Vengerov once and correctly guessed that he wasn't using his Strad that day. I also heard YoYo playing a modern cello and it sounded good because it was YoYo, but considerably less beautiful and personal than either of his great cellos.

I have never tried an instrument by either Mr. Burgess or Mr. Darnton but I've heard very good things about both of them. It's nice to see two qualified people take opposite views on this.

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