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Author Topic: The Violin and Viola Thread  (Read 10741 times)
A
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« Reply #225 on: 09:44:49, 17-12-2007 »

I don't see how this is played, unless it is 'just' an electric violin with more , and different, amplifiers. Is that what it means Reiner?
Sounds interesting.. do you take it to mean that the 'boxes' are able to be altered whilst the performance is taking place and thus giving extra variation to the sounds perhaps? I wonder if it will sound something like a theramin?

The suggestion that classics will be played on it seems unlikely to me if the violinist has a Strad ! But very useful for modern music I would think.

A

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Reiner Torheit
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« Reply #226 on: 09:59:44, 17-12-2007 »

I'm sure that modern music is going to be the biggest take-up area for this instrument, A - assuming, of course, that this research-level work ever goes into commercial production, that is Wink

I see what you mean about its suitability for the classical repertoire...  but on the other hand, pianists play harpsichord music on their (entirely different) instrument all the time, and amazingly people don't only not complain, but it even gets regular R3 airings...  like the "48 at 08:00" which is ongoing on the Breakfast program currently?   Custom and familiarity, it seems, can override all concerns that it's actually entirely the wrong instrument...
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
C Dish
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« Reply #227 on: 12:12:48, 17-12-2007 »

What will the "next violin" look, sound and play like?

A provocative article in the New York Times about how instrument-makers are "moving on" with the ideas of C17th makers...

http://www.nytimes.com/2007/12/09/magazine/09nextviolin.html?_r=1&oref=slogin
So typical of 'old media' that they don't bother to include links to sites with more information. This looks very interesting but there are a lot of questions left unanswered.
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inert fig here
A
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« Reply #228 on: 17:35:28, 17-12-2007 »

I'm sure that modern music is going to be the biggest take-up area for this instrument, A - assuming, of course, that this research-level work ever goes into commercial production, that is Wink

I see what you mean about its suitability for the classical repertoire...  but on the other hand, pianists play harpsichord music on their (entirely different) instrument all the time, and amazingly people don't only not complain, but it even gets regular R3 airings...  like the "48 at 08:00" which is ongoing on the Breakfast program currently?   Custom and familiarity, it seems, can override all concerns that it's actually entirely the wrong instrument...

I understand what you are saying Reiner but I can't quite work out how the speakers , if they are to be changed during performances can work... unless there is someone else there to do it for them... or maybe a foot pedal..?

I happen to like the electric fiddle as it stands at the moment and look forward to hearing anything on this new idea as it emerges! ( I am not... don't tell anyone.......completely against modern music you know  Roll Eyes  )

A
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Reiner Torheit
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« Reply #229 on: 17:41:30, 27-12-2007 »

I was going to practice the viola today.  I really was.  I had got its box out, and put it by the piano, ready to start after breakfast....

  • the plumber came at 09:30, something about needing to change a leaky pipe in the flat below, please could I move all the furniture (including the piano) away from the wall, because he'd need to use a blow-torch.  Then he went away for an hour.
  • He blow-torched for a bit, then went downstairs, then came back and did a bit more, and anyhow it was lunchtime when he finally went.
  • Then I had to run an errand to lend someone fifty quid until after the New Year.
  • And on the way back I remembered a New Year Present I hadn't bought yet, wasted an hour looking for something and still came back with nothing.
  • And while I was in the shop the Moscow Philharmonia called, could I, please-please-please, translate the programme, programme- notes and biography of a lutenist for them?  When, oh, could you do it by 5pm?  Alright, by 6pm. Happy New Year!
  • Then I finally had something to eat...
  • Then I moved the furniture and piano back against the wall...
  • Then I got the viola out, and broke the D-string because I was turning the wrong peg while tuning it
  • ... and I haven't got a spare and the shops are shut.

Nearly as good as "the dog ate my homework", eh?   Undecided
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
strinasacchi
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« Reply #230 on: 00:13:14, 28-12-2007 »


  • Then I got the viola out, and broke the D-string because I was turning the wrong peg while tuning it


Hmm, that sounds like a comprehensive viola practice session to me...

 Wink
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Reiner Torheit
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« Reply #231 on: 09:46:56, 28-12-2007 »

But I have been to the shops this morning and treated my viola to a set of new strings for the New Year (the A-string was looking very manky, and the C-string was a cheap bodged replacement that barked a lot).  They are just bedding-in now, and should be ready for use tomorrow Smiley  It even sounds like a decent instrument now  Grin
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
strinasacchi
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« Reply #232 on: 11:52:39, 28-12-2007 »

There's nothing like new strings to give your instrument a lift.  A good bow rehair can open up the sound as well.  Enjoy your viola, Reiner (although I advise refraining from further unintentional scordatura experiments)!
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Reiner Torheit
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« Reply #233 on: 13:09:18, 28-12-2007 »

Ta, Strina!   The bow had a re-hair about 6 months ago, and since - ehem - I don't get a chance to play the instrument much, is still in excellent shape!   I'm really a rotten player, so I don't deserve such a nice instrument...  but as my piano-tuner says, the best incentive to play is when the instrument sounds lovely from the first moment you put your fingers down on it Wink
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
A
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« Reply #234 on: 13:24:15, 28-12-2007 »

   I'm really a rotten player, so I don't deserve such a nice instrument... 

Not true Reiner, everyone 'deserves' a good instrument ... IMHO!

It reminds me of the parents who say their child can have piano lessons, they will see how they get on and then perhaps buy them a piano! ... I have several examples of this!

A
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strinasacchi
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« Reply #235 on: 17:16:17, 29-12-2007 »

I hope you're enjoying your viola today, Reiner!   Smiley

I'm trying to persuade myself (again) that practising will make me feel better about life.  I'm also trying to figure out what trio sonatas to buy as a new year's present to myself (besides Biber's Harmonia Artificiosa, which will be terribly expensive and very likely not get played much because of all the scordatura - any recommendations?).
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trained-pianist
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« Reply #236 on: 19:58:34, 30-12-2007 »

strinasachi,
I don't know what trio sonata you should buy because I don't know too many. I know Telemann has good sonatas and Handel has. What kind of trio sonatas (old masters or contemporary?).
I discovered that I have Brahms trio op. 40 for piano, violin and horn (could be viola). I don't know the piece at all and am going to try to find someone to play it with.
Do you know Haydn's  trios? People say they are good. I think I know one.

Otherwise practicing is always good. I hope you don't feel bad about life. Life is unpredictable and things change. My mother tells me to trust life. Many times I noticed that things work out for the best. Happy New Year!
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thompson1780
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« Reply #237 on: 20:17:27, 30-12-2007 »

I discovered that I have Brahms trio op. 40 for piano, violin and horn (could be viola). I don't know the piece at all and am going to try to find someone to play it with.
Do you know Haydn's  trios? People say they are good. I think I know one.

Hi teepee,

The Brahms really needs to be with Horn.  I haven't heard it with viola, but you would need one heck of a player to balance with the piano and violin.  But then again, you need a pretty decent horn player too.  I'm sure you'll recognise it when you play it - it is extremely well known.

I love Haydn Trios - I'm doing one in A at the moment (Hoboken XV 18).  It's really jolly.  I don't often get to do them, as cellists usually complain about falling asleep, but when you are lucky its a real treat.

Tommo

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richard barrett
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« Reply #238 on: 20:21:52, 30-12-2007 »

I'm also trying to figure out what trio sonatas to buy as a new year's present to myself (besides Biber's Harmonia Artificiosa, which will be terribly expensive and very likely not get played much because of all the scordatura - any recommendations?).

I've recently been enjoying listening to Antonio Bertali's "Prothimia Suavissima" collection although it doesn't contain my favourite Bertali trio sonata, and one of my favourites in the whole genre, which goes under the name "Taussent Gulden" (it also exists in a five-part version with a couple of extra sections added, very nice indeed). You know the Purcell I dare say, but there are also some quite strange and interesting trios by William Lawes. If you can run to a third violin, the Gabrieli sonata from his 1615 collection is a marvellous thing. Otherwise, how about... Buxtehude, Pachelbel (more scordatura there, however), Uccellini, Buonamente, Castello...?
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strinasacchi
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« Reply #239 on: 22:54:47, 30-12-2007 »

Hi t-p, and thank you for your thoughts about life.  When things get confusing or difficult, I - like many - tear myself up with worry.  Of course what ends up happening is something I would never have imagined, so all my self-inflicted torment is pretty pointless.  Hard not to do, though.  It can sometimes be very difficult to trust that things will turn out for the best.  But thanks for your good wishes.

richard barrett - strangely enough I heard some Bertali on R3's Early Music Show today and was quite taken with it (although not as taken as I was with the Schnittelbach Ciaccona for violin and bc, which I can't find sheet music for anywhere on the internet grrr   Angry ).  I'll look into that.  I don't have Purcell's 12 sonatas in 3 parts, only the later set - in an all-but-illegible photocopy of the all-but-illegible facsimile.  Lawes, Buxtehude, Uccellini - oh, how to decide.  All very good suggestions, though, for which I thank you.
« Last Edit: 23:19:12, 30-12-2007 by strinasacchi » Logged
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