My friend Lionel just sent me a couple of copies of Henry Roth's
Violin Virtuosos, which he edited. The copy which he gave me in the
past was stolen, I think by one of my students. It is easy to just
get awash in this book, it's so good.

One of the first works Roth mentions is the Memoir of Carl Flesch,
which cannot be purchased for less than $100-200 anywhere. But I
googled it, and came up with this remarkable page which has this
memoir for free download, in pdf (and several other) format. See:

http://www.archive.org/details/memoirsofcarlfle002347mbp

I can't send this to anyone or post it anywhere, because it's over 400
pages, but it's there for download.

This is from Universal Library, and it's free. This is the real
flowering of the internet, as far as I'm concerned. I haven't
explored anything else yet on there, but I bet there's great stuff.

***********************
BestStudentViolin.com
STORE

I should be able to figure this out from the various string sites, but I
haven't, so will ask the experts....

I'm looking for a plain steel long-scale viola a-string. actually for
use as the a-string of my nyckelharpa. Harpists often use .020 plain
steel guitar strings, but I thought I'd give a viola string a try. The
vibrating string length is 16," which should be in viola territory...

The question: Which manufacturer(s) make such strings?

(I play viola too - am not about to commit one of my vla strings (I use
helicores, which are wound to boot) to the harpa...)

I'm a little surprised. It was brought to my attention that pretty
much all the Suzuki materials are available for download, for free,
online.

Here's the initial page:

http://www.4shared.com/

I looked at this stuff until I got tired, and found the following,
mostly uploaded by different people:

Suzuki Violin books 1-10
Suzuki Violin, Piano Accompaniments (zip)
Suzuki Violin, 2nd violin parts to books 1-3
Suzuki Violin books 1-10 (zip)
Suzuki Piano books 1-7
Suzuki Viola books 1, 3 and 4

There are thousands of Suzuki uploads on there.

I contacted Alfreds Publishing and cc'd the 4shared.com company this
morning.

Interesting issue; I'll update you on what happens, if anything.

Here's another question about playing in an orchestra. If you're
sharing a stand, presumably there's only going to be one copy of the
music on it. So what do you do about marking up the music? And who's
responsible for bringing the music to rehearsals and performances

http://www.mvdaily.com/

'The [third] disc finishes with a beautifully poised account of
Handel's Sonata a 5 with the solo violin played by Pavlo Beznosiuk.
This work dates from 1707, when Handel was in Rome. It is a
masterpiece which deserves to be better known, especially in a
performance as good as this.'

- Robert Hugill writes about harmonia mundi's recent 4 CD set of
Handel concertos in today's Music & Vision.

Season's greetings!

On Dec 13, 1:49 pm, "Bill" comcast.net> wrote:

Yes, and research confirms that. What I ended up doing is suggesting
he take breaks periodically, to practice. I'm hoping he will.

Of course, when his parents told me his grades, I was pretty happy:
all A's, and in tough subjects (well, one B+, missed by a few points
the A).

Lesbi cuple want sex right now http://lesbicouple.pornblink.com/

On Dec 23, 9:41 am, "BestStudentViolins.com"
gmail.com> wrote:

FWIW, we added this:

Ref: http://beststudentviolins.com/scales.html#galamian
(I think you'll have to click the link if you want to see the
diagrams)

John Krakenberger: Galamian Scale System - Methodology

Taken from John's essay "Physiological Development for the Future
Violinist" [See: Articles link, Krakenberger.org]:

I guess this email is to people who are interested in research done on
violinists who develop at a high level, and how that is done. These
two recent best-selling non-fiction books both have material about
this. Both of these authors were featured on PBS the other night, on
Charlie Rose.

As a companion piece to Malcolm Gladwell's Outliers, Geoff Colvin's
Talent Is Overrated: What Really Separates World-Class Performers from
Everybody Else includes an analysis of an eminent music school and the
development of violinists.

You can follow up and read this material yourself if it interests you
(both books are available in paperback or Kindle versions, and of
course at the public libraries and through interlibrary loan). My
synopsis is something like:

At the music school, there were sort of three categories of
violinists: those at the top who are capable of international careers
as soloists, the exceptionally good; second group is a "very good"
group, from which you'd expect the students to go on to positions in
major orchestras, perhaps; and the third group are students who are
expected to teach in public schools.

On Tue, 23 Dec 2008 20:04:14 -0500, Roland Hutchinson
verizon.net> wrote: