Bach: Double Violin Concerto

Performed by Mr. Itzhak Perlman & Isaac Stern
two of the greatest violin soloists of all time.

Regina & Reverse Thread

The Harp Guitar!

Ladies and Gentlemen,

Mr. Don Alder

Gypsy Symphony Orchestra

Saturday Strings: Violin Sizes

Mr. Huthmaker and I had an informative discussion at my last visit to Huthmaker Violin Shop. For every century that the violin as we know it has been crafted, it has standardly come in one size up until the early 1900's. Japan was the first country to begin making violins in smaller sizes so that children could play. They used Manchurian Maple for the construction and would label the inside with "Nppo". Mr. Shinichi Suzuki began teaching his method around the 1940's to children as young as 3 years old.

Although the Japanese were the first to begin making violins of smaller sizes, the Germans and French also caught on at a later date. Each of these three countries would make these smaller violins respective of their own standards. A violin considered to be 1/2 size would be different in Japan, France and Germany! Some violins are made even to 1/32 size! So from smallest to largest you could reference 1/32, 1/16, 1/10, 1/8, 1/4, 1/2, 3/4 and 4/4 (or full) size. And because each of these countries measure the smaller sizes differently, there is the potential for up to 21 sizes for smaller violins! Amazing!

See Wikipedia for a little more explanation.

Saturday Strings: How It's Made

Saturday Strings: Suzuki Principles

Principles of Study and Guidance

Four Essential Points for Teachers and Parents

1. The child should listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening.
2. Tonalization, or the production of a beautiful tone, should be stressed in the lesson and at home.
3. Constant attention should be given to accurate intonation, correct posture, and the proper bow hold.
4. Parents and teachers should strive to motivate the child so he will enjoy practicing correctly at home.

Through the experience I have gained in teaching young children for over thirty years, I am thoroughly convinced that musical ability can be fully cultivated in every child if the above four points are faithfully observed.

Musical ability is not an inborn talent but an ability that can be developed. Any child who is properly trained can develop musical ability just as all children develop the ability to speak their mother tongue. For the happiness of children, I hope these four essential points will be carefully observed and put to continual use in the home and studio.

Guidance for music reading will begin in Vol. 4. Just as the alphabet is not taught when children first learn their mother language, so music reading should not be included in violin study until children have sufficiently developed their musical sensitivity, playing skill, and memory. In the Suzuki Violin School this should occur by the end of Vol. 3. Even after acquiring the ability to read music, however, the children should, as a rule, play from memory during lessons.

Shinichi Suzuki

Suzuki Violin School, Violin Part, Vol. 1. Summy-Birchard Inc. Warner Bros. Publications Inc. Miami. 1978. ISBN 0-87487-144-1

Saturday Strings: How It's Made

Yee Haw!!

:-D

Saturday Strings: My Old Teacher

Here's a video of Marcus Ratzenboeck, my most recent teacher with whom I studied in Louisville while attending Southern Seminary, although he himself was not affiliated with the Seminary (!!!). During my study with him he held the principle second position in the Louisville Orchestra. When a more secure, profitable opportunity came along, he took a job with a secular alternative rock band. This video is a demonstration of some of the improvisational skills on electric violin that are necessary for his new gig. Even when performing serious classical works, his facial expression never really changed. He makes it look so easy.

Disclaimer: I do not advocate the secular music his band performs. This video was included as a demonstration of my former teacher's skills and instrument only.

Saturday Strings

Ladies and Gentlemen,

Kathy Roberts Perl

performing the Prelude in B flat minor

from The Well-Tempered Clavier, book 2

by J. S. Bach

on harpsichord

The harpsichord is a stringed instrument similar to the piano in that it is played using a keyboard, however the strings are plucked instead of hammered. It is used frequently in Baroque music.

Saturday Strings: How It's Made

Saturday Strings

Ladies and Gentlemen,

The Annie Moses Band

performing

"When Daddy Says I'm Beautiful"

I had the privilege of seeing The Annie Moses Band perform live at the Seminary while I attended there. They are excellent musicians.

Saturday Strings

This is an awe-inspiring commercial. The reason I like it is because of this principle it presents: anyone can learn music. You don't have to be talented to appreciate music and learn an instrument or other basic skills. Enjoy.

Saturday Strings: Investing in Stringed Instruments

The following is a pasted copy of an article I found regarding the appreciation of bowed stringed instruments by Florian Leonhard Fine Violins. Some instruments and bows lose their value and others may retain their value but not appreciate. It depends upon many factors, listed below. See the original (2007 pdf) published version Here, scroll down to the fourth page.

Is it rewarding to invest in music instruments as an asset class?

In a contemporary setting, antique stringed instruments have proved to be an excellent alternative investment. The fact that we cannot source fine wood that was used by the old craftsmen - makes these fine instruments irreplaceable items. The potential returns offered are virtually uncorrelated with any other asset class, hold steady over time and are lucrative. In comparison, the risks are low and inexpensive to hedge.

What is the size of the market currently, the rate of growth and the

prospects of investing in this asset class?

The market for fine instruments is presently valued at approximately USD 22 billion. It continues to grow as instruments crafted by newer makers have gained in importance. Depending on which era of violin making one chooses to invest in, growth should follow the trends of the past 50 years, wherein it returned 8-15% annually. I actually think this is sustainable over the next decade.

Who and how much should be invested in music instruments to make it a viable investment?

The market is certainly open to anyone with an interest in diversifying their portfolio. I would suggest a minimum of USD 30,000. As a relatively low risk investment this is likely to offer the returns already mentioned. An allocation of anything lower than that, often, ceases to be a collectable and thus loses its appeal.

Drawing on your expertise, what would you say is the best approach to investing in music instruments?

Seek out the best professional opinion in order to identify and invest in undervalued instruments. Insure the most obvious risks associated with the instruments. It is also vital to understand the correlation that exists amongst the various makers, age and condition of the instruments. As with all investments, it pays to be interested in the asset itself.

As opposed to stringed instruments, what are the prospects like for investing in other music instruments?

Fine stringed instruments including violins, cellos and violas, have a broader acceptance and are highly sought after. Aside from the individual artisan nature of violin making, it is age that bestows value to a stringed instrument. Most musical instruments “play themselves out” - whereas a fine old bowed string instrument, like the violin, continues to develop complexity and character. Not surprisingly, the market for them is significantly larger than those of other musical instruments.

How do you source rare musical instruments?

As items that possess sentimental as well as monetary value; these tend to surface where people of western origin have relocated to. These instruments may be held by private individuals, families, or institutions. Another major source is the presence of these instruments in musician’s hands: After a career that has spanned many decades - playing the same instrument - many choose to eek out their retirement thanks to the value their instrument has gained in the interim years. As one of the few qualified and recognised players in this industry, a reasonable quantity of our stock has also been brought in to us.

What criteria do you apply in choosing stringed instruments?

Characteristics, condition, wood, model, size, and varnish.

How important is authentication?

“Authentication” entails the examination and understanding of instruments; skills that I have refined over 25 years of having being exposed to reference examples of genuine articles. Value is added when a name or firm, such as ours, held in high esteem by the market and peers provides certification toward an instruments authenticity.

Do you think investing in music instruments is exclusive to the rich?

Not at all, as anybody can invest via a syndicate or participate in an investment trust. Often, the acquisition of a rare instrument, by a musician or collector lacks the required capital. That is where specialists like myself structure syndicates as investment vehicles to support and fund the acquisition of music instruments.

What justifies fantastical prices commanded by some musical instruments - even though to serve a purpose – a well made copy/new instrument is capable of delivering the “same” quality of music?

True. A new instrument played by a maestro could deceive a layman’s ears; but the additional effort required on the part of the musician is drenching. In order to be competitive, a musician needs an instrument that is versatile and subtle, and projects an even balance between depth and brilliance.

What role does speculation play?

The “antique value” of a rare collectable is very desirable. The rest is about supply and demand. Even if demand drops slightly, there are never enough old Italian high end instruments around. Speculation, currently, surrounds less known maker from the 1930s to 1960s as one might “buy and hold” until they start to appreciate - as has been experienced by instruments dating back to the 1920s.

What are the peculiarities exhibited by investments made in musical instruments as an asset class?

Manoeuvrability lends itself well to an instruments price appreciation… hence it offers a very global market.

What are the risks associated with this investment class, can they be hedged and at what cost?

The primary risk would be damage or loss of the instrument itself. Insuring against this risk costs approximately 0.1%-0.3% pa of the total value for a high end instrument. For example, a G B Guadagnini violin, made in Turin in 1773, presently valued at USD 1,000,000 dollars and used in concert settings around the world, would cost roughly USD 2,000 pa to insure. If the same instrument was kept and left unused in a collection, the premium would likely move down to around USD 1,000 pa. Historically there is very little risk as evident from the exceptionally low premiums.

Saturday Strings

Ladies and Gentlemen,

Mr. Mark O'Connor

performing "Lady Be Good"

in the bluegrass fiddle tradition.

Saturday Strings: Play With Sticks

Didn't your Mother ever tell you not to play with sticks? The primary part of a stringed instrument bow is called a stick.

The composition of the stick is what makes the bow valuable and determines its quality. Student bow sticks are made of fiberglass because they can withstand a lot of brutality before breaking, which makes them ideal for classroom situations and younger, less cautious, students. Bows made of fiberglass are also one of the least expensive type next to Brazilwood.

Western, European, bows are traditionally made from pernambuco wood from Brazil. Since the 18th Century, this was determined to be the best material from which luthiers used to make high quality bows. It was chosen because of it's unique combination of strength, flexibility and responsiveness. The finest bow makers have traditionally been French from the late 19th Century.

Other synthetic materials besides fiberglass have been chosen in the recent decades because of current laws protecting the now rare pernambuco trees. Carbon fiber bows have been manufactured to attain almost the same high quality as that of the pernambuco and therefore have become just as popular, even among professional orchestra personnel. They also have a reputation for durability.

Saturday Strings

Ladies and Gentlemen,

Gonzalo Andres Molano

performing the Gigue and Double

from Lute Suite No. 2 by J. S. Bach (BWV 997)

Saturday Strings

Ladies and Gentlemen,

Mr. Yehudi Menuhin

performing the Third Movement of the

Paganini Violin Concerto no. 1.

Notice how effortless he makes the ricochet bowing and double-stop false harmonics appear! Wow! Paganini is definitely no walk in the park!

Saturday Strings

Ladies and Gentlemen,

Midori Goto

performing the Tchaikovsky Violin Concerto

movment 1

Saturday Strings

Ladies and Gentlemen,

Pachelbel Canon in D Major

arranged by Sylvia Woods for the harp.

Unfortunately the performer's name is not given (DutchHarpist). Watching my Mom learn to play harp, it is easy to see why it is such a difficult instrument to play.