June 2007

Sound Encounters Master Classes

June 28, 2007 19:46

More than any year so far, I've tried to watch as many master classes as possible at Sound Encounters. This year, master classes for every stringed instrument were given — by some of the best teachers I can remember in my four years coming here, including violinists Brian Lewis and Won-Bin Yim, violist Jeffrey Irvine, cellist Richard Aaron, and bassist Harold Robinson.

Since this is a violin site, I suppose I should start with those classes. : ) I both participated in and observed many of Brian Lewis's master classes. For mine, I played the first movement of Lalo's Symphonie Espagnole, and the Bach's G minor Fugue. One of Brian's main suggestions for the Lalo was to be especially accurate with the Spanish-inspired rhythms. For example, in the habanera-style theme at measure 50, Brian had be be very clear with the rhythm and subdivide during ties. Retaining the contrast between duples and triplets not only makes it easier to play with orchestra, but actually brings out the Spanish flavor more. Another rhythmic spot he pointed out was in measures 94 and 96. Nearly all violinists changes the eighth notes to quarter triplets (as I had unconsciously done). Again, accurate rhythm helps maintain the character of the piece. Brian's second main point was using vibrato to exaggerate character changes. He pointed out that in general, because of their more slender fingers, female violinists have to more consciously work a little harder when they need a big, juicy vibrato, while men sometimes need to be more aware of when their vibrato needs to be sweeter and more "feminine" for a given musical line. Playing the opening G string theme of the Lalo with a really strong, wide vibrato then allowed me to to use a softer vibrato for the contrasting sections.

For the Fugue, Brian suggested I think of it in cut time (as Bach wrote it) rather than in 4/4 as I had been playing it. This really helped it to flow better and have more direction, instead of getting bogged down in all the chords. He also wanted me to experiment with rolling some of the chords down when the melody appeared in the bass line. Finally, he suggested I pay special attention to places where Bach writes in slurs. Brian said that a slur is basically a form of accent. In the Fugue, Bach doesn't write very many of them, so when a slur does occur it is usually for a good reason, such as highlighting a hemiola or showing where the line should move forward.

Besides my own master classes I was able to watch Brian teach on the Barber, Bruch, Mendelssohn, Tchaikovsky, Sibelius, and Saint-Saens violin concertos, as well as the Bach E Major Preludio. I have notes on all of them (way to many to record everything here) but in my next post, I'll share some of the highlights.

9 replies | Archive link

Preludio

June 27, 2007 12:54

Well, after being a violinist.com member for a couple years now and really enjoying the discussions and blogs, I've finally decided to start writing a blog of my own. I suppose I might as well start by introducing myself a little. I'm 18 years old, live in Topeka, KS, and have been playing the violin since I was five. I've been homeschooled since second grade, and just graduated from high school this May. In August I'll be majoring in violin performance at the University of Kansas, studying with my current teacher, Dr. Tami Hughes. I've played in local youth orchestras and won a couple competitions, and currently teach private lessons to a few students. Obviously, I love classical music, but I also really enjoy all kinds of folk music, especially Celtic fiddling and anything by Mark O'Connor or Edgar Meyer. In spare time I like to journal, read, garden, listen to the radio, keep up with friends, and do miscellaneous crafty things like knit scarves. : )

I recently got back home from a summer music camp in Ottawa, Kansas called Sound Encounters. (For those of you that know Sydney here on v.com, we were both there together.) Over the next few days I'm going to share some of my favorite memories and things I've learned there. This was my fourth (and last) year coming to Sound Encounters, otherwise affectionately known as the "center of the universe," "heaven on earth," and simply "Ottawa." I can honestly say it one of my favorite places in the world to be, and I consider it my musical home. It's hard to describe unless you've been there in person, but Sound Encounters has an incredible atmosphere of friendship, dedication, and enthusiasm for music. All the faculty and staff are professional musicians and teachers of the highest level, but so friendly, warm, and down to earth all of us students. I've never been to a place where there are so many spontaneous moments of encouragement and acknowledgement of people's contributions — applause for a student who went out of his way to help or lead, a happy birthday sung at lunch for a faculty member, a smile or hug of encouragement from a teacher. I'm so lucky to have been able to come to this unforgettable music camp.

5 replies | Archive link

More entries: July 2007 •

June 2007

Sound Encounters Master Classes

Preludio

Subscribe

Laurie's Books