Violinist.com

V.com weekend vote: Would you rather be a soloist, or play in a group?

Sat, 07 Nov 2009 04:30:46 GMT

By The Weekend Vote:

Some people are made for the limelight; they have that kind of energy that transmits best in the solo spotlight. Others enjoy being part of a group, be it an orchestra, chamber group, band or other situation.

Personally, I've certainly enjoyed the recitals I've given over the years, but my heart is in the orchestra. I truly enjoy being one small part in a larger-than-life whole.

How about you? Please vote, and tell us your thoughts on the joys and trials of being a soloist vs. being a team player.

poll by twiigs.com

& nbsp;

The importance of being bowing.

Fri, 06 Nov 2009 03:40:58 GMT

By Stephen Brivati:

�

Greetings,

A great teacher once said to me that the science of violin playing is in the left hand and the art I the right.�� Not sure I am completely convinced by this dichotomy but it does serve to remind us that left and right hand deserve at a bare minimum fifty percent of our attention each. ��This will then vary in proportion on a case by case basis.

This being the case I wonder how many of us actually neglect the right hand(arm,�whatever) to a considerable extent during our technique building practice? ��I suppose �it�s the nature of the beast,�intonation being such a bugbear,�� that we should focus on the left hand. �Plus there is something,�somehow�more immediately gratifying in play a scale of some sort than an open string,�or maybe not�.

The result of this imbalance of attention does in some cases lead to a practice routine in which one does scales to begin with,�probably dutifully beginning with a slow easy one and building up to fiendish double stops without really paying more than cursory attention to the bowing.�Of course this problem is alleviated to some extent if one follows the principles laid out by �Flesch (and later Galamian) �of combining bowing and left hand.�But,�� somehow I think bowing still gets short shrift.�It may be helpful to address this issue directly for a month or so by beginning every days practice with pure bowing exercises. ��

A useful resource is Drew Lecher`s book but one might set up a very good routing using exercises from Basics or (gasp) a combination of the two.�Something like the following.

1) �Spider on a stick (recommended for pros as much as beginners�.)

2)�Up and down finger action from Basics.

3)�� Short notes in lower half using only fingers.

4)�Colle in all parts of bow.

5)�Thibaud exercise. (Down at point,�up at heel using colle)

6)�Pulsing exercises on one string.

7) Exercise in planes (Drew or Basics)

8)�String crossing exercises-�both detache in all parts of bow and long slurs.

9)�WB martele.

10) Speed and sp exercises from Basics.

�

Alternatively one might use soemthing like Casorti. These are just a few possibilities.�No need to take more than 20 minutes or do any to excess.�� But if one gets the bow arm into a grove it may that the scales that follow (in itself something of an ambitious jump)�may be much more beautiful and much more inspiring a as result.

Bowing is common in Japan,

Cheers,

Buri

Thank you to Violinist.com's November advertisers

Thu, 05 Nov 2009 04:33:56 GMT

By Robert Niles:

I'd like to thank the music schools, shops and individuals who have helped bring you Violinist.com this month.

Thanks to you, our Violinist.com readers, we had another record traffic month on Violinist.com in October, with more than 130,000 unique readers visiting the site during the month. Laurie again offered some great original blog posts last month, including a one-on-one interview with Joshua Bell.

But none of that happens without advertiser support for the website, and our community. So thank you to our returning advertisers this month for their financial support:

We'd also like to welcome a new advertiser this month, Theodore Cohen, the author of the new book, & quot;Full Circle & quot;, called a & quot;marvelous journey through music, communications and family & quot; by one reviewer on Barnes & amp; Noble's website.

We hope that you will consider these advertisers first when you are making a decision about violin and music-related purchases as well as your violin career, as a way of showing your appreciation for their support of Violinist.com. If you run a music-related business, or are an administrator at a music school or camp, we invite you to consider supporting this lively community as well by becoming an advertiser on Violinist.com.

Thank you, again, to everyone who has helped make Violinist.com such a delightful and inspiring community!

VIOLIN TECHNIQUE/VIOLA TECHNIQUE: Bow arm � nervous and finicky / relax into string

Wed, 04 Nov 2009 06:26:09 GMT

By Drew Lecher:

��Question:� My bow arm in general (too many cooks probably),� feels a little nervous and finicky just relaxing all the time in to the string.�� This was of my own doing, and when I really focus, I'm 'discovering' the relationship between each note's quality and characteristics well.�� It appears to have helped me internalize the real spirit of bow speed this focus,� in terms of the quality of what I hear versus more speed for more forte when appropriate and so on. ��

�

So, what is the real spirit of relaxing the upper arm into the string--my bow hand feels worn out sometimes from keeping the note at the tip(I play in the upper 3rd a lot).� ???�� I studied Jonathan Swartz comments on the graduation of flow through the forearm some times ago, but do you have anything to further this along other than said focus and etudes?� A.

�

Hi A,

�

Add Basics I to develop more variety and flexibility of control. I is a "simple" study that requires mastery of bow weight, speed, point of contact�all interrelated with quantity of hair chosen and vibrating length of string/position.�For someone that does not have my book, Basics I is a study of legato pulses with the bow�initially do 2 per bow and gradually add more without speeding up the tempo, though that can be done as a variable.

�

Stop playing in the upper third so much. It is a wonderful part of the bow and certainly to be used, but definitely not to the exclusion of 2/3's of the bow. Your bow hand will work more in the upper third, depending on the style, character and dynamic played.�

�

1. Bow arm is "nervous and finicky":

When the bow arm is "nervous and finicky" you are not relaxing into the string. I am guessing that you are playing at the wrong point of contact for the given weight, speed and quantity of hair used. The result of a 'battle between the hair and string" is usual a very unsettled tone and even a jumpy bow.

�

Don't change anything�

�

Begin wrong and then�as you draw the bow stroke�very slowly move the contact point nearer to the bridge until you hit the sweet spot�when all is beautiful, resonant and flowing.�

�

The sense is one of fusion joining the hair and string as if laterally pulling the hair into, through and out of the string with each stroke.

�

2. Relaxed bow arm:

A relaxed bow arm does not mean limp and going amiss in path and plains�thereby lacking direction and purpose. It is a highly motivated move, extremely directed and linear in flow. I teach the Crescent Bow path as it is naturally fluid.

�

Hold the bow with greater firmness in the thumb, fingers and hand�I do mean slightly "stiff" temporarily�then do ALL of the stroke from the upper arm and forearm. The left hand is one-with-the-bow and the shoulder joint, elbow joint and wrist joint must fluidly hinge (WD-40 helps:-) accomplishing the flow of the stroke, bow changes and string changes without any assistance from the hand, fingers and thumb. Within one or 2 strokes, usually much less then even a stroke, you will see and feel the need to study the BOW ARM.

�

Now you are on your way.

�

TIP: If your right thumb does not cross the string you are on and slightly beyond, you have not completed the Whole Bow.�

�

Hope this helps�

�

Take care and God bless,�

Drew

�

Author of�

"Violin Technique: The Manual, How to master"

"Viola Technique: The Manual, How to master"

�

�These two volumes offer a comprehensive practice methodology that addresses the full gamut of fundamental technical issues on the violin and viola;�these books certainly chart a course towards the acquisition of an in-depth technical understanding�whether used to build one from scratch or to hone individual aspects.�� the Strad, London, September 2008�

�

Review: Augustin Hadelich in recital at UCLA's Clark Library

Wed, 04 Nov 2009 03:35:27 GMT

By Laurie Niles:

Much of the United States may have been buried in snow, but Los Angeles had one of its rare, crystalline perfect days for violinist Augustin Hadelich's recital Sunday at Clark Library at UCLA with pianist Ian Parker.

The recital was held in the library's ornate drawing room, its ceiling painted with scenes from Anthony and Cleopatra, each scene framed with intricately carved wood. Along the side walls stood a marble fireplace, portraits of the library's founders and a picture window letting in sunshine from an opulent green lawn.

Something in this elaborate set-up seemed to match the meticulous work that goes into preparing a program of Beethoven, Takemitsu, Poulenc, Zimmermann and Prokofiev. And happily, the small venue was full; the Clark distributes tickets for its chamber music program by lottery, so nearly all of the 100 seats were filled.

I hadn't heard violinist Augustin Hadelich play since 2007, just after he won the 2006 International Violin Competition of Indianapolis. Since then, he's kept busy, recording the complete Haydn violin concerti, as well as a more recent recording called Flying Solo, with all solo violin works. This year he won the Avery Fisher Career Grant, and he continues with a full schedule of recital and orchestra appearances.

Hadelich and Parker started with Beethoven's Sonata for Violin and Piano no. 8 in G, op. 30 no. 3, the first movement an elegant wash of notes. Despite the technical and musical demands of the rest of the recital, I personally enjoyed the second movement of the Beethoven most. The movement features such a simple melody, like something from childhood. In spinning this melody, Hadelich reached a point where he held his audience still and spellbound & ndash; I didn't even want to tear away to move my pen. I confess, these days when I hear a violinist of high caliber, I'm less interested in how they handle this little turn or that harmonic (though I suppose if it were a heinous crime against propriety and genre I might flinch) than I am in whether this captivating quality exists. To reach out this much shows a generosity and selflessness, a willingness to communicate with the audience.

Without thinking, I noted that Hadelich's fiddle has a wonderful warmth, a chocolate tone that is rich enough to be a treat but not so rich as to sound over-sweet. Then I realized, he is still playing the ex-Gingold Strad (1683), which he'd been granted for winning the Indianapolis competition. The last time I'd seen this instrument was when I was watching Gingold himself teach at Indiana University, nearly 20 years ago. Happily, that golden tone lives on; it seems a wonderful use of Gingold's instrument, to start a young artist on his or her way every four years, following the competition.

Next was Takemitsu's & quot;Hika, & quot; and as Parker explained, & quot;It does not contain melodies you will likely want to hum or whistle on the way home. & quot; He was correct. The piece is based on a tone row; understandable more as gesture than as melody. It made me think of a walk through a minefield on, say, Halloween night. Nothing explodes, but the close calls are startling, in this cautious creep through the murk. It ends with a low-ish sustained note in the violin and & quot;plink! & quot; way up on the piano.

Parker and Hadelich introduced the next piece, Poulenc's Sonata for Violin and Piano, Schmidt 119, as a piece that the composer felt was an & quot;utter failure, & quot; though they disagree with the composer.

& quot;We both enjoy it! & quot; Hadelich said.

The beginning sounds hurried and lost, with some melodic moments of deliberate direction. The piano pounds & ndash; it may have been pounding a bit too loud, I think the lid could have been lowered somewhat in this venue. The second movement was the one Parker and Hadelich said they liked, for its harmony. As Hadelich said beforehand, & quot;The French have this great talent for creating harmonies that evoke a feeling, all on their own. & quot; A chord sounds, and the mood shifts. Indeed, the soft but insistent chords in the piano were like a canvas on which the violin could add its line, but the canvas changed color throughout the movement.

After intermission Hadelich played & nbsp; Bernd Zimmermann's Sonata for Solo Violin. If you like bariolage, left-hand pizzicato, huge leaps and millions of notes, you might try this sonata by this rather dark composer, who wrote the opera Die Soldaten and whose life ended in suicide in 1970. & nbsp; Hadelich, who recorded this piece on his most recent CD, negotiated the difficult piece with grace, whipping up the excitement at the ending, with frantic double stops becoming ever more frenzied & nbsp; until the one pizzicato that ends the piece.

The recital ended with one of my favorite pieces, Prokofiev's Flute Sonata-made-Violin Sonata, No. 2 in D major, Op. 94a. With all the pieces composed for us on the violin, do we really need to steal from the flute repertoire? In this case, certainly so. The piece should be played on both instruments. The openings feels like it was made for the violin, featuring some of the instrument's most resonant notes. The violin/flute line starts with an A, falling back upon it several times as though it were a comfortable pillow, before arriving at a G and repeating the pattern. A few bars later we land satisfyingly on D before getting down to business. This introduction is enough for falling in love with the piece, but there's much more. Prokofiev was a composer who knew how to tell a good joke, and the second movement & quot;Scherzo & quot; scurries in confusion, with occasional & nbsp; glimpses of a dance, and other occasional glimpses of a triumphant march that can never quite get going. The third movement is a haunting, meandering line that turns into a dizzy, wandering line. The fourth movement goes back into triumphant mode, but one gets the sense that the victors are slightly full of vodka. It all ends with a lot of noise, and this is exactly how you want to end your program because it brings people to their feet.

But they would have been on their feet anyway for Augustin. It was a pleasure to hear him play.

Scales without prunes

Tue, 03 Nov 2009 22:25:53 GMT

By Stephen Brivati:

Greetings,

been doing a lot of work on scales recently.�� One thing I have noticed which interests me is that even on simple one octave scale and arpeggios with no position change there is no faster way to warm up my hands. ��I can play things like the accelartion scale exercises up to extreme tempos and my fingers actually remain cold for some reason. ��The key factor here is in the degree of mental involvement. �I practice the very simple scales in order to have absolutely perfect action in the fingers without any tension. ��Then I am really focused on keeping all possible fingers down for as long as possible and the final factor is preparation of the fingers on an adjacent string ascending and below the current finger descending. �If I am paying 100% attention to these things then the amount of energy focused on the hands makes them extremely hot within a very short space of time.

�

One of the biggest flaws or difficulties with scales for many people is preparation of the first finger when ascending so it is useful to practice this daily.�� At the same time,�the note preceding the new note must be kept down until after the new note has sounded. �Auer stated that this was the secret of legato in violin playing. ��In descending scales although it is pretty much the same thing I think the significance of finger preparation is a little different. It is here that it is vital to have a mental conception of the whole pattern of the fingers. �One cannot place a lower r finger silently and then when it is its turn to sound �slide- it into where it should actually be. �That is the basis of an extremely faulty technique and actually quite common.

�

All this work on left hand unfortunately may lead to another problem.�The secret,�in my opinion,�of a good tone is the ability to draw he bow through the air without dipping it in either direction up or down. ��It is amazing how common this is even to a small degree. ��I suspect what tends to happen when one begins to focus on the left hand aspect of scales mentioned above�the bow arm automatically drops,�or the bow dips in accord �with the finger preparation-. �If this is a habit then the mental energy required to correct this may be considerable in the initial stages. One of the best exercises for the problem and playing in general is the independence of bow arm exercise advocated by Simon Fischer in Basics. �One plays long tones on the g string and plays the left hand as written while sustaining the g string bow stroke. ��The technique should be applied to all etudes and piece son a daily basis. ��Even doing this once on a three octave scale (the lower notes will sound of course) will markedly improve the delivery. One can of course bow any string one likes and do the fingering. ��This is advisable.

�

Quote for Yixi et al:

The basics are only a guiding principle,

Your strongest posture is the one that fits your constitution.

That cannot be taught to you,

You have to find it for yourself.

It is not a question of widening your stance or narrowing it,

If the truth be told.

But,�people will do what is comfortable for them,

So,�If you allow them to,�they will just make it up for themselves.

That is why,�you must always return to the `Basics.`�� (Small Fischer joke....)

This is what is important.

(Shioda Gozo- Yoshinkan Aikido)

�

Cheers,

Buri

Playing Notes vs Playing Music

Tue, 03 Nov 2009 19:29:29 GMT

By Pauline Lerner:

It seems so simple and obvious: Playing notes is not the same as playing music. I once saw a musician wearing a T-shirt that said, "Just because you know a lot of notes and can play them fast doesn't mean you're a good musician." I believe that.

I'm a sort of hybrid because I play both classical and nonclassical music. I hear ignorant criticism and snobbery from both sides.

I had an interesting conversation with a very good musician, a folk guitarist, about the state of classical music in the U.S. We agreed that classical music is fighting to stay alive while newer styles of music keep gaining audiences. His opinion of, say Beethoven's Ninth Symphony, was that if you've heard one performance of it, you've heard them all. Every time it's performed, the musicians play the same notes and markings, so the outcome is always the same. I considered the vastly different sounds of a given piece when played by different orchestras or under different conductors. I remembered the debates on v.com about the merits of different violinists who play the same pieces with entirely different interpretations. I thought of pieces written a few centuries ago which are still played and loved today, and I compared them mentally to pieces of music which were very popular ten years ago but completely forgotten today. I wondered how I could convince this man that different performances of a given piece can reveal vast varieties of beauty or that one can hear completely different things in a single recorded performance of a single work each time one listens to it. There is something deep within the listener which resonates with the music. People who respond strongly to classical music may have grown up with it or may just have it written in their genes.

There are many kinds of nonclassical, European and American music, and I've tried playing a bunch of them. I gravitate towards the ones in which technique is important because my roots are in classical music. Scottish fiddle music is very technical and appeals to a lot of classically trained musicians like me. There are virtuoso soloists, of course, but even fiddlers playing in a group play some pretty technical stuff. In Irish music, fiddle soloists can really flaunt their virtuoso techniques. The same is true of bluegrass music, although I haven't noticed many classically trained violinists turning to that genre. Something that all these kinds of nonclassical music have in common is improvisation. Even if you're only improvising ornaments, you're making the music your own. My classical training has been very helpful here. All those bowing variations in Wohlfahrt, Kreutzer, and other etude books have served me very well in playing nonclassical music. Even my orchestra experience as a second violinist has taught me many ways I can contribute to the totality of the sound even though I'm not playing melody. One time when I was jamming, I had to stop and laugh because my playing sounded like the second violin part of a Mozart symphony.

I got a rude shock recently when I heard some folk musicians describe themselves as beginner, intermediate, or advanced players based on the number of tunes they knew. Don't they know the difference between quantity and quality and the sublime importance of the latter? I became sensitive to the shortcomings of some of the folk fiddlers I had been jamming with. One fellow, definitely not a beginner, proudly played for a group of us a few tunes that he had practiced a lot earlier in the day. I didn't know what they were until after he stopped playing and named them. They were tunes that I know, but his intonation was so bad that I didn't recognize them. Then a woman played lead fiddle for a set of tunes. Her intonation was not good, and her bowing was loud and scratchy. Ow! I don't let my beginning students get away with that.

Fortunately, there are some very good folk fiddlers who are also very good teachers, including Ken Kolodner. He has put out a two CD set on folk fiddling which is really fun and very educational. The CDs contain recordings of him playing 35 old time fiddle tunes three ways: first, slowly with no ornaments; second, slowly with ornaments; and third, a tempo with ornaments. It sure beats listening to a fiddle tune over and over and trying to figure out what the fiddler is doing so quickly. Of course, there is plenty of software which will play music slowed down with no change in pitch, but Ken's CDs are so much easier to use. The CDs also contain PDF files with sheet music for all 35 tunes with bowings, chords, and comments on stylistics. To top it all off, he has a PDF file eleven pages long which describes with remarkably clarity many fiddle ornaments, how to play them, and their best uses in tunes. I bought his CD set recently, and I'm having a lot of fun learning stylistics with it. I excitedly told a fiddling friend about the treasure trove of knowledge in these CDs. He responded, "How many tunes are on the CDs?"

I think I'll look elsewhere for people to jam with.

Beginning Improvisation

Tue, 03 Nov 2009 03:08:39 GMT

By Danielle Gomez:

�I would like to continue with the train of thought from my last blog. �Previously, I had discussed the importance of experimenting with improvisation. �Improvisation teaches a different set of skills that can help to enhance your abilities as both a classical musician and performer.

While it's important to teach these things to students, it is difficult to introduce subjects that you, as the teacher, may be uncomfortable with. �Despite its daunting appearance, learning to improvise is no different from learning a technically complex violin concerto. �It must be systematically broken up into smaller tasks that can be easily managed.

One of the easiest things to do is to start listening to improvisation. �Get all the books you want, but the "jazz swing" is not something you can notate accurately. �Reading music as a jazz violinist rather than a classical violinist is an acquired skill. �Knowing how a particular genre should sound is a huge step in the right direction.

Learning scales is important �but even more important is learning chords. �A simple chord consists of the first (root), third and fifth notes of a scale. �It is unfortunate that the violin is not a chord instrument. �Most of the notes we play are individual. �Guitarists, for example, do not even think about the names of the notes in a C chord. �They learn hand shape and finger patterns. �Since improvisation requires both solo playing and backup playing (something violinists are not usually used to), learning chord shapes is crucial. �A really easy way to do this is to just look up mandolin chords. �The mandolin has the exact same strings as a violin, it is simply plucked instead of bowed. �Familiarizing yourself with chords will make rapid key changes and accompanying easier.

There are a variety of books and backup CDs out there that can help assist you in the learning process. �Two excellent authors are Jamie Aebersold and Martin Norgaard. �But if you are new to improvisation, you must allow yourself to experiment on your instrument. �The more you try improvising, the less frightening it will seem.

Foerster violin concerto life with Petr Bern�ek

Mon, 02 Nov 2009 13:39:00 GMT

By Bram Heemskerk:

Converting�this movie gave problems, but finally I manage to upload it on Youtube:

Converting�this movie from .mp4�with my new camera to .wmv gave problems but after converting it to .avi� with Free video converter I could make a Windows movie maker-movie and�upload it on Youtube.� Somebody made�this video on MP4 with my new camera on 4 -10-09 in Amsterdam in the repeatconcert of our summercourse in Bechyne, Czech Republic. Sometimes� she forgets to film the violinist Petr Bern�ek from the Czech Republik with this afterconcert in Amsterdam, the Netherlands, because she made close ups of the public and from members of the orchestra, so next time I have to give better instructions. But it is much better than a standstill cameraposition and with my old camera I only could made a movie of 10 minutes on .avi, not long enough to record this concerto. This summer�we played this piece also with�Petr in Bechyne, Czech Peblubik with our summercourse in july 2009. I specially like like the part at 6.24 in the 1th movie when the horns began to play with the soloist.

I think this is the last time in my life that I play this wondeful unknown, but beautiful concerto, I think a Dutch premiere in the Netherlands. But I am very happy I ever play this beautiful romantic violin concerto in an orchestra.

Here some impressions of our musicsummercourse in Bechyne, Czech Republic:

Being Emily

Mon, 02 Nov 2009 08:25:35 GMT

By Emily Grossman:

�I felt too frumpy for a ninja this year.� No, something more reserved would have to do.� And since the Community Orchestra's Halloween concert mandated costumes, going as myself was simply not an option.� I took a look in the mirror.� No, definitely not a ninja.

Let's see, part the hair this way... add a lace trim and a broach, grab this shawl here...� Look, it's--� --Emily!� Not bad, not bad...� I practiced a couple of stiff, intense gazes, and then snapped a self portrait with my digital camera.

Actually, it felt quite comfortable being Emily: all you have to do is simply take the symphony from the violinist and she's already more than halfway there.� I could envision myself a few years down the road, after gradually neglecting more and more of my dwindling relationships.� I'd drift quite naturally into my own little world, filling up secret blogs with thoughts for no one else to see.� All necessary correspondence could be maintained on facebook, and through my colleagues at violinist.com I could continue my string studies.� Since I already buy all my supplies on the internet; I could send George in for things like groceries (and� while you're at it, pick me up an americano, too).� I could even conduct my lessons via webcam--now there's an idea!� No, it wouldn't be difficult at all to set everything up so I never had to leave the house.� Ever.� Again.

Everyone back stage at the Halloween concert complimented my Puritan style and how well it suited me (though some mistook me for Jane Eyre or Hester Prynn).� I couldn't disagree with the suitability; I appreciated the way my hair kept its manners the entire day, even through high winds and extreme humidity changes.� Plus, black has this wonderful way of disguising lumpy figures, doesn't it?� Who needs skinny jeans when I've got this fine floor-length skirt?� Surely, with enough frump, you can flatter just about anything!� Comfortably content in my costume, I reclined--somewhat properly--on the couch late into the night musing and composing in my undisclosing black skirt and scalp-hugging bun,

With cryptic verse--a Dash--like this
And capital for Emphasis
In time--would Beyond my time
My Voice prove Infinite?

...Eh, maybe not.

�