Violin concertos such as Prokofiev? (in terms of difficulty)

June 30, 2017, 4:59 PM · Hi! I am searching for a concert that is the same/simmilar difficulty as Prokofiev 1st. Do you guys have some recommendations? I would appreciate it a lot. Thanks in advance!!

Replies (37)

June 30, 2017, 5:40 PM · Dvorak Concerto in A minor, one of my favorites.

Vieuxtemps 4 and 5 are a similar difficulty as well, I believe.

June 30, 2017, 6:43 PM · It's comparable in difficulty to the mainstream concerto repertoire, pretty much -- if you can play it, you can probably play anything that's not Tchaikovsky, Sibelius, or Brahms, in all likelihood. Every concerto has its own difficulties; Prokofiev 1 has lots of fast chromatic passages and the like but little in the way of double-stops. If you have a double-stop weakness you may find other works that have more double-stop passages to be significantly more challenging.
July 1, 2017, 4:57 AM · I always had more problems with Prokofiev than with Sibelius, I sometimes lost the path trough the piece.
That beeing said its basically every major concerto despite the three mentioned. Vieuxtemps 5 might be worth a look.
Edited: July 2, 2017, 1:01 PM · To: Zeynep Yilmaz ~

Reading beneath the lines, Mr/Ms. Yilmaz, I wonder if you have mastered all technical challenges inherent in this exceptionally challenging musically and equally tricky technically demanding score?
Before offering any repertoire suggestions, it would really help me to learn about your violinistic background ~ i.e., with whom you have studied (how long, Where, etc.) & if you wish an international soloist violin playing career, or if you're establishing yourself as such, and Why you wish to "break up" with the phenomenal Violin Concerto #1 of Prokofiev after how long a period of thorough study & mastery of the notes but more importantly, the musical mysteries contained within this eerie magical score??

A private pupil of Nathan Milstein, at his invitation, in London, for over 3 & 1/2 years, with the renowned Master of the Bow, and left hand wizardry, I studied Prokofiev I with Mr. Milstein & strongly suggest before looking for a 'comparable' violin concerto, you listen intently to Milstein's fabled recording of both Prokofiev Violin Concerto's on EMI 33 RPM LP ~ the 1st w/ Carlo Maria Giulini, and 2nd with Raphael Fruhbeck de Burgos ... (Have your piano reduction part including violin markings in hand for No. 1!!) This Milstein 'Special' might change your mind once hearing How this marvel of a concerto can sound and as authentic to Prokofiev's idea as no other ~ (Milstein & Prokofiev were friends in St. Peterburg at the St. Petersburg Conservatory when NM was w/Leopold Auer along w/Heifetz, Elman, Toscha Seidel, Zimbalist, Kubelik, Kathleen Parlow, & Sascha Lasserson (London's famed Violin Guru, whom both Heifetz & Milstein revered ... )

With sincere colleaguial respect for any Violinist who wishes finding an alternate violin concerto just as challenging as Prokofiev #1, it would be irresponsible of me as a veteran performing violinist and Artist Teacher (passing on some of the Legacy of violin playing/music making imparted to me by both my legendary violin mentor's, Jascha Heifetz and Nathan Milstein), to throw out suggestions to you sans little knowledge of your violinistic background, including w/ whom you have studied & are now studying (if this is the case) and What your present teacher/coach thinks & has suggested? I do admire any Violinist who can navigate the understated difficulties of Prokofiev #1, yet wonder about your musical closeness to the musical mysteries contained within this Pearl of Prokofiev's Violin Concerto offerings ... Awaiting more info on your studies, approach (Flesch, Franco Belgium, or other) I shall look forward to a post here soon enough from you!

For *references on my musical career/pedigree go to www.linkedin.com / Profile Elisabeth Matesky, and if interested, access my 1/2 hour film with Jascha Heifetz on *YouTube under 'Jascha Heifetz Violin Master Classes, USC, Khachaturian, JH-7, Elisabeth Matesky' (Russian version best quality in English) ~

** Suggested Research Assignment! Access Nathan Milstein, Prokofiev Violin Concerto's, on EMI 33 rpm LP, 1st Violin Concerto w/Carlo Maria Giulini; 2nd Vln. Con. w/ Raphael Fruhbeck de Burgos, Conductor's respectively ~ Even if already a Violin Master, this should ignite your own imagination & wonder at Milstein's dizzying wizardry fused w/uncanny musical offering's of hidden messages in Prokofiev's score of his Violin Concerto Number 1 ~ Also, YZ, bring your Prokofiev No. 1 Violin Concerto request for 'comparable violin concerto's' to our long standing LinkedIn discussion, "The 10 Greatest Violinists of All Time (III)" for other savvy & discerning comments/ suggestions ...

With musical best wishes from America on this July Fourth week end with fireworks galore!!!!

Elisabeth Matesky *

*Internationally recognised Violinist / Artist Teacher of Violin Repertoire & Bowing Studies / musical hobby writer for AST Journal, the Strad (London), 'core contributor' 'The 10 Greatest Violinists of All Time (III)' of Nick Hulme, Thames Valley University, London, on The Violin Network, LinkedIn, beginning on 1/30/15 (I); 4/5/16 (II) & most recently, (III). Note: over 7000 posts broke the capacity of LinkedIn, so Prof Hulme created (II) which also broke space availability, & due to popular request, Prof Hulme created (III)! We have thus far selected Jascha Heifetz as The Greatest Violinist of All Time. This close to 2 & 1/2 year discussion is a serious yet very friendly international group of discerning players, teachers and violin aficionados, all of whom are presently in 'agree to disagree' process to determine the Second Greatest Violinist of All Time honour ~ top candidates are Giant's and ... Some sense my own preference, but if keen, please feel free to join us, ZY, as an invited guest ~

*ASTA (American String Teachers Assoc.) Presenters, 2009 ASTA Nat'l Conference, Atlanta ~
'Elisabeth Matesky on Nathan Milstein: Icon of the Violin, Artist Teacher, Person and the Friend I Knew'
(c) Copyright E. Matesky 3/21/2009. All rights reserved

*Facebook (Elisabeth Anne Matesky) *not posting back ~ computer woes

*Google

July 2, 2017, 1:32 PM · I see advanced students playing Vieuxtemps 4 -- none of them plays Prokofiev beforehand. Perhaps that is an issue of musical maturity but that's what I've seen. I've played neither; I don't have the chops.
July 2, 2017, 5:20 PM · Prokofiev 1 isn't taught as much, in general. You'll find plenty of pros who have never learned it and therefore don't teach it to their students.
July 2, 2017, 6:35 PM · A pity, as it's such a wonderful, special piece. Most certainly not a "student" concerto (though neither are the aforementioned Vieuxtemps works.) May all of you who learned it be able to fully appreciate its depth.

At some point, piece "levels" stop mattering, and all good music becomes worth learning, from Bach to Bazzini. Of course, the technical needs of a student are relevant, but in the end, few works are "wrong" to learn under the right circumstances. A pity there are a few "level conscious" players who demean others for not playing the real, "pro" repertoire-I guess it's all part of this so-called "human competitiveness" many are afflicted with (no one above is being alluded to-it's something seen more often in younger, immature musicians... though sadly, some keep the attitude throughout their life.)

July 2, 2017, 7:56 PM · I suspect that a lot of pros stop learning the concerto repertoire once they're out of school / training. Orchestra players tend to have plenty to practice without adding more difficult music that they won't use professionally, and everyone else has plenty of other professional activities keeping them busy and making practice time scarce. And if they ended their training more at the level of a concerto like Mendelssohn rather than, say, being comfortable with Brahms, they may not be able to easily tackle the more difficult concertos without the help of a coach. It makes more sense to spend spare time on works that can be used for recitals; it's not about the "level" but about the practical application.
July 2, 2017, 8:14 PM · To Paul Deck ~

You raise an essential point! There are exceptions as we all realise, but I well remember learning Vieuxtemps #4 very early on and so loving one particular section in this lovely work, I played it from the piano reduction part over and over repetively, such was its impact on my musical core ... Btw, the Scherzo in Vieuxtemps 4 certainly is a technical left hand & overall endurance builder ... Winning a contest out in Riverside, CA, I was invited to perform the Vieuxtemps Violin Concerto No. 4 with symphony orchestra and became acutely aware in the performance preparation of one's yet to be strengthened technical weaknesses ~ Speaking for myself, the Prokofiev Violin Concerti with my musically heart throbbed love of Number 1, didn't show up in my own repertoire studies until After the Sibelius and just prior to the Brahms!

As the saying goes, "when the pupil is ready, the teacher shows up!" ~ Likewise, I do think this is also true of specific works in the lives of various performers ... If one has a deep yearning for a specific concerto its music has a yearning for the musician deeply attracted to it! In teaching, I mention this quite often to pupils even if, 'going by the book', a pupil at a given stage of development is supposed to learn Mozart, but has fallen for Lalo's Symphonie Espagnol. Relevant to this I learned much when a 14 year old freshman High School pupil came to play (audition) and after her invited warm up with some scales and the like, I then asked, "What would you like to play?" She shyly said, "The Korngold Violin Concerto!!" Truly surprised, I asked 'Why?' She answered, "Because I Love it!!" I told her I couldn't wait to hear her play a work she loved and play it she did ~ splendidly!!! She emerged from her shy shell and made real music, beautifully and artistically far beyond her years ... I taught her the Korngold with great joy and our journey together produced a very loving young artist who initially took to rare NM bowing techniques I suggested within the context of passages she loved in the Korngold. She studied with me over 6 plus years, even attending my London Violin Master Classes, mixing with aspiring pupils wishing to become concert artists, and was at ease on her first trip to a 'fancy' Music Conservatory in London, no less!! Leslie taught me more than I taught her for which I am forever grateful!! My Mantra which most often succeeds is ~ If you love a certain piece of music it loves you back and like chemistry amongst people, musical chemistry is undeniable with an experienced teacher available to show the pupil How to navigate sometimes turbulent waters ~ i.e., intricate passages & bowing configurations, not to mention stylistic immersement of phrasing, colour intonation and subtle innuendo ~

Apologies for an unanticipated lengthy response, but your comments touched many more involved elements of learning and the teaching of learning which breaths life into the World of Violin!

Sending you very best wishes for an ideal Fourth of July ~

Elisabeth Matesky

July 2, 2017, 10:23 PM · Ms. Leong,

Have always lamented that music often becomes too much of a practical career for many. It's wholly understandable, and even "logical", but I do not have to like it. You are right it's not practical nor essential to keep learning new works (especially for the busy pro), but the violin rep, IMHO, goes beyond what is perfectly reasonable. Having a love affair with the instrument means that you won't necessarily be happy learning and honing a few standards, and just keeping your technique "up to par." It may be a "silly" and "non-essential" choice, but I would not blame a violinist for wanting to keep adding more musical repertoire, in addition to reviewing older works and not letting their technique slip.

(Even if it takes longer due to a busy schedule, why not keep advancing one's knowledge of the repertoire? The process itself will be its own reward, even when impractical from a cold, "business" point of view. And who knows, said players could potentially make "practical" use of their newly acquired repertoire experiences further along the road.)

Of course, I assume to be in the minority here with my more idealistic approach, expecting most to disagree. Please do so if you will, and move along-no harm done in peacefully disagreeing, as we won't likely convince each other and it's not worth an argument.

July 2, 2017, 10:38 PM · "(Even if it takes longer due to a busy schedule, why not keep advancing one's knowledge of the repertoire?"

No matter how much one loves the violin, there are only 24 hours in a day, some of which are necessary for sleeping and eating. Those of us with families would like to see them on occasion; those of us whose orchestras keep cutting our pay are busy teaching many, many, many students in order to help support ourselves and for some of us, our families. Add in the time required to learn music for gainful employment (not to mention the daily tasks of living--cooking, transporting children to and from school, etc) and there is little to no time left to learn concertos.

I think it's great to learn new repertoire and I do so myself at times for the occasional recital. But Adalberto asked "why not keep advancing one's knowledge of the repertoire," and so I am answering him.

tl:dr No such thing as a Time-Turner.

July 3, 2017, 9:23 AM · I also think that most people's student years place a possibly-excessive emphasis on learning concertos, which can lead to the assumption that concertos are the be-all and end-all of violin repertoire.

I suspect that most pros can learn several sonatas up to performance level in the same time they can learn a single concerto up to performance level, and most will have far more opportunity to perform the sonatas (or showpieces) than they'd have to land the opportunity to perform a concerto. And the short works are often much more likely to be things that they can also use when teaching their students.

The same applies to adult amateurs. Most teachers of adult amateurs will proceed along the concerto route the same as they would with a child, but on a practical basis, learning recital repertoire is a more valuable form of repertoire expansion.

July 3, 2017, 9:33 AM · If you were an orchestral music director considering the hire of a soloist, wouldn't you first ask what he or she already knows?
Edited: July 3, 2017, 9:47 AM · Well, as an adult amateur, I agree with Adalberto. My teacher and I have mapped out a ten-year plan that would take me through THREE major concertos, assuming I practice 3 hours a day. Let's see how it goes : )
Edited: July 3, 2017, 12:24 PM · Major concertos after 10 years is ambicious. Good luck!
Edit: As this could be interpreted sarcastically: I ment it in the positiv way.
July 3, 2017, 10:20 AM · Paul, solists get booked, I dont know a single one hired.
July 3, 2017, 1:48 PM · Marc, since I didn't say which three, it does sound ambitious : )
July 3, 2017, 1:59 PM · David: Mozart, Brahms and Paganini? :D
July 3, 2017, 2:10 PM · As far as I know, most music directors plan what repertoire they want on the season. Soloists get asked to play specific things. Knowing frequently-programmed concertos is useful (although certainly a lot of students get taught things that are no longer popular in the concert hall, the Lalo Symphonie Espagnol being the most prominent example of that).
July 3, 2017, 2:33 PM · I think the Lalo is still played. It was considered "back then" an ingenious masterpiece, and inspired many great composers and performer's-though of course the "modern" concert scene doesn't think much of almost anything that doesn't come from the usual, great composers nowadays. During last decade, the "Spanish Symphony" was part of the Concerts at the Park of the NY Phil at least twice (I think once performed by Repin? Feel free to correct me.) That it's used as a frequent technical stepping stone for students doesn't mean it's a student work or unworthy of the stage-again, "too bad" for its current status.

To be fair, both Prokofiev Concerti are rather frequently performed, especially the lovely Second, though I love the First even more.

Edited: July 3, 2017, 2:35 PM · Delete-double post.
July 3, 2017, 3:20 PM · Prokofiev 2 certainly is. In about the last two decades, Prokofiev 1 has become more common, but that means that a lot of the current generation of violin teachers still don't know it.

I'm not sure why the Lalo has fallen out of favor, but I can't remember the last time I saw it programmed in a mainstream symphony subscription season.

July 3, 2017, 4:16 PM · Laurie reported to us that Josh Bell played the Lalo in San Francisco recently. I don't know whether that was a subscription concert.

http://www.violinist.com/blog/laurie/20176/21239/

July 3, 2017, 6:54 PM · Another "forgotten" Concerto that is deemed a "student work", besides the Lalo and aforementioned Vieuxtemps Concerti, is the Saint-Saens 3rd. The Intro & Rondo is so much more popular and more frequently programmed (indeed, have heard more of the Lalo as well). Sad state of the Concert Scene-and no offense intended, as I still attend concerts, and especially, violin performances.

Ms. Hahn should be commended in her recording AND actually performing live the Vieuxtemps, Spohr, et. al. Concerti, though I doubt most "normal" performers would be allowed this privilege.

Some time ago, Prokofiev's works were more "obscure" due to the way history played out regarding his output in the US. Glad that sad chapter is over with.

July 3, 2017, 7:40 PM · The local symphony here in Indiana, the Indianapolis Symphony, is doing a number of lesser performed works for the new season. Bell is doing Scottish Fantasy, Hadelich is doing Britten, and Benjamin Beilman is doing Saint-Saens 3. I suppose the Brahms double also counts, but it's for violin and cello. I like many of of the less popular works quite a bit. Vieuxtemps 5, Wieniawski 2, Lalo, and Dvorak are some of my top favorites. The Op. 20 concerto in F by Lalo is also great. I think it's better than the Symphonie Espangole.
July 4, 2017, 9:40 AM · I want to hear someone do Spohr No. 2 because I worked on that for a while. Tenths ... argh.
July 5, 2017, 10:23 AM · To Adallberto Valle-Rivera ~

I very much like your warmth and hospitable sensitivity to others commenting here!! And with that fine human quality, it comes as no surprise to me you would bring up the deeply moving & spiritual Violin Concerto No. 3 in b minor of Saint Saens!! It is glorious as is "Beauty unadorned" ~ My great
friend and private studied with violin mentor, Nathan Milstein,, had an biding Love for this more or less hidden in the weeping willows tree Gem ... Mr. Milstein's immersion into the dreamy world of Camille Saint Saens is on a planet even many professional violinists don 't take in ... Having studied this extraordinary sound painting of Saint Saens with the Master of colour and inflection in musical French, your love for this great piece of music with such fiery temperamental outbursts in both the First and Third movements is riveting in Milstein's hands which lives in my own heart and soul to this writing. Fashion comes and goes, yet a Chanel Suit endures through Time ~ and this is Saint Saens in his prime musical element!! "Business - men-like" players might be well advised to avoid this until their very crowded schedules widen to allow the human emotion/s of the Soul to be felt inwardly and then expressed outwardly ~ *(The slow movement isn't describable in words but in Angelic realms )

Thank you, Mr. Valle - Rivera for being who you are ~

Elisabeth Matesky ~

"Guinea Pig" first private pupil of Nathan Milstein in London for over three and a half years ~

July 5, 2017, 10:42 AM · For Mary Ellen Goree ~

You are greatly admired for All you are doing and coping with in this present ever changing gears musical profession turned somewhat upside down due to many issues of the Internet; a harsh approach in parts of America to performance and, unfortunately, assembly line teaching which as I'm sure you know as a loving Mother, is contrary to the unique imagination of the young who, on a Summer lazy afternoon, looking up at the blue sky in sunny California, gaze up and let go awhile to dream their dreams ...

Of course, no responsible wife, Mother, and teacher putting enough food on the Table has TIME to think nor think of learning more concerto's ... It is a full life, yet the Soul needs filling a bit and it is my sincere hope you are blessed with some gazing up Time to have for yourself ... I don't know How nor When, but may Providence grant you a slight pause to reacquaint with that sense of wonder most begin playing an instrument with no matter what the 'level' because that in't the point! As Mr.. Valle- Rivera says, it's the Music and every phrase and pause with innuendo that becomes the recipe for a memorable portrayal of any piece worth working on ...

You are doing many jobs greatly and so well ...

Elisabeth Matesky

July 5, 2017, 12:42 PM · Dear Ms. Matesky,

Thank you for taking time to share your fond memory of Mr. Nathan Milstein. I just happened to read Laurie's article written last year regarding Milstein Strad (http://www.violinist.com/blog/laurie/20167/19634/) and I greatly appreciated your comments there, too.

Luckily YouTube has Milstein's Saint-Saens Nr. 3 so the posterity can enjoy his exceptional playing for a very long time. (Link: https://www.youtube.com/watch?v=VrpxJmzLSWg)

Best,

Sung Han

July 6, 2017, 4:27 PM · Dear Ms. Matesky,

Thank you so much for your kind words. I am in a very busy season of life right now but some day hope to have more time to devote to pure music making. All the best to you and thanks so much for taking the time to read and comment here!

Mary Ellen Goree

Edited: July 7, 2017, 6:00 AM · To ~ Sung Han ...

Thank you for your kindness in having read whatever I wrote about my mentor, Nathan Milstein, which I hope did him some justice as no amount of words can describe the impact of Nathan Milstein w/ his Marie -Therese Strad under his chin!! In Milstein's hands the Saint Saens Violin Concerto No. 3 in b minor was brought completely to Life and in great Monet painting style ... His personal temperament was 'tailor-made' for all emotional 'ingredients' within this French 'Impressionist' piece of Music ... The veiled silent emotion in the slow movement are a Saint Saens dream at night yet composed into sounds which all humankind has experienced at some time in a Life's journey ~ The near savagery of the opening First movement was awed thrilling in Milstein's hands not to mention his uncanny bowing/s & in the third movement Finale ~

Re his Great Strad, I was privileged to be asked many times to play his prized violin so he could, (direct quote), "hear how my violin sounds today rather than under my own ear!" He would play my rare Italian fiddle (which he liked!) when I was playing his Strad!! To be sure, these were 'golden days' ~ As of late, some violinists have commented on Mr. Milstein's Strad being challenging to play? These quoted comments have truly surprised me for I never experienced awkwardness or any difficulties whilst playing his violin ~ Only Joy!!!!! The sound was as velvet and the instrument being warmed by Milstein's hands having travelled on the fingerboard some hours prior, was as if NM was playing himself despite my hands moving almost as substitute 'puppets' on the NM fingerboard!!! I always used my own French bow which loved his Strad! As violinists know, the marriage of a great violin can only be truly happy if the Bow is the 'right' partner ~ NM had his favourite bows to use on his Strad and without fuss. It is far too early here to continue presently, but please know I genuinely believe Mr. Milstein's Strad is in mourning for its Heavenly Owner with the grieving process being a long and arduous journey none wish to ever make ...

With warm greetings to you, Sung Han ~

Elisabeth Matesky

Edited: July 11, 2017, 5:19 AM · A good discussion! I'll just comment for now on one or two aspects of it:

If one has some time, it's good to learn/review various things, from concertos to short pieces, to Bach, etc. Even if you know that it is very unlikely that you will ever perform what you currently have on your music stand and even if it's on a light level that doesn't try to get it in one's fingers for a performance level, yet is somewhat serious, it can be very valuable. For one thing, we can get in a rut playing and reviewing the same handful of pieces again and again. Trying something new can fire our imaginations and creative juices. Technically, too, I find that everything helps everything else - whether more or less directly - and practicing never goes to waste. A month ago I gave a pair of recital performances. Now I'm in a period where I'm reviewing and learning some pieces for fun and learning. First it was in fact the discussed Saint-Saens #3 which I love. (BTW, years ago they used to play Ricci's recording of the SS #1 on the radio. I don't know anything about # 2 but just found it on YouTube.) Now I'm entering the the very challenging waters of the Glazunov!

Elizabeth - so interesting about Mr. Milstein's Strad! Do you know what Mr. Heifetz usually used for his Master Class? Was it his Tononi? What about the bow? Thanks!

Edited: July 17, 2017, 11:17 PM · To ~ Raphael Klayman, esteemed Violin Colleague ...

Lovely to read your wise words concerning nothing practised or reviewed or just being studied going to waste! How true this is as your comment re everything helping everything else! We do not waste our practise when travelling back on the 'Board' with bowing remembrances, et al ~ I had a close friend /CSO (Chicago Symphony Orchestra ) colleague who used to say, "When I need to get in really great violinistic shape, I always go back to the Sibelius! It really challenges all aspects of my technique and I keep at it until I am back in a new Season sitting in the "hot seat"! Every violinist playing professionally has a certain piece (Concerto), Unaccompanied Bach plus a favored Dont Etude & then some, to resurrect the left hand, bow arm and, most importantly, 'computer' nervous system (aka) one's Brain to reawaken! Mr. Heifetz used to take at least 6 weeks vacation between Concert Seasons, then upon returning to the violin, start as slowly as possible like a "beginner" (Heifetz level, mind you!) and very gradually build back to readying concert form ...

Btw, Raphael, the Glazounow is a most challenging Violin Concerto which has its detractor's and rabid-like fans!!! It is a wonderful work to be 'walking through'!! Before you know it, you'll be asked to perform it publicly and won't be in shock, but with not understood anticipated welcoming!!

Not sure exactly which violin Mr. Heifetz used in our Violin Master Classes, I do remember his being keen on a fiddle by Berger ... Heifetz wasn't a 'violin-talk' kind of Violinist ~ at least not much with us ... But he may well have used the Tononi for our filmed JH Violin Master Classes, now on YouTube ~ (However not absolutely sure, I don't dare make a sweeping pronouncement in case it's inaccurate.)

Please keep in touch via my LinkedIn Profile business email as LinkedIn's messaging is technologically challenged as of late which is most frustrating, necessitating finding a very highly qualified Expert to sort out the root of the trouble ... (*I'd rather have been in London for Wimbledon, watching Roger Federer capture his Eighth on Sunday with Coco Chanel-like playing style, utter grace and effortless mastery alla Fred Astaire!!)

(I always watch the tennis serves of great players. There are correlations between Tennis and Violin Playing ~ )

Leaving off for now, I wish you the very best ~

As always,

Elisabeth (Matesky) *

*(c)Copyright E.Matesky July 17, 2017. All rights reserved.

July 18, 2017, 4:09 AM · Thanks, Elizabeth! And for the most direct convenience, you are - and anyone else is - welcome to contact me at my personal email: violinist@rkviolin.com
July 19, 2017, 9:53 AM · To Raphael ~

Following your lead, I'll list my business address for you and others here to contact me more directly ~

elisabethmatesky@gmail.com

Enjoy the Glanounow, Raphael!!!! *Do they ever call you "Rafa"??!!! (What a cool dude is Nadal!)

Happy Fiddling!!

Elisabeth (Matesky)

Edited: July 21, 2017, 7:37 PM · Thanks, Elizabeth. If there is any doubt as to the Glazunov being a masterpiece, it certainly is a MONSTER-piece!

My nickname is Raphe (to rhyme with safe) - the way Ralph is pronounced in the UK as in Ralph Vaughn Williams or Ralph Feins. (But I don't like Ralph as it is pronounced in the USA - for me that is; it's fine for Ralph Kramden!)

July 21, 2017, 10:41 AM · Ms. Matesky, I'm curious about something.

A former teacher of mine (who knew Milstein professionally, but never studied with him) greatly admired the way that Milstein bowed -- primarily from the shoulder, using the larger muscles of his arm and the whole arm with often-long bow strokes, but with flexibility in his fingers, but even string-crossings were primarily executed from the shoulder rather than from the wrist. Do you know how he managed to avoid fatigue with this physical approach?

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