Welcome to "For the Record," Violinist.com's weekly roundup of new releases of recordings by violinists, violists, cellists and other classical musicians. We hope it helps you keep track of your favorite artists, as well as find some new ones to add to your listening!
“I always knew I would have to climb this mountain, and during the enforced solitude of the last 18 months it became clear that the time was right.” Violin professor at London's Royal Academy of Music, Liebeck also has recorded the >Brahms and Schoenberg Violin Concertos in 2020. Liebeck plays the 1785 "Ex-Wilhelmj" J.B. Guadagnini violin. BELOW: Trailer for the album.
With the return of in-person orchestra comes the return of in-person auditions, whether for school, youth, honor, or professional orchestras. And for many, the sight of audition excerpts, with all those tricky notes, makes the heart jump and the stomach clench. The panic can throw you into mindless repetition, with the physical and mental struggles increasing steadily as the stress builds toward audition day.
However, a calmer and more measured approach will likely yield better preparation, both in terms of playing and mental state. Consider the following audition preparation approaches and perspectives before you continue (or start) your preparations:
This fall, it's been exhilarating and cathartic to witness the return of orchestra at every level, from professional concerts in the world's most famous concert halls, to school orchestras and community orchestras starting again. With the return of school and youth orchestra comes the return of the need for students to discern which ensemble, and which honor orchestra (such as district, regionals, or state) - if any - is the best fit for them this year.
As a former public orchestra student and now a private teacher of students navigating the same system, I offer five important considerations before signing yourself up for an ensemble audition. Keep reading...
Violin soloist Rachel Barton Pine announced on Tuesday that she will perform from a seated position for the foreseeable future, as her medical team has advised that she will be non-ambulatory for at least the next few years.
“These are medical setbacks," Pine said, "my ability to fulfill my life’s purpose as an artist remains unaffected. I’m sharing this information so the focus will stay on my music-making."
At age 20, Pine sustained serious damage to her lower limbs when her right foot was crushed and her left leg severed above the knee in a near-fatal Metra train accident. Despite these injuries, Pine's violin playing was not affected and Pine has remained tireless in her activities not only as a performer but also as an advocate for the arts and educator. Keep reading...Comments (7)
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