No matter what, both hands take quite a lot of training to become adept at the strange motions required to play the violin. Which has been easier for you, the bow hand or the violin hand? Or do you truly feel you've had to work equally on each hand? Please choose what best fits your situation in the vote, and then tell us all about it. Is there anything that made one hand easier than the other? What have you had to do, to compensate for difficulties in each hand? Comments (3)
William Hagen faced the idea of recording his first album, he knew one thing: He wanted to record music that was artistically fulfilling, but also that his grandma would enjoy.When American violinist
Hagen started violin at age four in a Salt Lake City Suzuki program, making his debut with the Utah Symphony at age nine. At age 27, he's blazed an impressive path: he went on to study at the Colburn School with Robert Lipsett, at The Juilliard School with Itzhak Perlman and at the Kronberg Academy in Germany with Christian Tetzlaff. He won third prize in the 2015 Queen Elisabeth International Music Competition and has played with a long list of well-known conductors and orchestras around the world.
Hagen and I spoke about his longtime connection to Los Angeles and the Colburn School, his collaboration with pianist Albert Cano Smit, and the idea of making an album that satisfies your vision as an artist but also serves as good listening material for your grandma.
Our bows have one job to do: make a sound as reliable as the piano’s strings. The only instrument as fragile and vulnerable as the violin is the flute. Like the violin, the mechanics of the flute seem indirect. Whether you learn to blow in a non-traditional way, or figure out how the bow hairs resemble the padding of a piano’s hammer, the violinist and flutist have to learn certain secrets, or revelations, that don’t translate into short, pithy instructions.
One of my favorite moments of discovery was eliminating the scraping of the hairs up, down, and sideways along the string. Since it doesn’t take long to skid from the fingerboard to the bridge, part of my new technique involved constant attention to my bow staying in its lane. Instead of thinking in terms of inches and seconds, I had to develop the observation of a sentry, in which a momentary lapse sends the bow careening. Keep reading...Comments (2)
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!
Here's a young violinist worth a good listen, and he will also be performing in Carnegie Hall April 28. French violinist Virgil Boutellis-Taft presents a wide-ranging album that includes Bruch's Kol Nidrei; Vitali's Chaconne; Saint-Saëns, Danse macabre (a world premiere arrangement by Paul Bateman); Tchaikovsky's Sérénade mélancolique; Bloch's Nigun (from Baal Shem); Chausson's Poème; and Shigeru Umebayashi's "Yumeji’s Theme" from Wong Kar-Wai's film "In the Mood for Love." BELOW: Boutellis-Taft performs Brahms' FAE Sonata:"
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