Today is a bowing day. It's also D major day so everything I'm playing is in the key of D. I decided I'd work on my riccochet and saltalto bowings. I'm using Paganini Concerto no.1 for the riccochet passages, which really gets you in the zone in that b minor section. Instead of doing the lazy violinist way of breaking those sixteenths up 4/6 at the second half of the section I'm playing 10 to a bow, which is really testing the limits of my ability, I can usually get about 16-20 in a bow if I try really hard but it starts to sound nasty. So The 10 is good, the other ones are fine, except I realized that I've done a bowing wrong the whole time. One set of the sixteenth notes I'm doing an upbow instead of down, but it sounds just as good. I'm doing them both ways anyways for the sake of completeness.
On a nice note. I got Dylana Jensons new Cd, I like what I'm hearing! I really love the Shostakovich! The Second movement of the Barber was impressive. Can you imagine I haven't played the Barber, and it's lower in technique than what I usually play. I'm trying to get in all the really technical pieces before I get too old and start to struggle with facility. I'll go back to those pieces though, because I need to, and I love them.
* Note to self: Work on Sulla Tastiera it's kind of messy. And keep practicing Lipinski at 80 for now and listen to the intonation check against other strings and don't forget to breathe! You always forget to breathe!
Everyday before I start work on my Lipinski, I play through the first movement of Wieniawski violin concerto no.1, my favorite. I was practicing the third page, that lovely cantabile melody right before the triple stops I got through that without a hitch but then I got to those double stopped harmonics and it was gone!!! I couldn't remember it to save my life, instead remnants of Lipinski floated around in my head, I think this is a good thing. It must mean my mind is starting to pick up the music finally. This is good.
Anybody remember playing these double stop etudes? I remember playing them for the few months I took lessons. Boy did those teach me a thing or two about double stop playing. It really helped me listen to the correct intervals. I was thinking about those when I picked up playing Sauret: Gradus ad Parnassum... I almost long for the melodiousness of Trott. Sauret is Cold and calculating, but at the same time it allows for absolute precision which is what I'm looking for this year. Bring it on Sauret!!!
Yep, I think I've matured enough to find the heart of those pieces. I think I may want to start with the Beethoven, I'm not sure. Gee, that's an awful lot of D major though don't you think? I like most kids when I was young heard about these concertos and wanted to play them right away. I even bought the sheet music, and for some strange reason, I could never really play them. Sure I could sight read through the whole thing at 16 but I couldn't really play them with the same finesse that I could play Vieuxtemps or Wieniawski. So here's hoping that I matured enough to really play these great gems.
P.S. I won Dylana Jenson's new Cd!!! I can really understand how she feels. up until December of last year I was without a violin for about 2 years. I completely shut down. I would sleep for days at a time and not shower not care about anything. I was quite close to suicide it was one of those thoughts that always haunted me. I couldn't grasp the concept of life without a violin. When I read the interview with Laurie and Dylana I felt an instant connection to what she was going through. Borrowing violins and having to turn down performances because I didn't have a violin, it was awful. Finally I got a replacement it's not the best still but It's amazing the sound in close to the instrument I use to have and it's opening up a little everyday! I think that since I'm young the sound will grow with me until I'm ready for something new. I named my Violin the Phoenix to represent the destruction of an old way of life and the beginning of a new one. My life is changing for the better.
"Do you know what the violin means to me? A musician has to play. If I were punished, not lauded for playing, if I were not paid, not appreciated, even then I should have to play my violin. I would brave punishment to play, just as some men brave punishment for their religion. So many times I met with Ysaye, Thibaud, Enesco and others to play chamber music together; not poker or tennis or drinking, but music! For a musician's hobby is his art. In this he is blessed! 'I play, therefore I am' To that I cling!" Fritz Kreisler
2 weeks in with the Lipinski and I still feel good about it. It really just feels like an etude to me, I've heard recordings and I know it can sound musical, but I'm still trying to get the notes into my head before I start playing around with interpretation. I'm working on memorizing the beginning to B and still learning B through D. That's all for now.
If you want to be a virtuoso violinist, you must first accept the fact that you're insane. Secondly, you must be very persistent. Thirdly, accept that somewhere out there, there is someone just as good if not better than you. Fourth, you must have a critical ear, I say critical because a good ear isn't enough. You must be able to hear yourself as if you were your own audience. Fifth, once you become a virtuoso, you must be humble; never try to shame someone who is not at your level of expertise, rather,instead nurture their talents so that one day they can be a great as you.
It's crazy I haven't had a teacher in years... and yet I teach myself just fine. Watching out for intonation and bowing problems, almost as if I had a teacher there. What I'm lacking is the validation I get from a teacher. How do I simulate that? I'm seriously considering going in once a month to a teacher just to get imput on my playing. My friends aren't doing it for me.
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