I was reading my morning papers and realized that in the New York Times Music section, there are about five short video clips of varous quartets that performed at a string quartet festival at Julliard. I think maybe one from Carnegie hall as well.
I love watching quartets perform maybe the best of all. How four personalities work together and of themselves to make the personality of the music...and sometimes the composer of the music...become a living thing. How it and they move and go from beginning to end. So many small and large changes happening. Each with different sounds and movements and languages in music.
Yes. I love watching quartets. These video clips are good ones to watch and notice differences of ensemble energies and styles.
Does anyone know where to find a downloadable recording of Mozart's duos for violin and viola (specifically k.v. 423 and k.v. 424)? I did a google search and didn't come up with much. My favourite listening site, NaxosLibrary, didn't have a recording of it. I've got a friend coming over to play them with me next week.
In the playing spectrum....I think I figured out what I need to do to stay happily involved (but not overloaded or starving) in the music scene. I haven't been able to form the quartet that I wanted to, due to schedules and the fact that there is no income with the hard work put in to a good solid quartet. I was listening to some of the chamber music concerts I was in during college and was impressed by both the memories of growth, learning, and enjoyment...as well as the level of quality. My favourite was the Milhaud trio for violin, clarinet, and piano.
I decided that my quest for chamber music need not be limited to string quartets. That decided, there is a resource of talent and coaches five minutes away at the college. I can sign up for chamber music as a non-degree seeking student and just take that one class (there is a program). There are some very high level pianists and wind players that come through that school. String players, too, but they are usually stretched thin. I think that it would be a great thread to keep me tied to musical enrichment but not take all energies. Not totally frustrating. I hope it works out. I signed up this afternoon.
I have been evaluating my level of involvement with the music community and world this week (and I end up here again)! He he. No, I mean, can I sustain my hunger and motivation for music and the arts if I'm not involved in an orchestra or musical setting? Am I becoming apathetic and disconnected?
And I have come to the conclusion that I personally need a little bit of outside influence to keep myself rooted in faithful practice and dilegent personal education. And seeking out things to fill my senses with. Sometimes all it takes is an article in the New York Times to rev me up. Sometimes it takes a weekend of symphony rehearsal.
The reason this comes to question is partly because symphony season is over. And partly because of a comment I recieved that turned my world inside out. And I asked myself, how do I replace the college atmosphere which is so jamm-packed with experiences and stress and performing and learning....in the real life setting? Is it natural to do that anyway? Where is the line for what is appropriate to what I am now? What are real limitations, and what are just fears. And how do I get that involved feeling on my own.
So it has happened. I'm dusting off paganini, which I never really was able to get into as a performance lit. And I'm reading. And listening. And seeing how much my ears had forgotten about quality. I'm listening to my recitals and thinking both good and bad things. I got out the video cam and am watching myself play, astounded that I have not lost the quest for detailed perfection in my playing. I had just become somewhat disinterested for a period of time. I can, however, be connected to music and art from an inner desire...but it must be gently nudged into manifestation.
It is almost like a switch. From being overly concerned with other matters throughout the day....to being overly concerned with musical matters throughout the day. Even if my performance schedule does not necessarily reflect my effort, who cares?
I suppose the REAL question boils down to...which is more important. Culture, or survival? Do we educate ourselves for purpose or pleasure? And I'd forgotten that culture and pleasure are a reason for survival and all that comes between.
Yes,it is much much harder when not completely surrounded by academia, when not automatically emmersed in music history, theory, and concerts. I must close my eyes some days and remember what a normal day back then entailed. And how I'd drive an hour or more to see a recital at another college. Or a piano concert. How I appreciated and digested the instruction and ensemble rehearsals/coachings.
So if I miss all that so much, then it is my responsibility to re-create it outside of the institution. I've been graduated now for about three years. I've learned how to have very boring and ininvolved days in that time.
Illness takes music away in such unanticipated ways. Puts emphasis on different aspects of life. It takes time to regain an old way of looking and thinking of things and weave it into the comfortable way living has become. Comfortable, yes....but happy?
Not to say that the continual emmersion in musical things causes happiness. It didn't then, and it won't now. But maybe I can use what I've learned about happiness in those three years and now bring music to IT, instead.
Musings for a pre-practice mind.
As for paganini....what is a good one to start with? I remember working on number 5 and 11. Should I pick up with those, or is there something in the volume that might be an easier beginning point? FOr a professional who at the moment for some reason doesn't feel so professional and wants to feel like a student professional of the highest degree (devotion and dedication-wise, that is).
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