Zigeunerweisen and other stuff

February 14, 2005 at 05:14 PM · u have to have alot of flair to play zigeunerweisen.

February 15, 2005 at 02:46 AM · John, don't know your level, but why not to try Vieuxtemps #4, or #2? If you play Zigeunerweisen without technical difficulties and enjoy its fiery character, so you need some bright romantic brilliant concerto like Vieuxtemps. (I like #5 more, but I think, it would be too difficult to play. Maybe I am wrong. I just compare to Mendelssohn...)

About Zigeunerweisen... All passages (doesn't matter how good you are in them) divide by parts, like you practice any scale on legato, thinking by groups of four, three, five, six, etc. notes. Also always feel the first and last note, (I mean, when you are ready to perform, don't slow down because of these divisions). And keep in mind that the last note should be really bright and brilliant. Determine how long you are going to 'show' this last note. Never do it too short or too long.

Chromatic downward glissando practice slowly, listen to each step. Play it separate and feel an accent on each note which you do with slight attack toward you of playing finger, like you practice vibration.

In slow part, use various tone colors, timbres, dynamics... be creative, it's Gypsy music.

Don't press too much fingers when you play thirds. Lighten fingers and make this forte with bow only.

At last- Allegro molto Vivace- just relax.

Good luck.

February 15, 2005 at 06:32 AM · Great points by Rita..That is the way to practice the downward slide.. For the long staccato on the bottom of the 2nd page I would try using a very small amount of bow. The formula to a faster staccato is actually using less bow and vice versa for a slower staccato more bow. Also it might help to learn this passage with flying staccato. Kogan I believe only used flying staccato not on string staccato. To add onto what Erika was saying one must take risks in this piece. I remember Erick Friedman told me the reason he felt this one well known recording of the Zigunerweisen was not exciting was because it lacked that certain dash and was played too carefully. To prepare for this piece on a technical level I would suggest practicing harmonic minor scales in all keys to work on the quick extensions and contractions of the finger. In addition go for evenness before speed in the passage work. Heifetz once said that even passage work can give the illusion of playing something faster. Another thing to be careful about is the last line of the piece in making sure you play true half steps between the repeated b and c naturals. I have heard many people play a c sharp instead which happens when the finger is over extended. It's a tight rope walk up there in 10th position!

Nate

February 15, 2005 at 10:43 PM · My tip is, if you stuff up in performance of the 1st movement, no-one will notice, just make it up as you go. Thats what I did at a masterclass at 9 am, having been allowed no warm-up time. Actually somebody did notice. dang