Sound purity, ricochet and upbow staccato
I have a lots of question about technique and musicality
Once, I went to a concert where Renaud Capuçon was playing the 3 violin and piano sonatas from Brahms. A thing that surprise me is that he has notes that are "pure". Each single note was in tune and it has all types of vibrato!How does he make these notes sounding so " pure"?
My second question is :
How do you make ricochet and upbow staccato?
In Schubert's sonatinas(I've player them all), I was always playing "normal staccato" (last mov of the 1 st sonatina and in the 1st mov of the second sonatina).
My teacher told me that it isn't necessary to play with upbow staccato or with ricochet these passages(even if It's write on the score).I'm not accusating my teacher of course(she's a perfectionist and she's very demanding so she's only making this so the sonatina is easier, and it is easier to play almost perfectly)
So How do you make these types of staccato(I just wanna know)?
You're asking for verbal descriptions of very subtle bowing technique. Maybe you could see if Todd Ehle has youtubes on these?
IMO the optimal bowing in the Schubert passages you mention is flying staccato. Staccato (up- or down bow) with its hard attack and its abrupt silencing of every note is too aggressive.
The staccato is often described as having an "abrupt silencing" at the end of each note, which makes it ugly indeed. Forget the abrupt ending and end the stroke with zero pressure.....
The way I was taught staccato is by definition not played with zero pressure.
I know, but it's ugly with an abrupt, on-the-string ending.
To answer your first question:
I didn't personally find kreutzer #4 to be a helpful way of "starting" my upbow staccato.
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