Wieniawski concerto n°2
It's been two weeks that I'm working on Wieniawski n°2 with my teacher. I have only worked on the two first pages and I'm now going to work on the two last pages ( 1st mov ). Is there any background/context/anecdotes about this concerto and about the composer?
Also, is there any "traps" in the first mov?
Let me Google that for you:
I thought Wieniawskis were those little sausages that come in a tin.
The only thing more annoying than someone posting a banal question that they should have searched for beforehand is someone posting "Let Me Google That For You" in response.
On the other hand, we've seen plenty of threads with "I've been assigned to do a report on Heifetz -- does anyone know of any good resources?"
"Traps" for some people are the fingered octaves at the beginning and the staccato passages. In performances, students can get overly anxious about those and they lose their concentration for the rest of the piece.
Frieda's observation is extremely interesting. What underlies that difference? I generally find Wieniawski reasonably straightforward because of the absence of large extensions and the fact that almost everything seems to lie pretty conveniently in the hand, whereas Paganini is a giant pain in the *ss because it feels like everything requires stretching.
I've heard a couple of people saying that. Their fingers were unusually flexible and fast, but they weren't always the most efficient in the left hand. My friend's left hand looked a little like Ray Chen’s when she played. Perhaps having that flexibility and velocity, plus a tendency to break the rules, helps with Paganini stretches but would get you into trouble with Wieniawski unless you practice more carefully.
As others have pointed out, the fingered octaves are usually the trickiest thing, but they're not that treacherous as far as fingered octaves go, just be patient with them. It's important to make sure you're not gripping with your left thumb. That's a common tendency but it'll make your fingers press down harder which will make the whole passage much harder to play and could lead to frustration and possibly pain. I specifically remember my teacher making me play it without touching my thumb to the neck. I didn't like doing this, but it did make my fingers learn how to do it without pressing down hard, so it was worth it.
Paul: "And we're, like, "Try Wikipedia."
Irene, the commas are meant to convey the ubiquitous pauses when such a phrase is spoken. I thought there was a name for commas used in that manner, but I can't remember what it is, and I could be misremembering entirely. But I'm sorry to disappoint: It wasn't intended as a dig at anyone on this forum but rather at an entire generation of committed likers. Again you have underestimated me.
I imagine Wieniawski must have had an amazing staccato, since it shows up in just about all of his compositions and it must have been his go-to parlor trick. :-)
Yes, I effectively noticed these fingered octaves.