For those that took their time to comment and advice on my playing, I am sorry that I took such a long time to get back on my progress, there was always one thing after another, one excuse after another :(
I am now working on the 3rd movement, as well as Bach Sonata 1 (in between, finished performing Wagner's Die Meistersinger with the orchestra and now working on Mendelssohn's Bartholdy)...
You have helped me a lot the last time I posted my piece, so feel free to comment.
Tweet
Your implementation of the "fake vibrato" on the first note of the piece is about the most effective use of this device that I have ever heard. However I would not allow that note to trail off quite as much as you did. I think you might have even lost bow contact at the end of it.
At 0:33 those are are F#'s, right? They sound a little low to me, you may have to move your fingers back and forth to allow the stops to be sufficiently close together especially considering the F# is a leading tone. Your C#'s at 4:20 were executed better.
At the recap at 4:20 can the new/special articulation of the broken arpeggio be more clear?
At 1:40 I recommend you avoid the tendency to sway along with your lyrical phrasing. It's as though your violin is chasing your bow toward the right when you pull downbow and then to the left when you pull upbow which is actually contrary to what seems natural to me. At 2:10 you are also swaying with your whole-bow trills but in the opposite direction. You don't have to be wooden, but with less gratuitous body movement your balance and every part of your playing will improve.
At 1:52 your portamento into the C is sweet -- but I'm guessing that's about the limit of what judges will tolerate. At 2:50 it sounds excessive, like you undershot your shift a little and had to keep going.
At 2:40 there is a phrase Bb-F-A-G-F in the high register. Keep your sound point closer to the bridge, I think you were running out of bow for the G and you want to sustain that phrase.
I'm being picky here because your playing is really quite good.
At 3:07 there is a fifth Eb-Bb that sounds plenty long enough to have some vibrato, but you've applied none. I realize fifths are hard to tune. Likewise at 3:22 you're selective about which intervals get vibrato when they're all the same duration. Here it's a harder challenge.
At 3:42 I would not emphasis the four-note sub-phrases in the chromatic scale as much as you did. The question is whether you're making a musical or practical choice.
I'm very impressed with your playing and a little disappointed that you didn't take your Suzuki bow at the end! Congratulations and keep up the great work.
This discussion has been archived and is no longer accepting responses.
Violinist.com is made possible by...
Dimitri Musafia, Master Maker of Violin and Viola Cases
Miroirs CA Classical Music Journal
Coltman Chamber Music Competition
Johnson String Instrument/Carriage House Violins
Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine