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Klaus Weber

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About Klaus Weber

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  1. "Doux avec suavité": sweet, with softness; "Cedex(?) un peu": "giving it up" a little bit (related to rhythm, probably); "Chanterelle": singing (or: 1st string).
  2. It`s not a matter of asking if Wohlfahrt op. 45 is a good supplement to Suzuki; you should ask yourself if Suzuki is a good supplement to Wohlfahrt op. 45. If you have to make a choice here, my friend, drop Suzuki and keep Wohlfahrt. You need it more, believe me. But I`ve seen a lot of people use those books simultaneously with great success, so I firmly believe you should be able to do it as well.
  3. It makes sense to me, Connie. Let me explain: I have two instruments; the "best" one (best sound, greater commercial value, best maker) is a very good instrument; the other instrument is a "cheapier" one, but it`s easier to play, from the biomechanical point of view. I mean: the "best" is adjusted (strings height, soundpost, etc) to produce a good sound; the "cheap" is adjusted (ex.: lower strings) to allow technical easeness (and it doesn`t sound bad, just not as good as the other). The result is that, when I want to play something as a Wieniawski caprice, I go to the "cheap"; when I wa
  4. I usually avoid to teach Kayser to my students because I only own Gingold`s edition, and I don`t like it. I think the fingerings and the suggested bowings are sometimes very outdated, sometimes very anti-didactic, and sometimes very bad (and I usually don`t feel it about other Gingold`s editions). Right now, I`m using a copy with my own fingerings and bowings. But, considering that I am decided to use this book with all my pre-Kreutzer students, does somebody know a better edition?
  5. This may sound a little obvious, but: About the 166-169 bars, did you practiced it 1) open strings, just for bowing; 2) very slow chords, just for left-hand; 3) done that, as it is written? A major issue in this passage could be the soundpoint, because the higher strings demands closeness to the bridge, and it could make the G string sound poorly (and eventually will). I hope it helps.
  6. At www.mozartforum.com (from a Google search): "Her most famous work, the Sicilienne in E flat major for piano quartet, is unfortunately spurious, as it is derived from a Weber violin sonata (Op. 10 No. 1) and is believed to have been concocted by its purported discoverer, Samuel Dushkin." Seems like they agree with us.
  7. I always thought about it in a similar way. When I first listened to "Larghetto" (the classical Kreisler arrangement - I believe Dushkin did not arranged it), I "realized" that Kreisler "got it" from Paradis. Later, I found out a book of Weber sonatinas (violin & piano), and it had the Larghetto. Then, I made the same theory, but I was not able to identify who composed first. In fact, I hoped the first one was Paradis, because I always liked it more... But reading to this thread, I start to admit it was probably Weber.
  8. Dear Mr. Gavincko: If I got it, you are over 40, studying Bach and Paganini without a teacher, and with little time to study. I strongly believe that no one finds real pleasure when playing badly, and playing difficult pieces without being prepared makes you play badly. Everybody wants good results, and when they don`t happen, it leads to some frustration. Even amateurs want to play well. Having said that: 1) GET A GOOD TEACHER! (not a friend: someone with reputation); 2) DON`T SKIP STUDIES! (including scales, triads, Sevcik, Schradieck, etc. There are no shortcuts for that, unfortun
  9. I can`t find anything at internet related to some possible influence of Rode on Paganini (or the opposite) - especially their compositions. It is a wide known fact that Paganini supposedly wrote his Caprices at the very beginning of the XIX century, and Rode published his homonimous book at 1819 (if I remember now). But the fact is that Paganini published his book one year after Rode, or something like that, and there`s no proof of the earlier content of his caprices. Also, considering that these are the very first collections with that name (besides Gaviniès "24 matinées" - not caprices), a
  10. In fact, my "Basics" book came just today - and I ordered it 5 months ago. So, right now, I feel that I don't want to wait a probably longer time to a more unknown and more expensive book... Instead, I need to... "practice".
  11. I'm tending to purchase Christian Tetzlaff's recording. Any opinions?
  12. I just checked RCA Victor`s website, and it seems that Zukerman`s Haydn is not published anymore. It makes me a little angry...
  13. I saw it at Edition Peters` website, when searching for something else.
  14. Zukerman recorded G and C major. Unfortunately, I don't have it. I have the C major with Cho-Liang Lin, which is quite acceptable. Zukerman is probably better. I agree about Mozart's Genius, but I believe it doesn't diminishes Haydn concerti. For me, Haydn's are from a different style, especially CM.
  15. Does anyone have an opinion about this new book??
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