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  1. Dear Stephen, Glad you're back! Looking forward to your posts :-). -J-
  2. Yes indeed :-). I only had a chance to hear day 4, and recorded some of it. Sergey is quite a talent! of course everyone played quite well, but he is fast indeed! I am very interested to hear more of this if I have the opportunity to tune in. What a wonderful event and nice of the Indianapolis competition to allow us this chance to hear the events. BRAVO to all.
  3. Dear Stephen, I believe I can help. I have it, and will try to e-mail it to you later this evening when I return. -J-
  4. Dear Steve, I can't tell you how happy I am that you are here to help. Your knowledge and many years of experience speak for themselves. I think that in posting your association, you were presenting honestly with a tremendous background to back up everything. I am truly happy to have met you, if only by an internet association. And, as Jonathan Rubin has voiced, I too hope we have the chance to meet someday. Thank you for your dedication and tremendous efforts! And I totally agree, Erick Friedman does deserve the highest regard. From what I have learned, intonation is everything, and of what I have learned (which I do not consider nearly enough), this is the most important aspect in playing not only violin, but any instrument. It is a stuggle, undoubtedly we all deal with, but one which should, in my opinion, never be shrugged off. Thanks Erick Friedman and to you for all your dedication to music. I remain, Respectfully, JKF [This message has been edited by JKF (edited 03-16-2002).]
  5. Dear Steven, That is excellent. Sending all best wishes, Final post -- and signing off in total. J [This message has been edited by JKF (edited 03-15-2002).]
  6. HKV - We already study with an extremely well known and highly respected artist. Thanks MuOn, for the encouragement.... 'til later, J The posting of the file was deleted...and I made my point. HKV, I hope this made a lesson in life. Bragging on oneself is not an admirable quality, the proof lies in the play. The person playing is a young artist. The recording is very minimal, in that there is no editing and was recorded on an analog 24 track. The way this person learned was entirely by the line of Heifetz through his students, with a small dispersion in the beginnings. I feel this forum was for discussion - some advise to supplement teaching, but not substitute for it. Perhaps this was your intent, HKV, and if so then good. But far too often I get the impression that you use Maestronet to show off. It's the impression I get from reading, and you really shouldn't as there are many extremely high leveled players who simply don't have the need to show off their playing ability. They simply wish to discuss things. And rather than bringing this topic back again I wanted to make one final comment and request that if anyone were interested they should contact Steven Redrobe. He posted here recently, is a very knowledgable teacher, and represents extremely respected artists. I don't represent a person, per se, and would be very hesitant to do so, in that my comments and thoughts are my own. He has openly presented himself, and has generously offered to help. Now to get to the issue below which seems to upset HKV...I didn't say you were a bad player. Is Margaret Pardee not a well recognized teacher? I thought you felt she trained you well, and I felt you sounded like her, which isn't bad, it's good. And you did say you were a student of Rosand, so I guess you represent his way of play too, I must take your word on it. But the puzzling factor is that you say you studied with him by tapes, and one personal lesson. That is puzzling, and I didn't know he taught that way. My main concern, and one that will always be a concern, is that students have proper training. If there seems a questionable problem, then I wouldn't be honest to allow it to go on without exercising the right to disagree. My training has led to a critical ear, and I'll leave it at that. I've learned and will continue to learn as it is my desire to do so. Below syl and D-A - I agree. You both have very valid points. And a great teacher teaches you to teach yourself...ultimately. That is the end goal. But you can't put the cart before the horse. Foundations and development must be in place first, then the tree can grow. A person shouldn't speak with authority on issues whereby the entire schooling is self taught and self proclaimed. Agh...that isn't proper training, nor is it in my opinion, honest. I feel HKV is a fine teacher with regard to the years he received at Julliard. But he professes to be Auer schooled, and here I have a criticsm. He trains himself in that discipline, and in all honestly, this is a schooling that has it's own foundation. Going from one school to another requires as many years to unlearn one discipline to relearn the other and play it naturally. (this is a paraphrase from the person from whom we studied). Under careful guidance, 10 years from now - maybe. But if you want to learn in the Auer style, you should go to a teacher who studied in that discipline. It is a schooling which requires careful control, intonation, relaxed playing style, on and on. The way it is done is different from other schools, as other schools are different from Auer. The end result, what ever schooling you came from should be the same - regardless. Which is good tone, proper intonation, ease (no tension) of play to allow for years of play, and finally artistry. Too many times the focus is wrong - on the school rather than the result and this is where I go bonkers. :-) End ranting and final edit. Enjoy! J [This message has been edited by JKF (edited 03-22-2002).]
  7. Ditto, fubbi2 and bud. Things will get better. J
  8. Dear Shimon, Thanks for writing back. I will take note of what you mentioned, and please take care. I read what you wrote below, and fair enough. He was very good to you, and in all fairness, I am very happy for that. You might want to write to stephen redrobe, and check out his site. If you feel easier, you could check out bsu's site, as you could write first hand and ask anything. Also, as I recall, Bernstein was Gil's teacher, though he probably studied with others as well. I'm not sure on that, and as I said I wrote and am waiting reply. As for the other things... People do what they will. I listened (which was no small task! It took 1/2 hour to load just one of the files, and I like Netscape, not explorer...complaints from yours truly, I know), and HKV, a bit more modesty is due. The way you go on about the wonderful violinists we have... well it isn't right what you say. In my books, there is no difference from how you play from other students at schools. I heard Annalise Place (Aman knows her) and she plays beautifully. Aman plays very well too. Sooooo my point, HKV is you are very reflective of Pardee and there is nothing wrong with that. She is very good, excellent. But things you say and I can only gather are doing now, and teaching to kids, will get them into problems later on. Seriously. Then when they want to go on to another teacher, there will be a host of problems to break and retrain. It's a very sad thing, and it happens alot unfortunately. Now I know you are marketing yourself as something "different", but in all fairness, the sound is not that different. What you are doing is merely making it harder to make as good a sound. And why???? Why? Just so you can say, I know. Okay fine, but there are many many people who have been there, seen it, done it. And they know why the progress was made toward making playing easier. And it is easier now, whereby violinist can move on to the next stage of playing without having to go through all the problems associated with no chin rest, etc. You know, there are folks on the board who grew up with what you say you know better than they. I know you felt that by bullying me, that I'd post a clip of my playing...or lose respect. I don't post my clips, because quite frankly why do it. lwl knows this first hand. I'm too old for this, and the point should be taken that what I am here for is... well maybe that's a good question. Why even post here? Perhaps it's to help kids know that they're working toward a wonderful goal and world in music. That there is more than one way to cook an egg, and that the end goal is toward being a complete and whole person. That in the end, the purpose is to make beautiful music, and not miss the forest for the trees. And hopefully in the process of building one's house, it's done on a good foundation so it won't crumble or fall. To do this, you need a good teacher who will watch and help you. The purpose should be for something far more noble, than fame or fortune or whatever you may think it is. I would hope that in our way, music is to help repair this desperately falling apart world. Okay I said my piece, so I'll bug off. But for all the others reading, please exercise judgement. There are many wonderful teachers and violinists in the world. They aren't out to do you in, they are there to try to help. [This message has been edited by JKF (edited 03-22-2002).]
  9. Shimon, It would be my pleasure. I'll write as soon as I hear back from him. Okay?.... In the meantime, I will talk with several of my friends who could provide recomendations to you. And I will write to you when I learn more. It is an important concern, and I will help in what ever manner I can. As always, J PS. didn't want to bring to this to the top but yes, I heard the new sound files.. HKV - much, better. Shimon, I'll try to write to you soon. [This message has been edited by JKF (edited 03-10-2002).]
  10. quote: Originally posted by staylor: Actually I might have even studied under Gil Shahams teacher in the Rubin Academy some years ago. Motti Shmidt. I plan to visit him again when I'm ready. But I feel quite comfortable with HKV's clear informal and seemingly enlightening approach. He doesn't stifle my own personality like I feel most good teachers do. When I'm up there a bit more myself, then I can visit others too. Gil's a great guy. And I do wish to clear that I don't mean to be unkind in my comments above. HKV is very accessible to many folks, and I believe he thinks he's correct and is helping. Problems come downstream, however, and when you work with those in the field who have many years of experience behind them - they've seen and dealt with the problems first hand. In addition, I know the problems that result from self-teaching, and have seen the ensuing difficulties which result from the breaking of bad habits. I am sensitive to what you were saying, Shimon, about stifling a personality which screams to be heard. Many times, we have to work through those situations, and maybe stay a bit stubborn to what we believe to be right for us :-). A good teacher understands this, and communication, when accepted goes a long way in coming to a good solution. About the scratch...in all fairness the excuse was made. But I still feel, regardless of the recording technology (after all, 1911 wasn't the cutting edge of technology :-)!!), there still should not be scratch. Believe it or not, I've been thinking of you. Please stay safe, my friend.... With best regards, J [This message has been edited by JKF (edited 03-22-2002).]
  11. staylor, you make HKV sound like the 'guru' of all violin playing throughout time! Honestly, this is silly. I'm sure what ever he's done over this time that he's spent has been toward doing... something....but when I listened to the sound files, yikes. Ummmm.....whether fooling aroung or whatever, the tone is enough to explain everything. Now I don't mean to be unkind, but I do mean to set things straight. Whatever bashing HKV has done to what he complains about 'modern' violinists, for what it is worth, at least the modern violinists produce tone! AND - Auer was the first person to be described as the new, MODERN school of violin playing. What does that say?..... Progress, or regress? I question everything, always have, it has been my way learning, and I'm sure yours as well. :-). lwl, you are right. Look it, a bow hold is a bow hold is a bow hold, period. You just hold it. So what. It's got to feel comfortable to you, and there is no one panacea! That was something Heifetz knew. He said to Mr. Friedman who was his student, "you don't have my bow hold, but that's okay". I know what he meant...in that his students wouldn't have to deal with the troubles with which he had to deal in his life. It is evidenced, too, in that when Mr. Heifetz had to stop playing, his students didn't. They were able to enjoy a longer life in music. You know, Heifetz would laugh at you HKV. You copy to death, and I'm sorry, but that hold is what caused him such a great deal of pain and trouble throughout his life. You say you read Agus's book, and yet you fail to mention an extremely important point...his arm failed him due to the tear in the 'cuff'. I spoke about the prodigy grip (his grip) a long time back...oh well. It was a weakness which was not something he wished to have, but with which he had to deal. However, what he did have was the magic, which allowed for His expression which came from and was generated by him, and it is that expression which he worked very hard at developing. It is a very personal thing. I bring this up, because I feel that misleading comments can cause a good deal of harm to students who read this board and are are likely to take these comments all too seriously. Heifetz would say, 'copy cats' - implying that those who merely copied what he did were Missing the point. Development and progress in music as well as in all things is what is important. Auer and Heifetz were inovators of their time. I can't help but think of the disappointment that would be experienced in things going backward; no progress in 100 years! Seems funny, to me at least. It has always been throughout the centuries: we want to progress to the next stage. This is the learning process, and in music - how it becomes vibrant, not stagnant. This topic of copy copy copy has become so tiresome to me. The only reason for my reply is to let the students know to follow the advice of their teachers. They can help and genuinely want to help. Unless you were there first hand, I would be very wary of copying videos which can lead to absolutely wrong results. Nabisco wouldn't be in business long if they gave away what they knew, their secret formula if you will... so it goes with the music scene as well. There are many tricks that can be used to disguise, and when it comes to films - there are dubs, splices, shots produced to give an angle for a scene etc. A film is done for appearance and what someone wants to present to a viewer's eye. Tricks, and a joke on the unsuspecting who might think that the films were made as teaching videos :-). There are teaching videos, but they are advertised as such, and the intent and purpose is known. But getting back to the main point which is and should be the sound, for without it, what does anything else matter anyway. My advise is to learn and play as well as you possibly can. Go to teachers who have experience in the field, and try to work at becoming the best person you possibly can at what you do. And discover what makes you tick, not what makes someone else's style go and work for them. It's just not genuine, and to the listener it sounds like that, phoney. I want to hear something fresh and original when I attend a performance. Not the same old thing, it becomes very boring. Furthermore, as you develop as a complete individual, so does the sound that you make that is your own! staylor, I do wish you well. It's such a terrible situation. While you were here, I wish you were able to visit some of the wonderful artists we have in the states. In Israel, you have some extremely fine teachers. Gil Shaham studied at the Ruvin Academy, and Perlman and Zuckerman both had terrific teachers. Whatever it is, first hand knowledge is the proper and best knowledge to gain. But in all things (and what am I doing telling you this :-) !! #) question everything. All said, I am happy you enjoyed your visit and it does sound like you were able to gain a good set up for your violin. :-) Now I'll get off of my soapbox, and move on already! Regards, J [This message has been edited by JKF (edited 03-22-2002).]
  12. Oh Jonathan, Dear friend, we are of same mind :-). I was going to get back to sleep, but over and over again in my mind I passed what I posted. Rolling over to one side, saying, oh no what did I say. Then the other, ... I got up and signed back on. Yes, Yes, Yes! I believe you know so well the only picture he had in his studio of a violinist. :-) Jonathan, you hit the nail on the head, being real, and being who you are. And it comes through in the playing, and in the style. I toil over this, you know. I hope I can only do as well as I know you do in your playing. You have such good thoughts, and a very beautiful style. Hoping as always, to hear and wishfully see you again... soon? :-) Sending my very best wishes, J
  13. Dear Jonathan, Please don't get me wrong!... I'm not defending the "modern" violinists notion...good grief. That idea is ridiculous. What I was describing however, is a method used by many in teaching. We know how to make good sound, and how to make bad sound, simply put. No one should desire to make bad sound. That would be terrible. Perlman is a wonderful violinist, there is no doubt about it. But what I was getting at is that admiration can sometimes lead to copy. It has been said that the highest form of compliment is in imitation, and it is in that way I felt that we may be seeing alot of similarity in sound...not exact just similar. :-) Who wouldn't like to sound like Perlman, or Kreisler, or whomever you'd love to sound like? It's natural. I conjecture through thoughts that perhaps the original poster felt as they did because of the admiration for Perlman's sound, and possibly many violinists want to have that tone. That's all; It is a very warm and pretty sound. But there's one original, and in this case Perlman. I don't know who else they are listening to, only if the other violinists they heard sounded like him, then they must be similar in his sound. I'll get back to the art of violin and Perlman, when he expressed what he felt as different. The artist vs. violinist? Well, we've gone through that enough, but he himself was pondering what I walked through above. In many thoughts, I come down to originality, and that's the crux of it all. There are many fine violinists, and each do have their own personalities. True, I can't disagree with that. Look at Hahn vs. Bell! I can tell the difference in an instant, as I know you can. Then Mutter and Shaham - again major difference. But in many cases the difference is not as distinct as, for lack of anyone else at the moment, Heifetz and Kreisler, yes? Now I'm going to disagree with myself and say that many violinists in past generations are not as distinctive either. So, it has nothing to do in my opinion, with time. But it does have everything to do with art. When I watched that program I was amazed by what Gitlis was saying in his reflection of how artists went about originality. How did they ensure that they would be different? He came down to saying that some artists liked playing certain notes slightly flat, for color. I found that a very interesting idea, and it so intreged me, that I began likening the art of playing violin to the art of painting in shades of color selection and mood portrayal. It is a very interesting idea! But to do things like this, especially in today's market, you would be taking large risks - at least I think so. And if it came down to auditions and job interviews, could you risk playing a note slightly flat because you, personally, like the way it sounds but the auditioner would think you out of tune :-)? Well, that is kind of hinting slightly at what I've been musing over. Could a person risk not getting the job, by staying firm to a belief and what some may feel is their way of expression in art. Agh...that show really got to me, as you might detect. I think the idea of independance in the arts is something that crosses the mind of many people. How much can you risk for art? It is a difficult problem and decision, and certainly flies in the face of practicality. Anyway, my friend, I run through ideas as of late, trying to come upon answers to questions. Maybe through stimulating discussion, a reasonable solution can be found. It's late, and I better get some rest! Best Regards, J [This message has been edited by JKF (edited 01-20-2002).]
  14. I believe that to be true, and I, too, have that same problem. :-) Not that it is terrible, mind you, just that it is homogenous. Pennstater, I think you are correct in the uniformity of teaching. I believe that we have gotten to the point of finding what seemed most agreeable to the audience ear then standardized it and packaged that sound. It's only my opinion, but when I speak with people, I hear a large majority express the warm lush sound as that which they feel is good. Whether true or not, if expressed then I can't help but feel that marketing companies will pick up on that preference and geer up in that direction. Also, it is undeniable that the sound is pretty, and naturally if there is a way to make that sound, and it can be explained easily - there will be a natural desire to learn how to do it. I feel that we know how to this - there are many posts testifying to the technique in producing a full round tone. As a result, this is how we learn. However, there is little or variety, for the most part, at least it does seem to point that way. I've read in various articles the same complaint of this standardization, and we get back to the marketing concept and what sells. About ten years ago, I read an article in Strings magazine stating that there is a loss in the individuality of sound due to the competition for success: there is no doubt about it, that there are a large amount of violinists for very few soloist positions :-). So in the battle to succeed, there appears little desire to take risks or chances at something different if the outcome could result in an unsuccessful career path. There were conservatories in the past: but each school seemed identifiable. Why? Perhaps as suggested, less availability of communication and distance between areas with transportation difficulties in getting from one country to another in short periods of time. Interpretations were also allowed to flow with less restriction (more freedom was allowed the artist to interject their own personality, and tastes). I might suggest that the individuality factor might be more agreeable in the 'contemporality' of the music. If we think back, 1900 wasn't that distant from 1830/40. And so forth. I can't believe it, but in todays terms you know we are talking about Glenn Miller and Benny Goodman. That kind of puts a header on it for me...I don't consider that very long ago :-(. To get back to the point, perhaps it was felt that the artist could be allowed to add more of themselves to the music, not being that far away from the composer. I don't know, seems reasonable to me. Today, we head toward purity in interpretation - Bach style, Mozart style - staying true to composer's time period and intention (that is, within reason). Maybe we do this because we don't feel we are allowed to change what may have been agreeable to composers during that time period. It was some time back, and not being that close, we may feel we do an injustice to take what a composer wrote and make it our own. Perhaps it's a fear of misinterpreting -- putting in some rock and roll, or rap (gasp) or whatever. :-) I don't know - just throwing out thoughts. I feel, though, in the interpretation there is more standardization because of this and therefore again homogeneity. These are a few thoughts I've had about the methods employed in playing - and it just ideas... Regards, J [This message has been edited by JKF (edited 01-19-2002).]
  15. quote: Originally posted by fatcat: Thanks for the sample, JFK. I find her simply amazing. My pleasure :-). Until later, J [This message has been edited by JKF (edited 01-19-2002).]
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