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About Hildegard

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  1. I bought Mary Cohen's book for one of my students. It's basically just a print-out of melodies in both clefs next to each other or below each other so that you start playing in G clef and then gradually move your focus to the C clef and still play the same thing (hopefully). Most of the material is British folk music. It doesn't give any specific hints apart from these (know the tune, then read the music).
  2. Paradis lived at the same time as Mozart. One of his piano concertos is dedicated to her. She made up her own system for music notation since she couldn't read printed music. By the way, has anybody played her violin sonata? Do you know where one can find the music? I've never even heard it performed, just read about it.
  3. There are also the Six assaggi by Johan Helmich Roman (edited by Jaap Schröder, published by Fazer) and the Passacaglia by Biber (from the Rosenkrantz sonatas -- this "movement" is up for free at Johan Tufvessons famous "early music for free" website), if you're looking for Baroque pieces. And then there's lots of modern stuff, among which I'd recommend Brustad's Adventure Suite (Norwegian composer), Diana Burrell's Songs for Harvey (short and not too tricky but effective, United Publishers) and something more ... which I can't remember right now ...
  4. Journey, I had to give up playing for half a year when I was 14. That was just when I had realised that playing was something I had to take care of myself and something that I wanted to do myself -- i e started being really responsible about practicing. My fingers were either ice cold or changed between cold and warm all the time, and they hurt a lot. Most of this was due to my playing in a strained posture that looked alright but was really tight everywhere -- like a lot of "good students" do -- and some of it had to do with my sitting badly in class, carrying my backpack on one shoulder only, sleeping in a posture that strained my shoulders and back etc. I was really scared and thought that my body was aging like crazy, but after working a lot with some good physiotherapists I could start playing again. You're getting a lot of advice here, so I guess you don't need more, but I'd say don't fret. Get someone to videotape you while you're playing and have a look at it with your physiotherapist -- or even better, play in the clinic! Get some light excercise to start building yourself up. Don't practice when it hurts. Go to an Alexander summer institute this summer if you can. There are lots of people who know a little more than us musicians about how we're constructed, so ask them. The solution doens't have to be very dramatic, but probably you'll have to re-think and re-work some of your playing habits. Best of luck to you!
  5. I heard Bron a couple of weeks ago -- he gave a lecture at a meeting for string teachers here. He spoke quite a lot about how different Vengerov and Repin were already as youngsters. What surprised me was that he held on to his violin all the time, using his bow arm to underline certain words, but in a whole hour he played just one tone! He didn't talk about technique at all, only about musicality, which I guess was different from what people had expected -- but good. And since he was mixing Russian and German all the time, it all got sort of confused. But it was interesting to hear him! We got to hear some of his students, too -- he has a master-class up in the North of Sweden which runs maybe three or four times a year. There was an Asian-Canadian-Swedish violinist who played Mozart like a dream, and then some young men who looked more strained (but they didn't play Mozart ...). I understand he can be pretty tough with his students sometimes, and the language confusion is quite serious, but everybody says he's the best!
  6. "The Klezmer Fiddler", a collection by Edward Huws Jones (violin, easy violin, advanced 2nd violin, written piano part, chords). Boosey & Hawkes. [This message has been edited by Hildegard (edited 02-25-2002).]
  7. I'm not involved in this -- just thought it might be of interest to some of you. And Sweden is really nice in the summer, most of the time at least! Ethno July 5th – 12th Year 2002 ETHNO WELCOMES all instruments including vocal traditions. All participants will get practice in adapting their music to other instruments than their own. THE 13TH annual international folk music camp Ethno will take place in the summer of 2002. Over the years it has become an important meeting place for a new generation of folk musicians and influenced many young people from all over the world. Every year musicians from ten to twelve different countries – From Europe, Africa, Asia and America – participate in the camp. ETHNO IS BASED ON WORKSHOPS, where the participants teach each other. The teaching and learning will mainly be by ear, but written music can be used for support. Ethno is not based on performances, but you will have the opportunity to present your music and what you’ve learned by participating at some concerts, evening dances and street performances. Ethno is not a contest or competition. ETHNO 2002 as usual takes place in Falun, a small Swedish town 250 km northwest of the capital Stockholm. The closing event of the camp takes place during the famous Falun Folk Music Festival - July 10th – 13th 2002 - an international folk music festival with several hundreds of top artists from all over the world and tens of thousands enthusiastic visitors! The festival is the major folk- & world music event in the Nordic countries. E-mail: festivalen@falufolk.falun.se
  8. Terje Moe Hansen playes the violin the other way around. He's a violin professor in Oslo, I believe.
  9. There's not a lot of music for this sort of ensemble. I've been searching for a couple of years now and these are some ideas: Milhaud -- Suite for piano, violin and clarinet. A really fun piece if your pianist has some temperament. I played it for my graduation recital and it was great! von Baussnern -- an out of print German trio in the style of Brahms and the likes. We only played the slow movement which was really nice -- it's quite a big piece. Vanhal -- trio, very much like Mozart but maybe not that good. Quite good enough to play, though! There are some pieces for violin and clarinet only, too: Marc Bleuse has written something inspired by Le Petit Prince, but I've never managed to get the music for it. Hindemith has written some short pieces and maybe something larger, too. And something more, which I can't remember right now ... There's a quartet for violin, clarinet and two guitars, too -- can't remember who wrote it. Finally, you probably wouldn't do this, but we had a lot of fun playing Schostakovich's Three little pieces for two violins and piano (the clarinetist fortunately didn't have any problems reading a C part) and some Corelli trio sonatas. It's not clarinet music at all, but it sounded really nice and everybody liked it, so ... Have fun with this project! Let me know if you need any help finding the printed music. By the way, that Khachaturian piece is quite difficult. I'd start with Milhaud and Vanhal just to get the ensemble going and then move on!
  10. Julie Lyonn Lieberman's book is mainly about different fiddle styles -- a LOT of them. I didn't mean to destroy this thread, I just thought that if you're really interested, the book might be a good resource next to this board ... Sorry if I offended someone's intentions!
  11. I used to read The American String Teacher which is more scientific (?) and heavy, but very, very informative. There's also a magazine published by the European String Teachers Association, but it's just annual or semi-annual.
  12. There's a book by Julie Lyonn Lieberman (Huiksi Music) that actually describes the specifics of quite a lot of styles. "The Contemporary Violinist" is the title, and it has a CD with music samples.
  13. Another one, who was a very good composer as well and, I believe, gave up her violinist career before WWII: Grazyna Bacewicz. [This message has been edited by Hildegard (edited 12-28-2001).]
  14. When I was in DC, I played with some symphony orchestras, and one of them was the Georgetown University SO. They seemed to accept anyone -- at least nobody mentioned an audition as long as I was there. However, I think the best thing for you to do would be to contact the Friday Morning Music Club office. They seem to have contacts everywhere and they have quite a variety of ensembles under their own roof, too. The secretary -- if it's still the same one -- is a very nice lady. They publish a sort of yearbook which lists a lot of amateur ensembles with contact information etc.
  15. Sorry all English-speakers, this message will not be repeated in English ... it's about a workshop for string teachers in Gothenburg, Sweden. If you speak Swedish and have the opportunity: write for more information (address below)! Stråkmetodik, 5 poäng eller Vill man ha duktiga elever får man driva upp dem själv, men hur gör man? Innehåll: Alla kan Motivation En ergonomiskt hållbar grund Avancerade tekniker med nybörjare Små Låtar för Små Stråkar: Uppvärmningslåtar Fiolhållnings-låtar Stråkhållningslåtar Lösa sträng-låtar Finger-låtar Lätta låtar Inviduell- och gruppundervisning Lektionsupplägg Hits för små och stora Deltagarnas egna önskemål Målgrupp: Kursen vänder sig till fiol- altfiol- och cello-pedagoger vid kommunala musik- och kulturskolor och instrumentallärare under utbildning, ca 15-20 deltagare totalt. Syfte: Syftet är att fördjupa sina kunskaper i det grundläggande stadiet, hämta inspiration och arbetslust samt att knyta kontakter med kollegor. Tid, plats och arrangör: Tre helger eller fem måndagar under våren på Artisten, musikhögskolan vid Göteborgs Universitet, som också arrangerar. För mer information, kontakta: Eva Bogren, Eva.Bogren@musik.gu.se