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HuangKaiVun

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Everything posted by HuangKaiVun

  1. Then put my money where your mouth is, JKF, and POST YOUR PLAYING. We all look forward to hearing your playing - especially if it'll make me "look bad". I'll accept anyone as a student, Jeffie. Even JKF. If funds are that difficult, I'd probably cut down the rate but ask you to run errands for me or something. As far as knowing who has what, I just KNOW. But $45 for a one-time fee isn't terrible now, is it? Nothing in life comes for free. [This message has been edited by HuangKaiVun (edited 03-11-2002).]
  2. I train kung fu, so I will state that my opinions of rolfing are colored by my own practices. As far as I'm concerned, there are no such thing as "usual physical complaints" from being a violinist. I've got students of all builds and body types, and none of them have any pain when they play. Playing the violin properly not only protects against injury; it heals the body internally. Violin should be physically therapeutic, not destructive. Also, I am leery of body manipulators who don't play the violin and thus don't understand the impact of what they do on our instrumental skills. Finding people who truly know the body and the violin's effects on it is so hard in ANY field.
  3. I have seriously toyed with the idea of posting some Kreutzer etudes.
  4. Actually, Rosand taught me to hold my bow and violin in a far different manner than Heifetz did. Heifetz had a deliberate tendency to hold his violin far out to the left. I first noticed this in his B/W video, and the Agus book confirmed it. Rosand taught me to hold the violin so that I can touch the left hand to my right shoulder. Though I use the left hand to prop up the violin, I don't hold my violin anywhere as far out as Heifetz does. Heifetz had a very high right wrist, as did Auer himself and many of his illustrious pupils. This is NOT how Rosand trained me. I have a very flat wrist when I play, and I flare my elbow in order to maintain a nearly straight line between forearm, wrist, and 1st finger knuckle. It was THIS posture I taught to staylor just as it had been taught to ME. I'm no Heifetz - or Rosand imitator. $45/hour, usually doesn't exceed that per day (OK, I fleeced staylor by charging him $55.) I often cut that rate in portions. If I teach for only half hour, I'll only take $20-25. Some students see me every week, some students see me every month, some students see me every other semester. It's all good to me. [This message has been edited by HuangKaiVun (edited 03-10-2002).]
  5. What it comes down to, Locatelli, is that I'm LAZIER than you. Margaret Pardee made me play some of those variations and I hated it. I felt that simply doing the etude "straight" would be the best preparation for playing the fancy bowings. I should talk. I have my own personalized bowings/fingerings for Kreutzer, including a #4 that has both up and downbow staccati reflecting the curve of the bridge.
  6. iupviolin, fantastic! Terrific playing on your sound clips. Your teacher should be proud of you. Good musicianship. That Capriccio piece - I haven't even heard of it. It's new to me. You are a "modern violinist" to me, but don't change a thing. Just stick to your guns and ENJOY what you are doing. We here at Maestronet certainly do. That Wieniawski - I build my passages toward the orchestral Eb resolution at about 1:00 of your clip. When I played this work with orchestra about 14 years ago, I waited for the orchestra to go "Ba Dah" at that point before hurling my cascade of notes downhill and violently. When they hit the bottom, the notes were PISSED OFF and GROWLING at me. I just might post that rendition of this concerto on dzerzy's site as well.
  7. I'm sorry for screwing you up so badly, staylor. JKF thinks I suck and am "self taught" and "imitate Heifetz". My 10+ years of Pardee mean nothing to her, and she thinks I never saw Rosand though I have the photos to prove it (and if I recall, you saw them). Everybody has a right to his opinion. And of course, everybody has his right to post UNEDITED and UNPRACTICED sound clips - including/especially JKF and her friends. [This message has been edited by HuangKaiVun (edited 03-10-2002).]
  8. I've been playing for 22 years. I have thrown aside Erlkonig because I'm too busy with nonviolinistic money-earning pursuits - at least until May/June. THAT is the real reason I haven't sat down and learned Erlkonig to completion. Believe me, I intend to record the whole thing and post it eventually. This June, I'll be playing a recital of Tartini's Devil Trill, Beethoven Romance #2, Glazunov Concerto, some other yet undetermined piece with "sections" in it, and some encores like Bazzini's "Le Ronde De Lutins". For me, violin playing is always the easy part. It's the NONVIOLINISTIC stuff that always gets in the way.
  9. My two mp3 files supposedly went through. Both were recorded on my $900 K500 violin (set up by my luthier with Eudoxa strings) and my $34 Glasser fiberglass bow.
  10. I like to do the "windshield wipers" with my bow, holding the bow parallel to the floor in order to make sure my bowhold is solid. When I am doing windshield wipers and have the bow pointed left, my pinky and index finger and thumb are securely around the bow. This ability to "suspend the bow in midair" with the bow pointed left is what allows me to control my range of dynamics and stabilize the bounce of the bow when doing aerial violin technique. For example, I'll play Paganini Caprice #5 with original bowing by "dropping" the bow onto the string from above the strings. The upbounce is dampened and controlled by my firm pinky grip. When I was reading Ayle Agus's book on Heifetz (which I really enjoyed), I noticed Agus writing about Heifetz using this ability to suspend the bow in midair in doing a technique. Just look at the way Heifetz swoops down onto the violin from above in his videos.
  11. What does Suzuki training offer you that you don't already have, Laurel?
  12. Nah, there won't be any weariness. Bach's stuff is just too challenging and too interesting for that.
  13. sent it to the wrong account, and it returned on me. Bear with me.
  14. I've sent two sound clips: Kreisler Preludium Allegro - just Allegro Tartini Devil's Trill - small clip. The Tartini is something I'm working on for a solo concert I'll be giving in June, the Kreisler is just a piece I've had in my memory.
  15. Excellent, Locatelli! I'm still not doing the variations, though. What they teach I already have.
  16. The "standard" octave harmonics above the string are with the 4th finger in 4th position. By playing either the 2nd finger 3rd position as a harmonic or 5 motes above that 4th finger in the 4th position, you'll get the octave harmonic of the NEXT string (A-string yields E octave harmonic). You can then compare the octave harmonics against each other, see if they match. So you would compare the octave E against either the 3rd position A (2nd finger) or the high E harmonic on the A string.
  17. evan mccaffrey, just play the thing yourself and study the score. I already know that your personal version will be wonderful in its own way. If you REALLY want a video, get Gidon Kremer's rendition with the Berlin Philharmonic. Karajan is the conductor, I think. I am not a Gidon Kremer fan, though he does a wonderful job on that tape.
  18. Less flexibility? Certainly not from a MUSICAL perspective. The Russian grip can do ANY technique asked of the violin with fluidity and ease. That's why so many of its users have had such range of colors in their violin playing. Range of motion is limited in the first finger, but not in the others. Not only that, but the accompanying high elbow you better accesses the elbow and shoulder joints. Being able to suspend the bow in midair is a necessary skill in playing the virtuosic repertoire with total ease. The Russian grip allows this in full, which is why so many of its users have had such great success playing up and down the repertoire. Flexibility in and of itself is not the goal of a bowgrip. Too much flexibility will ruin a violin tone just as much as too much stiffness will. The key is to strike a BALANCE.
  19. I'll bet that Kreutzer didn't make up those bowings himself. Even if he did, most of them I've never used in a real SONG anyhow. As far as the little bow copout thing, it's a NECESSITY. I'll always bow a passage with a mind for the PHRASING as opposed to mere sticking with the passage. I don't do those little bowings and I do fine on the Paganini Caprices and anything else I wish. So there.
  20. Here's my advice to you, alemap: Just play the Kreutzers - and ignore the little font advice/bowings.
  21. The actual formula is that there IS no formula. Every violin is cut differently, has different wood, has different requirements by the player. The key is simply to try to get the most out of every violin we see. Mr. Marchitto and I are so well-attuned to each other that he and I can look at the same violin without consulting each other and pick out the things we'd recommend to get done. That's what we did with not just staylor, but our very own Theresa last summer.
  22. True. But look at guys like Ilya Kaler or Pavel Berman or Viktoria Mullova. They've got Auer-like erectness and rhythm despite having shoulder rests. The older generation Soviets I've seen (some of them students) seem to have a very good focus on producing linear musicianship that respects the score and pulse for the most part. Though they don't have Auer style mechanics, they aim toward the similar exciting and clean musical ideals. I deeply admire and respect the Soviet school, though I'd never want to play that way!
  23. And Auer disliked the Tchaikovsky concerto, refusing to play it in public and making alterations. That's why Adolf Brodsky premiered the concerto, not Auer. Just because a violinist isn't widely recorded doesn't mean that he doesn't know what he's doing or can't play. Clearly, Auer/Stolyarsky/Yampolsky all knew exactly what they were doing. Auer was a terrific player on record, though not in the class of his most illustrious disciples. And the sole teacher of David Oistrakh HAD to be a very good teacher! Also, the Soviet school indeed was heavily influenced by the Auer tradition. The previously mentioned Poliakin was one of Auer's best students, and he was as good as any of the other Auer guys at his best. Doubtless there were other highly accomplished Auer students who remained in the Soviet Union after Auer left. Players like Leonid Kogan were heavily influenced by Heifetz and thus Auer indirectly, as was Oistrakh by Poliakin. Though these players may not have studied directly under Auer pupils, traces of the Auer mentality can be detected in their posture and musicianship. Some of the Auer violin mechanics and insistence on rhythmic pulsatile musicianship seem to be present in the Soviet school to the present day.
  24. as in "Stop worrying about the outcome of a SINGLE competition that yields a SINGLE winner when you could be going out and helping HUNDREDS of others enjoy the joy of playing the violin", roman. SHARING your music with others will earn you money. Complaining about race will not!
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